Suzuki Philosophy Talent education combines listening, practicing and performing - all under the careful supervision of parent

and teacher

Dalcroze Concept that the synthesis of the mind, body, and resulting emotions is fundamental to all meaningful learning; every musician should strive to be sensitive and expressive, and to express music through purposeful movement, sound, thought, feeling, and creativity. Emile-Jacques Dalcroze Rhythmic movement, aural training, and physical, vocal and instrumental improvisation. Rhythmic movement, aural training, and physical, vocal and instrumental improvisation

Gordon (MLT) Music aptitude ( the ability to experience music) develops up to the age of nine and stabilizes at that age. After that point, the child (adult) may learn music skills, but according to their aptitude, which does not change.

Orff Musical concepts are learned through singing, chanting, dance, movement, drama and the playing of percussion instruments. Improvisation, composition are encouraged.

Kodly "Singing connected with movements and action is a much more ancient, and, at the same time, more complex phenomenon than is a simple song."

Founder

Shinichi Suzuki

Edwin Gordon

Carl Orff

Zoltn Kodly

Goal

Creating a musician on the instrument

Every student has aptitude, can increase level of aptitude with work.

Learning music through self discovery and learning occurring through play

Music for music sake, every child deserves only the best music

Distinctive Elements

Suzuki parent is actively involved in the learning process. The parent attends all lessons and practices with the student each day, making sure the student does exactly as the teacher instructed. Parent is an integral part of the instruction

Collection of theories, you cant know minor without knowing major, tapped/played rhythms

Words for rhythm (little cup of teaadd rhythm), selfdiscovery, Xylophones (soprano, alto, bass), metallophones (soprano, alto, bass), glockenspiels (soprano and alto), castanets, bells, maracas, triangles, cymbals, tambourines, timpani, gongs, bongos, steel drums and conga drums.

Use of Curwen hand signs, pictures, movabledo, rhythm symbols and syllables

Musical Experiences (of child)

Students are encouraged to quietly observe the private lessons of other students Every student must listen each day to a recording of the piece he is learning Memorization of music by ear not by music, sound before sight

Physical connection (eurhythmics), improvisatory movement,

Prepare, Present, Practice

singing, dancing, acting and the use of percussion instruments (pitched and unpitched) Call and response, speaking chanting, singing, imitation, Singing, Inner Hearing, aural literacy

Aural Skills

Notation

mnemonicsattaching words to notes (solfege), eurhythmics, and improvisation. Linear notation (moveable clef systems), Fixed Do, sound before sight

Audiation, inner hearing

Imitation before reading

Musical Material

Western Classical Music

Music one can move to

Wordless chants, use good music (not meaningless material)

Sound before sight, inventive notation (the best way theyll remember it) then teach notation based on what they have created. Instrumental arrangements of folk songs or current songs

Reading, literacy, ta- ta- ti-ti- ta, rote before note

Native folk songs and folk songs of other cultures, chants, dancing songs, lullabies, nursery rhymes, songs for circle games and story songs, various rhythm and tonal instruments are also used, including xylophones and recorders.