Music Literacy And Recorder Literature Review Example
Music Literacy has been defined as reading music notation in many ways. Notable music educators such as Carl Orff, Emile Jacque-Dalcroze, and Zoltan Kodaly are well known for their definition of music literacy.
Carl Orff defines music literacy as engagement of mind and body with the help of combination of singing, dancing, acting. (Vosa.org, 2015)
Emile Jacque-Dalcroze defines music literacy as combination of physical activities as well as perception of the music. (Stcharlesbloomington.org, 2015)
Zoltan Kodaly defines that music literacy as ability to look at notations and think sound.
The recorder instrument is a wood flute with tin whistle.
Musical instrument instruction composes one of the most essential elements of music education. Therefore it is possible to say that it is a well-known that the goal specialized in the music education is simpler and healthily accomplished via a utilized musical instrument . Playing a musical instrument is an essential action in music education, musical instrument instruction, and consequently the art of music that draws music and people together with the help of a person that plays a musical instrument; that becomes a source for an individual to determine or aline with himself/herself; that give a chance for a human to express his/her emotions; and that guides people to become more social. In1970s the recorder was introduced to our music education and the instruction of which was seemed to be extremely significant in the first teacher training schools by the General Assembly of Ministry of National Education. Furthermore, recorder is one of the musical instruments that are vastly used in contemporary basic music education. “This instrument, that is called “recorder” in Turkey and commonly used in education music, undoubtedly, the same as the reed pipes that are seen in every part of Anatolia. Recorders, which were put into use once more in music education as marvelous educational tools in the beginning of the 20th century, were thought to be used in schools in our country in 1953 with the help of a course opened at the Department of Music in Gazi Institute of Education, but they could not completely course in our schools in that time. Nowadays, plenty of students use the recorder with the actualization began in the 1960s by SaadettinUnal, who was among the executives of this institute. In the research made by Acar, it was states that this instrument is a partially adequate in musical subjects such as musical note teaching, speed, volume terms, sound changing signs and collective sound education.
This instrument as a Teaching Tool Learning to play the soprano recorder is a wished learning outcome across different collegiate educational settings, which includes elementary music methods courses. The recorder is often used as an instructional tool in many classrooms with beginners, especially between the third and fifth grade (Campbell & Scott-Kassner, 2014; Marshall & VanHaaren, 2006; Reynolds & Gottschalk, 2009). Consequently, topics connected to recorder usage and teaching is frequently included in textbooks for preservice music teachers (e.g., Campbell & Scott-Kassner, 2014). In addition, such themes are included in textbooks for preservice elementary classroom pedagogue as vehicles for obtaining music skills .Reynolds and Gottschalk (2009) state that “the recorder is far more than an instrument whose only purpose is to serve as a tool to help third and fourth graders begin to read melodic notation” (p. 34). Generally speaking, using the recorder provides both music and non-music benefits. Recorder playing might provide reinforcement of (a) music-reading skills (Herrold, 2001; Winslow et al., 2001), (b) skills of improvisation (Rozmajzl & Boyer, 2006), (c) composition skills (Stephenson, 2012), (d) the elements of music recognition (Campbell & Scott-Kassner, 2014; Marshall & VanHaaren, 2006), and (e) finger speed and coordination (Campbell & Scott-Kassner, 2014).
Even though using the recorder in the elementary classroom can have music as well as non-music benefits, motivating students to improve recorder technique can be hard thing at times because it requires concentration and practice (Howe & Sloboda, 1991).
With the help of new sources for the recorder’s history state that, at least from the beginning of the 16th century and after that, this instrument was used by 3 classes of people: children, professional musicians, and newbies. Apart from the discussion of Praetorius and Mersenne, Hunt wrote only 3 pages to this instrument between 1600 and 1660: music by anonymous (in Breslau), Antonio Bertali, Johann Heinrich Schmelzer, Heinrich Biber and Jacob van Eyck. One may find another marvelous and interesting article by Peter Van Heyghen, where the author described rarity of the recorder in Italy for the early 17th century.
It is possible to say that in the 18th century, recorder varied from soprano to bass. After being almost unused for more than hundred years, people found that this instrument are quite interesting at the turn of the 20th century. Arnold Dolmetsch (1858-1940) started making recorders in the early 20th century and introduced a full consort at the Haslemere Festival in 1926. After that, recorders started their second life to satisfy the increasing demand for the instrument in music education.
It seems that most schools bought recorders in large numbers, thus allowing students not to spend a lot of money on them. This makes that all students uses the same type of instrument, that is easier to teach and makes a better sound.
4th grade students are usually physically able to cover all the holes on the recorder. They are still curious and pioneer, but grown-up and responsible enough for a thorough learning experience. Some pedagogues find it important to schedule recorder study as a finite unit of 4 to 6 weeks. We feel the process is more beneficial and enjoyable if it is woven into the fabric of the curriculum over a big period of time, as one more vehicle for musical exploration and expression. Frankly speaking, the instrument which makes the greatest potential and musicality is the recorder. But they are not identical! Fingerings and intonation are various basing on if you have English Baroque instruments or German instruments. We use, and the majority of American teachers use, the first one. Some recorders come with both fingering charts, making it easier for students to know which fingerings to use.
It is essential to speak about accessories such as thumb rests and neck straps. Such things are not essential, yet welcome when used properly. Furthermore, there is a possibility to adapt to the learner's physical abilities every single hole in a recorder.
Stcharlesbloomington.org,. (2015). What is Kodaly Teaching. Retrieved 6 April 2015, from http://www.stcharlesbloomington.org/sites/kgorr/kodaly.html
Vosa.org,. (2015). Developing Music Literacy. Retrieved 6 April 2015, from http://www.vosa.org/paul/sales_folder/manins_art.htm