We were thrilled to find out this week that our World-Music Online Courses and Workshops have been selected as finalists for the Music Teacher Awards 2019! We thought this would opportunity to share how and why we developed the resources.
In this 2nd blog of the series, our weekly blogs will focus on giving tips for teaching different genres of world-music in the classroom. Regardless of the genre, our tips will always come under the following headings which we believe are the most important areas to think about when teaching a world-music lesson or scheme of work:
Instrumentation
Technique
Cultural Significance & Classic Motifs
Leadership & Classroom Management
This week we’re focusing on teaching Brazilian samba drumming!
Over the next few weeks, our weekly blogs will focus on giving tips for teaching different genres of world-music in the classroom. Regardless of the genre, our tips will always come under the following headings which we believe are the most important areas to think about when teaching a world-music lesson or scheme of work:
Instrumentation
Technique
Cultural Significance & Classic Motifs
Leadership & Classroom Management
This week we’re focusing on teaching West African drumming.
This 3-stage method for teaching rhythms to whole-class ensembles is commonly used by most music educationists. Here’s a few tips we’ve found work really well in whole-class world music lessons
The majority of world-music styles/genres are learnt in their home cultures without using notation. The teacher usually conveys all the necessary information either verbally or via demonstration on their instrument. In larger ensembles (such as Rio-style samba or Balinese gamelan gong gede) there is also a fair amount of peer learning when many people are playing the same part. What can we learn from these teaching methods and apply to our own whole-class instrumental lessons?
This week almost 1,000 children in Key Stage 2 started their world-music First Access Programmes with our team of workshop facilitators. We also have a further 2,190 children starting their online world-music First Access Courses with us. We are very aware that across the U.K. First Access Programmes look very different, are varying lengths and have differing objectives, expectations and outcomes. We deliver First Access Programmes on behalf of several different Music Hubs and have to adhere to their aims and fit in with their local model for other instrumental First Access Programmes. Despite these variants, are there common themes, core principles and musical skills, expected knowledge that should be covered in a world-music First Access Programme?