Samantha Ragusin

MUSE 258/Voice Techniques

Citation
Sound Connections, Chapter 2
Don Ester 2010

Summary Outline
The approach towards music literacy is and should be based in learning theory, such as
the findings of Gagné, Pavlov, Skinner, Piaget, and many other learning theorists. From
these theorists rose the music learning theory of Edwin Gordon, which much of the
Sound Connections method supports or parallels. When we study young children and
their readiness for music learning and literacy, we find guidelines and age ranges at
which various steps towards literacy are achievable. Upon this, we should base our
pedagogies towards music literacy. Sound Connections, which is based greatly on
research and real experience in the music education field, supports the idea of sound-
before-sight. First, music educators need to build their students’ sound vocabulary
through neutral echoing, syllable echoing, and echo translating, respectively. Next,
students are ready to connect sound to symbol through reading and notating.
Throughout both of these stages, students are prepared enough and have enough
musical vocabulary to be successful at some level of improvising and composing.

Discussion
As an educator, it is important to understand the science and psychology behind the
various pedagogies used. When educators understand the learning theory behind
various pedagogies, they are better able to make decisions that benefit student learning.
The Sound Connections approach is based on learning theory, especially the music
learning theories of Edwin Gordon. As a future elementary general music teacher, it is
important that I understand the cognitive and developmental processes related to
beginning music literacy. As mentioned in the chapter, there are specific ages at which
various tasks are achievable. I should be aware of this and planning my lessons and
units appropriately based on this information. Trying to introduce more complex
concepts too early on will be met only with frustration. This is a warning within the
chapter, both discussing introducing concepts early as well as trying to move too fast. As
the text warns, I should be aware of my students’ progress and abilities and gauge
movement through the Sound Connections music literacy approach appropriately. This
chapter also introduces the Sound Connections Skill Learning Sequence, which is a
valuable piece of information with beginning music literacy. Paired with the resources in
the Resource Binder, this step-by-step approach towards getting students to read and
notate music helps me build a plan of action for my own classroom. Approaching this
from a “sound-first” stance allows students to build their sound vocabularies before even
glimpsing notation. Additionally, this is something practiced throughout MUSED courses
such as Choral Lab and Voice Techniques. As a result, the ability to present tonal and
rhythmic material is a skill all students taken through the Sound Connections teaching
sequence should boast. All of these skills and resources together make it so I am better
prepared to teach elementary students in a pedagogically-sound manner. Finally, this
chapter made it apparent to me that many pedagogies can be used in tandem. I plan to
utilize Orff, Dalcroze, and Kodály curricula within my elementary classroom, much of
which can be used while teaching music literacy. Improvising and composing as well as
reading and notating can be approached effectively. Using all of these music pedagogies
together helps build a stronger, long-term plan towards student engagement and
learning.