Roberts Emphasized the Importance of the Mind to Visualize the Music Before Attempting to Play It Fiom the Written Page
Total Page：16
File Type：pdf, Size：1020Kb
THE EFFICACY AND ANALYSIS OF FOUR CONTEMPORARY METHODOLOGIES VIS-A-VIS TRADITIONAL METHODS OF TEACHING MUSIC Larry Pierre Davids B.F.A., Simon Fraser University, 2004 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Faculty of Education O Larry Pierre Davids Fall 2006 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL NAME Larry Pierre Davids DEGREE Master of Arts TITLE The Efficacy and Analysis of Four Contemporary Methodologies vis-a-vis Traditional Methods of Teaching Music EXAMINING COMMITTEE: Chair Susan O'Neill, Lecturer -- --- --- Yaroslav Senyshyn, Associate Professor Senior Supervisor ------------ --- Meguido Zola, Associate Professor Member ------ p- Dr. Celeste Snowber, Associate Professor, Faculty of Education Examiner Date August 16, 2006 SIMON FRASER $&&V UN~VERS~TY~ibrary DECLARATION OF PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection, and, without changing the content, to translate the thesislproject or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without the author's written permission. Permission for public performance, or limited permission for private scholarly use, of any multimedia materials forming part of this work, may have been granted by the author. This information may be found on the separately catalogued multimedia material and in the signed Partial Copyright Licence. The original Partial Copyright Licence attesting to these terms, and signed by this author, may be found in the original bound copy of this work, retained in the Simon Fraser University Archive. Simon Fraser University Library Burnaby, BC, Canada ABSTRACT Learning music is not just learning a series of physical skills as is emphasized in the traditional methods. It is also about learning to express the music with emotion and being able to understand the ways in which the mind and body relate to the student's musical abilities, as advocated by the contemporary methods. Four educators and their contemporary methods are researched and critiqued using numerous resources from relevant books, journal articles, websites and personal experience. Shinichi Suzuki developed new and innovative ways of teaching classical music for string instruments of the orchestra. Carl Orff used rhythm instruments, and body movement with verbal rhymes to teach music to children. Howard Roberts emphasized the importance of the mind to visualize the music before attempting to play it fiom the written page. Lastly, Julie Lyonn Lieberman focused on various components of memory and visualization techniques to learn music more quickly and efficiently. DEDICATION For my parents, brother and sister, Who have supported my musical endeavours throughout the years. ACKNOWLEDGEMENTS A measure of gratitude belongs to Meguido Zola, Slava Senyshyn Celeste Snowber and Stuart Richmond who mutually guided me along the correct path and who made their time available in their different ways so that I could get started. The support of Christine Chapman, Micheline Wong, Terry Greenaway, Patricia Sereno is greatly appreciated. Mention must be made to all my friends who listened to my ideas along the way. Thanks must also be given to Kim Novek, David Kauffinan, Susan 07Neilland Preet Saini for their support. Table of Contents .. Approval ............................................................................................................................11 ... Abstract............................................................................................................................. 111 Dedication .........................................................................................................................iv Acknowledgements ........................................................................................................... v Table of Contents ............................................................................................................. vi Chapter 1: Introduction ................................................................................................... 1 Traditional Music Methods ............................................................................................. 4 Chapter 2: The Suzuki Approach to Learning Music ................................................ 12 Historical Background .................................................................................................. 12 Contributions to Pedagogy ........................................................................................ 13 Reading Music the Suzuki Approach ....................................................................... 16 Critique ......................................................................................................................... 18 Comparing Traditional Method with the Suzuki Method ........................................ 18 Listening Before Playing .......................................................................................... 23 Group Versus Individual Interaction ......................................................................... 26 Pressure .................................................................................................................... 28 Modern Music ........................................................................................................... 29 Practicing Time Frame .............................................................................................. 31 Technical Foundations .............................................................................................. 32 The Parent's Role ...................................................................................................... 33 Conclusion .................................................................................................................... 34 Chapter 3: The Magic of Orff ........................................................................................ 37 Historical Background ................................................................................................. 37 Orff s Philosophy ...................................................................................................... 38 Critique ......................................................................................................................... 40 Learning in Groups ................................................................................................... 44 Materials Used in Orff .............................................................................................. 45 Conclusion .................................................................................................................... 47 Chapter 4: Roberts: Is There a Faster Way to Learn? ........................................ 50 Historical Background .................................................................................................. 50 Factors Affecting the Ability to Learn Music ........................................................... 52 Quality................................................................................................................... 52 Quantity................................................................................................................. 53 . Motivation............................................................................................................. 55 Diagnosis ............................................................................................................... 55 Two Kinds Of Memory ......................................................................................... 57 Recall .................................................................................................................... 58 Time Frames ......................................................................................................... 59 Accuracy and Speed ............................................................................................ 61 Overload ................................................................................................................ 62 New Ways of Learning .............................................................................................63 More Effective Practicing Strategies .................................................................... 63 Memorization Techniques .................................................................................... 64 Developing Speed ................................................................................................. 66 Using