Edwin Gordon - Music Educator presentation by Brian Fredricks

Summary

The transcript highlights Edwin Gordon's Music Learning Theory (MLT), which emphasizes a sequential, pattern-based approach to music education. Unlike traditional methods, Gordon's theory prioritizes informal, immersive instruction during early childhood (ages 5-9) to build musical ideation and prevent students from remaining stuck in imitation. The theory consists of eight learning stages, from imitation to conceptual understanding, and encourages teachers to use solfege and rhythmic patterns to foster musical understanding. Gordon’s approach parallels language acquisition, recommending improvisation and a deep engagement with music before formal notation. The focus is on making music without relying on traditional music theory or notation.

Takeaways

• 😀 Gordon’s approach is rooted in music learning science, not a specific method like Suzuki’s. He emphasizes ideation, or the ability to hear music in the mind without it being physically present.
• 😀 Music learning should start informally during the 'musical babble' stage (ages 5-9), with an emphasis on immersion in rhythmic and tonal patterns rather than correcting mistakes.
• 😀 Gordon’s music learning theory consists of eight stages, from imitation of patterns to inference learning, and includes specific activities for tonal and rhythmic pattern development.
• 😀 Audition, as defined by Gordon, is the ability to hear and understand music in the mind. It progresses from simple recognition to predicting musical outcomes.
• 😀 The stages of musical learning progress logically, starting with imitation of sounds on neutral syllables and eventually moving to more complex tasks like dictation and creative expression.
• 😀 Music educators should expose students to varied tonalities and meters early on, using whole-part-whole teaching to provide context and understanding.
• 😀 The theory emphasizes pattern teaching, where familiar patterns are progressively linked with notation and students learn to recognize and reproduce them.
• 😀 Learning sequence activities (LSAs) are different from classroom activities. LSAs focus on structured learning of patterns, while classroom activities are more about applying those patterns in musical contexts.
• 😀 Generalization is an important step, where students apply learned patterns to new pieces, which helps with sight-reading and musical creativity.
• 😀 Gordon’s music learning theory suggests that children can develop musical understanding without relying heavily on notation or formal music theory at first, instead focusing on improvisation and pattern recognition.

Q & A

What is the central concept of Edwin Gordon's Music Learning Theory?

The central concept of Edwin Gordon's Music Learning Theory is that all children are born with musical aptitude, and this can be developed through early, informal instruction focused on tonal and rhythmic patterns, rather than formal music theory or notation.

What is the 'musical babble' stage, and why is it important?

The 'musical babble' stage refers to a period in a child's development (from birth to around age 5-9) during which they naturally imitate and experiment with musical sounds and patterns. This stage is important because it forms the foundation for later musical development and should be nurtured through informal instruction.

What are the eight stages of musical learning according to Gordon's theory?

The eight stages of musical learning in Gordon's theory are: 1) Imitation of patterns, 2) Verbal associations (solfege and rhythmic mnemonics), 3) Pattern recognition, 4) Introduction of notation, 5) Pattern fluency (reading and dictating), 6) Generalization (applying learned patterns), 7) Creative application (using patterns in new ways), and 8) Music theory (formal music education).

How does Gordon define 'ideation' in music learning?

'Ideation' is the ability to hear music mentally without it being physically present. It involves understanding and processing musical patterns internally, which is a key element of musical development according to Gordon's theory.

What is the 'whole-part-whole' teaching method, and how is it applied in music education?

The 'whole-part-whole' teaching method involves first presenting the whole concept (e.g., a song or musical piece), then breaking it down into its individual parts (such as specific tonal or rhythmic patterns), and finally returning to the whole piece with a deeper understanding of its structure. This approach helps students see the context and interconnection between different musical elements.

What is the difference between 'learning sequence activities' and 'classroom activities' in Gordon’s Music Learning Theory?

Learning sequence activities (LSAs) are structured, sequential exercises designed to teach tonal and rhythmic patterns in a logical order. Classroom activities, on the other hand, are more informal and include singing, playing instruments, games, and other activities where students apply learned patterns in real musical situations.

Why does Gordon believe that children should not be corrected during the musical babble stage?

Gordon believes that correcting children during the musical babble stage interferes with their natural musical development. Instead, the focus should be on immersing them in a variety of tonalities and rhythmic patterns, allowing them to absorb these patterns without the pressure of correction.

What role does improvisation play in Gordon's Music Learning Theory?

Improvisation plays a critical role in Gordon's Music Learning Theory. He encourages music teachers to focus on helping students make music without relying on notation, emphasizing creativity and the exploration of learned patterns in new ways.

What does Gordon mean by 'audition' and why is it central to his theory?

In Gordon's theory, 'audition' refers to the mental process of hearing and understanding music in the mind. It is central to the theory because it forms the foundation for recognizing and processing musical patterns, which is essential for learning music in a deeper, more meaningful way.

How does Gordon suggest teachers should introduce musical notation to students?

Gordon advises that musical notation should be introduced only after students have internalized tonal and rhythmic patterns through listening and imitation. When notation is introduced, it should be linked to patterns the students have already learned orally and symbolically, and the focus should be on quick, informal presentation to avoid overwhelming them with theory at the outset.