Todays music workshop involved us exploring rhythm and pulse. We began with tapping the beat of a tune on our laps with a set of drumsticks. We then looked at how each note can be represented and we used squares to represent one note, also known as a crotchet and circles to represent a half beat, also known as a quaver. By taking this on board, we used this knowledge to practice playing along to the beat of a song. Each song that we played got progressively harder and we then worked on gradually removing the circles and squares and replacing them with quavers and crotchets to allow us to properly understand and read sheet music. Despite this activity being completed in the workshop so quickly, this activity could be highly beneficial to children if we split the learning over a number of lessons. By gradually building up the process of reading sheet music, children will gain more confidence in their music abilities as this process is much better suited to children.
Having looked at rhythm, we then moved on to use tuned percussion instruments such as xylophones and glockenspiels to practice note change and pitch. We learned about notes through the acronym ‘Every Good Boy Deserves Football’ and ‘FACE’. Despite playing the trombone and piano when I was younger, I was discouraged when it came to reading sheet music. Therefore, I found these methods of reading music to be extremely helpful as I was able to visualise the notes in order to know what one to play next. By allowing children within a classroom to visualise the notes that they read through acronyms and symbols, they would have a better understanding of reading music and will be more likely to engage in their music inputs within the classroom.
In the visual art input, we discussed and were able to explore our experiences of the arts on placement. From the discussion within the workshop, Section 2 had a wide range of responses with some students experiencing a very little amount of the arts whilst on placement whilst others had engaged in various activities involving the arts within the curriculum. Reflection is essential in deciding how we can move forward with the arts and look back on the challenges that have been faced (Burnard, 2006). By reflecting on my own experiences with the arts whilst on placement alongside taking into consideration the experiences of my peers, I was able to share ideas and identify lessons that I could incorporate into my future teaching. Alongside this, I was able to determine techniques that I would not use within my teaching such as giving pupils demonstrations as this may lead them to become less imaginative.
In conjunction with this discussion, we reflected upon the various art lessons carried out in Finland. I was able to discover that Finnish teaching is very different to Scottish teaching as in Finland they use fully natural resources to build and create art. For example, due to the unlimited supply of snow in Finland, children are able to experience art lessons outdoors where they can create and explore their creativity within their natural environment. Csikszentmihalyi (1996) stated that creative environments including the outdoors can provide children with the room for ideas to generate.
References
Burnard, P. (2006) Rethinking the Imperatives for Reflective Practices in Arts Education. In: Burnard, P. and Hennessy, S. (eds.) Reflecive Practices in the Arts Series: Landscapes: The Arts, Aesthetics and Education. Dordrecht: Springer, pp.3-12.
Csikszentmihalyi, M. (1996) Creativity: Flow and the Psychology of Discovery and Invention. New York: Harper Collins.
