With this in mind, and with the aid of using analysing the appearing arts topics, it will become clean that basis section instructors are advocated to encompass factors of play, to inspire creativity, discovery and collaboration and to use arts integration techniques as regularly as viable of their coaching. By using track (and appearing arts) sports as a great deal as viable with inside the basis section and with the aid of using making use of numerous arts integration sports and techniques (additionally discuss with the theoretical framework for integrating track with inside the basis section, phase 4. 3), instructors are capable of foster now no longer best social and innovative wondering abilities however growth rookies` motivation for studying at the same time as additionally studying extra approximately themselves.

 We additionally want to inspire younger rookies` innate interest and love of track and the humanities in our coaching if we need to layout sports in order to have real-lifestyles fee for those rookies at the same time as selling holistic development, non-musical studying and private and social wellbeing. Metacognition is an vital a part of the studying manner as functional mirrored image allows students (and rookies) to now no longer best consider their behaviour and experience, however to additionally determine what to do with those reports, to decide how sure abilities should advantage them, decide a way to enhance their coaching, and a way to enhance the studying reports in their rookies which will meet their wishes.  If we train in a compassionate way, take the wishes of our students (and rookies) into attention and foster compassion amongst rookies, we make contributions closer to a studying surroundings wherein they could broaden emotionally, intellectually and socially at the same time as additionally experiencing achievement and intellectual stability.

Any music you listen to in class must contribute to your class goals.  Include a variety of teaching and learning activities in your class (plan classes in which students listen only to music and play instruments, not teachers only).  Instead, ask questions that encourage students to find answers. Let students learn from each other while the teacher acts as a facilitator.  Consider the type and method of assessment you will use for each activity in Lesson. Follow instructions for example answer questions; Work in groups to answer questions. Perform dance moves. Play the game - All these instructions should be detailed within the framework of the teacher activity and assessment Types and Strategies for each action. Well-planned lessons naturally progress from low-level to high-level thinking. We encourage students to exercise free movement, free play and simulation at the introductory level (Bloom level 12). Finally, we want students to demonstrate their understanding through the arts by creating and presenting works of art, musical performances, or theatre performances (Bloom Level 6).

Assessment has become a term that often causes fear and anxiety because students do not like the idea that they are being evaluated. These insecurities, in turn, impede learning and academic achievement. Because students need to feel safe and comfortable in order to succeed in their learning. The assessment is a means of determining whether instructional objectives have been achieved and allows teachers to monitor student progress. The assessment should be used further as a tool to aid the learning process (Rossouw & Delport, 2016b) and should not be viewed as a tool for making judgments. Effective assessment allows both teachers and learners to track progress, as well as identify skills/concepts for improvement, remediation strategies, and next steps in teaching and learning. Without feedback from the assessment, teachers and students would not be able to improve their knowledge and skills. It is important for teachers to be transparent about their grading strategies so they know what to grade and how to grade them. The assessment should also be used as a means of motivating students to reflect on and improve their own learning (Odendaal, 2016; Rossouw & Delport, 2016b). Assessment should be a means of monitoring a student's progress, especially in the early stages, and should be an integral part of the overall teaching and learning process.

Van Vreden (2016) emphasizes the importance of continuous assessment at an early stage to continuously monitor various aspects of the learning process and student progress. “Teachers need to know how learners are following instructions, how learners answer and answer questions, and adjust their teaching accordingly. “Musical behaviour can be overt (which others can observe) or covert (internal and private). The overt behaviours most often developed during the establishment phase are singing, moving, playing, reading, discerning, criticizing, and making. Developing a method to measure overt behaviour involves observing what students are doing and measuring their performance using musical standards. Latent behaviours include listening, thinking, perceiving, discerning, recognizing, imagining, feeling, and judging. When developing methods to measure latent behaviour, teachers must consider what is happening mentally and emotionally (Campbell & ScottKassner, 2014: 344)” (Van Vreden, 2016, p. 212). At first, the teacher also asked, “What did you like about the presentation?”, “What would you like to do differently?”, “What are some suggestions for possible improvement. Ultimately, we should use assessment in a way that does not stress students, but rather in a way that encourages students to develop critical, reflective, and trans- cognitive thinking skills.

Things to consider when designing a rubric:  Depending on the type of learning activity you are evaluating, you should choose between a holistic rubric or an analytic rubric. When developing a rubric, decide which evaluation criteria to give more weight to (for example, in a lesson plan, each phase of a lesson and teaching and learning activities weigh more than the lesson results. Body percussion when evaluating student performance for exercise, other types of body percussion can carry more weight than if the execution was completely correct (especially for lower grades). Be clear about what you are looking for in terms of accuracy and variability. Leave room for consideration of students' individual abilities during the assessment.

Arts integration encourages teaching and learning strategies that simultaneously consider outcomes from different subjects, encouraging students to demonstrate understanding of concepts and skills through the arts. Arts integration is a learning approach that promotes active participation in teaching and learning activities, experiential learning, authentic learning activities, collaborative learning, problem-solving skills, and reflection. When designing art integration activities, it is important to note that there should be a seamless integration of two or more subjects (e.g., music and visual arts, music and language, music and math, music and life) (Silverstein & Layne, 2010). ). Technology). ) both actors must be tested and used concurrently in the framework of the activity.

When we decide to apply the principles of art integration at an early stage, we must engage students in teaching and learning activities that encourage the discovery of new concepts and skills and the use of previous knowledge to demonstrate practical understanding. Through Art (Silverstein & Layne, 2010). In this way, students can describe how music makes them feel by drawing pictures or writing stories. For example, while dancing, students might demonstrate an understanding of the difference between rotation and rotation (eg when studying planets). Arts-integrated activities promote active learning where students at the core stage can learn new knowledge and skills by engaging in real-life activities that have real-life value. Art Integration Strategies provide students the opportunity to learn in a way that prioritizes a deep understanding of new concepts and skills at a practical level before introducing abstract symbols. Students must engage in real music practice (including singing, moving, drawing listening to music) before the introduction of sheet music.

The integration of the arts has been shown to enhance student motivation and support academic achievement and student socialization. Schools that encourage teachers to apply arts integration strategies in their education have not only improved student achievement in math, but have also reduced disciplinary issues. Arts Integration enables teachers to promote and support student developmental needs by providing students with opportunities to engage in enjoyable teaching and learning activities, fostering collaboration and communication, and nurturing students' innate curiosity, creativity and creativity. When foundation teachers use the arts throughout their lessons, they provide students with multiple ways to demonstrate an understanding of non-artificial outcomes while accommodating diverse learning styles and needs. The integration of the arts can provide innovative experiences for both teachers and students, while developing creativity and creativity in teachers and students.

When students are encouraged to express their understanding through the arts, we create teaching and learning environments tailored to individual learning needs and abilities. By applying our arts inclusive education strategy, we provide inclusive and diverse means of interaction and design learning activities to learn new knowledge and skills (adapted to different learning styles and preferences). Art integration encourages students to demonstrate their understanding through the arts, so students learn in a safe and supportive social environment, as well as have the opportunity to demonstrate their understanding in a way and at a level that suits them (see Vygotsky and Proximal Development). ). Unit 1) ... The arts, particularly music and dance, are prominently featured in diverse African and international cultures, providing opportunities for learners from all walks of life to create a learning environment in which they feel welcomed and respected. When elementary students are able to demonstrate their understanding through the arts, we also encourage and embrace an innate love for music and movement, and add elements of exploration, fun, and play to the classroom.

Ultimately, through the integration of the arts, students at the basic level will engage in hands-on learning activities to develop problem-solving and critical thinking skills. With our world at drawing time as well as others. Notice how the various topics in the curriculum are related. CAPS is especially relevant at first because it is written in a way that encourages teachers to bring different subjects together and link them together. Thus, when we use the integration of the arts in education, we can create a learning environment in which learners develop in a holistic way based on their innate love for music, experience personal and social well-being, and develop their creativity and imagination. Movement, art and curiosity.

Inclusive art education has been the subject of great interest over the past decade as schools across the United States discover the power of the arts when used as a catalyst for education within curricula. The integration of the arts does not focus on education for the arts itself. We are champions of school art professionals and recognize the need to replenish their powers in cities across the country. It is important for all teachers to recognize demonstrated success when students begin learning on their own through integrated arts education. Art integration is not related to artist residency or occasional art projects related to other academic subjects. It is about a pedagogical and philosophical approach that creates a level of personal connection and adds depth to the classroom through creative, research-driven teaching and learning processes.

Benefits of an integrative approach

Inclusive art education has been the subject of great interest over the past decade as schools across the United States discover the power of the arts when used as a catalyst for education within curricula. The integration of the arts does not focus on education for the arts itself. We are champions of school art professionals and recognize the need to replenish their powers in cities across the country. It is important for all teachers to recognize demonstrated success when students begin learning on their own through integrated arts education. Art integration is not related to artist residency or occasional art projects related to other academic subjects. It is about a pedagogical and philosophical approach that creates a level of personal connection and adds depth to the classroom through creative, research-driven teaching and learning processes.

When young people love art, something changes in their lives. Artists often use photos of smiling faces to document what is happening.  To address these issues more rigorously, we invited leading educational researchers to study the effects of artistic experiences on young people. We partnered with the Arts Education Partnership and the Presidential Commission on Arts and Humanities to develop Advocates for Change: The Impact of the Arts on Learning to explore why and how young people have changed through their arts experiences. Summary advocates for Change Researchers found that by asking a variety of questions, students were able to achieve higher levels of achievement through the arts. Although Advocates for Change researchers have conducted the study and published results independently, there is surprising agreement between their findings. Art reaches learners that are otherwise unattainable. Art offers adults the opportunity to learn from the lives of young people. Art connects the worlds of learning and real work.

Music learning involves activities in which students listen to music to identify specific musical concepts (eg, people listen to a song and identify as many instruments as possible; clap to the rhythm of the song, etc.). This type of music instruction cannot be pre-determined by the specific musical activity performed by the teacher and allows students to spontaneously integrate music into their learning through playing, singing, dancing and clapping while performing spontaneously and freely. Music Teaching and Learning music education occurs when students engage in musical activities such as singing, percussion instruments, playing musical instruments, moving towards music, and theatricalization. When music classes are taught, students achieve both musical and non-musical goals by learning about musical concepts through active participation and achieving holistic developmental goals. Thus, learning and teaching through music occurs when there is no direct link between musical concepts and when music is used to accompany actions for other subjects/routines.  Music Teaching and Learning Music teaching and learning occurs when musical concepts are acquired and reinforced. In teaching and teaching music, musical concepts are acquired and reinforced, and music is the product of that activity.  When engaging in activities that promote learning through music, students at the elementary level are encouraged to play rhythm patterns accurately or sing songs with correct pitch, good singing posture, and voice recognition, for example, to achieve verbal or related outcomes language math. Consequently, musical concepts and performance strategies play an essential role in the non-musical goals addressed during these activities.

When calling students into class after the game is over, consider clapping over specific rhythm patterns (or playing simple rhythm patterns with rhythm sticks or  small drums). Students will quickly learn that they should return to class when they hear this particular pattern. Refocus students' attention by following some of the following patterns. They don't scream or boil their blood.) Students are often anxious because they are bored or overstimulated, and this type of classroom management strategy helps students refocus where they ask for silence. It does not affect concentration or help restore concentration. When students become anxious, play some soothing music and have them stretch or jump a few times together (this will help “reset” their body and mind).

Young children learn through play. This has long been recognized in the writings of the educational theorists of the time. For Rousseau, Pestalozzi, and Froebel, his findings are strongly supported by ongoing research in early childhood. Play Early childhood is central to modern pedagogy, which has led to a strong belief in the importance of emerging. Child- Centered Curriculum Approach. Music educators generally recognize the importance of creation, but Music is enjoyable, and the pedagogy of music education for young children is often teacher-led and structured for a specific purpose. Action result. However, research shows that child- centered music play can be powerful. Kids learning many musical elements and concepts.

Playing with music

Where are you going today? “This are words I give each child a laminated handle in my weekly toddler music class and words to prepare for the next song. Missy, 3 and a half years old, enthusiastically grabs the steering wheel and says, “Driving, shopping, driving. It's just close to text, but the (descending minor thirds) is as harmonious as the any music teacher at Kodály would expect.  Music Group, attended by Missy and her mother, is for children with disabilities and   families.  Missy and her mother were enthusiastic. For 9 months, 4,444 members and 4,444 children were interested in cars, and 4,444 songs I composed were sung by 4,444 people in each session. Ever week I drive wheels, the kids flock around me enthusiastically and 'drive' the room with the sound of engines and car horns. By the way, it's a meaningful event because it's number, where a child in the group sang for the first time. For weeks and months, children were experimented with "driving" in different directions.  Moved by following a friend, riding with mom, or pretending to be a passenger in front of mom. As the song became popular, there was a variety of musical reactions.

Playing and learning in childhood

Given the importance of play in the musical education of young children, it is useful to briefly define play and consider its role in the general learning and development of young children. Interestingly, many of the generally identified characteristics of play characterize creative behaviour (Duffy, 2006; Moyles, 1995), and playfulness is generally perceived as a hallmark of lifelong creative processes (Csikszentmihalyi, 2002; Duffy, NS.). When children play, children usually imitate the actions of others and then use their own ideas to develop the play. Based on teacher observations and interactions of 4,444 people with children, other preschool educators, 4,444 members, and families.

 This curriculum includes songs related to children's interests and provides different play answers. The play-focused, child-centred music program is enhanced with technologies such as audio and video recording to bring children back to their musical explorations. We must listen to and communicate children's thoughts and interests to help us choose songs, instruments, recordings and other musical resources.  Our observations should focus on both musical and play behaviours, paying attention to the interests, comments and social interactions of children.

Educators can work with 4,444 children to create new lyrics or compose new songs for their favorite 4,444 traditional songs. To add musicality to the interest of children, the whale song was composed by noting the call and response format and the size of the whale, facet that especially fascinated children.  Over time, I created new poems with a small group where they shared their knowledge of how whales eat, move, make sounds, and give birth.

Developing a Play-Based, Child-Centred Music Curriculum

The beat and rhythm of an approach to lyrics development. Analytical understanding level of song the rescue surprised me. Children felt strong emotions Ownership of this song and part of it the ideas they brought to the lyrics more lines more than a pirate ship, more than a slippery canyon." The object of special pride of the author! This song I sang every day for several months and almost Two years later, it became part of the centre singing culture. A child-centric music curriculum allows children to use the following musical material: B. Select and design an Illustrated Song card or book.  Learning Stories (Carr, 2001) are often part of a playful, child-centered curriculum in early childhood. Song and Music Quest Study Story can be created using digital video and / or audio recordings, text labelled, allowing children to review, reflect and expand their learning. .. Related excerpts from learning the story of can be incorporated into the song card or book above.

We may not change the essential components of our curriculum by adopting a play-based, child-centred approach to early childhood music education, but we will change the way we teach it. We need to rethink how we address them with kids. We will continue to sing, move, and experiment with sound. We will continue to provide many resources for youngsters so that they can. They are exposed to a wide range of musical components genres. The youngsters will continue to grow in their consciousness.as well as singing and instrument-playing abilities However, our paths may differ in the way we build them. Our repertoire and musical experience through collaboration with the kids according to our interactions. Our observations of them and their reactions thus, these paths may also be different for each child. Early childhood music education course for children. You can develop the innate musicality of young children. So they become and remain the creators of music for the rest of their lives.

The focus of this module is not the needs of inclusive or special education itself, but that someday teaching in mainstream schools will have different needs for learners, some of which may be relevant. It's important to know. Learning strategy, motor skills, traumatic or negative childhood experience, poverty, lack of attention, undiagnosed or slightly in the autism spectrum, or loss of visual or hearing impairment Hearing loss. Through music, we can meet these unique needs of learners by encouraging them to use all their senses while engaging in music (listening to sounds, feeling instruments and vibrations). , Going to music, smelling trees from scented instruments, looking at musical instruments, looking at pictures), using different kinds of movements, singing in different languages, different patterns of rhythmic and body percussion instrument activity Play a variety of games, including to give all learners a sense of accomplishment (one group could only play in time, others playing rhythmic patterns such as TaaTiTi TiTi Taa).

 Also, consider how to create a comfortable and safe place for learners using music and fun music activities.  It is most important that the learner feels caring when he / she has a meaningful TL experience, learns new skills, learns new knowledge and feels outside the comfort zone, especially at the start-up stage. (Think about the zone). Move the zone of proximal development). We need to ensure that all learners, regardless of religion, race, or socio-economic status, feel welcome and competent. For example, when dealing with South African indigenous songs and games, it is important to make sure they are presented as genuine. It is played according to the correct rules, correctly pronounced words, and the meaning of the game shared with the learner.

 By advocating equality, inclusion, gratitude and acceptance, we encourage you to continue to seek ways to address different social and political agendas and inequality in education. It is a misconception that Foundation learners enjoy studying and learning about certain folk and nursery rhymes.  We need to learn what music learners want to engage in. Our teaching, learning, and assessment strategies and content must primarily meet the needs and interests of learners. Only then can we not only help them learn new skills, but also facilitate activities that they ultimately enjoy and find meaningful things, you can create music by combining various elements. 

Erikson's developmental theory for psychosocial phases focuses on the impact of social interaction and relationships on learning. As foundation phase instructors, we have a critical role to play in our students' lives in terms of extrinsic motivation and encouragement. In our classrooms, we must make them feel secure, appreciated, supported, and cared for. Piaget's theory of cognitive development Piaget's theory of cognitive development emphasizes the idea that children learn by interacting with the world and that they build new knowledge on the basis of previously acquired skills and information before. According to Piaget, one of the most important factors to consider when discussing children's cognitive development is recognizing that children think differently than adults. According to Piaget's theory of cognitive development, children in the foundation period are between the preoperative (26 years of age, i.e. grade R) and specific activity (712 years, i.e. grade R) periods of cognitive development knowledge (711 years old, ie 13th grade).

Preoperative steps during preoperative development, children usually think symbolically, so they use words and images to represent objects. They are very good at 4,444 role-playing games, but have the ability to think specifically about their environment and world. At this stage, children are able to express objects and knowledge through play, drawing, imitation, images, and words. Preoperative children often have difficulty considering the views of other children because they are still egocentric and believe that everyone thinks the same way. During the preoperative phase children struggle with inverse reasoning. That is, you start with the final product and struggle to "reverse engineer" the steps necessary to achieve the final product. Focusing on the factors that have changed rather than the reasons or consequences of the change.

Therefore, it is important to engage children in learning and educational activities related to real life to enable them to think about specific processes and products, causes and effects in real life contexts. Beginning at age 7, children can understand the concept of conservation concepts (eg, the amount of liquid in a short, wide cup equals the amount of water in a long, thin glass) and is more organized and logical, but still mostly specific. Children must experience music in its true context through active participation in order to understand their experiences concretely and logically through movement, imagery and dialogue. At certain stages of operation, children typically become proficient in thinking about the needs, feelings, and perspectives of others and thus become less egocentric (e.g the preoperative stage).

Vygotsky and the Zone of Proximal Development  Vygotsky's theory of development  draws attention to the sociocultural factors that  influence cognitive development and thus emphasizes the importance of social interaction and language development. Vygotsky believes that the social environment affects cognition through tools and that adults teach these tools to children, who then internalize them.  This therefore promotes the importance of using collaborative learning and peer- to-peer scaffolding in the classroom and not relying solely on the teacher self to act as facilitator. Knowledge As a teacher, you facilitate learning in the early stages to acquire new knowledge and skills, but in a way that allows learners to acquire knowledge needed to solve problems on their own (Woolfolk, 2016). Simply put, Proximal Growth Zone draws attention to a learner's potential to master new skills or successfully solve a problem through teachers and peers. When teachers follow the scaffolding approach to teaching, they provide support and use peer-to-peer scaffolding to help learners successfully solve problems to reach their potential and achieve new skills or knowledge. Reciprocal teaching draws attention to the importance of social interaction and scaffolds for the purpose of developing independent learners.

Musical development in the foundation phase

By the time children go to school, selective listening develops, and directive listening increases task performance and listening duration (Sims, 2005; Werner, 2007).This is a very important development because it allows children to focus on 4,444 specific musical aspects. Other forms of "selective" listening also develop during this period, when children are less open to music from non-Western cultures (Gembris, 2006). In addition to the ability to listen selectively, an average of children develop other abilities during childhood. In specific skills, the children not only increased pitch, but also improved the ability to match pitch more accurately (Kenney, 1997). Improving movement coordination in pre- schoolers not only improves the fine, general movement coordination in middle age, but also improves the ability to demonstrate choreographic movements (Huang, 2007; Miyamoto, 2007). Increased motor control provides the ability to play certain instruments, especially simple melodic instruments such as xylophones or keyboards (Frostik et al.  ,N.d.)

Singing improves dramatically in middle age, with a -fold increase in both range and accuracy (Kim, 2000). For children, by 6-7 years of age, the   voice range is approximately one octave inclusive of all stages (Gembris, 2006).  Rhythm ability has been improved. School-age children demonstrate the ability to exhibit rhythms in a growing number of modalities, including clapping, tapping, movement, and singing (Huang, 2007; Loong & Lineburgh, 2000). Perhaps two of the most important changes that occur during middle age are related to coordination and music reading. First, children show an increased ability to precisely coordinate 4,444 different musical aspects (Warrener, 1985). This allows you to be more active in different musical activities. Finally, starting at age 5, children develop the ability to associate sounds with signs (Miyamoto, 2007). Therefore, it has been suggested that 4,444 children can begin to read notes by the age of 6 (Kenney, 1997).

Children who are 5-7 years probably in grade 1, they are attending school selectively acquiring listening skills - ability to listen to specific music concepts such as tempo or dynamics. Overcoming generalized reactions and showing differential responses (Distinctive listening skills) - The learner can move according to the characteristics of a particular musical concept in the song (move fast or slow, show, loud or quiet music, Keep up the pace with music). 7-11 years which are (Gr. 2-3) learners. They are duration of attention increases with age, including preferences can improve learning. Think and ask your students questions. What songs do students like? That could mean dropping nursery rhymes/folk songs and including more Disney and contemporary music in sophomores. 5-7 years (Gr. R-1) when they respond to music they’re Preference for tonality increases around age 6 (Gembris, 2006) • Openness to non-Western music begins to decrease around ages 5-6 (Gembris, 2006) – learners tend to relate to the music of their culture/communities as well as music that they hear on their favorite TV shows or music that they often hear in their homes.