Page 151 - Glasbenopedagoški zbornik Akademije za glasbo v Ljubljani / The Journal of Music Education of the Academy of Music in Ljubljana, leto 13, zvezek 27 / Year 13, Issue 27, 2017
P. 151
Sabina Vidulin, THE “LISTENING TO AND MAKING MUSIC” APPROACH ...
Appendix 2: The LMM process which leads to music understanding
The following examples illustrate how musical components, e.g. rhythm and melody, can
be understood through listening to music and music elaboration. Pupils recognize the
following components: rhythm, melody, tempo, dynamics, musical form, measure, scale.
Then it will be shown how these musical components contribute to creating similar
musical pieces, supporting and upgrading pupils’ musical ability.
Listen to activity with defined rhythmical patterns
Listening to the Vivaldi’s Spring (The Four Seasons), one rhythmical sample can be used
for improving the quarter notes, half notes, eight notes and quarter rest (appendix 3). The
process begins with the pupils listening to the first part of Spring (13 bars). Firstly, they
imitate what the teacher do and listen at the same time. Clapping with their hands they pay
attention to the duration of the notes, and then to the dynamics. After repeating the same
pattern for several times they have the task to write it down5. The sample can be also
played on some rhythmical or melodic instruments (on a single tone). To create new
rhythmical patterns, it is possible to mix the bars or the notes inside the bars as well as the
dynamics signs. This may result in creating some new patterns.
Appendix 3: Rhythmical pattern from Vivaldi’s Spring
There are many musical examples that can be used for this purpose: in the composition
Zoku6 pupils can hear how the rhythmical pattern is changed and upgraded and learn about
the incessant pulsation. In the Vitamin rap (appendix 4) different rhythmical figures are
shown which are written according to the rhythmical structures of fruit names (as kiwi,
5 The pattern could be shown also straight away so the pupils look at the notation and listen at the same time.
It depends on the teachers’ idea and goal.
6 Performed by: Kodo (Kodô is a professional taiko drumming troupe from Japan). The example is in the
CD 1/1 which is a part of the schoolbook for music in compulsory school Glazbena osmica.
151
Appendix 2: The LMM process which leads to music understanding
The following examples illustrate how musical components, e.g. rhythm and melody, can
be understood through listening to music and music elaboration. Pupils recognize the
following components: rhythm, melody, tempo, dynamics, musical form, measure, scale.
Then it will be shown how these musical components contribute to creating similar
musical pieces, supporting and upgrading pupils’ musical ability.
Listen to activity with defined rhythmical patterns
Listening to the Vivaldi’s Spring (The Four Seasons), one rhythmical sample can be used
for improving the quarter notes, half notes, eight notes and quarter rest (appendix 3). The
process begins with the pupils listening to the first part of Spring (13 bars). Firstly, they
imitate what the teacher do and listen at the same time. Clapping with their hands they pay
attention to the duration of the notes, and then to the dynamics. After repeating the same
pattern for several times they have the task to write it down5. The sample can be also
played on some rhythmical or melodic instruments (on a single tone). To create new
rhythmical patterns, it is possible to mix the bars or the notes inside the bars as well as the
dynamics signs. This may result in creating some new patterns.
Appendix 3: Rhythmical pattern from Vivaldi’s Spring
There are many musical examples that can be used for this purpose: in the composition
Zoku6 pupils can hear how the rhythmical pattern is changed and upgraded and learn about
the incessant pulsation. In the Vitamin rap (appendix 4) different rhythmical figures are
shown which are written according to the rhythmical structures of fruit names (as kiwi,
5 The pattern could be shown also straight away so the pupils look at the notation and listen at the same time.
It depends on the teachers’ idea and goal.
6 Performed by: Kodo (Kodô is a professional taiko drumming troupe from Japan). The example is in the
CD 1/1 which is a part of the schoolbook for music in compulsory school Glazbena osmica.
151
