Avenues of Entry into the World of Western Art Music
Identifieur interne : 000071 ( Istex/Corpus ); précédent : 000070; suivant : 000072Avenues of Entry into the World of Western Art Music
Auteurs : Moira SzaboSource :
- Music educators journal [ 0027-4321 ] ; 2005-09.
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DOI: 10.2307/3400225
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Szabo</surname><given-names>Moira</given-names></name><aff>Assistant professor of education at the University of Victoria in British Columbia, Canada. She can be reached at <email xlink:type="simple">mszabo@uvic.ca</email></aff></contrib></contrib-group>
<pub-date pub-type="ppub"><month>09</month><year>2005</year></pub-date><volume>92</volume><issue>1</issue><fpage>38</fpage><lpage>43</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Avenues of Entry into the World of Western Art Music_ By Moira Szabo Exposing students to Western art music informally is one way to promote appreciation for this music. hroughout my teaching career of the last thirty years, I have thought a great deal about how to prepare children for meaningful encounters with Western art music, a type of music that is not normally a part of their listening environments. (Many young people consider it music of the grey-haired generation.) The Western art music I was exposed to through my school music program many years ago had a great effect on me; therefore, I have consistently sought effective ways of presenting it to children. I believe in the value of exposing children to many styles and genres of music—world music, both folk and classical, is my other passion—however, in this article, 1 want to share a number of strategies that can help you provide informal learning environments that may foster in your students a love of Western art music. I emphasize informal learning environments here because I've come to realize that in addition to directly teaching selected elements of a musical composition, it's equally valuable to present Western art music in relaxed, nondirected ways. A number of researchers have concluded that significantly positive musical experiences are likely to occur in a relaxed, informal listening environment. Sloboda found that children are particularly apt to respond positively to music they listen to in situations where they are not being evaluated and in the company of loved ones. (Although Sloboda was referring to loved ones in the context of family life, the idea can be comfortably extended to the teacher and classmates.) He concluded that this informal exposure to music can have a long-lasting effect on a child's subsequent musical behavior and involvement. Social reinforcement also is known to be a powerful agent in shaping musical attitudes and preferences in the very young. Sosniak interviewed twenty-five concert pianists to determine factors that contributed to their musical success. She discovered that, as young people, the pianists had close personal contact with teachers they described as being “very sincere,” “very interested in seeing me develop,” and “openly encouraging.” In my own research, I have examined the factors that conditioned a love of Western art music in a group of adult listeners described as “devotees of Western art music” who owned, on average, four thousand Western art music recordings each. What made this group of listeners particularly interesting was that none had had any musical training beyond a year of formal piano lessons, and some had no lessons at all. As children, they didn't regularly hear Western art music at home, yet they developed a strong connection with it. The most overriding agent in shaping their taste appeared to be the fact that the music was just “there” at various times in their young lives—there was no pressure to learn it. In a few cases, a grandfather played the music on Sunday afternoons, letting the child choose the recordings they listened to together. In a couple of other instances, middle school English or science teachers sparked students' interest when they played a recording of a favorite composer instead of doing a science or English lesson on a Friday afternoon. School symphony concerts also had a major effect on developing their taste for this music. A few listeners first heard Western art music in a movie when they were about ten years old. As adults, they recall having been entranced by it though they didn't know how to hear more of it. All of these exposures to Western art music were serendipitous. I'm not implying that students shouldn't be taught to analyze what they hear and develop musical knowledge and understanding through direct means; their emotional and intuitive growth should be channeled into some form of analysis. However, teachers should know and be MUSIC EDUCATORS JOURNAL SEPTEMBER 2005 comfortable with the fact that informal exposure in a positive, relaxed context—not unlike children's exposure to popular music—is also valuable. Opportunities for students to hear music without dwelling on its technical, formal components should be accommodated. What follows here are a number of informal teaching strategies that 1 have personally found to be effective in fostering positive attitudes toward Western art music. An Integrated Listening Model Hanley provides a model for listening that holds promise as a way of developing an understanding and appreciation of Western art music in children and young adults. This model allows students to draw on their own experiences and challenges them to listen more attentively in order to make sense out of what they hear, see, and feel. The three central questions (What do I hear? What do I see? and What do I feel?) that are applied to every musical selection facilitate informal discussion about the music, giving every child a voice. As students begin to share ideas, they incidentally learn the musical vocabulary. The goal of the model is its “intention of helping students gradually expand their understanding of themselves and their world by engaging them in different and increasingly more complex listening experiences.” This model can be used with listeners of all ages. A teacher can select any instrumental or vocal piece for listening (see the sidebars for examples) and have students directly respond to it through the three central questions that focus their attention on the music and its effect. With continued listening practice, students can, with guidance from their teachers, become increasingly aware of more complex features of the Moira Szabo is assistant professor of education at the University of Victoria in British Columbia, Canada. She can be reached at mszabo@uvic.ca. IimL I ?**•** “*18f%** Students often come to enjoy great orchestra music when given the opportunity to hear and discuss it WWW.MENC.ORG Nondirected Listening Model Schools can positively influence students by creating regular informal opportunities for them to hear Western art music. David Brummitt and Karen Taylor's music-listening program has had great success in the schools of British Columbia and elsewhere. It comes with listening selections that represent a cross section of various styles and genres of Western art music on nine CDs with a reader's script that introduces each selection. At a designated time each day, a musical selection of no more than five minutes is played over the PA system. The same piece is played every day for five days so that by the fifth day all children have heard the same selection five times. The short one-paragraph scripts, usually read by an older student, feature the title of the composition and information about the composer and the selection. Each selection includes five different scripts, allowing students to learn a little more about a piece each time they hear it. Over the course of the school year, children hear approximately thirty different selections from the Western art music repertoire. The authors present specific guidelines for listening. The success of the program is highly dependent on every teacher's commitment to it. There has to be agreement that the students throughout the school remain quiet during this listening time. Anecdotal reports from students and teachers indicate the positive effect of this listening program. Music teachers can also use this nondirected listening activity to their advantage by following up on the featured selection of the week in their classes. Classical Kids The Classical Kids series from the Children's Group features stories on compact disc about Vivaldi, Bach, Handel, Mozart, Beethoven, and Tchaikovsky. The series sets children in the cultural and historical context of the composers' time periods and provides quality “yuaretnere” musical experiences in a relaxed format, using some of the greatest music of the Western classical heritage. Each story features an appealing child character, and the creators of the series have carefully selected music that fits the mood of the scenes and suits elementary schoolchildren's attention span. Although children can listen to and enjoy the stories for their own sake, an accompanying teacher's guide for each story can help teachers formally develop the content. Background Music Music that accompanies another task gives students an opportunity to become acquainted with the music. Even when listeners devote only partial attention, music can lodge itself surprisingly well in the memory. Musical Resources for Enhancing History Lessons Composer Leonardo Balada Marc Blitzstein Benjamin Britten Benjamin Britten Claude Debussy John Dunstable Franz Joseph Haydn Franz Joseph Haydn Clement Jannequin Krysztov Penderecki Arnold Schoenberg Dmitry Shostakovich Dmitry Shostakovich Dmitry Shostakovich Jean Sibelius Bedrich Smetana Musical Selection Guernica Airborne Symphony Ballad of Heroes War Requiem “Noel des enfants qui n'ont plus de maisons” “Agincourt Hymn” Lord Nelson Mass Mass in Time of War “La Bataille de Marignan” “Threnody for the Victims of Hiroshima” A Survivor of Warsaw The Fall of Berlin (film score) Leningrad Symphony (No. 7) Song of the Forests “March of the Finnish Jaeger” “Tabor” and “Blanik” from Ma Vlast Historical Event Spanish Civil War World War II Spanish Civil War Reconsecration of Coventry Cathedral after World War II World War I Henry V at Agincourt Napoleonic Wars Napoleonic Wars Italian Wars, Battle of Marignan, 1515 World War ll/Bombing of Hiroshima World War ll/Holocaust World War ll/Defeat of Hitler World War 11/Siege of Leningrad Post-World War II reforestation program in the USSR World War I Hussite Wars 40 MUSIC EDUCATORS JOURNAL — SEPTEMBER 2005 Music in Films Composer Tomaso Albinoni Georgio Allegri Johann Sebastian Bach Samuel Barber Frederic Chopin George Frideric Handel Franz Joseph Haydn Wolfgang Amadeus Mozart Wolfgang Amadeus Mozart Carl Orff Johann Pachelbel Camille Saint-Saens Jean Sibelius Johann Strauss Richard Strauss Giuseppe Verdi Selection Adagio in G minor “Miserere” “Aria” from The GoldbergVariations Adagio for Strings Piano Concerto no. l,“Romanza” “Arrival of the Queen of Sheba” from Rinaldo String Quartet, op. 64 Clarinet Quintet, second movement Symphony no. 29, first movement “O Fortuna” from Carmina Burana Canon in D Organ Symphony no. 3, first movement Finlandia “Blue Danube” Waltz Also Sprach Zarathustra “DammaTu Forza” from LaTraviata Film Gallipoli Chariots of Fire The English Patient The Elephant Man The Truman Show Four Weddings and a Funeral Star Trek: Insurrection Out of Africa Amadeus Excalibur Ordinary People Babe: Pig in the City Die Hard Titanic 2001:A Space Odyssey Pretty Woman Classroom teachers can play favorite selections at key points in the day For example, a student art or creative-writing lesson can be stimulated by pieces like Grieg's “In the Hall of the Mountain King” or Kabalevsky's “Dance of the Comedians.” Music can also accompany transition periods and occasions when students are engaged in silent reading or other quiet activities in their regular classrooms. Peaceful music relaxes children and sets them up for quiet activities like silent reading or independent study time. Young people respond to the mood of music, and it can provide a welcome relief and a safe haven from the stresses of their daily existence. A quiet period can be accompanied by Bach's Air on a G String or the slow movement from Mozart's Clarinet Quintet. Appropriately selected music to accompany a special story can greatly enhance its dramatic effect. For example, the classic story of “Beauty and the Beast” accompanied by Ravel's “Pavane pour une Princesse Defuncte,” timed to start when the musicians gather to play music while Beauty and the Beast dine, is very effective in conveying the feelings that are emerging between the two characters. At best, the piece is just long enough to take the reader to the end of the story. (The reader may need to practice reading to the music in order to get the timing right. The music can be repeated if necessary.) Echoes From the Square or A Brave Soldier for Memorial Day (or Remembrance Day in Canada) accompanied by Albinoni's Adagio or Barber's Adagio for Strings underscores the tragic and serious nature of war. The Painter and the Wild Swans12 set to Saint-Saen's “The Swan” from Carnival of the Animals adds to the story as the music conveys the feeling the painter had for the beloved wild swans. In informal discussions, students can explore how the music enhances the stories, specifically what qualities of the music make it suitable for expressing the sentiments of the characters and events. These strategies give children a concrete way to enter into the music as the story and the music become one. Informing Other Subjects Western art music can bring studies in literature and history to life, particularly in middle school and high school. In this way, one discipline informs the other, thus providing for an enriched learning experience. For example, students can experience Shakespeare's Romeo and Juliet from another perspective through Tchaikovsky's Fantasy Overture to Romeo and Juliet. The story of William Tell takes on an added dimension when students hear Rossini's William Tell Overture. A study of war can be enhanced by a number of musical selections, such as Tchaikovsky's 1812 Overture and Beethoven's “Wellington's Victory.” The Musical Resources for Enhancing History Lessons sidebar suggests more pairings. Western Art Music and Films Much Western art music is heard as background music in films. Drawing students' attention to this fact can give credibility to this genre of music. Examples of classical music selections found in feature films are listed in the Music in Films sidebar. Increasing student awareness of music they may have already heard is a good way to initiate an interest in Western art music among students from middle school through high school. Teachers might promote discussion on the power of music to WWW.MENC.ORG 41 Highly Expressive Music for Novices johann Sebastian Bach Ludwig von Beethoven Ludwig von Beethoven Ludwig von Beethoven Ludwig von Beethoven Ludwig von Beethoven Ludwig von Beethoven Johann Brahms Johann Brahms Claude Debussy Antonfn Dvork Anton in Dvorak Edward Elgar Edward Elgar Cesar Franck George Gershwin George Gershwin Edvard Grieg Edvard Grieg Ferde Grofe Gustav Mahler Modest Mussorgsky Modest Mussorgsky Maurice Ravel Ottorino Respighi Ottorino Respighi Giocchino Rossini Giocchino Rossini Jean Sibelius Jean Sibelius Bedrich Smetana Johann Strauss Richard Strauss Piotr llyich Tchaikovsky Piotr llyich Tchaikovsky Piotr llyich Tchaikovsky Ralph Vaughan Williams Antonio Vivaldi Kurt Weill Toccata and Fugue in D minor for Organ Symphony no. 5, first movement Symphony no. 6, first movement Symphony no. 7, fourth movement Symphony no. 9, third and fourth movements Leonord Overture no. 3 Corialanus Overture Symphony no. I, first movement Piano Concerto no. 2, first and second movements Images for Orchestra Slavonic Dances Symphony no. 9, New World Symphony “Pomp and Circumstance” from Enigma Variations “Nimrod” from Enigma Variations Symphony in D minor Rhapsody in Blue An American in Paris Piano Concerto in A minor Holberg Suite Grand Canyon Suite Symphony no. 5, first and fourth movements Night on Bald Mountain Pictures at an Exhibition (orchestral version) Bolero Pines of Rome The Birds William Tell Overture Overture to The Thieving Magpie Finlandia Karelia Suite “The Moldau” from MaVlast various waltzes and polkas Introduction to Also Sprach Zarathustra 1812 Overture Fantasy Overture to Romeo and Juliet Symphony no. 6, Pathetique, fourth movement Fantasia on Greensleeves The Four Seasons Overture to The Threepenny Opera enhance dramatic situations in film. For example, teachers can lead students into a relevant and meaningful dialogue that requires their critical thinking by asking why the director of the film 2001: A Space Odyssey may have selected Richard Strauss's introduction to Also Sprach Zarathustra as his film's theme or how Beethoven's Ninth Symphony (fourth movement) is appropriate for the film Dead Poets Society. Link to the Community Teachers are advised to seek opportunities for children to listen to live music. There is a need to expose students to the “sense of occasion” that a concert can bring. Live music presents exciting music coupled with the visu- al effects of staging, lighting, orchestral instruments, conductor, and the ambience of the concert hall, which, when well prepared for, can engage children's full attention. Symphony orchestras in most major cities offer special school concerts during school hours at least once a year. Tickets for dress rehearsals of operatic performances are often available to schoolchildren through the local opera society. Typically, a program is available to teachers with suggestions for activities that prepare children for what they will hear, how to listen, and what to listen for. Western Art Music for the Novice When exposing students to Western art music for the first time, it is important to choose selections that students who are new to this music can enjoy. The music of the romantic period has widespread appeal. This music commonly displays sensuous elements and a “potency” that untrained listeners tend to rate highly.13 Elliott supports the idea that the expressive elements characteristic of music of the romantic period are easier for untrained listeners to follow than more subtle elements, such as harmonic and melodic developments of other periods. Child, adolescent, and adult listeners describe the salient musical features to which they most readily respond using words like “sonic impact,” “rhythmic activity,” “big tunes,” “orchestral color,” “timbral effect,” “aesthetic qualities of a beautifully rendered melody,” “serenity,” “images evoked by the music,” and “elements of surprise and predictability.” Meyer classifies timbre, texture, dynamics, and rhythm as sensual elements that appeal more immediately to the emotions. Those who are hoping to stimulate interest in Western art music among new listeners would do well to select expressive or romantic music with some of the qualities described above. The pieces listed in the Highly Expressive Music for Novices sidebar are examples of music that may appeal to adolescents. Young people are capable of responding to Western art music. All they need is the opportunity to hear it. Play it for them. Discuss it with 42 MUSIC EDUCATORS JOURNAL — SEPTEMBER 2005 them. Communicate your love of it to them. School music programs can nurture a love of music that lasts a lifetime. Such appreciation can lead students to deeper study and lifelong support of music in school and the community The first step in this process is for teachers to give students a chance to listen to it, talk about it, and enjoy it. Notes 1. John A. Sloboda, “Music as Language,” in Music and Child Development, ed. Frank R. Wilson and Franz L. Roehmann (St. Louis, MO: MMB Music, 1990), 28-43. 2. Lauren Sosniak, “A Long-Term Commitment to Learning,” in Developing Talent in Young People, ed. Benjamin Bloom (New York: Ballantine, 1985), 498. 3. Moira Szabo, “For the Love of Music: Avenues of Entry into the World of Western Art Music” (doctoral diss., The University of Washington in Seattle, 2001), 13. 4. Keith Swanwick, Musical Knowledge: Intuition, Analysis, and Music Education (New York: Routledge, 1994). 5. Ibid., 33. 6. Betty Hanley “An Integrated Listening Model,” Canadian Music Educator 38, no. 3 (1997): 37-41. 7. Ibid., 38. 8. David Brummitt and Karen Taylor, Brummitt-Taylor Music Listening Program: A Non-directed Approach (Langley BC: Tall Timbers, 1996). Information available at http://www ttimbers.com/brummitt.htm. 9. Classical Kids (Pickering, ONT: The Children's Group, 1998). Information available at http://www.childrensgroup.com 10. Szabo, “For the Love of Music.” 11. Elizabeth Wellburn, Echoes from the Square (Toronto: Rubicon, 1998); and Nicholas Debon, A Brave Soldier (Toronto: Groundwood Books, 2002). 12. Claude Clement, The Painter and the Wild Swans (New York: Dial Books, 1986). 13. Francis G. Hare, “Dimensions of Music Perception,” Scientific Aesthetics 1 (1977): 171-80. 14. David J. Elliott, Music Matters (New York: Oxford University Press, 1995). 15. Moira Szabo, “For the Love of Music,” 276. 16. Leonard B. Meyer, Music, the Arts, and Ideas (Chicago: University of Chicago Press, 1967). MENC Resources The following MENC resources may be helpful for teachers who want to expose students to Western art music. Visit www.menc.org or call 1-800-828-0229 for more information on these and any other MENC resources. • London Symphony Orchestra Music Explorer (Item # 3083) is a video with listening guide by Richard McNicol. A limited supply is available for purchase; however, portions of the listening guide related to well-known musical selections are available at http://www.menc.org/guides/explor/ explorl.html • Celebrating American Composers, which includes lessons related to a March 2000 New York Philharmonic radio broadcast, is available at http://www.menc.org/guides/nyphil/open.htm. Teachers need access to recordings of the selections played. The following articles may also be helpful. You can order back issues of MENC journals by calling I-800-828-0229. Articles are also available in periodical databases at many libraries. • Beck, Charles R. “Prompting Strategies for Introducing Opera.” Music Educators Journal 88, no. 4 (2002): 28-35,58. • Beck, Charles R. “Sensitizing Students to Famous Operatic Arias and Voices.” Music Educators Journal 90, no. I (2003): 31-36. • Ponick, F. S.”Bach and Rock in the Music Classroom.” Teaching Music 8, no. 3 (2000): 22-29. • Rappaport, Howard.”The Infinite Variety of Listening Logs: Your Students May Astound You “ Music Educators Journal 91, no. 3 (2005): 29—42. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Avenues of Entry into the World of Western Art Music</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Avenues of Entry into the World of Western Art Music</title></titleInfo><name type="personal"><namePart type="given">Moira</namePart><namePart type="family">Szabo</namePart><affiliation>Assistant professor of education at the University of Victoria in British Columbia, Canada. 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