Study Unit 2 - Listening to and responding to music

 

“Music may achieve the highest of all missions; she may be a bond between nations, races and states, who are strangers to one another in many ways; she may unite what is disunited, and bring peace to what is hostile.” - Dr. Max Bendner

1.      As a Foundation Phase teacher, you must choose between utilizing indigenous African music, Western Art music or contemporary commercial music (including popular music and film music) in your classes. Which would you choose? Please motivate your answer.

I would choose all three musical possibilities as a future foundation phase teacher. As I've progressed through study unit two, I've come to realize that music education provides unique chances for meeting inclusive educational goals. We can meet the individual requirements of our students by encouraging them to engage all their senses through music. Inclusive is also about making sure that every student in your class feels equal. We must make every learner feel welcome and competent, regardless of religion, color, or socioeconomic condition. We need to figure out what kinds of activities music students enjoy. What music do they listen to when they're at home or at recess? What are their favorite songs to sing? These should be used in our classrooms. Our teaching-learning and assessment methodologies and content must first and foremost meet the needs and interests of our students. Only after that will we be able to facilitate activities that will not only help them learn new abilities but will also be enjoyable and meaningful to them.

 2.      Do you think that the examples and content offered in SU 2 are inclusive? Please motivate your answer.

Yes, I do believe that all the examples a content offered in study unit two are inclusive. The various musical instruments are explored throughout the study unit, with excellent YouTube examples. African instruments are generally divided into four families based on how they make sound, while Western orchestral instruments are divided into four groups.

 3.      What suggestions do you have for making the content more inclusive? Please provide examples of how the content and activities presented in SU 2 could be changed or adapted to be more inclusive.

To make the contents more inclusive, I propose creating a checklist that teachers may use to be more inclusive and to assess if they are doing so in the classroom. These are the points to consider. I do not believe that all these points should be covered in a single lesson, but rather that they should be used continually to ensure the best possible approach for the students.

·        Give your students enough time and space. Those with special requirements, in particular. Increase the length of the lessons.

·        Keep in mind the response time; it's critical to leave gaps or space.

·        Motivate children who are displaying a challenging attitude, communicate with teachers or parents, and establish appropriate goals.

·        You should be familiar with your students. Before beginning a lesson, gather as much information as possible about your students. All our pupils' likes and dislikes, as well as what motivates them, should be known.

·        Do not be hesitant to seek for guidance and assistance in the classroom as a teacher. Always ask for assistance if you are in a teaching position where you experience stress.

·        Evaluate the instruments: Is it possible for students to gain access to them? Is there anything that prevents you from composing music? Is there a way to get rid of this? Is the sound appealing to the students?

·        All instructions should be clear and basic. Make sure the instructions aren't overly complicated.

·        In the classroom, make students feel protected and appreciated. Ascertain that they comprehend what is being asked of them and that they have a choice.

·        Don't be afraid to be inventive and creative, even if it means deviating from your original plan.

·        This is a child-centered method in which the student's abilities and motivation are used to define the scope. Allow the pupils to take the lead. Always include them in the pro section.

·        During the lesson, students with particularly troublesome behaviors should be seated near to you.

·        Differentiated activities should be used. We must recognize, acknowledge, and address disparities in ability, need, and motivation to be truly inclusive.

·        Don't assume that what worked for you when you were younger would work for everyone.

·        Be open-minded and avoid going in with preconceived notions about what will happen.

Working through the study unit and conducting additional research has made me realize how critical it is to be inclusive in the classroom. I believe that including a wide range of musical genres allows us to enhance our understanding and enjoyment of styles and cultures that are foreign to us while also allowing us to connect with our kids and model a culturally responsible learning environment. One of the most compelling arguments for using popular music in the classroom is that it is not only relevant to our students' everyday lives, but it is also one of the most powerful discourses available to them as a means of constructing personal identity and interpreting social experience.

Conference report: Inclusive Practice in Action 2021

Kyle McInnis
Sunday, April 25, 2021                                    https://www.musicteachermagazine.co.uk/news/article/conference-report-inclusive-practice-in-action-2021  

What fond memories do you have of engaging with music when you were a FP learner? Can you recall any less fond memories of engaging with music when you were in the FP? What happened? Why did it happen? What would you change if you had the opportunity?

When I was in the foundation phase, I remember singing and dancing a lot. I'm troubled by the fact that all of the songs were in Afrikaans or were Christian musical songs. It's not that the Christian music bothered me. I'm just curious as to where the teachers were being inclusive. There was no use of traditional African music. The teachers were merely incorporating Western art or classical music into their lessons. They, I believe, contributed to the establishment of hierarchies in which some musics are seen as more essential than others. I'm not sure what caused this. It's possible that the teachers were more familiar with Western art and classical music than with African music. I would change things if I had the chance. I'd like to encourage teachers to think about how they may use equality, inclusion, appreciation, and acceptance to address diverse social and political objectives and injustices in their classrooms. First and foremost, our teaching-learning and assessment methodologies and content must meet the requirements of our students. This has been an excellent prompt for me to reminisce about my childhood. It has also taught me the value of diversity in the classroom. I never want pupils to feel like they're being left out. I will do all in my power to ensure that all students are represented in my classroom.

Always be inclusive in the classroom!