Music for Everyone: Songs, Games,
Dances, and Learning Activities to
Meet the Needs of a Diverse
Population
Berta Hickox – bertayee@dejazzd.com
Alice Hammel – hammela@mac.com
S
El Florón
El Florón
1. Sitting, circle gets smaller
2. Standing, knee down or stay on your
dot
3. Standing, beer fest
El Florón
Musical goals achieved
1. beautiful song
2. mrd prep for older beginners
3. harmony
4. triple microbeat
5. AB macro form
6. singing game from Puerto Rico
El Florón
Potential issues & modifications/adaptations
for success
Sensory
a. Start with greater restrictions to
increase comfort level
b. Give student another role
(singing/playing harmony)
El Florón
Potential issues & modifications/adaptations
for success
Physical
a. Provide alternative movements and
roles in game
El Florón
Potential issues & modifications/adaptations
for success
Behavioral/Emotional
a. Provide very clear directions and
parameters for behavior
b. Provide an ‘out’ for students who are
not able to participate fully
El Florón
Potential issues & modifications/adaptations
for success
Communication
a. Singing while playing game
b. Singing solfa
i. use of clicker
ii. show body signs or hand signs
iii. play on pitched percussion or
piano
Five Domains For Learning
1.Communication
2.Cognition
3.Physical
4.Behavioral/Emotional
5.Sensory
Music Aptitude
Music aptitude is one’s potential to achieve in
music.
Music aptitude is innate, but not inherent.
Music Aptitude
Music aptitude is developmental until age 9,
and can fluctuate until about age nine
according to the richness and diversity of
musical experiences the child undergoes.
Music aptitude stabilizes after age 9.
One cannot expect to achieve in music
beyond the limit of one’s stabilized music aptitude.
Music Aptitude
Administer a valid and reliable test
such as the Primary Measures of
Music Audiation (PMMA) or the
Intermediate Measures of Music
Audiation (IMMA) to measure
each student’s music aptitude.
Music Aptitude
It is NOT the purpose of aptitude testing to
identify students for inclusion or exclusion
in music activities.
Music Aptitude
Because many students with high music aptitude
have not had the opportunity to achieve in music,
a music aptitude test can reveal musical potential
that might otherwise remain unknown to those
students and their teachers.
Music Aptitude
Use the scores to differentiate each student’s
instruction. Scores will be normally distributed
in a population; they will fall in a “bell curve.”
Music Aptitude
Students with low music aptitude will need many
more opportunities to listen, echo patterns,
decode, and read than those with average or high
music aptitude. Students with high music
aptitude will learn faster and need more challenges
than those with average or low aptitude.
Music Aptitude
A student’s scores in tonal aptitude and rhythm
aptitude will likely differ: a student with high
tonal aptitude could have a below average
rhythm aptitude. Therefore, the teacher is
challenged to teach to each student’s individual
differences.
Creative Movement
Heavyland/Lightland
Free and Bound Flow
Bach Activity
Creative Movement
Can support communication goals
1.
2.
3.
4.
5.
Comparatives (high/low, fast/slow)
Melodic direction
Phrasing
Solfa
Self-leveling activities
Creative Movement
S Assessment
S Informal:
Observation
S Formal: Rating
Scale
S move at appropriate time
S freeze at appropriate
time
S move quickly
S move slowly
S -move smoothly
Singing
Teaching a rote song/how to repeat a song
for increased success with cognitive challenges
1. sing 4x, c. sings
2. fill in a word
3. ask questions
4. # of phrases
5. highest/lowest pitch
6. resting tone
7. form
Singing
Potential issues
1. Sensory – too loud
a. plug ears, smaller groups perform
2. Communication
a. demonstrate with gross motor
3. Behavioral/Emotional
a. recognize the inherent emotional
elements in music and acknowledge
these differences
Goodnight
Bate, Bate
The Gallows Pole
Phoebe in Her Petticoat
SNACK TIME!!!
Literacy
Literacy
Aural Decoding
a. Play game – if anyone gets hurt, the game is
over
b. Aural decoding - melodic
i. Sensory – game
ii. Physical – game
iii. Behavioral/Emotional – game
iv. Communication – decoding
v. Cognitive – decoding p. 134
Sol-Mi Notation
Presentation Stage
Non-Modified or
Adapted Curricular
Goals
Modified Curricular
Goals
Adapted Curricular
Goals
Students will sing sol-mi Student will
patterns using neutral
approximate higher and
syllables.
lower pitches following
individual prompt by
teacher.
Student will sing sol-mi
patterns using neutral
syllables at a tempo of
his choosing
Students will derive
quarter-eighth patterns
from chants that are
well-known to them.
Student will derive
quarter-eighth patterns
using popsicle sticks
given as much time as
necessary
Student will tap the
rhythm with words to
chants that are wellknown to him
Sol-Mi Notation
Presentation Stage
Non-Modified or
Adapted Curricular
Goals
Modified Curricular
Goals
Adapted Curricular
Goals
Students will show
higher and lower with
their hands and with the
use of icons.
Student will show
higher and lower
through any modality
he prefers.
Student will
demonstrate higher and
lower using icons
and/or body motions.
Students will discover
Student will sing folk
the two pitches (sol and songs that contain solmi) and their similarities mi with other students.
as noted in several folk
songs well-known to
them.
Student will discover
sol-mi in at least one
folk song well-known to
him.
Sol-Mi Notation
Presentation Stage
Non-Modified or
Adapted Curricular
Goals
Modified Curricular
Goals
Adapted Curricular
Goals
Students will apply new
rhythm syllables to
chants well-known to
them.
Student will chant
rhymes that contain
quarter/eighth patterns
with other students.
Student will chant using
rhythm syllables at a
tempo of his choosing.
Students will apply new
solfege syllables to
chants well-known to
them.
Student will apply new
solfege syllables to at
least one chant wellknown to him.
Literacy
Literacy
Tideo
a. Aural decoding – rhythmic
b. Adapted sequence p. 146
Aural Decoding Assessment
Solo assessment: 1. By phrase or pattern with
modifications
(different content – smd
only)
2. With adaptations
(fewer patterns)
Reading
Rhythm
Use many means to the same end for variety and
repetition
R ladder
R flashcards
beach ball
King of the Mountain
Sinking Ship
Match titles to rhythm patterns
Reading
Rhythm
Beat Flashcards
Who Has This Rhythm?
Read Backwards
Rhythm Card Game
Rhythm-Go-Round
Reading
Rhythm
Differentiate for
intellectually gifted
high musical aptitude
needs more repetition
(cognitive and low musical aptitude)
Reading
Melody
Use many means to the same end for variety
and repetition
tone ladder
tone set
finger staff (read from teacher’s)
body signs
hand signs
magnetic noteheads
Writing
Rhythm
Use many means to the same end for repetition
and as modifications
popsicle sticks
rhythm flashcards + flyswatter
fill in the missing rhythms
class set of rhythm cards
beat flashcards
Writing
Melody
Use many means to the same end for repetition
and as modifications
felt staffs
finger staff
magnetic noteheads
melodic flashcards
transfer stick notation to staff
transpose from one staff placement
to another
Reading/Writing
Assessment
1. small group performance if student is unable to
sing solo
2. assess individuals within a group
(Rhythm-go-Round, felt staffs)
3. rubric with modifications
(quarter note, eighth notes, quarter rest,
half note only)
Reading/Writing
Assessment
4. Rubric with adaptations (perform at own
tempo, assess fewer examples,
choose own patterns to read)
Rhythm Sequence
Rhythm
Sequence
ECHO
Neutral
Syllable
Transfer
neutral to
syllable
Rhythm Sequence
Rhythm
Sequence
IDENTIFY
In a rhyme
or song aurally
Visually
Rhythm Sequence
Rhythm
Sequence
DERIVE
From a
rhyme or
song
CREATE
New
rhythms that
contain
LUNCH TIME!!
Folk Dancing
Seven Jumps
Chimes of Dunkirk
Heel & Toe Polka
Sasha!
Sashay the Donut
Haste to the Wedding
(Sicilian circle and contradance)
Folk Dancing
Potential issues
1. Sensory (desensitization)
2. Physical
tempo
3. Cognitive –
can’t remember the order of the calls
4. Behavioral/Emotional
working with partners
Folk Dancing
Modifications/Adaptations
1. Assign a buddy who is a strong dancer
2. Teacher demonstrates the dance
with a student who needs extra
repetition, a slower tempo, to
experience the dance without music
3. Some students choose partners first
Folk Dancing
4. Allow an individual to observe as necessary;
rotate in
5. Teacher chooses partners
6. Partner chain (random choice of partners)
Four Primary Teaching
Practices
Size
Color
Pacing
Modality
Sample Folk Dance Sequence
Seven Jumps
RM2
Les Saluts
circle
MB
Barnereinlender Norwegian FDM
Agadu
Israeli
FDM
Yesh Lanu Tayish longways set FDM
(also as play-party in Roots and Branches)
Sneaky Snake
line dance RM4
Sample Folk Dance Sequence
Chimes of Dunkirk
Heel & Toe Polka
Sweets of May
Rural Felicity
Galopede
Kings and Queens
longways set CH
circle
CH
longways set CH
longways set SD
longways set CH
longways set SD
Sample Folk Dance Sequence
Irish Stew
circle
RM2
circle
SD
(“Rakes of Mallow”)
Pepperell Stomp
(“Irish Reel”)
Bridge of Athlone
longways set MB
(“Blarney Pilgrim”)
La Bastringue
Blaydon Races
Sasha!
circle
circle
CH
CH
SD
Sample Folk Dance Sequence
Jubilee Rag
longways set
Simple Square
square
Sashay the Donut double circle
Black Joke
Sicilian circle
Zemer Atik
Israeli
Haste to the Wedding Sicilian circle
MB
CH
SD
CH
RM4
CH
Sample Folk Dance Sequence
Haste to the Wedding
Dip for the Oyster
Lucky Seven
Mariposa
Jefferson & Liberty
contradance
Sicilian circle
circle
Sicilian circle
contradance
CH
CH
CH
MB
CH
Sample Folk Dance Sequence
Close Encounters double circle RM4
(“California Dreaming”)
Circle Waltz Mixer circle
SD
Teachable Moments through
Folk Dance
1. Dance until the music is finished
2. Partner chain or “May I please have this
dance?” (the answer is “yes”)
3. Clap for the music at the end of the dance
AND say “thank you for this dance” to your
partner
Resource Guide for Folk
Dances Used in Sequence
FDM Folk Dance Music for Kids and Teachers
(Sanna Longden’s CD No.1)
MB
Listen to the Mockingbird
RM2 Rhythmically Moving 2
(Phyllis Weikart)
RM4 Rhythmically Moving 4
(Phyllis Weikart)
CH
Chimes of Dunkirk
SD
Sashay the Donut
Part Work
Types
Canon
Ostinato (rhythm, melodic, spoken, played)
Root melody/implied bass line
Partner songs
Countermelody/descant
2-part music
sing + reading/conducting/beat and
beat division/ball-bouncing
Part Work
Potential issues
1. Communication
2. Cognitive
3. Physical - beat + beat division,
conducting, playing ostinato
Part Work
Part Work
Teachers create other parts (with or without
instruments) to be performed with song
Students choose what is comfortable to
perform = self-leveling
Part Work
Instruments
1. another avenue for communication
2. size
3. modality
SNACK
Singing Games
Singing Games
Singing Games
Singing Games
Singing Games
Potential issues
1. Sensory
desensitization
2. Cognition
when to meow
3. Communication
vary modalities
4. physical
5. behavioral/emotional
Q&A
General Ideas
Use a predictable/standard lesson plan
Many tasks in a single music class =
Opportunity to give positive feedback
Regarding each student’s strength
Sequence! Break down each task and
sequence
General Ideas
Identify carefully what you want to assess
Offer multiple opportunities to learn and
Reinforce skills/concepts so kids have
Opportunities to learn what you want to assess
Seek incremental improvement for each student
Einstein Quote
“Everyone is a genius. But if you judge a fish on
Its ability to climb a tree, it will live its whole
life believing it is stupid.”
Double Dream Hands
The Big Finish!
Dip for the Oyster