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Short background of musical educators and psychologists that have influenced my teaching.
Jean Piaget
Jean Piaget was a Swiss psychologist whose work provides an early description of the changes which take place in intellectual functioning as children develop.
Piaget’s Development Growth chart for children proves the importance of music education. Music Education does contribute to the physical development of the child, to the Social development, to the Emotional and the Psychological development and to the intellectual development too.
Lev Vygotsky
Russian psychologist, who attributed a special role to the social environment of the child. According to Vygotsky, all learning occurs first at a social level under a mediator (a teacher or parent and then at a personal level). Vygotsky noted that children learn from the people who make up their social world, which is the source of all concepts, ideas, facts, skills and attitudes.

Zoltan Kodaly
The philosophy underlying the Kodaly approach is as follows:
1. All people are capable of lingual literacy are capable of Musical literacy.
2. Singing is the best foundation for Musicianship. It’s as natural an activity to the child as speaking.
3. Musical education to be most effective must begin with the very young children.

Kodaly’s objectives in musical training are to develop to the fullest extend possible; the innate musicality present in each child. To help children to be musically literate, to make available to children the great art music of the world, so that through performing, listening, studying and analysing masterworks they will come to a love and appreciation of music based on knowledge about music.

Carl Orff
‘With correct guidance and training the child can develop perceptions of pitch, rhythm and musical form and enjoy participation on solo and group improvisation’.
Orff’s process of education goes through exploration and experience. The elements of music are explored first in their simplest forms. Gradually, through experience, these elements are refined and elevated to more complex levels of exploration and experience.
Children are encouraged to explore the quality of movements, sounds and space. The Orff’s concept of teaching children music is to observe-imitate-experiment and create with in the class group.

‘What is the source of music?’ Where does music begin? Where do we sense emotions and how do we feel them? What is the first instrument that must be trained in music?’ With all these questions in mind Jaques-Dalcroze developed his teaching techniques combining hearing and physical response, singing and physical response, reading-writing and physical response, in an attempt to arouse vivid sensations of sound.
He thought that the base of all musical art is human emotion. It’s not enough to train just the mind or the voice; the entire human body must be trained since the body contains all the essentials for development of sensibility, sensitivity and analysis of sound, music and feeling.
Any musical idea can be performed by the body and any movement of the body can be transformed into its musical counterpart. There must be an immediate reaction between the mind that conceives and the body that acts. Jaques-Dalcroze had profound insights into the musical education and added a new dimension to a holistic learning.



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