Terms to know for SMART “Music Play”
Audiation: Hearing and formally comprehending in one’s mind the sound of music that is no longer or may never have been physically present. It is different from discrimination, recognition, imitation, and memorization.
Continuous Flow: Free, flexible, smooth movement that is UNINTERRUPTED. Moving one’s whole body with continuous flow requires moving the hips, back, shoulders in circular pathways and bending the knees.
Continuous Flow with Pulsations: Free and flexible movement that, while uninterrupted as in continuous flow, contains visual and physical representations of a consistent pulse. To insure that flow continues, each of the pulsations occurs in a different place in space. The pulsations are most effectively observed and felt when performed by a variety of body parts simultaneously.
Macrobeat: The fundamental beat in a rhythm pattern. Usually paired. The beats that seem arbitrarily the longest. Use parallel patch on thighs while standing, or knees while seated. Later, use shifting weight from side to side by lifting heels slightly off the ground. Feet should be at shoulder width. Walking can also be used but is more difficult.
Microbeat: The equal divisions of a macrobeat. Two equal microbeats is termed Duple Meter. Three microbeats is termed Triple Meter. Use two finger pat in the palm of the hand. Let children use whichever hand they choose naturally.
Melodic Rhythm: The rhythm of the text or the melody in a piece of music. It is superimposed on macrobeats and microbeats. Use alternating patch on thighs or knees. Can also use full hand clap. Make sure that one hand is stationary (as opposed to moving both hands together and meeting in the center.
www.giamusic.com (Music Play) www.giml.org (Pedagogy)
Suggested variations on a theme for rhythm activities used for SMART “Music Play”
• Begin activities with imaginary objects.
• Work small segments, making sure all students are verbalizing. Alternate sections of the activity (ex. teacher does phrase 1, students do phrase 2, etc.)
• Try the activity while “thinking” all or part of the words (use whispering as an intermediate step)
• Begin rhythm activities with a preparatory phrase. This phrase must be performed in the SAME tempo and meter of the activity. Continue with no interruptions until the end of the activity.
EX. Duple Meter: Use “1, 2, here we go.” Bounce, Catch, etc.
EX. Triple Meter: Use “ ah 1, ah 2, ah here we go.” (galloping rhythm)
• Try to perform the activity as accurately as possible without the CD.
• Have the group perform without help from the teacher (other than a prep phrase).
Suggested variations on a theme for rhythm patterns (acculturation and imitation/assimilation)
• Have the students simply respond to the acculturation patterns.
• Use continuous flow with pulsations for imitation/assimilation patterns. Give a strong gesture to breath on the 4th Macrobeat of the initial pattern. This provides a “cue” for the students to echo the pattern just performed.
Suggested variations on a theme for tonal activities used for SMART “Music Play”
• Let the students listen without any singing or moving the first few times through the song.
• Progress to continuous flow (with or without pulsations) throughout the song, encouraging students to sing along.
• Listen carefully for students using “speaking voices”. Move closer to them to model a good singing voice.
• Have “speaking voice” students echo other students using a proper singing voice.
• Work small segments, making sure all students are singing. Alternate sections of the activity (ex. teacher does phrase 1, students do phrase 2, etc.)
• Try the activity while “thinking” all or part of the words.
• Begin songs with a preparatory phrase. This phrase must be performed in the SAME tonality, tempo, and meter as the song.
• Try to perform the activity as accurately as possible without the CD.
• Have the group perform without help from the teacher (other than a prep phrase).
Suggested variations on a theme for tonal patterns
(acculturation and imitation/assimilation)
• Have the students simply respond to the acculturation patterns.
• Give a strong gesture to breath AFTER the last tone of the initial pattern.
• Encourage singing voice vs. speaking voice (Occasionally, I remediate my “speaking” students between centers)
Resources
Music Play
www.giamusic.com
Music Learning Theory
www.giml.org