Folk Songs

TITLE: Ah Poor Bird ORIGIN: English canon SOURCE: 150 Rounds for singing and teaching

TONE SET:

l t d r m

FORM: TYPE OF SONG/GAME: RHYTHMIC ELEMENTS: MELODIC ELEMENTS: APPROPRIATE AGE LEVEL:

AB

TEACHING PURPOSE:

si l’

SCALE: Harmonic minor - fa CSP:

CD

Four part canon

 l t d ; d r m ; m l’ si l’ m ; m r d t l Level 2  4



Practise ; prac harmonic minor scale; partwork; chords i V i

Come Follow Me 2 &4 œ Come

& œ Come

œ

fol - low,

œ

œ

œ

œ

fol - low,

fol - low

œ

œ

fol - low

œ

œ

œ

me,

œ me,

œ

lis - ten

œ

œ

œ

œ

œ

to

my

song.

œ

ech - o - ing

œ a -

Œ

Œ œ long.

TITLE: Dinah ORIGIN: American Folk song SOURCE: The Kodaly Context (Choksy)

Word Improvising Game One student is chosen to improvise at a time. Students sing together except for the words “Dinah” and “old banjo”. In place of “Dinah”, the improvising students sings another name (not necessarily own), and a different instrument to banjo in the final line.

TONE SET:

drm s

SCALE: do tetratonic

FORM: TYPE OF SONG/GAME: RHYTHMIC ELEMENTS: MELODIC ELEMENTS: APPROPRIATE AGE LEVEL: TEACHING PURPOSE:

ABAC

CSP:

CF

Folksong

 dmsmsm;dmrd;rmrd Level 2  3



Prep and MC ; prep and prac re; prac conducting in duple metre; call & response; form; word improvisation

TITLE: Good News ORIGIN: American folk song SOURCE: The Kodaly Method

TONE SET:

drm

SCALE: do trichord

FORM: TYPE OF SONG/GAME:

ABAC

CSP:

RHYTHMIC ELEMENTS:

EB

Folk song



MELODIC ELEMENTS: d-r-m APPROPRIATE AGE LEVEL: Year 8 TEACHING Prac d-r-m; MC PURPOSE:

 ; prac simple quadruple conducting

TITLE: Mail myself to you ORIGIN: Woody Guthrie SOURCE: James Cuskelly/Youtube

TONE SET:

drmfsl

SCALE: Major minus ti


A Av B C

CSP:

Song

 d-r-m; s ; l ; f Older beginners Prac

 ; prep fa

G  Bb

TITLE: Pourquoi ORIGIN: West Virginian Folk Song SOURCE: 150 American Folk Songs

TONE SET:

d r m s l d’

SCALE: do pentatonic

FORM: TYPE OF SONG/GAME: RHYTHMIC ELEMENTS: MELODIC ELEMENTS: APPROPRIATE AGE LEVEL:

A B A’ C

CSP:

TEACHING PURPOSE:

Practise d’; prac ; prac internal anacrusis; conducting in quad metre; word improvisation game (colour)

GA

Folksong

 s m r m s; l d’ l s ; m s m r m s ; s l s d m r d Levels 2  3



TITLE: Rose Red ORIGIN: English Folk Song SOURCE: 150 Rounds for Singing and Teaching

TONE SET:

m, s, l t d r m

SCALE: Natural minor minus fa


ABCD

CSP:

EG

Four part canon



RHYTHMIC ELEMENTS: MELODIC ELEMENTS: d-r-m; s, l, ; t, ; m, APPROPRIATE AGE LEVEL: Year 8  9 TEACHING PURPOSE:

Partwork; partner songs; practise



TITLE: Swing a Lady ORIGIN: American folk song SOURCE: Music for All

TONE SET:

d r m


AB

RHYTHMIC ELEMENTS:

s

SCALE: do tetra-tonic CSP:

EB

Folksong



MELODIC ELEMENTS: d-r-m ; s APPROPRIATE AGE LEVEL: Year 8 TEACHING PURPOSE: Present so; prac

 ; aural analysis of form

TITLE: Tideo ORIGIN: American Folk Song SOURCE: 150 American Folk Songs

TONE SET:

d r m f s l d’

SCALE: Major minus t


ABACDC

CSP:

Circle game



RHYTHMIC ELEMENTS: MELODIC ELEMENTS: d-r-m ; s ; l ; d’ ; f APPROPRIATE AGE LEVEL: Year 8; Primary Levels 2-3 TEACHING PURPOSE:

prep and prac

E  F#

TITLE: Tideo ORIGIN: American Folk Song SOURCE: 150 American Folk Songs

TONE SET:

d r m f s l d’

SCALE: Major minus t


ABACDC

CSP:

Circle game



RHYTHMIC ELEMENTS: MELODIC ELEMENTS: d-r-m ; s ; l ; d’ ; f APPROPRIATE AGE LEVEL: Year 8; Primary Levels 2-3 TEACHING PURPOSE:

prep and prac

E  F#

TITLE: Who’s That Yonder ORIGIN: African-American spiritual SOURCE: The Kodaly Context

TONE SET:

drm

SCALE: do trichord


AB

CSP:

EC

Folksong

 d-r-m Year 8 MC d-r-m; MC beat; MC

 ; MC phrase

TITLE:

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ORIGIN:

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SOURCE:

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TONE SET: ______________________________ SCALE: _________________________ FORM: __________________________________ C. S. P.: _________________________ TYPE OF SONG/GAME: _____________________________________________________ RHYTHMIC ELEMENTS: _____________________________________________________ MELODIC ELEMENTS: ______________________________________________________ APPROPRIATE AGE LEVEL: _________________________________________________ TEACHING PURPOSE: ______________________________________________________

TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.

APPROPRIATE AGE LEVEL:

.

TEACHING PURPOSE:

.

TITLE:

All Things Shall Perish

ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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    A

TITLE:

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ORIGIN:

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SOURCE:

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   

 

 

o - mar

qua qua

qua qua del - a

      tra,

va



lo,

  

va



lo,

 

  

 

   

si - ma

tri - co

tri - co tri - co

del

qua,

       

va

lo, va lo, va

lo, va

 







 

1

2

3

4

5

lo,

Children sit in a circle, left hand palm up and right hand palm down on the upraised palm of the person sitting next to them. While singing the song the beat is passed clockwise around the circle. On the number 5 if the persons hand is tapped they are out, however, if the person passing the beat misses this person is out. (a new circle can be formed using those people already out)


Artist Theme (from Symphony No 5)

         

  

      



   

 

f

7

11



D. Shostakovich

           

   

  

     

    

TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.


.

TEACHING PURPOSE:

.

TITLE:

Chairs to mend

ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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Corals Deep

  

  

 

  

    

Trade winds are blow - ing through

When

  out

will

our

 

to

tall



 



ships

sail

 

the reef? Where the

  



the trees.

Spray blows like smoke

 a -





gain,

out

      foam - ing

Music by Tim Sherlock

wa - ters swirl,

  

  

a - cross

the sea.

  

to

the

reef,

       a - bove co - rals deep.

TITLE:

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ORIGIN:

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SOURCE:

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2. Bought me a coat, bought me a hat, They don’t fit but do not mind that, Hi ho, my darling.


TITLE:

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ORIGIN:

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SOURCE:

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2. Bought me a coat, bought me a hat, They don’t fit but do not mind that, Hi ho, my darling.


TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.


.

TEACHING PURPOSE:

.

TITLE:

____________________________________________

ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.


.

TEACHING PURPOSE:

.

TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.


.

TEACHING PURPOSE:

.

TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.


.

TEACHING PURPOSE:

.

TITLE:

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ORIGIN:

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SOURCE:

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Formation: A double circle with partners holding hands. One child stands in the centre. Game:

1. Children walk in an anti-clockwise direction for 16 beats. 2. On “over” they turn and face their partner and hold both hands. 3. Bars 5-7, partners swing arms sideways 6 times. 4. On “turn the glasses” they do a complete turn with their partners (as in wash the dishes). 5. On “Sailing east” the centre child joins the inside circle which changes direction and walks clockwise. The outside circle continues to walk anti-clockwise. 6. On the last word “ocean”, the children take the closest person as partner. The child without a partner becomes the next child in the centre and the game begins again.


TITLE:

____________________________________________

ORIGIN:

____________________________________________

SOURCE:

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Formation: A double circle with partners holding hands. One child stands in the centre. Game:

1. Children walk in an anti-clockwise direction for 16 beats. 2. On “over” they turn and face their partner and hold both hands. 3. Bars 5-7, partners swing arms sideways 6 times. 4. On “turn the glasses” they do a complete turn with their partners (as in wash the dishes). 5. On “Sailing east” the centre child joins the inside circle which changes direction and walks clockwise. The outside circle continues to walk anti-clockwise. 6. On the last word “ocean”, the children take the closest person as partner. The child without a partner becomes the next child in the centre and the game begins again.


TITLE:

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ORIGIN:

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SOURCE:

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The Kodaly Method Canoe Song Chicken on a Fencepost Old Brass Wagon Drunken Sailor I see the Moon Land of the Silver Birch Love Somebody Rain Come Wet Me #1 Rocky Mountain Sailing on the Ocean Deedle Deedle Dumpling Fuzzy Wuzzy I’ve been to Harlem Who’s That

 

150 Rounds Are you Sleeping Sing Sing Together

Music in Preschool Dinah Tideo Pease Porridge Hot

PDF Icka Backa Early in the Morning Sea Shell Pudding Bag Song Paw Paw Patch One Two Three Money and the Key Mail Myself to You Long Legged Sailor The Drover’s Dream Lime Juice Tub Let Us Chase the Squirrel Green Green

The Kodaly Method 1 Alabama Girl I Gave my Love a Cherry I’se the B’y Jubilate Deo Land of the Silverbirch Old House Pat Works on the Railway Scarborough fair Simple Gifts Who Killed Cock Robin?

150 Rounds All Things Shall Perish Chairs to Mend Coffee Debka Hora London’s Burning My Paddle Oh How Lovely Rise Up O Flame Sing Sing Together The Birch Tree The Swan There Was an Old Fellow Toembai Viva La Musica

PDF Al Citron Annie Annie Aqua qua Black Key Canon #6 Chatter With the Angels Dog and Cat I’ve Been to Harlem Liza Jane Miss Mary Mac Old Joe Clarke (tim-ka) O Sinnerman Phoebe Poor Old Howard Skin and Bones Weav’ly Wheat

TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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 

TITLE:

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ORIGIN:

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SOURCE:

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  



Miss Ma - ry

 





but - tons,







but - tons,





Mac,

Mac,











Mac, all dressed in



but - tons all















black, black, black,With sil - ver











down

her

back,

back,

back.

She asked her mother, mother, mother for fifty cents, cents, cents, To see the elephant, elephant, elephant, jump the fence, fence, fence, He jumped so high, high, high, he reached the sky, sky sky, And didn’t come back, back, back ‘til the fourth of July, July, July.


Mozart 3-part (from Variations)

     

 

 



 

 

 

 

    

 

 

 

 

 

 

 

     

 

 

 

 

 

 

9

   

 

 

 



 

 

 















 

 

 

 





 

 

 

    

 

 



 

 

 

 

  

 

 

 

 

 

 

 

   

 

 

 

 

 

 

 

     

17

La is F

     





Mozart minor 3-part (from Variations)



            

   









  











 

 





                   

TITLE:

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ORIGIN:

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SOURCE:

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Dip, Dip and swing her back, Flashing with silver, Swift as the wild goose flight, Dip, dip and swing.


TITLE:

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ORIGIN:

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SOURCE:

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1. Run to the rocks, rocks won’t you hide me (3 times) All on that day. 2. Run to the sea, sea is a-boiling (3 times) All on that day. 3. Run to the Lord, Lord won’t you hide me (3 times) All on that day. 4. O sinner man, should bin a-praying (3 times) All on that day.


TITLE:

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ORIGIN:

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SOURCE:

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1. Run to the rocks, rocks won’t you hide me (3 times) All on that day. 2. Run to the sea, sea is a-boiling (3 times) All on that day. 3. Run to the Lord, Lord won’t you hide me (3 times) All on that day. 4. O sinner man, should bin a-praying (3 times) All on that day.


TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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         

   

     

  

Phoe - be in her pet - ti - coat,Phoe - be in hergown, Phoe - be in her pet - ti - coat, Go - ing in - to town.


TITLE:

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ORIGIN:

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SOURCE:

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    



  

Poor Old How - ard's dead and gone,

  dead

 and

 gone,



   

  

Left me here to

sing this song.

   





Left me here to

sing

this

  



Poor Old How - ard's





gone.


TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

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ORIGIN:

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SOURCE:

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She's Like The Swallow

   



She's

 





like

the





like

the

ri

 



like

  love





swal - low

 that

flies





ver

that

ne







the

sun

-





my

love

-







so

high.

 She's







ver

runs

dry.

She's







shine

on

the

lee









and

my





love

-



is



no

-

shore



more.



I

TITLE:

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ORIGIN:

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SOURCE:

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TITLE:

Sing Song Saya

ORIGIN:

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SOURCE:

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    Sing 3



  sinf 5



  sing

7





song

sa





song

sa





song

sa



 -

 -

tra

 -

 

va

 





and

for

Ka

Verse 1: Beat 1. Pat own knees 5. Pat own knees

li

la

ya





 sing

for

Ms







sing

for

Sum









I

sing

for

Ja



 -







ya





-

man

-

-

ma -

-



 I





tra

I





va

Ja

 -

va

 -

tan

3. Left shoulder with R.H. 7. Right shoulder with L.H.

Verse 2: Beat 1&2. Pat own knees twice 5&6. Pat own knees twice

3&4. Pat knees of right neighbour twice 7&8. Pat knees of left neighbour twice

Verse 3: Beat 1&2. Pat own knees twice 3&4. Cross hands and repeat 5&6. Uncross hands and pat own knees twice 7&8. Extend hands to pat neighbour’s knees on both sides Verse 4: Hold neighbours hands on both sides and rock forward for two beats. Rock back for two beats with hands above shoulders. Verse 5: Extend left arm, with R.H. 1) Touch wrist 2) Touch elbow 3) Touch right shoulder with left hand 4) Extend right arm. Repeat

TONE SET:

______________________________ SCALE: _________________________

FORM: __________________________________ C. S. P.: _________________________ TYPE OF SONG/GAME: _____________________________________________________ RHYTHMIC ELEMENTS: _____________________________________________________ MELODIC ELEMENTS: ______________________________________________________ APPROPRIATE AGE LEVEL: _________________________________________________ TEACHING PURPOSE: ______________________________________________________

    

TITLE:

____________________________________________

ORIGIN:

____________________________________________

SOURCE:

____________________________________________

     

There was an old wo - man all



  

skin

and bones,









 









Oh

2. She lived by the old grave yard. 3. One night she thought she’d take a walk. 4. She walked down by the old grave yard. 5. She saw the bones a lying around. 6. She went to the closet to get a broom. 7. She opened the door and BOO!


SUMMER SCHOOL MUSIC PROGRAM Early Childhood Music Level 1 This 10-day course caters for prep-school teachers, early childhood specialists, crèche and kindergarten carers, day care providers, parents and all those interested in childhood development. It is designed to provide participants with an informed understanding of both childhood development and the key role of music in that development. The musical skills of the teacher, carer or parent are central to the provision of appropriate music-making activities for children. Therefore participants will be involved in the development of their own musical skills. Early Childhood 1 is focussed on children aged 0-3 years.

The curriculum includes:  Methodology  Repertoire  Practicum  Musicianship  Choir  Research Topics Required Text books: Johnson, J. Tickle me. Clayfield School of Music Bridges, D. Music, the Young Child and You. Tower Books Forrai, K. Music in Pre School. Clayfield School of Music, Brisbane. Participants are required to complete each of the 3 levels of the Early Childhood Program in order to be eligible for the Australian Kodály Certificate.

N.B. Sound Thinking Australia retains the right to cancel the course if there are insufficient enrolments.

SUMMER SCHOOL MUSIC PROGRAM METHODOLOGY – LEVEL 1 – Early Childhood (0 to 3 years) 15 hours Course Content: 

An overview of child development – 0 to 3 years.



The Musical characteristics of children – 0 to 3 years



A spiral curriculum for understanding the musical elements of timbre, tempo, dynamics, pitch, rhythm and form appropriate for this age group.



An overview of the development of musical skills – 0 to 3 years.



Lesson planning – long range planning and short term objectives.



Adult involvement – parents and carers.

Assessment: 

A demonstrated knowledge of Kodaly’s educational philosophy through individual research and group discussion on the writings of Kodaly.



Written and/or practical lesson segments demonstrating an understanding of the particular steps in the teaching of a concept/element covered in class.



Written assignment which demonstrates the student’s understanding of the readings and class discussions on the value of early childhood music.



Lesson plans for different stages of this age group.

Outcomes: 

The students will demonstrate their ability to provide a good teacher model for this age group.



They will show a growing knowledge of the abilities and requirements of the children.



They will be able to discuss, communicate ideas and display a growing awareness of developmental sequencing appropriate for the youngest children.

SUMMER SCHOOL MUSIC PROGRAM MATERIALS – LEVEL 1 – Early Childhood 5 hours Course Content: 

An investigation of the various categories of songs, rhymes and games which are appropriate to the 0 to 3 year age group in an Early Childhood music program.



An analysis of suggested material with guidelines to help teachers choose wisely for the children.



Songs, rhymes and recorded music which allow young children to develop a strong feeling for beat and which prepare them for future music learning.



Songs, rhymes and recorded music which allow young children to respond to a variety of moods.



Listening songs



The beginning of a song file and retrieval system to allow teachers to categorize and organize their resources as an aid to better lesson planning.

Assessment: 

Preparedness and willingness to participate in class to demonstrate set materials



Written test which requires the student to write out set materials and to discuss their use in a music program for this age group.



Demonstration that the song file and retrieval system continues to develop

Outcomes: 

Through performance of the repertoire the students will memorize a body of material suitable for this age group and be able to demonstrate it musically and confidently.



Through analysis, they will begin to understand the attributes of appropriate resources for this age group and find it easier and more effective to choose material for their classes.

SUMMER SCHOOL MUSIC PROGRAM PRACTICUM – LEVEL 1 – Early Childhood 5 hours

Course Content:  An introduction to peer teaching.  Peer teaching of repertoire appropriate for Early Childhood classes  Peer teaching of short lesson segments suitable for the age group.

Assessment:  Students will prepare a minimum of 4 required segments.  Peer discussion and analysis of demonstrated techniques. 

Willingness of the student to act as the “teacher” and the “student”

Outcomes: 

The students will demonstrate a growing confidence in the repertoire and the teaching techniques under discussion.



The students will demonstrate a growing ability to plan lesson segments which show more understanding of the requirements of children of this age.

SUMMER SCHOOL MUSIC PROGRAM RESEARCH AND RESOURCES: Level 1 – Early Childhood – 0 to 3 years 10 hours Course Content:  An investigation of readings relevant to the age group under investigation. This could include articles by writers such as Kodaly, Forrai, Piaget, Bruner, Gardner, Gordon, Feierabend etc. and recent journal articles relevant to early childhood and music education. Viewing of videos demonstrating best practice in Early Childhood music programs.

Assessment: 

Each student will demonstrate their understanding of the material by leading a class discussion based on their analysis of a topic expressed in some of these sources.



A written assignment to critically analyse a set piece of research and compare it with other research in the area.

Outcomes: 

The students will gain a more in-depth understanding of the development of young children and how this affects the planning and implementing of music programs for this age group.

SUMMER SCHOOL MUSIC PROGRAM Early Childhood Music Level 2 This 10-day course caters for prep-school teachers, early childhood specialists, crèche and kindergarten carers, day care providers, parents and all those interested in childhood development. It is designed to provide participants with an informed understanding of both childhood development and the key role of music in that development. The musical skills of the teacher, carer or parent are central to the provision of appropriate music-making activities for children. Therefore, participants will be involved in the development of their own musical skills. Early Childhood 2 is focussed on children aged 3-5 years. The curriculum includes: 

Methodology



Repertoire



Practicum



Musicianship



Choir



Research Topics

Required Text books: Forrai, K. Music in Pre School. Clayfield School of Music, Brisbane . Participants are required to complete each of the 3 levels of the Early Childhood Program in order to be eligible for the Australian Kodály Certificate.

N.B. Sound Thinking Australia retains the right to cancel the course if there are insufficient enrolments.

SUMMER SCHOOL MUSIC PROGRAM METHODOLOGY – LEVEL 2 – Early Childhood (3 to 5 years) 15 hours Course Content: 

An overview of child development – 3 to 5 years.



The Musical characteristics of children – 3 to 5 years



A spiral curriculum for understanding the musical elements of timbre, tempo, dynamics, pitch, rhythm and form appropriate for this age group.



An overview of the development of musical skills – 3 to 5 years.



Lesson planning – long range planning and short term objectives.



Adult involvement – parents and carers.

Assessment: 

A demonstrated deeper knowledge of Kodaly’s educational philosophy through individual research and group discussion on the writings of Kodaly.






Written assignment which demonstrates the student’s understanding of the readings and class discussions on the value of early childhood music.



A final written test on work covered in this Level.

Outcomes: 







They will be able to discuss, communicate ideas and display a growing awareness of developmental sequencing appropriate for the youngest children.

SUMMER SCHOOL MUSIC PROGRAM MATERIALS – LEVEL 2 – Early Childhood 5 hours Course Content: 

An investigation of the various categories of songs, rhymes and games which are appropriate to the 3 to 5 year age group in an Early Childhood music program.



An analysis of suggested material with guidelines to help teachers choose wisely for the children.



Songs, rhymes and recorded music which allow young children to develop a strong feeling for beat and which prepare them for future music learning.






Listening songs



The continuation of a song file and retrieval system to allow teachers to categorize and organize their resources as an aid to better lesson planning.

Assessment: 

Preparedness and willingness to participate in class to demonstrate set materials






Demonstration that the song file and retrieval system continues to develop

Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM PRACTICUM – LEVEL 2 – Early Childhood 5 hours Course Content:  Further work in peer teaching.  Peer teaching of repertoire appropriate for Early Childhood classes.  Peer teaching of short lesson segments suitable for the age group. Assessment:  Students will prepare a minimum of 4 required segments.  Peer discussion and analysis of demonstrated techniques. 


Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM RESEARCH AND RESOURCES: Level 2 – Early Childhood – 3 to 5 years 10 hours

Course Content:  An investigation of readings relevant to the age group under investigation. This could include articles by writers such as Kodaly, Forrai, Piaget, Bruner, Gardner, Gordon, Feierabend etc. and recent journal articles relevant to early childhood and music education.

 Viewing of videos demonstrating best practice in Early Childhood music programs.

Assessment: 

Each student will demonstrate their understanding of the material by leading a class discussion based on their analysis of a topic expressed in some of these sources.



A written assignment to critically analyse a set piece of research and compare it with other research in the area.

Outcomes:  The students will gain a more in-depth understanding of the development of young children and how this affects the planning and implementing of music programs for this age group.

SUMMER SCHOOL MUSIC PROGRAM Primary Classroom Music Pedagogy Level 1/ Early Childhood Level 3 This 10-day course caters for music specialists in primary schools, classroom teachers, studio teachers and other interested people who wish to improve their music teaching skills. The classroom music course is designed as a 3-year sequential program in the area of Primary Classroom Music Pedagogy. Participants are required to complete each of the 3 levels of the Primary Classroom Music Pedagogy Program in order to be eligible for the Australian Kodály Certificate. Please indicate if you have previously completed components within a specialisation.

The curriculum includes:      

Methodology Repertoire Practicum Musicianship Choral Conducting Choir

Required Text books: Choksy, L. (1999). The Kodály Method. Prentice Hall. Forrai, K. (1998). Music in Pre School. Clayfield School of Music, Brisbane. Klinger, R. (1990). A guide to lesson planning in a Kodály setting. Clayfield School of Music. N.B. Sound Thinking Australia retains the right to cancel the course if there are insufficient enrolments.

SUMMER SCHOOL MUSIC PROGRAM METHODOLOGY – LEVEL 1 Primary/ LEVEL 3 Early Childhood 15 hours Course Content: 

Methodological sequencing of musical concepts and elements for preschool and lower primary necessary for a developmental music program.



Readiness Music for Preschool.



Elements:

Rhythmic: beat, rhythm Melodic:



high/low; s-m, l



An introduction to focus teaching.



Repertoire suitable for the teaching of the above concepts and elements



Writing exercises for the lower primary



Listening activities suitable for this age group.



Introduction to lesson planning and long range planning.

Assessment: 







Lesson Plan which demonstrates an understanding of work covered in class.



Repertoire memorisation.

Outcomes: 







They will be able to discuss, communicate ideas and display a growing awareness of developmental sequencing appropriate to the children in lower primary.

SUMMER SCHOOL MUSIC PROGRAM PRACTICUM – LEVEL 1 Primary/ LEVEL 3 Early Childhood 5 hours

Course Content: 

An introduction to peer teaching.



Peer teaching of repertoire appropriate for preschool and lower primary classes



Peer teaching of the rhythmic and melodic elements covered in Methodology 1 – Primary.

Assessment: 1. Students will prepare a minimum of 4 required segments. 2. Peer discussion and analysis of demonstrated techniques 3. Willingness of the student to act as the “teacher” and the “student”.

Outcomes: 1. The students will demonstrate a growing confidence in the repertoire and the teaching techniques under discussion. 2. The students will demonstrate a growing ability to plan lesson segments which show more understanding of the requirements of children of this age. .

SUMMER SCHOOL MUSIC PROGRAM MATERIALS – LEVEL 1 Primary/ LEVEL 3 Early Childhood 5 hours Course Content: 

An investigation of the various categories of songs, rhymes and games which are appropriate to a lower primary music program.



An analysis of suggested material with guidelines to help teachers choose wisely for this age group.



Songs, rhymes and recorded music of other cultures.






Listening songs.




Assessment: 

Preparedness and willingness to participate in class to demonstrate set material.






NOTE: Early Childhood Level 3 students only will be required to demonstrate that their song file and retrieval system have reached an acceptable level. They will be expected to perform and discuss all material in their song file.

Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM Primary Classroom Music Pedagogy Level 2 This 10-day course caters for music specialists in primary schools, classroom teachers, studio teachers and other interested people who wish to improve their music teaching skills. The classroom music course is designed as a 3-year sequential program in the area of Primary Classroom Music Pedagogy. Participants are required to complete each of the 3 levels of the Primary Classroom Music Pedagogy Program in order to be eligible for the Australian Kodály Certificate. Please indicate if you have previously completed components within a specialisation.




SUMMER SCHOOL MUSIC PROGRAM METHODOLOGY – LEVEL 2 Primary 15 hours Course Content: 

Methodological sequencing of musical concepts and elements for the middle primary school in a developmental music program. a) Rhythm:



b) Metre:

2 and 4 metre

c) Melodic:

do, re, do pentatonic scale and do’ An introduction to M2 and m3 in the context of the Pentatonic Scale An introduction to letter names.



An overview of the teaching of FORM in the lower and middle primary school.



Focus writing and lesson planning for the middle primary school.



Writing activities for the middle primary school.



Listening activities for the middle primary school



Repertoire suitable for the teaching of the above

Assessment: 







Final written test on work covered in this Level.



Writing a focus activity as part of a lesson plan for this age group.

Outcomes: 







They will be able to discuss, communicate ideas and display a growing awareness of developmental sequencing appropriate for the middle primary school.

SUMMER SCHOOL MUSIC PROGRAM PRACTICUM– LEVEL 2 Primary 5 hours

Course Content:  Continued development of peer teaching.  Peer teaching of repertoire appropriate for Middle Primary classes.  Peer teaching of short lesson segments suitable for the age group.

Assessment:

 Students will prepare a minimum of 4 required segments.  Peer discussion and analysis of demonstrated techniques. 


Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM MATERIALS – LEVEL 2 Primary 5 hours Course Content: 

An investigation of the various categories of songs, rhymes and games which are appropriate to a middle primary music program.












Listening songs.




Assessment: 







Demonstration that a start has been made on a song file and retrieval system.

Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM Primary Classroom Music Pedagogy Level 3 This 10-day course caters for music specialists in primary schools, classroom teachers, studio teachers and other interested people who wish to improve their music teaching skills. The classroom music course is designed as a 3-year sequential program in the area of Primary Classroom Music Pedagogy. Participants are required to complete each of the 3 levels of the Primary Classroom Music Pedagogy Program in order to be eligible for the Australian Kodály Certificate. Please indicate if you have previously completed components within a specialisation.




SUMMER SCHOOL MUSIC PROGRAM METHODOLOGY – LEVEL 3 Primary 15 hours Course Content: 

Methodological sequencing of musical concepts and elements for the upper primary school in a developmental music program. a)

Rhythm:

 3 metre, anacrusis – external and internal

 Compound time signatures b) Melodic:

l, s, - extended pentatony and la pentatony Introduction to pentatonic tri-chords/ intervals in the tri-chords. f, and t



Repertoire suitable for the teaching of these concepts and elements.



More detailed work in strategy writing.



An overview of the primary school developmental music program.



Practice activities: (a) written; (b) improvisation; (c) dictation; (d) reading.



An extension of listening activities suitable for the age group.

Assessment: 

A demonstrated deeper understanding of Kodaly’s educational philosophy through individual research and group discussion on the writings of Kodaly.









Lesson Plans which demonstrate an understanding of sequentially based learning.



Writing a strategy.

Outcomes: 




They will show a deeper knowledge of the abilities and requirements of the children.



They will be able to discuss, communicate ideas and display a growing awareness of developmental sequencing appropriate for the upper primary school.

SUMMER SCHOOL MUSIC PROGRAM PRACTICUM – LEVEL 3 Primary 5 hours Course Content:  Continued development of peer teaching.  Peer teaching of repertoire appropriate for Upper Primary classes.  Peer teaching of short lesson segments suitable for the age group. Assessment:

 Students will prepare a minimum of 4 required segments.  Peer discussion and analysis of demonstrated techniques. 


Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM MATERIALS – LEVEL 3 Primary 5 hours Course Content: 

An investigation of the various categories of songs, rhymes and games which are appropriate to an upper primary music program.












Listening songs.




Assessment: 







Demonstration that the students have developed their song file and retrieval system to an acceptable level. Students will be expected to perform and discuss all material in their song file.

Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM Secondary Classroom Music Pedagogy Level 1 This 10-day course caters for music specialists in secondary schools, studio teachers and other interested people who wish to improve their music teaching skills. The classroom music course is designed as a 3-year sequential program in the area of Secondary Classroom Music Pedagogy. Participants are required to complete each of the 3 levels of the Secondary Classroom Music Pedagogy Program in order to be eligible for the Australian Kodály Certificate. Please indicate if you have previously completed components within a specialisation.

The curriculum includes:  Methodology  Repertoire/ Materials  Practicum  Musicianship  Choir  Choral Conducting Details for each of these course components are to be found below. Information on Musicianship and Choral Conducting levels are found on the specific relevant pages under those headings.

Required Text books: Choksy, L. (1999). The Kodály Method. Prentice Hall. Johnson, J.(1998). Music for all. Clayfield School of Music. Klinger, R. (1990). A guide to lesson planning in a Kodály setting. Clayfield School of Music. N.B. Sound Thinking Australia retains the right to cancel the course if there are insufficient enrolments.

SUMMER SCHOOL MUSIC PROGRAM METHODOLOGY – LEVEL 1 SECONDARY 15 hours Course Content: 

Methodological sequencing of musical concepts and elements for a lower secondary aural based music program.



Pitch:



Rhythm:

Beat and rhythm, Patterns in simple time using:



Metre:

Simple duple, simple quadruple, simple triple



Repertoire suitable for the teaching of the above concepts and elements including part work –

drm, s, l, d’, Treble clef letter names, Tonal centres = F, G and C

Canons in up to 4 parts and melodic and rhythmic ostinati. 

An understanding of the overall philosophy of a developmental music program based on Kodaly concepts.



Teaching older beginners with particular attention to the changing voice.



Managing classes of mixed ability and experience.



Investigating the use of a teaching focus and its relevance to strategy writing.



An introduction to tone set analysis.



Using repertoire and games effectively with this age group.

Assessment: 





Outcomes: 




They will show a growing knowledge of the abilities and requirements of lower secondary students.



They will be able to discuss, communicate ideas and display a growing awareness of developmental sequencing appropriate to the children in lower secondary.

SUMMER SCHOOL MUSIC PROGRAM PRACTICUM – LEVEL 1 SECONDARY 5 hours Course Content: 




Peer teaching of repertoire appropriate for Lower Secondary classes.



Peer teaching of short lesson segments suitable for the age group.

Assessment: 

Students will prepare a minimum of 3 required segments.



Peer discussion and analysis of demonstrated techniques.




Outcomes: 





SUMMER SCHOOL MUSIC PROGRAM MATERIALS – LEVEL 1 SECONDARY 5 hours Course Content: 

An investigation of the various categories of songs, rhymes and games which are appropriate to a lower secondary music program.












Listening songs.



The beginning of a song file and retrieval system to allow teachers to categorize and organize their resources as an aid to better lesson planning.

Assessment: 





Outcomes: 







Required Text books: Choksy, L. (1990). The Kodály method. Prentice Hall. Tacka, P. and Houlihan, M. (1995). Sound thinking (Vol. 1). Boosey & HAwkes. N.B. Sound Thinking Australia retains the right to cancel the course if there are insufficient enrolments.


An investigation of the various categories of songs, rhymes and games which are appropriate to a middle secondary music program.












Listening songs.




Assessment: 







Demonstration that the song file and retrieval system continue to develop.

Outcomes: 






Continued development of peer teaching.



Peer teaching of repertoire appropriate for Middle Secondary classes.




Assessment: 








Outcomes: 










Peer teaching of repertoire appropriate for Lower Secondary classes.





An investigation of the various categories of songs, rhymes and games which are appropriate to a middle secondary music program.












Listening songs.




Assessment: 







Demonstration that the song file and retrieval system continue to develop.

Outcomes: 







Required Text books: Choksy, L. (1990). The Kodály method. Prentice Hall. Tacka, P. and Houlihan, M. (1995). Sound thinking (Vol. 2). Boosey & Hawkes. N.B. Sound Thinking Australia retains the right to cancel the course if there are insufficient enrolments.


An in-depth study of focus teaching and its relevance to strategy writing for students in the upper secondary school.



Sequential methodological approaches to the following concepts in the middle and upper secondary school.



Intervals



Tonality with emphasis on pentatony and diatony



Harmony



An investigation of the principles guiding the selection of appropriate repertoire, including Art Music, for listening in a secondary school with a sequential, aural based program.



An in-depth investigation of improvisation and composition activities for the senior school.



Critical reflection of the cultural significance of music and music education.

Assessment: 







Lesson Plans which demonstrate an understanding of work covered in class.




Outcomes: 




They will show a growing knowledge of the abilities and requirements of upper secondary students.



They will be able to discuss, communicate ideas and display a more mature awareness of developmental sequencing appropriate to this age group.



The students will demonstrate a synthesis of vocal techniques appropriate to the target group.


Continued development of peer teaching.



Peer teaching of repertoire appropriate for Upper Secondary classes.




Assessment: 








Outcomes: 






An investigation of the various categories of songs, rhymes and games which are appropriate to a upper secondary music program.






Songs, dances, rhymes and recorded music of other cultures.






Listening songs.




Assessment: 







Demonstration that the students have developed their song file and retrieval system to an acceptable level. Students will be expected to perform and discuss all material in their song file.

Outcomes: 





Allegretto

Stalin Theme (from Symphony No 5)

                         p    



D. Shostakovich

         

6

 

 

                 

  

 

12





 

        

  

Stalin Theme, with accompaniment Allegretto

D. Shostakovich

     





    

                p                

    

              

6

S. D.







              

  

                    

14

S. D.





  





                                        

11

S. D.

 

 



   





   

    

   

  

   

   



TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.


.

TEACHING PURPOSE:

.

TITLE:

.

ORIGIN:

.

SOURCE:

.

TONE SET:

SCALE:

.

FORM:

C. S. P.:

.

TYPE OF SONG/GAME:

.

RHYTHMIC ELEMENTS:

.

MELODIC ELEMENTS:

.


.

TEACHING PURPOSE:

.

TITLE:

____________________________________________

ORIGIN:

____________________________________________

SOURCE:

____________________________________________


  

Vivaldi ritornello theme - bottom part (from L'Estro Armonico Opus 3 No 11)

        



 





4







 







Vivaldi





 



Vivaldi ritornello theme - top part (from L'Estro Armonico Opus 3 No 11)

  





      





 

4

 





 

Vivaldi

        









TITLE:

____________________________________________

ORIGIN:

____________________________________________

SOURCE:

____________________________________________

2. Five times nine is forty-five Five times ten is fifty Five times eleven is fifty-five Five times twelve is sixty.


Weav’ly Wheat (cont.) Formation: Groups of 4, numbered 1-4 around the group. Game: 1. “Don’t want…” walk for 8 beats. 2. “Take some…” change direction and walk for 8 beats. 3. “Five times five” Layer hands to the beat. Number 1 places left hand into the circle, then number 2 places hand on top of Number 1, then 3 & 4 follow. 4. “Five times six” As above but with right hands. 5. “Five times seven” Starting with number 4, right hands are removed. 6. “Five times eight” Left hands are removed.

The game begins again. Hands are layered during verse 2.

TITLE:

____________________________________________

ORIGIN:

____________________________________________

SOURCE:

____________________________________________

2. Five times nine is forty-five Five times ten is fifty Five times eleven is fifty-five Five times twelve is sixty.


Weav’ly Wheat (cont.) Formation: Groups of 4, numbered 1-4 around the group. Game: 1. “Don’t want…” walk for 8 beats. 2. “Take some…” change direction and walk for 8 beats. 3. “Five times five” Layer hands to the beat. Number 1 places left hand into the circle, then number 2 places hand on top of Number 1, then 3 & 4 follow. 4. “Five times six” As above but with right hands. 5. “Five times seven” Starting with number 4, right hands are removed. 6. “Five times eight” Left hands are removed.

The game begins again. Hands are layered during verse 2.

Whole Tone Canon

             



Tim Sherlock



     

                         























TITLE:

____________________________________________

ORIGIN:

____________________________________________

SOURCE:

____________________________________________

2. But why she won’t have me I well understand; She wants some freeholder and I have no land. I cannot maintain her on silver and gold And all other fine things that my love’s house should hold.


Folk Songs

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