Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of a Diverse Population Berta Hickox – bertayee@dejazzd.com Alice Hammel.

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Music for Everyone: Songs, Games, Dances, and Learning Activities to Meet the Needs of

a Diverse Population

Berta Hickox – bertayee@dejazzd.com

Alice Hammel – hammela@mac.com

El Florón

El Florón

1. Sitting, circle gets smaller2. Standing, knee down or stay

on your dot3. Standing, beer fest

El Florón

Musical goals achieved1. beautiful song2. mrd prep for older

beginners3. harmony4. triple microbeat5. AB macro form6. singing game from Puerto

Rico

El Florón

Potential issues & modifications/adaptations for success

Sensorya. Start with greater

restrictions to increase comfort level

b. Give student another role (singing/playing

harmony)

El Florón

Potential issues & modifications/adaptations for success

Physicala. Provide alternative

movements and roles in game

El Florón

Potential issues & modifications/adaptations for success

Behavioral/Emotionala. Provide very clear

directions and parameters for behavior

b. Provide an ‘out’ for students who are not able to participate fully

El Florón

Potential issues & modifications/adaptations for success

Communicationa. Singing while playing

gameb. Singing solfa

i. use of clickerii. show body signs

or hand signsiii. play on pitched

percussion or piano

Five Domains For Learning

1.Communication2.Cognition3.Physical4.Behavioral/Emotional5.Sensory

Music Aptitude

Music aptitude is one’s potential to achieve in music.

Music aptitude is innate, but not inherent.

Music Aptitude

Music aptitude is developmental until age 9,and can fluctuate until about age nineaccording to the richness and diversity of musical experiences the child undergoes.Music aptitude stabilizes after age 9.One cannot expect to achieve in musicbeyond the limit of one’s stabilized music aptitude.

Music Aptitude

Administer a valid and reliable test such as the Primary Measures of Music Audiation (PMMA) or the Intermediate Measures of Music Audiation (IMMA) to measure each student’s music aptitude.

Music Aptitude

It is NOT the purpose of aptitude testing to identify students for inclusion or exclusion in music activities.

Music Aptitude

Because many students with high music aptitude have not had the opportunity to achieve in music, a music aptitude test can reveal musical potential that might otherwise remain unknown to those students and their teachers. 

Music Aptitude

Use the scores to differentiate each student’s instruction. Scores will be normally distributed in a population; they will fall in a “bell curve.”

Music Aptitude

Students with low music aptitude will need manymore opportunities to listen, echo patterns, decode, and read than those with average or highmusic aptitude. Students with high music aptitude will learn faster and need more challengesthan those with average or low aptitude. 

Music Aptitude

A student’s scores in tonal aptitude and rhythmaptitude will likely differ: a student with hightonal aptitude could have a below average rhythm aptitude. Therefore, the teacher ischallenged to teach to each student’s individualdifferences. 

Creative Movement

Heavyland/Lightland

Free and Bound Flow

Bach Activity

Creative Movement

Can support communication goals

1. Comparatives (high/low, fast/slow)2. Melodic direction3. Phrasing4. Solfa5. Self-leveling activities

Creative Movement

Assessment Informal:

Observation

Formal: Rating Scale

move at appropriate time

freeze at appropriate time

move quickly

move slowly

-move smoothly

Singing

Teaching a rote song/how to repeat a song for increased success with cognitive challenges

1. sing 4x, c. sings2. fill in a word3. ask questions4. # of phrases5. highest/lowest pitch6. resting tone7. form

Singing

Potential issues1. Sensory – too loud

a. plug ears, smaller groups perform

2. Communicationa. demonstrate with

gross motor3. Behavioral/Emotional

a. recognize the inherent emotional elements in music and acknowledge

these differences

Goodnight

Bate, Bate

The Gallows Pole

Phoebe in Her Petticoat

SNACK TIME!!!

Literacy

Literacy

Aural Decodinga. Play game – if anyone gets hurt, the

game is overb. Aural decoding - melodic

i. Sensory – gameii. Physical – gameiii.

Behavioral/Emotional – gameiv. Communication –

decodingv. Cognitive – decoding

p. 134

Sol-Mi NotationPresentation Stage

Non-Modified or Adapted Curricular Goals

Modified Curricular Goals

Adapted Curricular Goals

Students will sing sol-mi patterns using neutral syllables.

Student will approximate higher and lower pitches following individual prompt by teacher.

Student will sing sol-mi patterns using neutral syllables at a tempo of his choosing

Students will derive quarter-eighth patterns from chants that are well-known to them.

Student will tap the rhythm with words to chants that are well-known to him

Student will derive quarter-eighth patterns using popsicle sticks given as much time as necessary

Sol-Mi NotationPresentation Stage

Non-Modified or Adapted Curricular Goals

Modified Curricular Goals

Adapted Curricular Goals

Students will show higher and lower with their hands and with the use of icons.

Student will show higher and lower through any modality he prefers.

Student will demonstrate higher and lower using icons and/or body motions.

Students will discover the two pitches (sol and mi) and their similarities as noted in several folk songs well-known to them.

Student will sing folk songs that contain sol-mi with other students.

Student will discover sol-mi in at least one folk song well-known to him.

Sol-Mi NotationPresentation Stage

Non-Modified or Adapted Curricular Goals

Modified Curricular Goals

Adapted Curricular Goals

Students will apply new rhythm syllables to chants well-known to them.

Student will chant rhymes that contain quarter/eighth patterns with other students.

Student will chant using rhythm syllables at a tempo of his choosing.

Students will apply new solfege syllables to chants well-known to them.

Student will apply new solfege syllables to at least one chant well-known to him.

Literacy

Literacy

Tideoa. Aural decoding – rhythmicb. Adapted sequence p. 146

Aural Decoding Assessment

Solo assessment: 1. By phrase or pattern with modifications

(different content – smd only)

2. With adaptations

(fewer patterns)

Reading

RhythmUse many means to the same end for variety and repetition

R ladderR flashcardsbeach ballKing of the MountainSinking ShipMatch titles to rhythm patterns

Reading

RhythmBeat FlashcardsWho Has This Rhythm?Read BackwardsRhythm Card GameRhythm-Go-Round

Reading

RhythmDifferentiate for

intellectually gifted high musical aptitude needs more repetition

(cognitive and low musical aptitude)

Reading

MelodyUse many means to the same end for variety and repetition

tone laddertone setfinger staff (read from teacher’s)body signshand signsmagnetic noteheads

Writing

RhythmUse many means to the same end for repetitionand as modifications

popsicle sticksrhythm flashcards + flyswatterfill in the missing rhythmsclass set of rhythm cardsbeat flashcards

Writing

MelodyUse many means to the same end for repetition and as modifications

felt staffsfinger staffmagnetic noteheadsmelodic flashcardstransfer stick notation

to stafftranspose from one

staff placement to another

Reading/WritingAssessment

1. small group performance if student is unable to sing solo

2. assess individuals within a group (Rhythm-go-Round, felt staffs)

 3. rubric with modifications

(quarter note, eighth notes, quarter rest, half note only)

Reading/WritingAssessment

4. Rubric with adaptations (perform at own tempo, assess fewer examples,

choose own patterns to read)

Rhythm Sequence

Rhythm Sequenc

e

ECHONeutral

Syllable

Transfer neutral to syllable

Rhythm Sequence

Rhythm Sequence

IDENTIFYIn a rhyme or song - aurally

Visually

Rhythm Sequence

Rhythm Sequence

DERIVEFrom a

rhyme or song

CREATENew

rhythms that

contain

LUNCH TIME!!

Folk Dancing

Seven JumpsChimes of DunkirkHeel & Toe PolkaSasha!Sashay the DonutHaste to the Wedding (Sicilian circle and contradance)

Folk Dancing

Potential issues1. Sensory (desensitization)2. Physical

tempo3. Cognitive –

can’t remember the order of the calls

4. Behavioral/Emotional working with partners

Folk Dancing

Modifications/Adaptations 1. Assign a buddy who is a strong dancer2. Teacher demonstrates the dance

with a student who needs extra repetition, a slower tempo, to experience the dance without music

3. Some students choose partners first

Folk Dancing

4. Allow an individual to observe as necessary;rotate in

5. Teacher chooses partners6. Partner chain (random choice of partners)

Four Primary Teaching Practices

SizeColorPacingModality

Sample Folk Dance Sequence

Seven JumpsRM2

Les Salutscircle MBBarnereinlender NorwegianFDMAgaduIsraeli FDMYesh Lanu Tayish longways setFDM (also as play-party in Roots and Branches)

Sneaky Snake line dance RM4

Sample Folk Dance Sequence

Chimes of Dunkirk longways set CHHeel & Toe Polka circle

CHSweets of Maylongways set CHRural Felicity longways set SDGalopedelongways set CHKings and Queenslongways set SD

Sample Folk Dance Sequence

Irish Stew circle RM2 (“Rakes of Mallow”)

Pepperell Stomp circle SD (“Irish Reel”)

Bridge of Athlone longways set MB (“Blarney Pilgrim”)

La Bastringue circle CHBlaydon Races circle CHSasha! SD

Sample Folk Dance Sequence

Jubilee Rag longways setMB

Simple Square squareCH

Sashay the Donutdouble circleSD

Black Joke Sicilian circleCH

Zemer Atik IsraeliRM4

Haste to the Wedding Sicilian circleCH

Sample Folk Dance Sequence

Haste to the Wedding contradanceCH

Dip for the Oyster Sicilian circle CHLucky Sevencircle CHMariposaSicilian circle MBJefferson & Libertycontradance CH

Sample Folk Dance Sequence

Close Encounters double circle RM4 (“California Dreaming”)

Circle Waltz Mixercircle SD 

Teachable Moments through Folk Dance

1. Dance until the music is finished2. Partner chain or “May I please have this dance?” (the answer is “yes”)3. Clap for the music at the end of the dance

AND say “thank you for this dance” to your partner

Resource Guide for Folk Dances Used in Sequence

FDMFolk Dance Music for Kids and Teachers (Sanna Longden’s CD No.1)MB Listen to the MockingbirdRM2 Rhythmically Moving 2

(Phyllis Weikart)RM4 Rhythmically Moving 4

(Phyllis Weikart)CH Chimes of DunkirkSD Sashay the Donut

Part Work

TypesCanonOstinato (rhythm, melodic, spoken, played)Root melody/implied bass linePartner songsCountermelody/descant2-part musicsing + reading/conducting/beat and

beat division/ball-bouncing

Part Work

Potential issues1. Communication2. Cognitive3. Physical - beat + beat division,

conducting, playing ostinato

Part Work

Part Work

Teachers create other parts (with or without instruments) to be performed with song

Students choose what is comfortable to perform = self-leveling

Part Work

Instruments1. another avenue for communication2. size3. modality

SNACK

Singing Games

Singing Games

Singing Games

Singing Games

Singing Games

Potential issues1. Sensory

desensitization2. Cognition

when to meow3. Communication

vary modalities

4. physical5.

behavioral/emotional

Q&A

General Ideas

Use a predictable/standard lesson plan

Many tasks in a single music class =Opportunity to give positive feedbackRegarding each student’s strength

Sequence! Break down each task andsequence

General Ideas

Identify carefully what you want to assess

Offer multiple opportunities to learn andReinforce skills/concepts so kids haveOpportunities to learn what you want to assess

Seek incremental improvement for each student

Einstein Quote

“Everyone is a genius. But if you judge a fish onIts ability to climb a tree, it will live its wholelife believing it is stupid.”

Double Dream HandsThe Big Finish!

Dip for the Oyster