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maturity level, and developsequentialand imaginativeprocedures.It is i-po.ta"t for teachers to designlistening lessonsthat are multisensory;that is, students need to hear music, seea visual that helps give rneaning to the aural experience, be physically involved through movement, and derclop skill in verballydescribinga musicalexperience.

A teacher musthaveknowledge aboutthe musical components of a pieceof music.H.Jlt!needs to decideon therfocus of the listeningexperience, choose materials appropriate to a given

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As you explore students'musical needs,it will be helpful to describe four levelsof listening, each of which might occu(:{in differing degrees of complexity) at a given gradelevel. r' What do I-hiar? At this most basiclevel,the student simply hears sounds,which might be createdbi:ravoice, an environmental source,or an instrument. No processingoiafr. sounds occurs and no value judgments are made. 2- How are soundsorganized?sounds maybe organizedasmelody, rhythm, texture (harmony), timbre (tone color), and form. They may be organizedwith a distinctive q"]ity: whigh may be identified asfapanese or jazzor medieval;or possibly rhe sounds will reflect th.gstyle of a particular composer, such as George Gershwin or Leonard Althis level the listener processes sounds in very general categories and l-ern:t-ein. identifies the sounds he or she hears. 3' Whqt do soundsexpress? At this level the listener processes the sounds heard and both analfzesand judges the effectiveness of the ,rr,rri.ul components.Thus a melody may be smooth, h1"l u stepwisemotion, havea narrow range,be performed withlittle dynamic chan-ge" or be soothing to the listener. on the other hand, a melody may jagged, be have a wide range;contain different meter patterns, and createa feelingof great exJtement. The listener makesa value judgment about the degreeto which h* ".o-por", effectivelyexpressed an idea or 4 feeringand how he or shehas done so4' What doeslisteningto musicdofor me?How can the quality of my life be enhancedby to listen to all kinds of music?This is an affectiverer,rlt of u.ogoiJ;fro."rr. f"-iit Knowing and understanding how a composerexpresses ideasthrougtr riusic4 erements and interacting with them can lead to a change in the listener. It may be a feeling of well' being, or it rnay result in increasedenjoyment of the mus'ic.Whatever hupp"rrr,ih" listener shoul'dfeel pleasureand satisfactionas a result of the experience.

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When you teach'a listening lesson,yor. ur" actually sharing a piece of music with studentssomething that was unknown to them before.A piece of music may be familiar to somestudents. If so, the objective in the lessoncould be to further their knowledge or understandingof the muiic' The samepiece might be taught for different reasonsat various gradelevels.This is known as a "spiral" approach to teaching.Eachtime studentsshould grow in their understanding and interaction with the piece.Much, of course,depends on the music, for only music that bearsrepeating'and is rich in musical information cun b" reexperienced witir increasing satisfactio n and enj<iyment.

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As you begin to organize and createIistening lessons, it is important to keep in mind the following: \ l. Have cognitive understanding of the music, such as: Does the melody repeat exactly or repeatwith variation? Are the rhythm patterns the sameor different? 2- Understand how the music is expressiveFor example,is the meaning found simply in the sound and construction of the melodn rhythm, and harmony, o, i, the composer ttt it g to expressan outside meaning aswell? An example of the iatter might be how the composer Paul Dukas expresses, through musical sound, the story of Thisorcerer's Apprentice(see page277). 3. Write cliar objectivesthat enablestudentsto focuson specificmusical concepts or ideas. 4. carefully and creatively plan stepsthat will contribute to learning. 5. Develop and implement evaluation tools that will determine whether the objectives have been met.

The following suggestionsreflect a basicphilosophp Listening to music is acfivelistening. The student must focus, concentuate, listen, and respond. r Gt students'attention. Intrigue them. Provide an exciting and stimulating beginning. Use pictures, charts, puppets, games,or creative experiences I Introduce the music- Remember,once you get sfudents' attention, they want to hear this music that you are excited about. So don't talk forever. Part of teaching is pacing knowing when to present an idea and when to hold back another idea. i Listen to the music with students-Avoid looking out the window or deciding what you are going to do next. Your interest and enthusiasmwill help keep them L..rs"d oo the music.

r Get students involved physically and mentally. Ask them to respond in some way. ' They may clap the beat, trace the melody in the air, stand up or sit down on the verse or chorus,and so on. Repeatthe music as necessarl'; one time is seldomenough. r Keep the listening examplesrelatively short. Give specific directions about the kind of responseyou are seeking,such as, "Place the arrows on the chalkboard to indicate the of the melody." ,direction I Encouragespontaneousresponses to music, such asswaying and finger tapping. Try to channelthis behaviorinto desirablemusicalresponses. I Use only background information that contributes to musical understanding and is meaningful or important to the listener. r Encouragestudents to listen to the music and not to you. Don't talk when you expect studentsto listen to music. use the pausebutton ifyou must talk while playing a listening selection. r sensitivity developsgradually through repeatedhearings; don't try to exposestudents to new music eachweek' You will probably be providing the first hearing of a piece - for many students.You don't want it to be the last. Let them want to hear their "favorite pieces." .

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I A classmirrors you. If you show interest and enthusiasmfor the music, studentsare more likely to show interest. Ifyou show insecurity, nervousness, and dislike of the music, they will often begin to talh exhibit boredom, and perhaps become disciplineproblems. r Fill the room with music. Be certain that studentsin all parts of the room are hearing a "near live" performance. I When explaining a musical element such as form to students, compare it to familiar things. Metaphors such asblueprints, patterns in fabrics, and recipescan often help studentsunderstand musical form.

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There are many techniquesfor guiding perceptivelistening. Some of theseinclude ( 1) using visual representations,(2) using written listening guides,(3) learning a familiar song that is found in a composition, (4) moving to music, and (5) playlng instruments

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Visual representationsare often highly effectivein helping students follow eventsas they occur in music. For example: L. AB or ABAform: Use familiar objectsto diagram form.

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2. Dupte tneter or triptlemeter:Createpatterns of shapes or colors and placethem on a chalkboard or bulletin board:

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3. Tonecolor: Cteatecutouts of animals or instruments and mount them on tongue depressors(readily availablefrom a drugstore or pharmary). use stick puppets to identifr animals/instruments in selected compositions, such as Carnival of theAnimals andPeterandtheWolf.

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Mopping Experiences
Mapping involves developing linear icons for eventsin a pieceof rnusic. l. Figure7.2 showsa musical map for Mozart's Eine Keine Nachtmusik,thirdmovement. . Placethis map on a transparency.You may wish to use different colors to illustrate contrasting sectionsin the music. 2. As you Iisten to the piece, ask studentsto move their right hands in the air as they follow the outline. You should guide the movementby using a pencil to follow the outline on the transparency.

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3. After studentslearn to follow the outline easily,call attention to the repetition, contrast, and then the larger dBA design by placing letters and geomerrical shapeson the board.
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IntegrotedExperiences
For an integrated experience,you could incorporate a variety of activities. For example: 1. Readthe story of The Sorcerer's Apprentice: A sorcerer (magician) lives in a giant castle above the Rhine River. He spends most of his dayspreparing magic potions. His secretsare kept in a large book, which is placed in a locked box in his bookcase. As the sorcerer'swork increases, he decidesthat he needsan apprentice to help him. He hires a boy primarily to carry water from the river up to the castle.The boy has interest in becoming a magician himselfbut is somewhat lazy.Hewould rather sit along the river, playhis flute, and stroke the sorcerer'scat. one day the sorcerer has to be away from the castle on an important mission. He leaveshis apprentice to look after things. when he is alone, the boy decidesto investigate the magic book He climbs up the ladder, opens the box, and removes the book. As he thumbs through the pages,he murmurs several'ofthe magic words from the text, and suddenly there is a loud clap of sound that causes him to fall offthe ladder. As he lies on the floor, the apprentice suddenly realizesthat he has unleashed the magical powers of the book. He looks acrossthe room and, as his eyescatch a glimpse of the broom, he has an idea. He quickly saysthe words "Abrair cadabrah," commanding the broom to pick up the pail and begin bringing water fiom the river up to the castle. The broom obeysand begins to haul water. The apprentice is delighted and frolics around the castlewhile the broom continues to work. Everything is fine until suddenly the apprentice realizesthat enough water has been brought to fill the huge

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tub but the broom hasnot stopped its work. The boy repeatsall the magic words but is unable to stop the rising water. He becomesfrantic and grabs an axe,chopping the broom in half. To his enormous surprise, eachof the resulting splinters of wood becomesa broom, picking up a pail and bringing more and more water. The situation is now truly frantic, with everything in the castleafloat. All seems lost until the sorcerersuddenly reappqars and, seeingthe terrible mess,commands the water to recede.The castleis devastated and the angry sorcerergiveshis apprenticea sharp spank.The boy is sadbut wiser, now realizing that his lazinessand his opening of the magic book without the magician's approval led to his predicament. 2. Identifr the main eventsin the story: a. Mysterious castle b. App,rentice c. Brooms d. Water rising ' e. Sorcerer f. Water receding g. "Kick in the pants" 3. Discusshow the composer might expresstheseideasin music, such as: a. Mysterios5 6a51le-5oft strings and woodwinds b..Apprentice-loud, activemelodies c. Brooms-melody played on bassoon,clarinet d. Water rising-louder, higher e. Sorcerer-trumpets and horns, loud chorus f- Water receding-softer, lower, thinner g. "Kick in the pants"-sudden loud chord 4. Show the video "The Sorcerer'sApprentice" from Disney's Fantasiaand have students match the pictures in figure 73 wirh the musicI
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Another effectiveway of helping students follow eventsin a musical composition is through a written listening guide. Here are some suggestions for creating a written guide for listening to theme-and-variation form in Franz foseph Haydn's SymphonyNo.g4 (Surprise), second movement. l. Listen severaltimes to the second movement of Haydn's Syrnphony No. 94 (Surprise), eachtime focusing on particular musical elements. a. Melody:What are some characteristics of the melody (theme) (moves by stepsor skips,major or minor)? b- Rhythm:What are characteristicsof the rhythm (duple or triple meter, repeated patterns)? c. Tanecolor (or timbre): What types of instrumental sounds are heard (strings, woodwinds)? brass, d. Dynamics:What tlpes of dynamic changesoccur?
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2. Apprentice: Loud,actlvemelodies

3. Broom: Melody playd on bassoon

4. Waterrises:Texture thickens

5. Waterrises:Dynamics loudeqtexture thickens

6. Apprentice thinks: Music slops; two

7. Water rises: Loudeq higher; thickei

8. Water rises: Loudeq higher; thicker texfure

g..Water dses: Louder; higher; thicker

10. Sorcerer: Trumpets herald his retum

11. SorcereCs magic words: Softeq lowec thinner

12. Water recedes; apprentice disciplined: Solo string; softer

Figure7-3. lmogesfrooccompony The Sorcere/s Apprentice

13. Sorcerer kicks apprentice: Sudden loud chord

e. Form: How is the pieceof music put together(e.g.,themewith four variations)? How does the composer createeach variation (add a secondmelody, changethe tonality, add repeatednotes, change the meter)? 2. From the analysisand discussion,list on the chalkboard the characteristicsof each element as it applies to eachvariation.

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