CONCEPTUAL THEORY OF MUSIC TEACHING

Abstract

Investigation through the conceptual theory of music teaching builds recognition of model and biography ofthe theory, or method, developers. This investigation is practiced with students of five music educators includingDalcroze, Orff, Kodály, Montessori, and Suzuki. Explorations of conceptual theory of music teaching are as followings. Dalcroze developed core music learning on Eurhythmic Method and Solfege Methods. Eurhythmic Method is toexperience music through body movements to build good rhythmic perception while Solfege Method is to intonefixed tonic (fixed-do) to apprehend pitches together with movements. Orff originally conducted Schulwerk that is likemusic teaching plan that integrates body movements (like Dalcrozeûs Method) with pentatonic-note rhythm, Orffûsxylophone, rhythmic ostinato and hand signs to music teaching. Kodály principally initiated musical symbols beforelearning of common music notations. Examples of musical symbols include learning of object images or note stemwithout note head as prior lesson to the common notation symbols; utilizing hand signals; applying pentatonic-styledfolk songs and intoning of moving ùdoû from any keys (movable do). Montessori invented three major concepts onmusical teaching. Firstly, imitation, students can copy their teacher as a sample prototype. Next, reorganization,students need to recognize and identify differences of tones. Lastly, intonation, students can correctly intone as thefinal step to understanding and practicing. Suzuki introduced music learning as learning of mother tongue language.The essential of the method is to organize suitable learning ambiences and to arrange everyday practices as a regularactivity. The concept is explained that good music practice cannot be acquired from memorizing or text learning.However, it is developed by good and appropriate practice as a part of life or compared as mother tongue languagethat is utilized every day.Keyword: Dalcroze; Orff; Kodály; Montessori; Suzuki