Leveraging Non-Traditional Notation and Technology to Enhance a Fourth Grade Recorder Unit

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Theses Theses & Dissertations

Spring 5-2020

Leveraging Non-Traditional Notation and Technology to Enhance Leveraging Non-Traditional Notation and Technology to Enhance

a Fourth Grade Recorder Unit a Fourth Grade Recorder Unit

Stephenie Mokriakow

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LEVERAGING NON-TRADITIONAL NOTATION AND TECHNOLOGY TO ENHANCE A

FOURTH GRADE RECORDER UNIT

Stephenie Mokriakow

Submitted in Partial Fulfillment of the Requirements

for the Degree of Master of Music Education

Lindenwood University

The author hereby grants Lindenwood University permission to reproduce and to distribute

publicly paper and electronic thesis copies of document in whole or in part in any medium now

known or hereafter created.

ABSTRACT

Title of Thesis: Leveraging Non-Traditional Notation and Technology to Enhance a Fourth

Grade Recorder Unit

Stephenie Mokriakow, Master of Music Education, 2020

Thesis Directed by: Dr. Katherine Herrell, Associate Professor Music School of Arts, Media

and Communication

This action research project analyzes the traditional methods of teaching recorder to fourth grade

students to expand upon these traditional methods and create a unit that leverages technology and

non-traditional notation as well as introducing students to traditional music notation. The unit

includes lessons that are scaffolded to meet the desired end results. The learning objectives

include understanding of basic rhythm patterns and beginning notes on the recorder. The

culmination of the lessons will end with a series of songs that the teacher will use to assess

students.

Acknowledgements

I would like to express my deepest gratitude to my Advisory Committee. They have

helped me throughout each step of this process. Dr. Kate Herrell for being my Committee

Chair and providing me with great feedback on how to make this project and project

report the best that it can be. Thank you also to Dr. Ryan Curtis and Dr. Matthew

Hoormann for helping with additional editing and feedback that I was able to use to make

this project and report even better. They have been supportive of my Research Project

from the beginning. They were there to listen to my concerns, as well as providing

feedback on everything. I would also like to thank Dr. James Hutson for all of his

support and guidance throughout this Thesis project. Besides these wonderful professors,

I would like to thank my family for keeping me motivated to continue working hard to

complete the requirements to graduate with my master’s in music education.

Table of Contents

Acknowledgements .............................................................................................................4

Introduction .........................................................................................................................6

Literature Review ................................................................................................................8

Methodology ......................................................................................................................17

Production and Analysis ....................................................................................................19

Conclusions ....................................................................................................................... 22

References ......................................................................................................................... 24

Appendix 1 ........................................................................................................................ 30

Introduction

The recorder is a small woodwind instrument taught in school to students in

grades three through five. There are different types of recorders such as the alto and bass

recorders but the one commonly used in the general music room is the soprano recorder. The

soprano recorder is approximately 12 inches in length and is usually made out of hard plastic.

These recorders are generally inexpensive and a great way to get students playing music on an

instrument of their own. Depending on a school’s socioeconomic factors, classroom instruments

may be scarce. Learning the recorder is an excellent foundation for other woodwind instruments.

(Nosowitz, 2015) Teaching students the recorder is essential for their basic knowledge of music.

(Nosowitz, 2015) “It’s an accessible instrument… which gives young students a big step up in

the learning of the recorder… It is the perfect size for a small child’s hand.” (Nosowitz, 2015)

The air needed to create the sound needs to be a warm and steady stream flowing through the

instrument.

Recorder, like other instruments, can be taught using a method that based upon the

teacher’s preference. There is a method called Recorder Karate. In this method the students will

learn to play different songs in an order that progresses in difficulty. Once students master a

song, they earn a colored string to dangle at the bottom of their recorder. With this method,

students will have the music in front of them to learn and prepare each song.

Another recorder curriculum is called Recorder Monster. The goal of this method was to

teach recorder and incorporate technology into the lessons. While this method used technology

as a tool to assist with learning, there are not many examples for students to play along with

before the song is introduced.

The goal of this action research project was to create a unit to teach fourth grade recorder

that leverages alternative approaches such as using technology to aid with instruction outside of

the classroom, providing time within the classroom to perfect those skills. Technology is used

synchronically to assist with student’s knowledge of music notation. The method in the

beginning was learning by rote and then moved into a more technology encompassed lesson,

beginning with notation introductions and illustrating how notes are to be produced on the

recorder. The method in this project differs slightly by beginning recorder lessons with a non-

traditional approach. The idea was to create warm-up activities that guide students to how the

notes are produced on the recorder. This looks like a diagram of the recorder with the holes that

are to be covered to produce the desired note filled in.

After these various warm-up activities, basic music notation is added to what they have

already practiced. The notes on the staff appear along with the iconic notation of how the notes

are to be played. Once students are more comfortable with playing the notes and where the notes

are located on the staff; the notes then become combined to create a basic song. The basic songs

progress into the introduction of more notes and new rhythm patterns.

Literature Review

This literature review investigates five different aspects of teaching recorder in the

elementary classroom. This will begin with the rationale for teaching recorder to fourth-grade

students followed by a short discussion on traditional versus non-traditional notation. Following

that, there will be discussion about the pros and cons of teaching students by rote. The fourth

section discusses appropriate uses for technology in the music classroom and how technology

can be used to enhance lessons in the music classroom. Before finalizing the literature review,

we will discuss asynchronous learning and how that can be used in the music classroom.

Teaching elementary aged students to play the recorder is typical in the curriculum.

Kuijken reflects back on his elementary music education in his book The Notation Is Not the

Music: Reflections on Early Music Practice and Performance. In his book, he begins by

discussing his personal experiences as he learned to play the recorder in school. (Kuijken, 2013,

p.5) He stated when he later began to play the flute, how his flute teacher dismissed his passion

for the recorder by giving the recorder the title of nothing more than a mere toy. (Kuijken, 2013,

p.5) That was something that appeared to stick with him well into adulthood.

The book Analyzing Influences: Research on Decision Making and the Music Education

Curriculum by Thompson and Campbell discusses “the tension and difference between theories

of curricular design.” (Thompson, 2015, p.23) They remind the reader that Curriculum is “the

ground between” educational theory and practice. (Thompson, 2015, p.23) They go further on to

notate the importance of deciding on the objectives and then move on to the pedagogy: how the

objectives are to be taught. During their constructed research they found that some participants

believed planning must be a more responsive approach. When discussing a responsive approach

they mean to have your lesson planned, but to be ready to adjust the lesson as it is being

delivered based upon interactions with students. (Thompson, 2015, p.23) Other experienced

educators felt the importance of matching lesson planning to the contextual demands of field

experiences. (Thompson, 2015, p.32). Knowing the curriculum and how it is changing is the

most important guide any teacher has for framing their units and lessons into a cohesive plan.

(Thompson, 2015, p.32)

In Watsons article, he reminds his readers of the beginning of the MENC (Music

Educators National Conference) national standards which teachers use as their guideline for

teaching their curriculum. (Watson, 2011, pgs.8-9). The MENC standards have since been

adapted and changed as newer movements came through. MENC was changed to NAfME

(National Association for Music Educators) on September 1, 2011. (NAfME, 2015). They have

created the National Core Arts Anchor Standards, where there are four main ideas: creating,

performing, responding and connecting.

These standards are grouped into smaller common anchors with an enduring

understanding and an essential question. Upon deeper inspection on the 2014 Music Standards,

teaching the recorder connects to each of the main ideas listed for the music standards. A

recorder lesson that’s main idea is creating; the enduring understanding being: “The creative

ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources.”

(2014 Music Standards, p. 1) The essential question being “How do musicians generate creative

ideas?” (2014 Music Standards, p. 1) Looking at the fourth grade specific content that is to be

understood, students’ are to understand the following: “Improvises rhythmic, melodic and

harmonic ideas…” and “Generate musical ideas (such as rhythms, melodies, and simple

accompaniment patterns) within related tonalities… and meters.” (Music Standards, p. 1)

Creating a lesson with all of this in mind, students’ can be taught to improvise a short melodic

pattern on their recorder.

The second main idea is performing. Performing is another standard to which a music

teacher can utilize the recorder as a tool for teaching and engaging students. The common anchor

is number four. (2014 Music Standards, p. 7) The enduring understanding for this common

anchor is “Performers make interpretive decisions based on their understanding of context and

expressive intent.” (2014 Music Standards, p. 7) The essential question for this common anchor

is “How do performers interpret musical works?” (2014 Music Standards, p. 7) This connects to

playing the recorder, because this allows time for reflecting upon individual and group recorder

performances.

The third of the four main ideas, Responding, and the common anchor number nine can

connect to a recorder lesson. (2014 Music Standards, p. 12) The essential understanding is “The

personal evaluation of musical work(s) and performance(s) informed by analysis, interpretation,

and established criteria.” (2014 Music Standards, p. 12) The essential question for this common

anchor is “How do we judge the quality of musical work(s) and performance(s)?” (2014 Music

Standards, p. 12) Grade Four is to “Evaluate musical works and performances, applying

established criteria, and describe appropriateness to the context.” (2014 Music Standards, p. 12)

Students are able to evaluate their performance and the performance of others.

The final main idea is connecting. The common anchor number ten is the one that would

apply to teaching the recorder. (2014 Music Standards, p. 13) The enduring understanding is

“Musicians connect their personal interests, experiences, ideas, and knowledge to creating,

performing and responding.” (2014 Music Standards, p. 13) The essential question for this

anchor standard being “How do musicians make meaningful connections to creating, performing

and responding?” (2014 Music Standards, p. 13) The grade level expectation for fourth grade is

to “Demonstrate how interests, knowledge, and skills relate to personal choices and intent when

creating, performing, and responding to music.” (2014 Music Standards, p. 13) The recorder can

also sufficiently cover this standard.

“It’s an accessible instrument. It is the perfect size for a small child’s hand.” (Nosowitz,

2015, p.1) Students can do music theory worksheets and understand the concepts, but if not

given the opportunity to play, they will not be able to extend their knowledge further and apply

it. By applying the music theory to an instrument, students are able to create a connection

between musical notation and how that applies with their recorder. (Nosowitz, 2015, p.1) Once

students understand how to play the recorder, those basic skills can then be shifted to another

instrument within the woodwind family making the transition seamless.

In Kuijken’s book, The Notation Is Not the Music: Reflectionson Early Music Practice

and Performance, he describes early music and how composers wrote music to be performed

with a precise sound each time the music was played and re-created. He described this

experience as the “mind’s ear”. (Kuijken, 2013, p.1) He stated that even before a performer

would pick up their instruments, they knew how the music was supposed to sound. Musicians are

able to hear how the music is going to sound based solely upon the written notation. (Kuijken,

2013, p.1) It takes some of the musical freedoms away from the musician, but by breaking out of

the box and using more non-traditional approaches to music, we are allowed a new sense of

musical freedoms. Thus, relying on ear training.

When teaching students in a non-traditional manner, we are opening them up to more

opportunities to listen more carefully to the rhythms and pitches that we are wanting them to

learn and play. (Kuijken, 2013, p.1) By playing by rote, teachers play a short musical phrase and

having students listen and re-create what they heard. By doing this, they are expanding upon

their musical knowledge and creating a more solid foundation for them to build their

instrumental and vocal skills, while also building their ear training skills. (Kuijken, 2013, p.1)

Teaching students to play familiar folk songs, they are building upon their prior knowledge.

Since most of these songs are familiar to students, they are then able to connect how the song is

supposed to sound and how it actually is sounding. Thus, making the tune easier for them to hear

while learning the notes on traditional notation and creating the pitches on their recorders.

(Kuijken, 2013, p.1)

When approaching non-traditional learning, Challis provides information on using

technology within music education. Challis (2009, p. 426) discussed traditional notation and

stated that “Standard graphical notation is difficult for students whom are visually impaired and

presents challenges for individuals with dyslexia. In this case, teaching by rote would be

beneficial for student retention of information. “Notation provides for the memorizing and

subsequent recollection of musical patterns, and therefore for the transmission of sound-making

possibilities from person to person. As a means of communicating among musicians, it is a sure

sign that music is a collective endeavor.” (Bennett, 1983, p.217) While teaching beginning

recorder it is important to teach the basics of the recorder before attempting to have students read

notation and play their instrument simultaneously. (Bennett, 1983, p.217)

Traditional music notation dates back to 1800 B.C. (Gaare, 1997, p. 17) However, the

traditional system of music notation was further developed at the end of the eleventh century,

with the creation of the modern keyboard. (Gaare, 1997, p. 18) This leads into the creation of

digital music in 1989 when MIDI sequencers “rendered musical expression virtually

instantaneous.” (Gaare, 1997, p. 21)

New technology with music notation provides newer ways to teach music. “There are

many successful pop musicians who have never learned to read music…teachers can direct

students to a program where alternate notational systems are taught.” (Gaare, 1997, p. 23)

Teaching by rote is one of these alternate systems. Teaching by rote in the beginning stages of

learning is beneficial for gaining a strong foundation for playing the recorder. (Gaare, 1997, p.

23) Students are learning to multi-task in ways that they may not have experienced before

through a multi-sensory experience. (Today’s, 2013, p.1) They are learning to breathe in a

correct pattern, while moving their fingers to produce a variety of pitches. By learning notes by

rote, teachers are eliminating one aspect of this process for students. This method is similar to the

Suzuki Method. The article “Today’s Suzuki Methods” they discuss how even children as young

as the age of three are able to learn how to play an instrument. Although Suzuki was known for

teaching violin, the method is valid for learning other instruments as well, such as the flute or

clarinet. (Today’s, 2013, p.1) Marilyn Kesler states that the memorization and imitation aspects

are all about having students listen to music and create a tonal center that they can emulate.

(Today’s, 2013, p.1) This is the goal behind teaching students by rote first and then moving them

into a form of non-traditional musical notation. The end of the unit goal is for students to learn

traditional music notation and perform on the recorder with accuracy using both methods of

notation, traditional and non-traditional.

Musical notation is simply a form of communication to the musician from the composer.

“Formal music education has a long record of success in producing musically literate

performers… many teachers dismiss learning music by ear as a simplistic and inefficient

alternative to doing it the right way, through notation.” (Woody, 2012, p.1) Woody is focused on

ear training versus using traditional music notation. Woody discusses how Suzuki and Orff are

guides for American music educators of today. Suzuki teaches music through teacher modeling.

(Woody, 2012, p.1) Modeling is a common way for music teachers to introduce new ideas and

concepts to elementary aged students. This concept applies to teaching the recorder as well. In

the beginning stages of playing the recorder, this method is important for students to gain access

to the basic skills of playing the recorder, which is breath of control and basic hand position.

“The Orff approach emphasizes opportunities for children to learn by ear on instruments and

voice, realize familiar folk songs and chants, and improvise music in various contexts. (Woody,

2012, p.1) The unit plan will apply both the Suzuki method and the Orff method into one

cohesive approach to teaching students to play the recorder. Teacher modeling is very important

in the beginning stages of teaching in both of these methods. (Woody, 2012, p.1)

The Orff method uses folk songs, which will allow students to gain confidence by

playing a familiar tune on the recorder. Students will learn to hold the recorder and produce these

pitches on their instrument. Once they are able to play each note, producing a clear tone, the

lessons will progress into learning written notation. Beginning with the note names B-A-G. This

will be accomplished using technology as a colorful way to assist with learning and remembering

the music notation and how to produce that on their recorder.

Technology is becoming increasingly more prominent in our students’ lives. There are

many social media platforms that students use, which opens the door for more learning

opportunities, such as Google Classroom or YouTube. Today there is a variety of social media

outlets, and it does appear that is where students these days tend to “live”. (Albert, 2015, p. 1)

Students talk about the different things that they are learning on the different social media

platforms that vary from a variety of topics and ideas. Then there are the ‘how to’ videos

instructing students how to play a musical instrument.

That is when the idea came to mind to create something to assist students learning how to

play the recorder, using YouTube as a means of alternate instruction. Students will learn the

material in a flipped classroom situation. A flipped classroom is when students learn the material

at home and class time becomes a place for discussion and practice of materials. Albert discusses

the same when he stated, “Through these communities hosted by YouTube and online forums,

students of all ages have been able to learn about musical performance practices at home.”

(Albert, 2015, p.1) He then says that students are able to create and post videos and also search

for feedback through different community groups. (Albert, 2015, p.1) This resulted in positive

musical experiences and learning experiences. Confidence and knowledge over musical concepts

were then strengthened through these positive interactions. (Albert, 2015, p.1) Students are then

able to learn the material at home and the classroom becomes the space for students to explore

what they had learned.

Albert suggests that music educators branch out and give these different social platforms

a try, but to be conscious of district policy. “Similar to monitoring in real-time, face-to-face class

discussion, teachers need to monitor asynchronous online discussions for possible inappropriate

comments.” (Albert, 2015, p.1) The preference would be to share the videos with the class using

a platform such as Google Classroom so that if they wanted to practice skills at home, they

would have these videos to assist in their learning outside of the classroom.

In Bauer’s article “Transforming Music Teaching via Technology”, he states how MENC

(now NAfME) has established benchmarks for using technology in music in regard to the impact

on curriculum. (Bauer, 2003, p.291) By using technology, teachers are able to expand even

further on their lessons. “Technology is used not only to simplify classroom management, but it

also is integrated seamlessly and naturally into instruction. Teachers become excited about the

instructional possibilities technology avails, and design lessons that include learning goals that

would not have been possible without the use of technology.” (Bauer, 2003, p.291-292)

Technology opens up many possibilities for teaching. Music teachers are able to use YouTube

and Google Classroom to their advantage. Bauer stated that professional development for

teachers assists in their knowledge and comfort level with technology which allows for them to

use technology more in their lessons. (Bauer, 2003, p.297) Through the use and expansion of

teacher knowledge of the available software programs, teachers are then able to use this

technology with more comfort and reliability.

Gallou discusses different 21

century-blended learning models. “Gallou advocates for a

mixed use of traditional and new teaching and learning models, combining face-to-face learning

with online learning.” (Gallou, 2018, 167). Gallou (2018, p. 167) stated that the learning gained

from lessons with asynchronous learning doubled in knowledge retention over traditional

instruction. This project will combine techniques from traditional instruction with newer

technological music instruction and assess the learning gained from this combination. In

previous school years, traditional instruction was the only form of instruction used.

Technology is an important addition to traditional instruction. Technology “can be used to

enable them to overcome their difficulties and limitations.” (Schaik, 2010, p. 27) Technology use

will further student learning and enhance lessons by providing harmonies to play along with.

Methodology

For this project the research methodology that was applied is Action Research. In music

education the recorder is a commonly taught instrument. There are different types of curricula

that assist teachers with teaching the recorder, such as Recorder Karate, Recorder Monster and

The Suzuki Method for Soprano Recorder. With the increase in technologies available music

teachers can create a way for students to learn the recorder in a new manner.

There were five different categories of research. The first of these being the rationale for

teaching the recorder and a more in depth look into the instrument itself. Once that was

established, taking a look into the differences between traditional and non-traditional music

notation was essential to the research. There are different pedagogies behind teaching the

recorder. There are also different technique methods to teach the recorder, such as Recorder

Express (Almeida, 2007) and Recorder Method (Riposo, 1998). Teaching by rote was a famous

method of the pedagogue, Shinichi Suzuki (Today’s Suzuki Method, 2013). While researching

these a combination of these techniques of teaching was what was decided upon to create these

lessons.

Bringing technology in the music classroom and asynchronous learning are the final

components of research. Both of these were important to the project since the project plan was to

use and incorporate technology, such as YouTube and GarageBand into the music classroom to

further engage students. GarageBand was used to create the music that students would play

along with. YouTube is the method in which students will access the materials.

This project applies research to recorder and music technology. The project is a cohesive

unit of lessons directed to a fourth-grade classroom through a series of lessons using technology

as an asynchronous source to assist students in playing the recorder. The beginning of the unit

teaches students about the basic music theory needed to understand to begin playing the recorder.

The unit progressed to showing students how to hold the recorder and correctly produce

the desired pitches. Students learn to play a variety of rhythms on desired pitches. Students begin

playing by rote following the lead of the instructor. The following lesson integrated the call and

response method; the teacher produces a pitch and the students respond with the same pitch. The

lessons begin by showing images of note values and an image of the recorder of the note shall be

played along the side. The lessons follow the order of playing by rote, playing call and response

and then a lesson where the notes are tied together into an exercise. The note B was taught first

and was followed by the note A. The lesson after call and response using the note A was a lesson

which combined the notes B and A on the staff. That lesson provided extra practice for students

to play through with guidance to transition between the note B and the note A.

After the lesson which practiced the notes B and A, the note G was introduced. The note

G was introduced in the same fashion as the notes B and A were. There was a lesson with call

and response on the note G. Following that lesson there were two lessons which provided

students with extra opportunities to practice the notes B, A and G. Giving them many chances to

practice these notes, allowed for more repetitions of reading the notes and producing the desired

note on their recorder. The lessons also included opportunities for students to practice going

from the note B to the note G, which is challenging for beginner players. The note B is played by

using the thumb and first finger covering their key holes on the recorder. The note G also

requires the thumb and first finger covering the key holes, but the addition of the second and

third fingers are required to create the tone G. With the addition of more fingers, more warm air

is necessary to create a clear tone, free of squeaking. The unit ends with students playing

familiar folk tunes written in traditional notation, which was practiced throughout the unit.

Production and Analysis

There are recorder methods that teach students the basic and beginner methods of how to

play this instrument, such as Recorder Express (Almeida, 2007) and Recorder Method (Riposo,

1998). Each of them offering a valuable lesson for beginner recorder students. Before this project

there was not a set recorder curriculum that used technology to teach recorder. After using other

methods such as Recorder Express, Recorder Monster and Recorder Karate, each being an

excellent curriculum individually as well as using them combined, this project became important

so that these different methods could be combined in the form of video lessons that the teacher

can play the video and assist with individual needs on a more one-on-one basis. The videos also

give the teacher the freedom to explore a flipped classroom, assigning a video lesson to the

students as a homework assignment and then during class being able to practice and expand upon

those skills.

The project as a whole is a total of fifteen lessons, each in the form of videos and the

links to each of these videos are listed in a booklet that was created. Fifteen seemed to be an

appropriate number that would encompass an entire unit, which was decided upon breaking

down the information that was going to be taught. Once looking at Recorder Express (Almeida,

2007) and Recorder Method (Riposo, 1998) and seeing how each of those methods began, the

plan of what was necessary to teach came into form allowing for the breakdown of each lesson to

be created. The initial unit idea was not completely set to fifteen lessons. It was after thinking of

the objective of each video lesson, did that number come into being.

The breakdown of each lesson is as follows: The first three lessons discussing the basic

music theory, also discussing posture and playing positions before playing the recorder. Three

lessons discuss the note B: one to introduce the note and where B is at on the staff, one to play

the note using the call and response method and finally a lesson that reviews the note B. The

total of lessons with theory and the note B now equaling six in total. The note A is then

introduced in the same manner: one lesson to introduce the note A, one lesson using the call and

response method and the final lesson reviewing the notes A and B together. The lesson count

now totaling nine in number. The note G was then introduced in the same manner: One lesson to

introduce the note, one lesson using call and response, and the final lesson in that set reviews the

notes G, A and B. Then final three lessons are focused on the notes B-A-G and putting them

together to create a song. The final lesson total is then equaling fifteen.

While deciding on the outline for these lessons Recorder Express (Almeida, 2007) and

Recorder Method (Riposo, 1998) were a guiding point of reference, which included a very short

introductory lesson which discussed the basic music theory that was needed to play the recorder.

They also spoke very briefly about embouchure and proper tone production. The thought was to

create a longer lesson devoted to basic music theory and then another lesson devoted to posture

and embouchure.

During the middle lessons while students were beginning to play the notes on their

recorder, the amount of measures was chosen to build stamina in the students’ playing. Having

students copy the short five measure rhythms at first was designed to assist them in their playing

stamina. The repetitions allowed for them play along only using their fingers, without creating

the tone on their recorder and then having them play along producing the tones on their

recorders. That was designed to get them playing longer pieces at a time so that they would have

the stamina to begin to play more complex pieces.

This project is intended as a supplement to traditional recorder instruction. There may be

a time where watching the lesson at home to gain the basic skills in a flipped classroom situation.

Students would then be able to come into the classroom with any questions or issues that they

had faced while learning the material at home. Class time would be used to reinforce what they

learned during the flipped classroom time, also providing students with the time to experience

group ensemble playing. The teacher would be able to assess their knowledge of the notes, by

using class time as a time to review what they watched on their own at home to reinforce their

new skills.

After creating the beginning lessons, I felt that using non-traditional notation was best

while used in a small portion of the lesson. While researching non-traditional notation felt to be

what would work best. But after researching more into the current materials that are available

such as Recorder Express (Almeida, 2007) and Recorder Method (Riposo, 1998), the need to

begin note reading from the beginning was prominent. For example, when each note was

introduced there was the image of the recorder and how that note is produced on the screen while

teaching where the note is placed on the staff. The plan of exposing the students in a slow

manner to the traditional music notation was to assist in their abilities to remember each of the

notes and where they are placed on the staff in addition to how they are produced on their

instrument.

The project as a whole was designed to introduce students to musical notation and to an

instrument in a manner that was slower in pace to assist students with learning both how to play

the recorder and how to read traditional music notation. Doing so with opportunities with

repetitions of each note value and placement on the staff.

Conclusions

The project began by taking a look into the many resources that was available. The

format of both Recorder Express (Almeida, 2007) and Recorder Method (Riposo, 1998), were

similar. I wanted to create a video for students to follow along with. It provides more than

students playing along with the sheet music in their book. I wanted to create something that

students could use at home to either make up a missed music class or to practice the skills that

they are working on. Both of these resources provided insight on how the preliminary lessons

were going to look and the information that they needed to include.

The preliminary three lessons needed to include basic music theory, a lesson focused

more on musical notation and note values and a lesson demonstrating proper playing techniques

for the recorder. Each of these were created to take time to review things that most students may

overlook. The purpose behind each of these were to give students a way to hear note lengths in

addition to detailed images on how to properly produce each tone on the recorder.

The following nine lessons were created using keynote to create the video background

that shows students note values. Those were created using the shape creator key. The purpose of

creating each note lesson in a set of three was to give students an extra opportunity to practice

each note individually before adding a new note for them to learn. They were to learn the note

initially by rote, teacher (video) plays and they were to play after. The middle lesson was

designed for students to learn in the call and response method, where the teacher plays a short

passage and they respond with the same rhythm passage. The third of the lessons was designed

to be a review for students to continue to practice their new skills. The first three of the nine

taught the note B and rehearsed that in different rhythms. The middle three lessons taught the

note A. Before moving on to a new note, the notes B and A were placed together in an exercise

to provide students an opportunity to work those two notes together before learning a new note.

The last three lessons taught the note G. The final of those lessons was a review of the notes B, A

and G. Allowing time for students to practice and review all three of these notes. Prior to the

practice exercise, there was time to rehearse the difficult jump between the notes B and G. This

is difficult because the note G requires more fingers covering the key holes on the recorder in

addition to more warm air to produce the tone. There were two different types of practice

exercises with the notes B and G. The first portion helped students go from the note B to the note

G. The second portion helped students go from the note G to the note B.

Then the final three lessons of the unit are more opportunities for students to practice

what they rehearsed in the prior lessons, putting everything together creating songs. There was

an additional opportunity to rehearse the difficult jump in notes from B to G and then from G to

B. Once students are comfortable with that, they will be more comfortable with producing those

tones within the songs. Each lesson in this unit was thought out thoroughly before created into a

video. Once each of the videos were created the booklet was created to keep them each together

to make viewing simple.

References

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Bauer, W. I., Reese, S., & McAllister, P. A. (2003). Transforming Music Teaching via

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Bright, K. (2018, September 28). Steps to Prep the Recorder. Retrieved from

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Burnard, P., & Finney, J. (2007). Music Education with Digital Technology. London:

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Challis, B. (2009). Technology, Accessibility and Creativity in Popular Music

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b05

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Appendix 1

Leveraging Non-

Traditional Notation

and Technology to

Enhance a Fourth

Grade Recorder Unit

By: Stephenie

Mokriakow

Lesson 1: Introduction to Basic Music

Theory

Video Link:

https://www.youtube.com/watch?v=wY42gw

iiFNw

Lesson 2: Note Values

Video Link:

https://www.youtube.com/watch?v=fggcF8Tj

EQQ&list=PLPwlziB_flBVvMQuS9y19g7Qwls_

qQm82&index=3&t=0s

Lesson 3: Correct Posture, Hand Position

and Embouchure

Video Link:

https://www.youtube.com/watch?v=bxVKk2

026lo&list=PLPwlziB_flBVvMQuS9y19g7Qwl

s_qQm82&index=4&t=0s

Lesson 4: Let’s Learn the Note B

Video Link:

https://www.youtube.com/watch?v=U-

AcNnzF0do&list=PLPwlziB_flBVvMQuS9y19g

7Qwls_qQm82&index=4

Lesson 5: Call and Response on the Note B

Video Link:

https://www.youtube.com/watch?v=G0SxFYZ

ncjM&list=PLPwlziB_flBVvMQuS9y19g7Qwls

_qQm82&index=6&t=0s

Lesson 6: Review of the Note B

Video Link:

https://www.youtube.com/watch?v=rJky_RV

omaU&list=PLPwlziB_flBVvMQuS9y19g7Qwl

s_qQm82&index=7&t=0s

Lesson 7: Let’s Learn the Note A

Video Link:

https://www.youtube.com/watch?v=aCNDWy

gi3ZY&list=PLPwlziB_flBVvMQuS9y19g7Qwl

s_qQm82&index=7

Lesson 8: Call and Response on the Note A

Video Link:

https://www.youtube.com/watch?v=8hQFY5j

tFdE

Lesson 9: Review of the Note A and B

Video Link:

https://www.youtube.com/watch?v=6vp03x

1x6CE&list=PLPwlziB_flBVvMQuS9y19g7Qwl

s_qQm82&index=10&t=0s

Lesson 10: Let’s Learn the Note G

Video Link:

https://www.youtube.com/watch?v=moU3oC

nb7W8&list=PLPwlziB_flBVvMQuS9y19g7Qw

ls_qQm82&index=10&t=0s

Lesson 11: Call and Response on the Note

Video Link:

https://www.youtube.com/watch?v=cPoTkx

WhqGw

Lesson 12: Review of the Note G, A, B

Video Link:

https://www.youtube.com/watch?v=E0WWh

D8GAHE&list=PLPwlziB_flBVvMQuS9y19g7Q

wls_qQm82&index=13&t=0s

Lesson 13: Let’s put the Notes BAG

Together

Video Link:

https://www.youtube.com/watch?v=3vHJF2

wrrfY&list=PLPwlziB_flBVvMQuS9y19g7Qwls

_qQm82&index=13

Lesson 14: Song #1 (Hot Cross Buns-

traditional)

Video Link:

https://www.youtube.com/watch?v=R8thbH

gwbZI&list=PLPwlziB_flBVvMQuS9y19g7Qwl

s_qQm82&index=14

Lesson 15: Song #2 (Name That Tune?)

Video Link:

https://www.youtube.com/watch?v=pxTVVbh

yyCo&list=PLPwlziB_flBVvMQuS9y19g7Qwls

_qQm82&index=15

References

Almeida, A. (2007).

Recorder express:

soprano recorder method for classroom

or individual use.

Place of publication

not identified: Alfred Pub Co.

Lech, J. (2017, February 12).

How To Put

Music Notation In Your Videos W/Imovie

And Logic Pro X

. Retrieved March 9,

2020, from

https://www.youtube.com/watch?v=6t6V

4M01qVE&t=192s

Riposo, J. (1998).

Recorder Method: A

Complete And Comprehensive Method

for the Beginning Recorder Student.

Publishers.

Software used to create the videos include

GarageBand, iMovie, and Keynote. I

recorded myself playing the recorder as

well as created my own images for every

video.