Suitable for ALL Primary Music teachers
Making the Classics cool again - a whole world of music through listening (and moving, dancing, drama, body percussion, instrument playing, role-play, drawing, discussion & reflection)
Sensory overload and attention-span deficit are realities of our students’ world. We need to help them slow down, focus and process. And Listening & Appreciation (L & A) are two of the most powerful tools available. They always were … but it seems they got lost or fell out of fashion.
So how do we make L & A relevant to today’s students? By making it a dynamic experience. In this session, you will move, dance, act, play classroom instruments & body percussion, draw and discuss. L & A also introduces/extends musical elements, concepts and contexts (while introducing students to timeless classics) and can be incorporated throughout the primary years, K-6, and beyond.
Come along and discover a world of music as Lauren Fairbairn leads you through: Listening for creative movement, listening for playing classroom instruments and body percussion, listening for drama, listening for relaxation and listening for visual arts. All the music used is accessible via iTunes, Apple Music, Spotify, Youtube (and possibly your own CD collection).
2. Listening Room -
Listening and Appreciation
Reimagined
Lauren Fairbairn
Suitable for ALL Primary Music teachers
Making the Classics cool again - a whole world of music
through listening (and moving, dancing, drama, body
percussion, instrument playing, role-play, drawing,
discussion & reflection)
4. Lauren Fairbairn
Join author and presenter Lauren Fairbairn as she
steps you through setting up a program, first lessons,
continued lesson norms, assessment and reporting,
performance hints and much more.
AND - no experience is required for this journey: all
notes, charts, proformas, music and audio are
provided.
6. Lauren Fairbairn
• Primary Music Teacher at Ivanhoe East Primary School (10km
north-east Melbourne’s CBD) 23 grades, choirs, percussion
group, concert band, co-ordinate instrumental program
and State School Spectacular for Senior Choir members
• Volunteer with children's theatre group on the committee
• Have a great cluster of music and performing arts teachers
for professional development
• Very excited to be writing Listening Room books for Bushfire
Press
7. In This Session
• The Importance of listening to music in the classroom
• Australian Curriculum, Victorian and International
Baccalaureate (PYP) Curriculum
• Discover or even rediscover some great music that can be
used at each level
• Have a go at some activities that you can take back to your
classroom and put into practice next term
• Assessment strategies for you to moderate your students
8. Listening – Why is it Important?
Listening underpins all music learning.
•Responding
•Creating
•Discussing
•Concentrating
•Relaxing
•Relates to our own world as well as fantasy
and discovering new worlds
9. Australian Curriculum
• Students communicate about the music they listen to, make and perform
and where and why people make music.
• Students describe and discuss similarities and differences between music
they listen to, compose and perform. They discuss how they and others use
the elements of music in performance and composition.
• Students draw on artworks from a range of cultures, times and locations.
Students are aware of and interested in the arts from more distant locations
The curriculum provides opportunities to build on this curiosity.
• As they make and respond to the arts, students explore meaning and
interpretation, and social and cultural contexts of the arts. They evaluate the
use of forms and elements in artworks they make and observe.
10. Australian Curriculum - Continued
• Students demonstrate aural skills by staying in tune, play instruments with
accurate pitch, rhythm and expression and keep in time when they sing and
play.
• Their understanding of the roles of artists and audiences builds. They develop
their understanding and use of performance or technical skills to
communicate intention for different audiences. They identify a variety of
audiences for different arts experiences as they engage with more diverse
artworks as artists and audiences.
11. Victorian Curriculum
The Music curriculum aims to develop students’:
•Confidence to be creative, innovative, thoughtful, skillful and informed musicians
•Skills to listen, improvise, compose, interpret, perform, and respond with intent and
purpose
•Aesthetic knowledge and respect for music and music practices across global
communities, cultures and musical traditions
•Understanding of music as an aural art form, its relationship with other arts forms and
contributions to cultures and societies.
Primary Years Program of the International Baccalaureate
•Students have the opportunity to explore home-made as well as manufactured
instruments from a variety of countries and cultures. ICT can influence and enhance
learning in music by allowing students to create, compose and record their work as
well as listen to, observe and share music through the use of CDs and music files.
12. Foundation to 2
• The Flight of the Bumble Bee Nikolai Rimsky-Korsakov, 1901
Directed listening for pitch (high and low) and tempo
• Turkish March. Ludwig van Beethoven, 1809
Listening out for the “jumps” (accents) in the music and
responding with hands up. Extend learning by adding
instruments for beat and accents.
13. Foundation to 2
• Dance of the Sugar Plum Fairy. Pyotr Ilyich Tchaikovsky, 1892
Play the music before they know the name. Class discussion about what the
music may be called or about. Teach the choreography.
14. Foundation to 2 - Assessment
• Observation of students responses to music
• Class discussion, reflection. Students share what they have discovered in the
music
• Written response at the end of a unit using the same music as well as new
music prompting students. Can you describe the music’s pitch?
• Students perform in small groups to a given piece of music creating their
own rhythms to play along with the piece. Film them for your own
assessment or even class reflection and portfolios
• Students create their own choreography to a piece of music demonstrating
beat, tempo, dynamics
• Grade performance (for school community, assembly or filming for self
assessment). Discuss how they felt, what they found challenging?)
• Marking the roll - Asking a question that relates to listening activities
15. Years 3 and 4
• Also Sprach Zarathustra. Richard Strauss, 1896
Introduction of the Piece Poster.
Talk through the piece poster before hearing
the music. Share their piece posters after.
16. Years 3 and 4
• American in Paris. George Gershwin, 1928
This is great way for students to connect with the music
(possible holidays to Paris or even America). A collaborative
class mural.
Share piece posters in class time
17. Years 3 and 4
• Overture to Carmen. George Bizet, 1875
• Responding to what they can hear through movement.
• Using the chart (Chart 3) students can play along as they listen and read the
graphic score
18. Years 3 and 4 – Assessment
• Formal assessment. Piece poster (new or familiar music)
• Students respond through movement showing dynamics, tempo,
pitch and form. They can create a choreographed dance.
• Write their own ti-ti ti-ti taa composition (with variations) using
both tuned and untuned percussion. This can be performed to
the grade. You can observe team work, use of rhythms and the
complexity of the composition.
• Create their own ‘Motif Meals’ and perform to the class
• Making a class ‘Word Poster’ of all musical terms introduced
19. Years 5 and 6 and Above
• Hallelujah Chorus. George Frideric Handel, 1741
• Class discussion as to where this music may be used. Do they know
the meaning of the word that is repeated?
• Can they even count how many times it is played in the small
excerpt (18 times)
• Piece Poster can be done before movement activity
• Discuss the Polyphony
• Who’s in Charge Here? Movement activity
20. Years 5 and 6 and Above
• 12 Variations on ‘Ah, vous, dirais-je Maman’ Wolfgang Amadeus Mozart 1781/82
Listen and see if students recognise the music. How do they know the piece? How is this
version different?
Class discussion about what a variation might be.
• Spot the Variation
• Variation Art
21. Years 5 and 6 and Above
• Mozart’s Horn Concerto #4 , 3rd
Movement.
Wolfgang Amadeus Mozart,
1786
As a grade follow the body
percussion choreography
with options to also work
individually or in pairs
22. YEARS 5 AND 6 – ASSESSMENT
• Sing along with the Hallelujah Chorus (excerpt one). Followed by a
class discussion on how they went.
• Prompt students to discuss the other sections. (Homophony and
Polyphony). Do they know where it may be in the music.
• Recap instruments they have heard.
• Create own choreography for Mozart’s Horn Concerto #4. This can be
more dance like than body percussion.
• Baroque or Classical – Have student name era it is from (Baroque or
Classical)
23.
24. Endless Possibilities When Listening
• Students feel a connection to music when you explore deeper
• Assessment is constant. Formal, informal and port folios
• Opportunities to perform beyond the classroom
• Sharing music from different countries, times and using various instruments.
Important for our students to understand where modern music has come
from
• It is lots of fun
