Music Education

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The document discusses the benefits of music education in schools. It argues that music education improves academic performance as studies have shown students who participate in band or orchestra report lower substance abuse and score higher on standardized tests. Music also benefits students socially and psychologically by improving self-esteem and providing an outlet for expression. Neurologically, music engages both sides of the brain more than any other activity. Therefore, the conclusion is that music education should remain a core part of the curriculum due to its wide-ranging benefits.

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According to the National Center for Educational Statistics, 13% of the American Public School population (ages 3 to 18 years) receive special education services. These services could be a self contained, or inclusion class. Perhaps it’s “pull-out” services in a resource room for small group instruction. It could be speech, occupational, or social skills therapies. Regardless, roughly 6.5 million children report to school every day and qualify for these services. I studied method of teaching music called Eurhythmics at The Juilliard School in Manhattan and have spent the last fifteen years working with varied populations of students. Jaques Dalcroze, the Swiss educator and composer who created Eurhythmics, did so out of a need to teach students in a changing social and technological world. Eurhythmics is a method that focuses on the physical aspects of music. Dalcroze preferred to call his methods “games” and “exercises” as opposed to “lessons” or “instruction”. The tenant of his method is “All musical ideas reside in the body.” My program TumbleJam™ is inspired by my Eurhythmics studies. I have been using TumbleJam in self contained schools of autistic and physically disabled students. I’ve also taught in inner-city public schools as well as alternative high schools for inner-city students labeled at-risk and with behavioral classifications. Regardless of the population or age, the response is overwhelming. Students love the physical and social aspects of the games and exercises. There is no technology — but rather use live music and games to enhance emotional, musical, social, and creative expression. My session is going to demonstrate how these games bring students together, create a positive learning space, allow for individual awakening and create an understanding of the group dynamic. Participants will be up and moving around as well as improvising and laughing.

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School Music Programs Paula Noh English 112 Golwitzer, Beau 9/7/2014 School Music Programs Most American state funded schools have music projects of playing instruments for one class, either ensemble or band. These projects can positive impact understudies' figuring out how to create cooperation with their accomplices and improve fixation on their work. Also, playing their instruments is useful for their general learning proficiency. All these impacts bring about a noticeable improvement understudies. Lately it seems that everywhere schools have been cutting their music programs because of low budgets. In my opinion, cutting the music programs in schools is the wrong thing to do. I believe that all students should have the opportunity to learn a musical instrument or to practice their vocal skills. First of all, music programs are not just fun and educational, they are also very beneficial for success in school. Secondly, music programs in schools are beneficial for success in developing intelligence. Most importantly, music programs are very important and beneficial for success in life. Some people might say that music programs are just a waste of the school budget; I believe that there isn’t a better way for schools to use their money than on music programs. Hence, school music projects ought not get wiped out. Working in a symphony ought to run in collaboration with their accomplice, in light of the fact that playing in anorchestra is playing alone, as well as playing with in excess of 40 distinctive instrument players. Furthermore, there are in excess of 20 violin players. Thus, most symphony has no less than two areas of violinsuch as first violin and second violin. Each 40 separate instruments players play diverse instrument of one writer's music, despite the fact that they have all distinctive play style and music. In this manner, they must listen to each others' entertainer painstakingly and participate to playing in congruity. Also, symphony players ought to have focus on their music. On the off chance that understudies play in anorchestra, they may figure out how to focus on their work amid an execution. In Fairfax, public schools have programs where youngsters can play in a symphony or in other music exercises and they start at forward grade. For instance, some kids who I instruct to play the violin perform in a symphony at their school. At the starting, these youngsters did not take ensemble and simply took private lessons with me. On the other hand, when they enter fourth grade, they joined their school ensemble. After center of their semester, their working state of mind had transformed; they play their music precisely and focus more on my teachings. I imagined that join the school ensemble had great impact in them. Besides, when understudies join the ensemble, they must play their own particular instruments. Furthermore, playing instruments may be useful for understudies learning capacity. For instance, I think music .

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Music Education

1. Music Education By: Rebecca Sollman

2. Table of Contents

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Music Education

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