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Chapter 2

Of all the learning theories pertaining to teaching style that are shown in the chart on page 17, I find
that I think most closely to the constructivist theory (though I suppose Im still working on teaching in
this manner). I find that with all the theories listed, it is very difficult to keep track of all of them, and
keep each independent conceptually. While some of these theories are very different, I feel that some
work better for kids at different stages in time, while others may be more effective at other ages. I find
the concept of musical play to be an interesting one, in that the child is essentially just learning to
interact with people and music while going through musical play. I find that I agree very much with the
constructivist theory of music learning- I think that the concepts taught should definitely build on top of
those which the child has already learned, or comes into the learning scenario with. Social learning
theory is one that I have written an essay on before, so it is one that I am very familiar with. I also have
heard about and discussed learning style and the ideas that go behind how people learn. I found it very
helpful to read the Charlie over the ocean activity, knowing that it poses a particular method of
teaching where the teacher models and the children follow. Most of the rest of the chapter seems to
ride on the question of how to make the teaching meaningful and effective to the students. I appreciate
that this is the focus, as it is essential in having students truly learn concepts rather than only hear them
once but not be able to utilize them later. I find that the rest of the chapter is helpful in showing the
learning theories in action.
Chapter 6
I find that the author generally likes to use large charts to help describe the subject matter. This is still
very helpful! I did not realize exactly how childrens rhythmic and movement development usually
develops, like on page 122. I found the paragraph on Eurhythmic movements interesting. This was
slightly related to what I did in my lesson, and what others have done in their lessons, relating to asking
the kids to move how they think the movement in describing. I think that while it states that
preschoolers are able to, it certainly seems that the younger ages have a much larger difficulty with it.
Though, this may be more due to the lack of creativity than the lack of physiological ability. I love the
idea of using dance to teach fundamental timing with music. I also like the idea that the author gave on
preparing for experiences and arranging experiences. These were very helpful to give thoughts about
good environments for kids to experience movement. Using songs that have movements built in like the
Suogan and Teddy Bear are very good ideas. I think this would be very helpful to use in a lesson, to get
the kids thinking more imaginatively. Im glad the author brought up using goal-centered teaching
experiences, as this was helpful to see examples in the creative movement section. The scenario of Mr.
Robinsons class was very helpful in the end to see much of the concepts talked about in an actual
setting. Go Campbell!
Chapter 7
Once again, it is nice to see a chart of the ages and some of the skills that children can start to
understand and learn as they grow. While I knew that speech was fundamental in rhythm, I didnt really
think much on using speech to teach kids rhythm. This is a great idea! I love the idea of using a lesson
and making it personal with kids names, or different animals or colors. While the conducting is probably
a good idea to help the older kids learn meter and pulse, I think its something I would never try with

children- it would be disastrous! As per usual, Im glad for all the different exercises and ideas for
different ways to incorporate songs, words, and activities into lessons. The author is very extensive in
providing these materials to the readers. While the different methods with Kodalay, Gordon, and Word
Chant are very different, it seems that they essentially accomplish the same thing, but tend to go about
it in different ways. The discussion on polyrhythms and syncopation seemed interesting, because I
would think it would be over the kids heads a bit; maybe I am incorrect. However, it seems they might
have great difficulty with it.
Chapter 8
The first thing I notice about the reading is that the author puts large emphasis on childrens large
propensity to love playing with instruments whenever they get an opportunity. I think this is something I
tend to not remember while thinking about how children learn. I remember seeing firsthand what the
author means about the children developing a good sense of rhythm, but having sensorimotor skills
develop much later, causing a disconnect in expressing internal rhythm. I love the idea of the body as a
percussion instrument, and being able to create music with it- less preparation, and more personal
involvement of the child in helping them realize they can create music on their own. Im glad that the
author took the time to explain what all of the different non-pitched and pitched instruments are- I
think this is very helpful in being able to expand their musical knowledge, as well as to give
opportunities to play a diverse body of instruments. Im not sure how I feel about using recorders in
classes- though they allow the kids to play songs, it becomes difficult when the kids arent able to
directly take their skills and apply them in any other setting, beside the basics of moving air and using
fingers to cover the holes. I knew nothing about the autoharp, so it was interesting to read about it! I
think that the most difficult part of teaching music with all these instruments would be the assessment,
because of needing to evaluate the children on a starting instrument and in so many different ways. It
becomes especially difficult because they are beginners.
Chapter 9
I find the premise of this chapter very interesting- I agree with the idea that we dont spend enough
time deep listening to music, spending time thinking through everything that is heard and paying
attention to it. I see the reference to Professor Lily in the book! I see the chart that the author uses, and
how detailed it is. Im not sure how easy it would be to lead a movement class in this way, because the
teacher would either have to memorize all of the movements, or possibly set up a way that they could
read all of them consecutively while leading the kids in the dancing. Then from there, it becomes
difficult to help lead the class in the movement because there may be issues of the kids following or not,
or possibly behavioral issues? Im not really sure, but I cant imagine myself trying to lead an exercise
like such. I like the idea of having an activity where the kids listen for an item that is dropped. This seems
like a fun and interactive way to get kids to listen more deeply. While I like the idea of using activities
that involve action when hearing a timbre, I find that it could be difficult because the first kids will get it,
but none of the others after who copy the first will have an original thought. Im not sure exactly how
this could be avoided or improved, but I see that it could definitely be a potential problem in this kind of
activity. Campbell brings up this issue herself using different terms on page 235, where she talks about
students creating their own schemas have more fully formed connections overall, and stronger

connections. I never thought about the possibility of kids mentally drawing maps of music after
physically responding to events. I enjoyed the large number of different charts and such which were
used to explain the concepts used throughout the chapter, as is usual with Campbell.
Chapter 10
The author makes a comparison in the beginning of the chapter- Teaching music without having
children compose would be like teaching art without having children draw or paint. Im not sure I
completely agree with this; Campbell is coming from the standpoint that To deny children the
opportunity to work creatively with the materials and structures of music is to limit their capacity to
think artistically and, ultimately, to limit the full exploration of what it means to be musical. However, I
think the comparison is a bit unfair in that the music has multiple creative aspects to it- both the
performance and the composition of the music. Most other arts only have a composition aspect to it;
once it is made, it does not need to be performed. With music though, a very large aspect of the
creation of music (if not the largest aspect) is the performance itself. Im not sure that composition is
something that kids are dying to participate in, or cannot live without, as the author nearly implies.
Rather, it is definitely something that children should be introduced to more and more as we refine
teaching methods more; however, for a very large portion of kids, many of them never explore
composition because it simply does not interest them (one of these children was myself while growing
up). Many of the kids simply love to participate in the performance aspect, and this is all of why and how
they interact with music.
[now on to the rest of the chapter]
I love that the author thoroughly discusses original thought with children and how to foster
environments where children are able to create original thoughts. The ideas with paper or other objects
seem very smart, and like they would be extremely effective! I would love to see this in action with
children! I enjoyed reading the section on composition, though I dont see that I would base an entire
years curriculum around it; I would probably base a few lessons on it instead. I found the different
notational systems very interesting and quite different. Im not sure that they would be something I
could use for a classroom in the future.
Chapter 11
I already like the chapter just two pages in; I wish that we had read this chapter earlier in the quarter
because its probably the part of our teaching that we all had the most trouble with and needed the
most help with. I find the four characteristics of highly motivated students to be interesting in that they
are all quite very rare, and always incredible when they are found in students in a classroom. However, I
guess that they are something to strive toward, that we might be able to inspire students to that level of
interest in music. I enjoyed that the author used Csikszentmihalyis 8 components of motivation. I had
never thought about these and how they affect students learning in a classroom. The different types of
behaviorism are ones that Im familiar with and have studied before, but it is not to hear them again. I
hadnt heard of the Enneagrams before, but I will have to look them up later and try to understand them
fully. I think the logical consequences to behavior are very helpful to read about. This part of the chapter
about dealing with inappropriate behavior was the most difficult for me to read and understand. Or

rather, I think its going to be the most difficult for me to learn. Therefore, this section was good for me
to read.

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