ETNl :
Ka t-h~_(:c)n I'Je'Nt;/
H (~ rl 0 r s ~ ~ C S .~ s
:~"r1n~:,
1980
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'i
Th~oug~
Educ2tion
working with her as she
a~d
She has been
daly.
t~aveJs
he~
urdatinr
upon the ideas and be-
She has a full time staff
liefs of Mary Helen Rjchards.
workshops
~ased
Music is
around the country
giv~ng
teaching techniques.
influence~
by the teachings of Zoltan
Ho-
"It was the story of his
She explains his influence:
..r ,
search for songs in his
hear and relate to easily,
of the need for
son~s
tongue that the children could
OWll
th~t
in nur own
Jed me to a
~hythms
stron~
Rwareness
and in our own mel-
odies ••• T developed a great feeling of concern and responsith~
bility for our music :e8chers, that they be given
type
of traininF that will equip them to dea1 with their teaching
situations, tha+ they learn to 100k at children to see what
~~~ticular
?? ~h
type of song
teacher deve Jop
:'I"l.
experje~~e
thr chlld n0eris, gnri
t~at
'J:1rie r s tand ing of the ch i l d and rlOw
to work with them.~l Her philosophy is to teach ~ilriren-¥'jot;
music.
m~sic
like ETM, 1 belIeve
curriculum
f~r
should be
its own sake.
in~luded
in
school's
8
/
....-;... '
It spems to mp that thes G twn
"r
approaches are n0t
in~omp2tlb]p.
Mrs. Richards states
t~at
ra tnp r a way of' be j ng wi th
attempt tn re8 ch the -::hi hi
gamps it employs.
~
I say
approA~hps
••• ETM is not a method.
'::?
h ~ 1,1 rE?n. a process.
•
rrlUS1('.
because
It is
It, is 8n
?
II ' -
GaTes 8re uS2d to heJp the very Y0unz chlJ4
Mrs.
Richard~
puts
(2 )
attitudes, movements,
~The
it this way:
experiences
co~tact
our language
help the
a,r'~
'3.
:;h~.ldren
t~Rt
son~s
"
n8 tllral p:1rt of' the (:x[lerience games and
to ] earn to be
of' each other and to
~lware
The experience games are built
which come from the melody track of the English
With the
langu8.ge.~-'
and eye-
canst8ntly accompany the flow of
communicate their awareness.
on the
in~lections
child she believes, "we ,:::omrp.uni-
Y'JUfL:;;
cate by body movement to the
1anguage we hear.
his ability to
we speak and tJ th0
lan~uage
ThE: importance of this to
cOMmunica~e
only
i~
b~gjnning
tht~
crj Idin
to te understood.
Singing is elevated s)eech and as such emphasizes the rhythm,
melody and structure 0f the
son~
The experience game
lan~uage.
focus ~s the child on the language he speaks, tuning
him ir., focusir.g his 8ttention, h",lpjng him to
f
1
~,
t
0
~,
hear, and
· · +ve an d respon.
d ,,4
an t lClpa
The ETM method i3 certered a-ound the concept af reaching children
throug~
~u~ic.
Mr2. Richards believes that
music is just the vehicle through which we can educate and
reach childn'n.
ETM wot~ks te' vle1
of himself.
jnstan~c.
For
ing with thythm
is very
patter~s
~()nscir)lJS
of the
~
r
a child in tht? acceptanre
child's
na~e
is used when work-
(e,g. Bil-1y, Car-o-lyn).
f~lc:t
that his
r:.amf~
The child
is bl?ing used.
. name
He is important enough for the teacher to include ,n,s
and he can
te~in
is important to
to Jearn oth2r's names.
~0te
that
wh~n
At this
poin~
using thjs technique in a
game, such as "Hickety, Tickpty~5, the teacher should be
careful to jnclude everyone eventually.
it
(J )
Basic
IrtpR~
About ETM
As stated before, the m8in idea behind this method is
ch~ldren,
to teach
can be creative.
plan, but
to te82h music to children.
the childr€n some
~p
instead of doing.
Of~en,
8.
Lt of t3.1kinf': with this metl:nd
t~o
much time is spent expla5ning
the game and wh3.t the class is going to
teacher
w~~tever
with.
e'.sy tl' do
tiO
Another
The teacher should h;:lve a basic lesson
should be flexible enough to adapt to
~t
It is
no~
~ttempt
to do.
The
be aware of the capabiJities of her children
shn~l~
and adapt each lesson co the 01ass experiences as much as
possible w!th as little explanation as possible.
There aI'S basically four
ing ga;ne and
parts ::J.re:
Eo'Ber.
o~
sented.
O~p
learni~~
ing
an~
Ip3~nin~
'The four
movement, music, soci2.l interaction
the
0ach
i~
singi~g
reason the
o~
slngl~f
is eoing on.
~t
these areas later.
lan~ua8e.
Irl a1-
games do
ar~
wor~
weI] wjth
enjoying the game whiJe
They are involved with the le2rn-
physically involved with
tha~
;"nc:
games each of these parts is repre-
children is because the children
the
parts to each sing-
part has a specific purpose.
I will go into detail
most all
diPfe~ent
~he
is fun to work with
music.
ot~pr
children.
Concept Matp r i81s
There are spveral "conrcpt materials" used in ETM.
One
(Ii)
of the basic irlp:red"i'C'·rts is folk songs.
co lIe ('ted
t~le Sf'
f 01 k sonP'2 f'ro'i\
learned as a chi1d and 1ui
t~
by other tea8he r s.
H
;;:rol~~d
the war Id •
Many she
f'ew bave beRn sent to
var1ed
?c;
from Braz i"1 to "Ym:d9"
Mrs. Ri.chards has
Sh'" CO.lle.s'"
'7
83
h~r
h
"BombG",lalom"~·
::'rom Missourj.
symbo]c "1re use·} in E'I'M, ·but the main emphasis 1:=:
s"vj~l
i.he
sir.ginfT, game.
Rhythm
the
com~nr.
niqlJ.es.
o~
sy~bols
namps
G~
a~e
~sert
t~0se
the following
pIes of rhythm symboJs and
bast~
almost exslusively for elemen-
sy~jo]s
~?~0
(e.g. quarter netes, eighth
T have j]lustrated some
ThAre are many d3fferent
np~es.
id p 8S (e.g. ta= quarter note) it
i~
not 0iffjcult to
T think it is important
transfer him to the common names.
to BypOSe him to the comMon names
pX8m-
~t
the
e2~liest
time the
teacher feels it is approprlate.
Anotr,er wid:::ly used ETM "rnateri8l" i.s the form mar.
fo::m map
~ncorvcr8.te~-;
A
a r::hU.d's feelings 1nto the writter..
This is a v'2ry Eood (1!lportur;ity :or the chiJd to te cI'(';::itive
A Goori way to use
map in the air.
The child uses
~j~
pointer finger in the air
.
Whe"!"") -t;h( m1)C::l(' s-:8rts, he can
88
::)
pen r :il
1 r~
8
sm""th rno -+~.~i on
whF~eve!'
he
W8:,tS
ttl
'l10VP
his "f i
+Jake it.
T+
.1-
/
a 1~3Y's'= ennJ8r, !=Ji ,?,:,p nT p:.lpe r
tn be crea tivet
on.'
is then
I..
'}'his is done with a
~:ge_r
m:;,rk~;r
ar:d
The ch.l1d
puts an "X" so:rewherc on tn,.? Daper
::~Clr;:>
c;tarting. point <Jno
be
mak~s
a practice
le~t
o~
the marker so
2hiJd
Lh~
to the; 50rg
pa;:;e.
"S~llly
Gnoder:.
~ap
that
.8
II~
Phrasing
C8n te
in~~rporated
S().ng
intn
t~ts.
.
"B 1. 'clS B:'
On the fcllowinc pa:e is a
a
9~lse
r:1 • "/
or beat
The purpose of the
the beats and how an( whorp they are divided.
The f'J ' 1r
8.re3.S
of
;1";
ex.perl(~~cE'
game-- movemert, music,
1 h8ve chosen the
n
"Pucl~;el1;:<,,1'~'
1
-1:':
i '1
Js-t;r:.,tr.; this conce:,t.
g2~e
lS
/
\,
ror
(V1
(neA P
To
v.. S a..
ll y Goo 4e.n ~
~eo..-t
IY\
Q
P
to
\\ ~Ivc...
6irJ'/
(6 )
rl'he ch:ld-
"Look wholE
hpre!
Puncinell'1
~hey
put on
im~;in8ry
Durinf'
.
1 C"'
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.. "
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~:, 1J C,- h
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mUSIC
to
tEne~jt
children.
FDC!':'NOTES
1.
r~18ry ~rC~pr'l ~j,;1~;~lr'~s,
of
r/j1.1S~ ~~
;!>-l A':)8 ~- ~~('Jt"~
r~lur~~=_!~~
;·r1cl
Tj\~(1~q8~e?
S'r.::)t-),'l2-'!~·~~,
~ ;?:!~)
(Rjr-r1?rrls
J
~'8P"e
Instit'..lte
lV.
•
~i er i~j p',_~rptte S\lv'(-,er~e\r ~-1"!1~~ !\/I2r~~T~Jrt-~ -t
Nr;?r·r.~.rr;1I I£x:~)p:-::-· 2 erJe~~
~amF'S Thr"uo:r rb~'r-t (R'~"h::p:'--';3 Tnst5t;lte of r~us~c 2d~;'~~8+:ion
8 '1 d Res i~ -3 r c h, 1 9 7 ~1 ), pa s p l .
Si
lJ
• rr:?TY
-+l)te
c;
· Ibid ,
./
rn9:e
;8 •
6. • Ibid , fCl'"':C Pit.
7. Irjd ,
8•
q
/
1
?
.
L ...... •
~J], I~
j
p~g8
'<?
~'t._
•
c I ang'Jrl[;e 2 , nae'C
~)l+
0
BIBI~IOGRAPHY
1. Experjon;:e
G'lr~-::J
rrhr~11gh
ano NI8r~81oo4-7}'':I;'''''Tr,
anrl ~eseHr~h, 1973 •
MU!":ic,
~ir::h8rds
c;i~,t(;r
Fleurette 5weene:/
Insi:lt 1]tE:
.2.
~he
J.
Ii1usic Langu8ge 2, M'u'.! He~Jn ~:ich8Y'ds,
n:: Music EducationH:n EesE,:uTh, 197 LI-.
Music L?tr[uage, M2:,Y Helen Richard:"
of' fvrusic Sdl)"C'. ti,Yl '3nd ~es(·(}~'r:.'}', 1973.
fvTu~dc
~;,ducatjnn
R~chards
Jn~,!_i+l;tl;:
f)f'
F\i,'hard~~
Inst;i: 1Ji:c