The Role of Movement in Elementary Music Education: A Literature Review

Ferguson, Laura

doi:10.1177/87551233050230020104

Cited by 10 publications

(11 citation statements)

References 16 publications

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“…Initial rhythm movement activities can involve simply finding the beat in a variety of music examples using the body. While clapping or tapping or other small movements are traditional activities used in teaching rhythm, research shows the largest benefits to be gained from large motor movement that “travel[es] through space” as opposed to small motor movement by students in chairs or using only hand movement (Ferguson, 2005, p. 25).…”

Section: Movingmentioning

confidence: 99%

General Music Today Music Ideas Series, Viewpoints in Secondary General Music, Article 3, Seeds of General Music in the Secondary Ensemble: Time to Branch Out!

Singletary

VanWeelden

Davis

2019

General Music Today

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In the third segment of the series, we explore general music behaviors and techniques that may be incorporated into the secondary performing ensemble in order to provide enrichment and depth to performance-focused instruction. Using research-based evidence and ensemble experience in both the choral and instrumental settings, we will discuss methods for incorporating and integrating the general music behaviors of (a) listening, (b) moving, and (c) singing into the ensemble experience within traditional rehearsal techniques and practices. The focus will be placed on the experience of these practices as they relate to performance goals, in contrast to the typical general music experience of these behaviors where they are the primary goal. Techniques and resources will be applicable in a variety of secondary ensemble settings.

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Section: Movingmentioning

confidence: 99%

General Music Today Music Ideas Series, Viewpoints in Secondary General Music, Article 3, Seeds of General Music in the Secondary Ensemble: Time to Branch Out!

Singletary

VanWeelden

Davis

2019

General Music Today

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“…The Dalcroze system of eurhythmics is built on meticulous training of a student’s musculature, the mind’s ability to imagine a movement, and the central nervous system’s ability to transmit movement orders to the necessary muscles for execution of controlled movements in response to music stimuli (Jaques-Dalcroze, 1915; Manifold, 2008). Hence, a primary goal of Dalcroze-inspired educators is to deepen and broaden student movement abilities through kinesthetic response to music obtained from dancers’ own movement choices (Ferguson, 2005; Lewis, 1998; Manifold, 2008).…”

Section: Movement Experiences Valued By Educatorsmentioning

confidence: 99%

“…Educators inspired by the work of Rudolph Laban emphasize specific movement elements as an avenue for expressive movement—emanating from inside the dancer rather than to the sequencing of conventional dance steps (Ferguson, 2005; Lewis, 1998). Laban’s method operates from a belief about movement that is parallel to musicians’ beliefs about music creation and performing.…”

Section: Movement Experiences Valued By Educatorsmentioning

confidence: 99%

The Challenge and Benefit of Evaluating Folk Dancing Quality

Rhone

2017

General Music Today

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The physical, social, and music attributes inherent to folk dancing make it an ideal component of music education curricula. The communal experience of folk dancing is unprecedented for many adults and children. These experiences are unique because folk dancing can foster individual and group learning through music, and noncompetitive play. There is, however, currently a lack of assessment tools available to music educators for evaluating student folk dancing quality. In this discussion, the author examines the genre through the eyes of dance and physical educators, and the extant recreational folk dancing community. This exploration leads to the identification of observable skills and aesthetic features of good-quality folk dancing. This information culminates in the Folk Dancing Proficiency Rubric, created by the author, for use in educational settings.

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“…The review by Abrahams (2005) was constructed as a persuasive argument about the role of critical pedagogy in music education; topics were presented from general to specific, concluding with practical applications and implications for music education. In contrast, the review by Ferguson (2005) systematically presented the extant research about movement in elementary music education settings without drawing specific conclusions for the reader.…”

Section: Pedagogical Sequencementioning

confidence: 99%

An Instructional Approach for Improving the Writing of Literature Reviews

Freer

Barker

2008

Journal of Music Teacher Education

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The modeling of effective instructional techniques is an essential component of college instruction. This modeling encompasses both the pedagogical choices that are evidenced during teaching and the decision process that leads toward broader change (Freer & Craig, 2003). In the case of college faculty members, such pedagogical decisions are often based on intuition and emotion rather than on the diagnosis of problems, analysis of evidence, and systematic evaluation of adjustments to course content and/or instructional techniques (Weimer, 2001). In this article, we outline a project undertaken with two graduate classes in music education. We first identified a problem that our students were having, developed an instructional plan to address the problem, examined evidence about the effectiveness of the plan, and drew implications for teaching and learning in our other courses.For our students to learn our intended content (in this case, about literature reviews), we realized that we needed to begin with what students knew and build from that point. Taking students from the known to the unknown required us to connect the content to instructional techniques, continually assessing and adjusting those techniques in response to the learning we saw in our classrooms (Meyer-Mork, 2007). Weimer (2003) writes, "We have stopped assuming that learning is the automatic, inevitable outcome of teaching. Certainly, good teaching and learning are related. However, when we . . . start with learning, connecting what is known about how people learn to instructional practice, we come at teaching and its improvement from a very different direction" (p. 49).Literature Reviews -2 Weimer (2003) has also developed a list of "Five Key Changes to Practice," of which two are especially pertinent to our project. First, the balance of power within the classroom cannot be too focused on faculty decisions; faculty need to share decision-making with students.Second, college classrooms tend to feature teachers, though a heightened level of student agency is necessary for knowledge acquisition. We decided to approach these two areas of potential change by highlighting our own recent experiences as graduate students.We often commented that the collegiality we felt as graduate students stood in marked contrast to the isolation we had previously felt as music teachers. Since all of the students in our classes were music educators who traveled to campus for night classes, we decided to model collaboration and scholarship utilizing a team-teaching approach. Clandinin and Connelly obtaining additional, necessary information. Most graduate programs in music education focus at least some attention on written communication, given that much of the professional knowledge is archived in reports, articles, theses and books. At our university, the early courses in the MMlevel sequence are designed to promote the ability to read scholarly materials with understanding, synthesize contents across a broad spectrum of sources, and critically analyze the methods and ...

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The Role of Movement in Elementary Music Education: A Literature Review

Cited by 10 publications

References 16 publications

General Music Today Music Ideas Series, Viewpoints in Secondary General Music, Article 3, Seeds of General Music in the Secondary Ensemble: Time to Branch Out!

General Music Today Music Ideas Series, Viewpoints in Secondary General Music, Article 3, Seeds of General Music in the Secondary Ensemble: Time to Branch Out!

The Challenge and Benefit of Evaluating Folk Dancing Quality

An Instructional Approach for Improving the Writing of Literature Reviews

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