TEACHER ROOM: Music as a didactic potential for many learnings #2

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Music exerts an important active formation and a decisive influence on the intellectual and emotional development of the individual. This influence should not be reserved only for future professionals of music, but should reach the whole world, through a sensitization and a live and adequate musical education, especially to the characteristics of the phases of childhood and adolescence.

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As a music teacher we must take music, as a form of expression, to use the qualities of sound and express ideas, feelings and transmissions, which allows creativity among students, it would be essential to have a precise musical education that prepares students in the correct use of sound as a means of expression, communication and self-elaboration or creation, and active perception or listening.

In the process of teaching and learning music, the expression is worked through vocal expression and singing, instrumental practice and movement and dance. As for the musical perception understood as active listening, it implies an awareness with respect to the sound world, in general, and the musical sounds and their parameters, in particular, so that the students identify, differentiate and describe what they hear, which implies knowledge of musical vocabulary.

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Although in the initial courses the musical education is based, fundamentally, on the experiences (verbal expression, singing, movement) and on the differentiation of the sound qualities (acute-severe, long-short ...) it is convenient to wake up in the children, little by little, curiosity and interest in knowing the musical graphic signs.

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Starting from this initial interest, they begin progressively in the practice of reading and writing musical notation, as a means to arrange what is interpreted, what they want to communicate to others or what is created, or to understand and be able to describe what It is listened But the familiarization with the system of musical signs must follow the habitual interpretive, creative and auditory practice.

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It has as valid an active musical education whose objective is to prepare the students as interpreters, as expressive creators, as connoisseurs of the basic elements of the musical language and its graphic representation, as well as critical musical receivers, taking into account, at each level of education , the psychophysical possibilities and the personal experience of the student.

The composers of music offered many contributions to education.

The composer Dalcroze, known throughout the world for his "eurythmic" system, the beginning was "to understand before understanding, to experience music with the movement of one's own body, with the voice or to play an instrument", before learning the theory. This theory had as objectives:

• Facilitate the development of the rhythmic sense, attention, memory and, above all, control and self-control.
• Promote the coordination of body movements through the development of the rhythmic sense.
• It develops the sense of order and balance, as well as the motor instinct. Stimulate expressive skills.

While Kodály and Bartok, were inclined by the popular investigation trying to define the musical identity, this gave rise to an educative work whose fundamental intention was to educate musically to all the people; but to achieve this goal it was necessary to integrate music into teaching at all levels. Its objectives were:

• Search the roots of each town.
• Develop auditory sensitivity to the fullest.
• He considers singing as the basis of general musical education.
• Begin the musical education of the child as soon as possible. From the kindergarten.
• Make a music education based on experiences.
• Encourage the practice of reading and writing music in elementary and high school.
• They propose the use of fonomimia.

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Posted from my blog with SteemPress : http://deisip67.vornix.blog/2018/07/05/teacher-room-music-as-a-didactic-potential-for-many-learnings-2/

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