Introducing the Recorder and Music Theory Edward Wolfe Books
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Introducing the Recorder and Music Theory Edward Wolfe Books
Knowing the author's personality and passions can make his written words dance in eye beams, laughter and song. So it is with Edward Wolfe's new book, Introducing the Recorder and Music Theory. The author holds a doctorate in music; he is a serious, dedicated musician and teacher. Yet Dr. Wolfe enjoys people and delights when an idea, perhaps even an understanding, blossoms in the mind and soul of a student. Indeed, Dr. Wolfe laughs, and laughs heartily, with joy.Carry that image into reading Dr. Wolfe's book, and you can feel his personal care in each concept, teaching approach, and sometimes even his choice of words. The book's title, for example, is so direct that you can imagine Dr. Wolfe chuckling a bit as he proposed it. And, yes, Introducing the Recorder and Music Theory ("IRMT") precisely describes the book's mission. Is the mission accomplished?
Yes, indeed, IRMT succeeds in five major dimensions. Those dimensions are: (1) providing teacher-student serviceability; (2) encouraging student ownership, creativity, and expression in the subject; (3) instilling a working knowledge of reading and writing music; (4) building a recognition and comprehension of music theory without fear; and (5) broadening students' music knowledge and appreciation in the study context.
First, as a student textbook and workbook, IRMT supplies the music teacher with a series of lessons and nearly all of the supporting materials students will need. Easy to read, with open spaced layout and attractive typeface styles and sizes, IRMT puts the information into the students' hands without a lot of verbosity or distractions. The book's conversational tone abandons any sense of stiffness - which makes sense, knowing Dr. Wolfe's youthful outlook and sometimes sly sense of humor.
IRMT is not a self-study book; the music teacher injects depth, meaning, and most importantly, sound into the learning experience. IRMT eases the teacher's preparation burden by setting out a well-defined program of study that students can easily use. Certainly the teacher must introduce the mechanics of playing the Recorder, while IRMT supplies most of the music theory portion. A teacher may choose to present some but not other portions of any given lesson, of course, depending upon class goals and grade level, without the omissions seeming awkward.
Second, IRMT's approach encourages students early to *own* the music. In the past, students sometimes felt that music study was motivated by a teacher's agenda alone. Punishment resulted when music lessons were flubbed or missed. IRMT, however, deliberately empowers students to invent music themselves almost immediately.
Rather like Julie Andrews' character in the Sound of Music, IRMT explains that "the first three notes just happen to be ... Do Re Mi," and from that basis students can begin to create their own mini-melodies on the Recorder.
The book also coordinates playing by ear with both the formal study and the improvisation. These features, starting first with a three-note and then a five-note major scale, put the students into the musical driver's seat sooner. Not only can the budding Recorder player then say, "Look what I can play!" He or she can also say, "Listen to what I created!"
Third, IRMT leads students almost effortlessly to write music and shortly then to read music as well. Somewhat like the Montessori method that encourages pupils to write sounds before formally reading them, IRMT draws students into creating representations of sounds with symbols. By presenting the making, writing, and reading of music almost in parallel, the book helps students avoid the fear that they can "never do" some aspect of music-making.
Learning in many subjects can be enhanced when the student exercises different parts of the mind and body in the process, either in sequence or simultaneously. IRMT thus also uses solfège, also called solfeggio, which is essentially a sign language for musical notes. Had Julie Andrews' character used solfège in the famous "Do Re Mi" performance, the whole world would be "signing to the beat" today!
IRMT wires solfège into the program, thus integrating another visual and physical skill into the musical mix. Equally importantly, the solfège technique frees music students from the limitations usually expressed as, "I can only play that in C or G." Quite early IRMT shows students why music exists in tonal relationships and rhythm, which are not confined to any one starting note or key.
Fourth, IRMT delivers music theory without the terror that anything called "theory" ordinarily provokes. IRMT's presentations mix text, familiar diagram styles, and both traditional and nontraditional music notation approaches; the students need not fear this book. At the same time, IRMT delivers solid theory using the standard terms and phrases of serious musicianship.
Students who successfully complete a study of the entire book will command a knowledge of sight reading, song writing and improvisation, time signatures, major and minor keys, chords, scales, harmonies, and (with the teacher's and other students' help) ensemble performance. No small feat for a 150-page book!
Fifth, IRMT draws in musical themes from many traditions. Familiar tunes (like Jingle Bells) provide tune recognition; American spirituals add tonal and rhythmic variations; foreign songs add breadth to music knowledge and appreciation. Dr. Wolfe has collected music that sounds wonderful on Recorders in solo, duet, or accompanied performance.
One teaching concept stood out as unusual and, frankly, inspired. Where the textbook has work pages or quizzes, there are fill-in-the-blank tables where the student is asked to define music terms. These tables do not demand a canned definition, however; the student is invited to provide "your definition or the one from the book." By giving the student the option, these definition quizzes give another opportunity for students to own the music study as they internalize the ideas they have learned. For students who have not yet internalized a definition for a given term, the book's answer is available and fully recognized as well. This approach provides a win-win for students, which gives a relaxing feel to the study while still calling upon students to learn the material.
In addition to the physical techniques of playing the Recorder, the teacher needs to add two things. One is a diagram that shows the solfège hand signals, which is helpful to support classroom practice of the method.
The other is the teacher's ability to inspire students to learn music in a formal, somewhat rigorous way. The examples of Bach, Mozart, Beethoven, Brahms, Stravinsky, and many others, may inspire some students. But in truth, most of the best composers and performers of jazz, rock, blues, new age, and country music all hold fast to fundamental musical principles. The best names in each musical form do not suggest, they do not ask - they demand their orchestras, bands and back up vocalists deliver music with exquisite precision. And certainly the professional musicians playing the wonderful scores for Broadway shows, movies, and many television programs, are musicians trained in all of the subjects that IRMT presents.
Whether students want to be symphonic players or rock stars, or perhaps just want to enjoy music more thoroughly, their work with the Recorder and IRMT will serve them well into adulthood. Dr. Wolfe's book should be first on the list for music teachers' consideration in any serious music class from grades 6 to 12, and even in college or adult enrichment courses.
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Introducing the Recorder and Music Theory Edward Wolfe Books Reviews
As a middle school music teacher, I have had the opportunity to use this book with 7th graders. I have found it to be unique in my experience, balancing the learning of music theory to enable playing a musical instrument and learning to play a musical instrument to understand music theory. This authentic experience supports meaningful learning while fostering in depth academic achievement.
In each unit, the students have the opportunity to learn both theory and performance across a wide variety of domains by improvising, playing by ear, reading music, kinesthetic experiences, solfège, direct technical instruction, and ensemble playing. Each unit then follows with a variety of level-appropriate tunes, instructional and review materials, and assessment materials.
The songs and theory content of each unit are holistic and, with each unit, gradually build on and expand the student's musical experience. Questions are interspersed supporting a Socratic approach of instruction by guided questioning, student-centered learning, and metacognitive reflection. These questions are well-geared to students from the apex Socrates' dialectic stage to the incipient rhetoric stage.
The music included covers a wide variety of folk musics. After three months, my 66 seventh graders were prepared to give an excellent performance of polyphonic and multipart harmonized pieces. While supplemental worksheets and self-assessment materials are plentiful, I found my students so well-prepared that we followed our concert with a final project wherein the students worked in groups of seven to eight to create, practice, and perform a composition in rondo form which included the many aspects of music theory and demonstrated a sound understanding of the principles of music theory and the way the composer-as-artist creates meaning in his music.
Knowing the author's personality and passions can make his written words dance in eye beams, laughter and song. So it is with Edward Wolfe's new book, Introducing the Recorder and Music Theory. The author holds a doctorate in music; he is a serious, dedicated musician and teacher. Yet Dr. Wolfe enjoys people and delights when an idea, perhaps even an understanding, blossoms in the mind and soul of a student. Indeed, Dr. Wolfe laughs, and laughs heartily, with joy.
Carry that image into reading Dr. Wolfe's book, and you can feel his personal care in each concept, teaching approach, and sometimes even his choice of words. The book's title, for example, is so direct that you can imagine Dr. Wolfe chuckling a bit as he proposed it. And, yes, Introducing the Recorder and Music Theory ("IRMT") precisely describes the book's mission. Is the mission accomplished?
Yes, indeed, IRMT succeeds in five major dimensions. Those dimensions are (1) providing teacher-student serviceability; (2) encouraging student ownership, creativity, and expression in the subject; (3) instilling a working knowledge of reading and writing music; (4) building a recognition and comprehension of music theory without fear; and (5) broadening students' music knowledge and appreciation in the study context.
First, as a student textbook and workbook, IRMT supplies the music teacher with a series of lessons and nearly all of the supporting materials students will need. Easy to read, with open spaced layout and attractive typeface styles and sizes, IRMT puts the information into the students' hands without a lot of verbosity or distractions. The book's conversational tone abandons any sense of stiffness - which makes sense, knowing Dr. Wolfe's youthful outlook and sometimes sly sense of humor.
IRMT is not a self-study book; the music teacher injects depth, meaning, and most importantly, sound into the learning experience. IRMT eases the teacher's preparation burden by setting out a well-defined program of study that students can easily use. Certainly the teacher must introduce the mechanics of playing the Recorder, while IRMT supplies most of the music theory portion. A teacher may choose to present some but not other portions of any given lesson, of course, depending upon class goals and grade level, without the omissions seeming awkward.
Second, IRMT's approach encourages students early to *own* the music. In the past, students sometimes felt that music study was motivated by a teacher's agenda alone. Punishment resulted when music lessons were flubbed or missed. IRMT, however, deliberately empowers students to invent music themselves almost immediately.
Rather like Julie Andrews' character in the Sound of Music, IRMT explains that "the first three notes just happen to be ... Do Re Mi," and from that basis students can begin to create their own mini-melodies on the Recorder.
The book also coordinates playing by ear with both the formal study and the improvisation. These features, starting first with a three-note and then a five-note major scale, put the students into the musical driver's seat sooner. Not only can the budding Recorder player then say, "Look what I can play!" He or she can also say, "Listen to what I created!"
Third, IRMT leads students almost effortlessly to write music and shortly then to read music as well. Somewhat like the Montessori method that encourages pupils to write sounds before formally reading them, IRMT draws students into creating representations of sounds with symbols. By presenting the making, writing, and reading of music almost in parallel, the book helps students avoid the fear that they can "never do" some aspect of music-making.
Learning in many subjects can be enhanced when the student exercises different parts of the mind and body in the process, either in sequence or simultaneously. IRMT thus also uses solfège, also called solfeggio, which is essentially a sign language for musical notes. Had Julie Andrews' character used solfège in the famous "Do Re Mi" performance, the whole world would be "signing to the beat" today!
IRMT wires solfège into the program, thus integrating another visual and physical skill into the musical mix. Equally importantly, the solfège technique frees music students from the limitations usually expressed as, "I can only play that in C or G." Quite early IRMT shows students why music exists in tonal relationships and rhythm, which are not confined to any one starting note or key.
Fourth, IRMT delivers music theory without the terror that anything called "theory" ordinarily provokes. IRMT's presentations mix text, familiar diagram styles, and both traditional and nontraditional music notation approaches; the students need not fear this book. At the same time, IRMT delivers solid theory using the standard terms and phrases of serious musicianship.
Students who successfully complete a study of the entire book will command a knowledge of sight reading, song writing and improvisation, time signatures, major and minor keys, chords, scales, harmonies, and (with the teacher's and other students' help) ensemble performance. No small feat for a 150-page book!
Fifth, IRMT draws in musical themes from many traditions. Familiar tunes (like Jingle Bells) provide tune recognition; American spirituals add tonal and rhythmic variations; foreign songs add breadth to music knowledge and appreciation. Dr. Wolfe has collected music that sounds wonderful on Recorders in solo, duet, or accompanied performance.
One teaching concept stood out as unusual and, frankly, inspired. Where the textbook has work pages or quizzes, there are fill-in-the-blank tables where the student is asked to define music terms. These tables do not demand a canned definition, however; the student is invited to provide "your definition or the one from the book." By giving the student the option, these definition quizzes give another opportunity for students to own the music study as they internalize the ideas they have learned. For students who have not yet internalized a definition for a given term, the book's answer is available and fully recognized as well. This approach provides a win-win for students, which gives a relaxing feel to the study while still calling upon students to learn the material.
In addition to the physical techniques of playing the Recorder, the teacher needs to add two things. One is a diagram that shows the solfège hand signals, which is helpful to support classroom practice of the method.
The other is the teacher's ability to inspire students to learn music in a formal, somewhat rigorous way. The examples of Bach, Mozart, Beethoven, Brahms, Stravinsky, and many others, may inspire some students. But in truth, most of the best composers and performers of jazz, rock, blues, new age, and country music all hold fast to fundamental musical principles. The best names in each musical form do not suggest, they do not ask - they demand their orchestras, bands and back up vocalists deliver music with exquisite precision. And certainly the professional musicians playing the wonderful scores for Broadway shows, movies, and many television programs, are musicians trained in all of the subjects that IRMT presents.
Whether students want to be symphonic players or rock stars, or perhaps just want to enjoy music more thoroughly, their work with the Recorder and IRMT will serve them well into adulthood. Dr. Wolfe's book should be first on the list for music teachers' consideration in any serious music class from grades 6 to 12, and even in college or adult enrichment courses.
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