Creative Arts — MUSIC Essay Example

  • Category:
    Education
  • Document type:
    Essay
  • Level:
    Undergraduate
  • Page:
    3
  • Words:
    1719

Creative arts music

Creative art music

Solfa is defined as set of syllables that show relationship that exist between pitches in music. They may include syllables like DO, MI, SO and LA. Teaching a three year old how to sing is a matter that every music teacher should take seriously. For a music teacher, it is advisable to use rote songs, which are important components of individual student’s oral foundation. Teachers should teach songs using rote songs because for students who are instrumental, they are expected to experience many years of music instruction without learning how to play music by sense of hearing. Teachers should first teach their students to learn to sing a song prior to playing it.

It is vital when building the sequential system of a song in order to establish the meter and tone that the song will take. For any song to start well, it must have a good tune up. For instance, shown below is an example of a tune up song in duple starting with ‘so’ (such as go and tell uncle victor I am coming). In this example, four beat patterns should be established for the song to materialize. Key aspects includes, meter, resting, starting note, tonality, style and tempo. Teachers should start the tune up by establishing the tone at the keyboard.

The sequential lesson will be created this way:

Lesson 5: soh/me/lah/doh/ this is the bar lines
Lesson 4 soh/me/lah/doh;
Lesson 3: soh/me/doh
Lesson 2: soh/me/lah
Lesson 1: soh/me/fah; this represents the starting point

Source: (Bennett & Bartholomew 1997, p.52).Creative Arts - MUSIC 3Creative Arts - MUSIC 2Creative Arts - MUSIC 1Creative Arts - MUSIC

Repetition is very important when teaching students to grasp a song. Students should be passive at first time by listening to the teacher sing. Another thing they should do is to move heels to the beats while the teacher is singing. In addition, they should move hands to beats while listening carefully. While listening, they are expected to move to both micro-beats and macro-beats. After the teacher is through with the singing, the students are now expected to come in and sing. They should grasp the song and be able to sing it without the teachers support. Finally, they will be able to sing the song together with the teacher (McGuire 2009, p 111-114). If students encounter difficulty in singing any part of the song, it is advisable not to go back to the beginning but instead identify and isolate the part that is causing problems to students and repeat it as first as possible and then repeat the whole song from the start to the end.

The teacher should sing for the students but not with them to make sure that students have understood what they are doing. Students are curious in that they will want to hear the teacher sing the song first for them to learn it from him or her. When their time to sing comes do not give them an oral model to imitate. The teacher should listen to them sing or may decide to play a keyboard or piano as an accompaniment while withholding melody. If the melody is sounded to them, students may learn to hone their skills of pitch tracking. Pupils do not learn to understand the song via audiation.

It is important for music teacher to teach the bass lines of the song to make it enjoyable. Teacher’s aims at making students grasp the whole picture or the meaning in music and understand how their segment relates to the whole musical texture. To attain this goal is not an easy task. However, they should start by teaching the bass lines, which are commonly known as root melodies in order to make tunes familiar to students. Bass is present to every tone and understanding the bass segment is the building block for understanding harmony of tune of the song.

Teach them to sing the bass lines, as they would have done in other rote song. When teaching music that is instrumental, teach them to play and not just sing. The teacher can make this concept understood fast by dividing the class into two where each group is assigned role. For instance, one group may be playing the melody while the other group singing the bass lines. This will help bring out the real meaning of the song they sing, play, and sing.

The teacher should teach the song then followed by words. Words are part of the song but it is good to teach them when they have understood the musical part of the song. The problem with teaching the words first is that most of the students will focus on words than melody or audiation. When they have learned the musical aspect of the song, teach them the words in beats and reciting rhythm of the song.

Hand signs can be referred to as a way of providing placement for a vocal pitch and tone. In order to depict low pitch in a song, the teacher focuses on displaying the midsection of the hands in this way each pitch is placed above the previous one. At the pitch, the pitch is descending or going down, the palm and fingers are placed upwards at the eye level.

Solfa a notation mechanism in which every note is given a syllable name is useful in teaching learners literacy skills. the syllable of “DO” begins followed by other syllables in the sentence as they are associated with extent of the scale and the link between different symbols remain the same when the tune of the song is transposed. For instance, in the song “DINAH” the syllables “do, re, mi, and so” follow each other. The student could imitate the sounds of the sound of the song by singing and playing the song. For instance, the song goes this way, (di-nah, di-nah…) to produce the sounds. Solfa method helps students to memorize, playing the song by transposition and by ear. In addition, it facilitates easy understanding of the content and helps the students to grasp the different aspects of the theory. The Kodaly technique is known because of its efficiency as an instructional system based on tone of solfa. It is a system for aural growth and like other progression process; it is time consuming for it to be fully established. when trying to impart skills in students through music using the solfa system, it is vital that one demonstrates the real meaning of the song using hand signs this will help learners determine if the pitch is high or low (Cringan 2011, p 66). Use all the solfa syllables, sing the song, and play it by deliberately eliminating the name of one note to catch the attention of students.

A song map is a line that shows movement of music. It is singled out when the song is heard or sung. Song map is both a visual and kinesthetic symbol since it starts when singing starts and ends when singing ends. The teacher should watch what happens to the song every time the song is sung since he has to sing and establish a song or music map. The teacher should continuously repeat the process to monitor the progress of students. Students should concentrate more on the differences and similarities in maps. Students can also participate in mapping of the song by going to the chalkboard and feeling the song in their hands. When the student is through with singing, stop the song. A rhythm is the flow and flexibility of the song while beats are instrumental part of the song (Bennett & Bartholomew 1997, p. 89).

Mapping the pitch in a song is the ability to control the highness and lowness of the sound in a song or it is the presentation of the whole melody. During pitch mapping, the teacher should indicate at which intervals students will take a breath when singing. Use four lines in a stave and this can be done in an open and visible place where everyone is able to see what the teacher is doing. For instance, it can be done on the floor or on chalkboard while for the notes utilize the garbage tins. The purpose of the time signature is to inform you about how many and what type of notes per measure there are. For example, we may have four by four time signatures (4*4) or three by four (3*4). An example of time signature is presented in the illustration below:

Creative Arts - MUSIC 4Source: (Bennett & Bartholomew 1997 p. 44)

When the pitch has been shown to the students, prepare them to get notes by either standing or sitting. Some students should occupy the bar-lines because it is essential in bringing out the meaning of the song.

Illustration below shows how the rhythm map will look like using solfa method.

Creative Arts - MUSIC 5

Source: (McGuire 2009 p. 57)

Let the students play and sing the song following solfa model. This should be done by singing the song and working to the beats. In addition, they should clap the rhythm to make the song flow. Playing games with the song once it is understood is an easy task whereby the teacher takes the students in the whole class to participate in singing while other groups take in shifts to play the melody of the song (Greenwood 2009, p. 67). It is possible for students to use notes of one to come up with new one on their own without the help of the teacher because they have grasped the literacy skills of learning how to sing and play songs. Children have the ability to create their own movements and adjust the words of the songs. From the example of the song bend to the right side, two phrases can be played and sung in cannon. More so, the second phrase can be used as ostinato.

Bibliography

Bennett, P.D, & Bartholomew, D.R, 1997, Song Works I: Singing in the education of children, Wadsworth, Belmont, CA.

Cringan, A, 2011, The teachers’ handbook of the tonic solfa system: A guide to the teaching of singing in schools by the tonic solfa system, University of Toronto library, Toronto.

Greenwood, J, 2009, The solfa system of teaching singing: as used in Lancashire and Yorkshire in 1879, Cornell university library,

McGuire, C.E, 2009, Music and Victorian philanthropy: The tonic solfa movement. Cambridge University Press, Cambridge.