Effective Music Education: Imitation, Posture, and Breathing Techniques for Children, Tesine universitarie di Musica

Scarica Effective Music Education: Imitation, Posture, and Breathing Techniques for Children e più Tesine universitarie in PDF di Musica solo su Docsity! Introduction In this run of mine I turn the attention to the approach of the melodious bases to a nine year-old child. Since small our mind he is predisposed to the acquisition of sounds, rhythms and attempts of intonation. All it takes is thinking about the sigles of the cartoons that capture the attention of his child, which performs a real musical exercise with simple words: listen to him more times focusing himself/herself/itself on the gestualità, on the facial mimicry and on the repetition. And' really here' the difficulty of the the teacher to make to approach his child to the song. As Piaget sustains, the learning in this evolutionary phase of the subject primarily founds him on the imitative aspect he cannot be thought about dictating predominantly technical instructions to a child which the language structurally is not complete, on the contrary the teacher must employ with the purpose to find some stimulating and functional games to the different phases of a run crossed of job that he certainly understands: 1. His child's reception: The teacher must enter empathy with the student with the purpose to know his points of strength and weakness. 2. Breakup climate: teach him he asks to his child in the form of game to tune up a song to like 3. introduction to the respiraton: the teacher without using anatomical-technical terms faces the education in the form of game. 4. postural formulation: the teacher uses the so- called technique mirror thanks to which his r child assumes the due bodily shrewdness. 5. the voice prepares him through brief sonorous issues that predispose the student to correctly use the respiratory apparatus. 6. I approach to the ear traning: his child is submitted to the execution of various exercises so that to develop the auditory sensibility. 7. understandings of the tastes and the attitudes of his child; to make to listen to more times the piece so that his child begins to memorize the words and in a second dresses again other people's cloths. Or the teacher can choose to graphically represent some images that emerge from the imagination of his/her/their child after having listened to the text. 10.1. "Reception" to make the climate of the setting in which his child must face his run of studies pleasant and less formal, the teacher she can organize a ritual of reception, as for instance the association of a particular regard imitating voices of television characters, cartoons etc. Or combining the intonation of a regard to a sonorous ordination. Another methodology that can be used it consists of preparing rugs, ribbons, cloths in the room of job where his child is put in a condition of ease and relax predisposing him to the listening of songs. 10.2. "breakup of the climate" Once that the teacher has established a climate empatico her student to understand the characteristics and vocal attitudes, he always asks sotto forma of game to tune up a song to really to like. Although her child can introduce some initial and obvious difficulties, the teacher never has to use negative or mandatory sentences to recall his/her attention. More I toast you/he/she must be his/her I spell that to encourage and to motivate the student making him/it try more times and allowing to experiment him/it. 1. "the importance of the diaphragm" The respiraton diaframmatica is a type of respiraton that you/he/she is usually associated to those people who use his/her own voice as tool Who has experimented once her at least you/he/ she will have noticed, that to the beginning him a notable difficulty in to change his/her own way to breathe. It calls respiraton diaframmatica, because it puts in the foreground the action of the diaphragm, an ignored muscle almost always or ignored by many, probably because its action is not equal to that of the greatest part of the muscles that we know but it is a muscle that has a key function both in the inspiration that in the expiration. Together with the intercostal outside it is primary muscle in the phase of inspiration. When we inhale, the air reaches the bellows and the diaphragm it lowers contracting himself/herself/itself increasing the pressure to abdominal level. During the expiration, it becomes the job of the primary expiratory muscles fundamental: the straight one of the abdomen, oblique insides and outside and the crossbeam one of the abdomen compressing the abdominal hollow they allow the diaphragm to go up again. The muscle diaphragm, divides him in three regions: the costal part originates from does her/it inside of the last six coasts, the part sternale from the back façade of the xifoide and the part lombaredalle first three / four lumbar vertebrae and from the arcade lombocostale. The correct respiraton is at the base of the song. And' the air that allows our voice of "to play", certainly however there is a beautiful difference among to make to play a voice that speaks and to make to play a voice that sings. In the song necessity exists to use the air in aware way knowing how to dose her/it and managing so, in aware way, our respiratory apparatus, beginning from the diaphragm that is the fulcrum of the mechanism of production of the voice. When we sing the vocal chords you/they must wave in a certain way in The diaphragm is a muscle and as unintentional as you/he/she must be trained as you/they must be trained the muscles that allow us to check him/it. It doesn't deal with making hundreds of abdominal or folding, rather it is to remember well, that the muscles must be tonic, but to sustain at the same time elastic because elastic it is the job and the movement that complete. Our voice has endless colors and expressive tones. Succeeding in dosing the quantity and her/it "quality" of the air that passes through the vocal chords we are able to give the dynamics. To sing strong, strong, plain, plain, to perform "fade in" (the note gradually increases of volume) and "fade out" (the note gradually decreases of volume). 1.1.2 "we play to Breathe" And' Very important to make to take awareness to the child of his/her own breath avoiding so troubles to the voice that an incapability can determine fonatoria totate or partial, varying from the simple hoarseness until the aphony (total ability to produce sounds). Without using anatomical terms that could sway the attention of his/her/ their child, it is begun for game with simple exercises as: • The storm of wind; in which the student sits in a comfortable position, with the hands in front of the mouth, we recommend him to inspire from the nose always keeping the mouth well shut. We make to breathe then the more possible when it feels the corpicino full of air we point out to spit out literally the air from the mouth as if you/he/she had to destroy and to get further the barrier of the hands that its mouth encircles. • The Baloon; in a comfortable position, possibly with the cross legs, we make to inflate a toy balloon, let's allow finally to go him/it and we observe as it frees him in air up to when you/he/she is not emptied. We recommend to our student to close the eyes and to inhale more possible air up to feel full as that toy balloon, let's allow then to expire him/it with vigor if possible holding the closed eyes and imagining to fly supported by his/ her own breath as made the toy balloon. And' also possible to perform this technique in movement, therefore before from firm inhaling, then moving himself/herself/itself as the toy balloon when it is expired. After this exercise it needs to make to normally breathe his/her child for 30 seconds, at least before repeating him/it. • A watermelon in the belly: we Make to lay down his/her child to belly in on; its hands will be supported on the belly. To the action of the I inhale you/he/she must inflate the belly as if it had a watermelon inside, while to I inhale him it will empty her/it completely. Let's invite to observe him/it as the belly you become great and then small. • The candle: we Turn on a candle and let's support her/it on a tavolino. We make to sit the student next to this, let's make him/it inhale and then expiring let's invite to blow him/it extinguishing the candle. With these simple exercises experimented by me during this run, his/her child it will have the impression to be him simply had a good time but at the same time you/he/she has acquired the correct techniques of respiraton that allow him to use his/ her voice without creating some type of trouble to the vocal chords. 1.1.3 postural formulation You correlation between voice and body is very strong in fact there is postures that facilitate notably the issue of the sounds. Insofar once that his/her child has taken awareness of his/her voice and the breath you/he/she is important to Christmas" (necessary to understand the movement diaframmatico). Besides his/her children should learn to recognize the feelings of vibrations in theirs mouth and in the breast for the low notes and in the head for the tall notes. 3. Ear traning the ear training is the exercise of understanding of the music for excellence. It consists in the ability of recognition, through the sense of the hearing, of the elements that compose the music. The ear training generally consists in the study di;melodie, intervals, accords, rhythmics, staircases and ways, harmonic progressions and lilts. Training our ear, we will understand indeed thing we sing or we play. Being above all an enough complex subject for a nine year-old child, the objective of the teacher it will be that to develop the auditory knowledges of the student through the listening and the reproduction of simple exercises: • For before thing he departs with the recognition of the notes and with the intonation of ascending and descending staircases. Subsequently some notes are explored more aloft and more in low, from the moment that many children immediately don't understand the concept to lift and to lower the tone of the voice, them you/he/she can be helped lifting and lowering the hand. • To make to practice the pupil with 3 or 5 notes of the principal (using the names of the notes for to perform its solfeggio) staircases. Traslare is very useful aloft the initial note and in low of a half-step up to the maximum one of the extension. When his/ her child has reached good progress, you/he/she can be thought about tuning up the whole staircase. • to work on you alternate him great and subsequently smaller beginning from those of second and reaching those of octave. To always use the notes for to make to develop the solfeggis, Or opting that is for another method to my more effective notice to take as point of reference some known passages and of you alternate him identified inside the melody. Tabella • To teach to the student to read divides him solfeggiando while it is looking at the notes. In this way it will begin to learn to read the music. • The solfeggio will be for him of big help if he/ she will want to continue with this passion, even if to the beginning it will seem boring, of facts the greatest part of his/her/their children that you/they are approached to the music they would want to jump this phase, but you/he/she will be performed of the you teach the lesson to make even with some insertion of games amusing inventing histories where the notes are protagonists. But it is obvious that behind the game it needs to impart a certain discipline and therefore to create some expirations assigning a sort of" performs for house" that his/her child must introduce in the following lesson. In this phase the teacher must be patient and to respect the times of the of his child that could feel in turn oppressed and to lose interest toward a thing that initially it was of it very attracted. Chapter 2 2.1 Once to have consolidated the bases of the respiraton I cost diaframmatica, he enters the real study of the piece, therefore it is necessary to understand the musical tastes of the student to facilitate the approach to this new discipline. repeating is him/it with the base and is to chapel. In term end of the lesson, when by now the attention of his/her/their child it is least, he/she wonders her to draw a part or a character of the song that you/he/she more has attracted his/her curiosity. 2.3 After having introduced the activity to his/her/their child, in the following lessons it is begun with the real study of the song. This is an important phase because the pupil must learn the melody and the words with the purpose to get ready to a good performance. The teacher, must be patient and to encourage him/it, kind in this phase in which the greatest part of the pupils don't feel him to the height to face an exhibition before an examiner or a public. "the true teacher is at the same time a psychologist. You/ he/she must be able to interpret the internal activity of the student during the execution of an exercise, observing the mechanisms that intervene in every moment, the mobilization of the intellect, of the emotional sensibility, of the sensorialità and of the motricità" (E.willems). Teach him you/he/she must enter empathy with his/her own student, so that to become his/her point of reference. In fact the listening is an important element, to listen to him doesn't intend the simple one "to be to feel", but a combination among what the other one is saying associate to an active involvement. It means to know how to use the empathy to come into contact with the other. The person with an assertive communicative style, show a to have an ability in to listen to the people.Because it pays attention to what the other ones they have to say. Thomas Gordon, American Psychologist suggests to improve our ability of active listening in four phases: 1. Passive listening: to the beginning it is important to listen to the other one staying in silence and without interrupting him/it. In this way we are communicating attention in his/her respects and availability to the listening. We also pay attention to the communication not record therefore "to extend him" toward looking at him/it in the eyes. 2. Messages of understanding: staying in listening communicating oral messages and not records that our interest underlines 3. Messages of encouragement: they are of the messages that warmingly encourage the other. 4. listen active: in this phase it is opportune to reflect the content of the message del'altro. This is a form of complete communication, that makes us available in the comparisons of the other and that it involves aspects communicative records and not in partnership records to the attention and the understanding. the assertive one has a direct ocular contact, the tone of its voice is sure and dynamic and its posture is relaxed and to regulate. The attitude that must hire therefore the teacher an assertive attitude, must accept other people's point of view it never has to judge to insult and colpevolizzare its pupils. But it has to defend however and to make to be worth his/her own rights.