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Orff developed the concept of elemental music based on the synthesis of the arts of the Greek Muses, which combined tone, dance, poetry, image, design, and theatrical gesture. Their approach was to combine movement (gymnastics), music, and dance. In the early 20th century, Carl Orff met gymnastics and dance educator Dorothée Gunther and established an innovative school for children based on the idea that all human beings are musical by nature. Orff Schulwerk is rooted in arts and subject integration. Rather than a system, Schulwerk combines instruments, singing, movement, and speech to develop children’s innate musical abilities. Orff Schulwerk is the only approach that is not a systematic “method” per se, although it does entail fostering creative thinking through improvisational experiences. They would much rather play, and if you have their interests at heart, you will let them learn while they play they will find that what they have mastered is child’s play. Since the beginning of time, children have not liked to study. This is due to the fact that their core identities, particularly Orff and Dalcroze, contain elements of drama, movement, sound, and music. The holistic nature of these highly integrated approaches, is still conducive today for implementation in an integrated arts program. They are also “comprehensive and holistic children to be artists, creators, and producers and not just consumers of music.They pair active and actual music-making with conceptual learning experiences offered in a systematic approach” (Moore). Encourage active engagement with the student.Are based on incorporating the “mother-tongue” approach to rhythm, pitch, and timbre from the child’s persepctive, innate behaviors and how interaction with their natural environment and.Utilize music with authenticity and integrity, such as folk music.Are systematic and sequential in design.All of these approaches to music learning contain fundamental similarities in that they: Suzuki are time-tested and contain well-practiced and researched techniques for teaching music. The music methods of Jaques-Emile Dalcroze, Zoltan Kodály, Carl Orff, and S. All educators can incorporate the basic techniques used in these methods as they offer creative, arts-driven curricula through which to teach. Music Methods for Working With Children What Is a Method?Ī music education, or any other type of education method, is a teaching approach that has: 1) an identifiable underlying philosophy or set of principles 2) a unified body of pedagogy unique to it with a body of well-defined practice 3) goals and objectives worthy of pursuit and 4) integrity (i.e., its reason for existence must not be commercial) (Chosky et al.).Īlthough these approaches are often taught in music education classes, they are highly applicable, accessible, and integrated methods appropriate for anyone interested in working with children and the arts, or music in education in addition to music education. The material introduced in this chapter will be referenced and built upon throughout the remainder of the book. This chapter also familiarizes the reader with each method’s philosophy and principles, unique pedagogy, and practices and activities. They are Zoltan Kodály, Emile-Jacques Dalcroze, Orff Schulwerk, Edwin Gordon, Shinseki Suzuki, and Reggio Emilia. Chapter Summary: The goal of this chapter is to introduce the reader to the most well-known music teaching methods used in music education. The best thing to do is go on “practice hikes” to better understand your abilities and comfort level. If you are new to backpacking, you need data points before you can start predicting your pace on a multi-day hike or a thru-hike. Group size, which affects group efficiency.Physical fitness of myself and others in my group, e.g.good trail, game trails, tussocks, deep powder, Spring corn oxygen-deprived Colorado, oxygen-rich Appalachians My ability to accurately predict MPD has improved with experience. During a thru-hike, I never arrive in town with food leftover. If I overestimate how much time it will take by underestimating my MPD, I will be free to eat more each day than I originally planned. If I underestimate how much time it will take by overestimating my MPD, I will have to ration my food so I do not run out, as happens in the example below. my pace, noted as MPD, or miles per day, since Predicting durationĮven if I determine correctly the amount of calories I need per day, I may not necessarily leave the trailhead with the correct amount of food for the entire trip because this calculation depends on whether I determined correctly how many days it would take to reach the next resupply point, which itself is a function of the distance I cover each day, i.e. If the 3,000-calorie pile looks reasonable, then make adjustments before your next trip based on the results from your first. If a pile of food worth 3,000 calories seems like it’s way too much or way too little, adjust the amount before you even start your trip. Instead, use 3,000 calories/day as a starting point and adjust up or down as you see fit. My experience is that most backpackers only need about 3,000 calories per day, so in most cases I do not recommend that you replicate exactly the food plan above. But they also make planning easier because they can be broken apart in orderly rows.īelow is an example of what my typical rations looks like: I prefer these small, distinct meals because they keep my energy level sustained. Rather, they consist of a breakfast, four to six mid-day snacks, desert and dinner. Of course, my daily rations are not as simple as just five Snickers. Sum all food needs from (3) to determine how much food I need to buy for the entire trip.įor example, if my daily rations consisted again of just five Snickers, and if my thru-hike had four resupply points that were 4, 6, 7, and 10 days apart (27 days total), then I would need 135 Snickers.Multiply (1) x (2) to determine how much food I need sent to each resupply and,.Determine the duration (in days) between each resupply point.To determine how much food I need for an entire thru-hike, then, I modify the steps just slightly: On my 208-day Great Western Loop, for example, I resupplied about 50 times, or on average about every 140 miles, or 4 days. This is a very simple example, but it makes the point.Ī thru-hike is really just a series of consecutive multi-day trips. Determine the duration (in days) between the start and finish and,įor example, if my daily rations consisted of just five Snickers, and my trip was 4 days long, then I would bring 20 Snickers.Specify the composition of my daily rations.Multi-day backpacking trips versus thru-hikesįor a multi-day hike, there are three steps in determining how much food I need: I simply need to go shopping (using the shopping list I developed in Excel), package the food (hopefully with the help of family and friends), box it up, and ship it to my planned resupply points. The tangible planning stage is less interesting so I will not discuss it here. In the remainder of this post, I want to explain how I theoretically plan my food for multi-day backpacking trips and thru-hikes. This stage can be intimidating because I am now committing my financial resources, not just my time. For example, I order my gear, bottle my stove fuel, print my maps, and reserve my air flights. I obtain everything that is a prerequisite to start. To do so, I rely heavily on applications like Excel, Word, National Geographic TOPO!, and Google Maps.Ģ. On my computer, I develop, refine, and perfect every aspect of the trip, notably my gear, supplies, route, and logistics. New episodes of the series have not run since 2009 but PBS stations still continue to show re-runs of Barney & Friends to this day as children are still enjoying that special half hour with their friend Barney. When Barney & Friends first aired in 1992, kids went nuts and Barney merchandise flooded stores and homes alike. June 8, 2017.Barney is one of the most recognizable dinosaurs, costumed characters and children’s show icons there is. "What It's Like To Play Barney For 10 Years".^ "The Actor Who Played Barney Is Now a Tantric Sex Therapist | Time".^ a b "UTG INTERVIEW: David Joyner, The Man Inside Barney"."What It's Like To Play Barney For 10 Years". "This man played Barney the dinosaur for 10 years - here's what it was like." Business Insider. "Black History 'Erryday': Happy Birthday David 'Barney' Joyner". "Energetic David Joyner a natural TV talent as Barney, Hip Hop Harry". "10 Things You Never Knew About The Man Who Played Barney". Hip Hop Harry (In-suit performer), Chef Rob Filmography Film YearĮpisode: "New York Bar Hostage Situation"Įpisode: "Is That Plutonium in Your Pocket, or Are You Just Happy to See Me?" Outside of acting, Joyner also works as a tantric massage therapist. Then he portrayed him full time in the TV series starting with the seventh season until 2022. He also started to perform him in stage shows such as Barney Live in New York City in 1994 as a peanut salesman and for his balcony scenes, Barney's Big Surprise, and Barney's Musical Castle Live!. After he left the series, he also continued to play him for occasional appearances until 2005.Īt that time, he was replaced with Carey Stinson who also performed the character during birthday parties in 1991 and then for public appearances starting in 1992. Joyner returned to perform Barney in Barney in Outer Space in 1998. After the fourth season episode "Let's Eat", he left to film Barney's Great Adventure and was replaced with Josh Martin and Maurice Scott for the rest of the season. Joyner was originally cast to play Barney in two Barney & The Backyard Gang home videos, but continued to play Barney in the TV series Barney & Friends during the first six seasons, as well as in live performances. Joyner was originally cast as the back-up performer, but took over the role after the actress originally chosen had difficulty staying in the costume for long periods of time. Joyner originally auditioned for the role in 1991, replacing Barney's original costume actor, David Voss. It said "breathe life into your vacation." Joyner decided that "if I could breathe life into this character, I was going on vacation." And on the day of the audition, Joyner stopped at a red light and noticed a billboard above him for Southwest Airlines. In the dream, Barney passed out and Joyner had to give him mouth to mouth resuscitation. Joyner once stated that he had a dream the night before he auditioned to play the role of Barney. He worked as a software analyst for Texas Instruments for six years. He attended MacArthur High School and graduated with a degree in electronic engineering technology from the ITT Technical Institute in Indianapolis. Joyner was born to Roscoe and Mary Joyner. Whoever last longer is the winner, and will get a crystal for a bonus. Multiplayer pits you against another player facing the same siege of monsters. Crystals are the real rare currency and the best way to get them if you are stuck in the local campaign is the multiplayer. You still receive coins for levels that you fail to successfully beat, so other than time there is little keeping coins out of your reach. In fact, half the fun of Defender II is the grinding process. You can choose to buy coins or crystals with real money to speed things along (and also obtain an ad-free version of the game) but it is completely unnecessary except for those who are very impatient. Coins are pretty plentiful crystals are limited to only two per level completed. Coins and crystals are used to upgrade your cross bow, magic attacks (variants of a fire ball, lighting and ice), and your castle wall itself. With each enemy defeated you receive coins, for each stage completed you receive crystals. Controls are spot on and only when trying to use a magic attack in a panic do they ever seem to fail you (or you fail them, I’m not sure). The top right screen is a multiplayer competitorĭefender II is played by using your finger to aim your crossbow holding it down for non-stop continuous fire. Offering crisp, colorful graphics with simple but fun and engaging gameplay. Defender II would be so-so on a console, but as a mobile game it is a solid gaming experience. Tower Defense games and mobile games both have stigmas attached to them, so this may seem like a bold statement. Seriously though, Defender II is the best game I’ve played so far on a phone. So imagine my surprise when I booted up Defender II and found a game that I could barely pull myself away from for the next several hours, even now it calls to me, taunting me to leave this review half finis… Even Angry Birds has never really struck me as amazing, rather just a game that was at the right place at the right time. Poor gameplay and free games that aren’t really free plague the casual game market in general, and this is equally true on Google Play. That said, in the past month I’ve given a fair share of the ridiculously large amount of free games on the Google Play marketplace a try and for the most part have found little if anything that really caught my interest. I know, I’m not always an early adopter, go ahead and make fun. Full disclosure, I’ve only had a smart phone for about a month. eXPert PDF brings the power of PDFs to everyone and is to be applauded for this.PDF creation and editing at a great price. Bullzip PDF Printer 14 makes it even easier to create PDF from just about any application. Need for speed rivals Multiplayer game download free full pc game.NFS Rivals is the High Graphics Multiplayer game need for speed Rivals play it online and is the 5 Sequel of NFS. PDF creation and editing at a great price. Thundercats cartoon full episodes Bullzip pdf printer windows 8-1 True measure of a man clothing Chest binder Need For Speed Download Free Full Version. 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As there was not a built-in PDF print option in Home Designer 2014 and previous program versions, a third party PDF print driver must first be installed in order to create a. May copy references and dates incorrectly, transposing numbers. These are the ‘careless rushers’.Įvents might be told out of sequence or with parts missing.Ĭopying from the board: from Learning Objectives to more complex notes, diagrams and calculations is problematic. Children who have fast processing use this strength to get information down quickly. Messy work with many crossings out, small quantities or not making sense. Experience cognitive overload due to the complex demands of writing. May transpose letters in spelling eg callde for called form for from.ĭifficulty structuring and planning: sentences, paragraphs and story. Have a poor feel for orthography- structure of words and common patterns. May be able to spell a word aloud but not write it. May not be automatic- requiring conscious effort due to difficulties linking phonemes to graphemes and recalling letter shape. Likely to have a slow reading speed and this may impact on comprehension, particularly factual texts. May struggle to hold sounds in mind and blend them. May have extreme difficulties with phonics, hit a wall with digraphs and trigraphs. They might find group work difficult because they can’t express their ideas quickly enough. They may call out answers (because they can’t keep the information in mind). The student may: arrive late, be flustered, forget books or homework. to staff, parents, or about a forthcoming event or assignment. He/she may not be able to remember messages e.g. inability to follow instructions, several step instructions are particularly problematic. The consequences are catastrophic- information lost from here is gone forever! cThinkpixįiltering out background noise can be challenging leading to task failure i.e. It helps me to think of auditory working memory as a shelf, those with a short shelf have items frequently dropping off. Importantly, working memory theory (especially auditory) is the thread that links language, learning and behaviours. In dyslexia, this is typically a strength and can be used to support auditory information. There is much less known about the Visuospatial sketchpad but this can be measured separately using abstract visual information. Measurement of working memory can be done using a digit span test but as number names are in Long Term Memory, non- words are a more accurate measure. The Visuospatial sketchpad and phonological loop are not directly connected but connect via the Central Executive. This component causes difficulties in dyslexia. Phonological Loop: inner voice: stores auditory informs (speech) rehearsal keeps the information held through use of the inner voice. Visuospatial Sketchpad: mind’s eye: stores visual information. Understanding of working memory is a work in progress! Baddeley suggests the following components:Ĭentral Executive: responsible for attention and reviewing and selecting successful strategies. ■Underpins capacity for complex (higher order) thought. ■…a temporary storage system under attentional control that underpins our capacity for complex thought. Assessment of this is all done in an auditory fashion without a visual representation of number (here, I have written them to demonstrate) /ch2jQzgEQH- □□✍️ March 3, 2019Īlan Baddeley (2007) describes working memory as follows: If you took Lennon and Dylan and mixed them together…that was something that hadn’t been done. I saw a definite niche, a place where the two of them blended together. But the Beatles came out and changed the whole game for me. I did feel that the real folk scene was in the Village. I got a job offer to play as an opening act at the Troubadour. Why did you chuck it all to go to Los Angeles? In the early Sixties, you were making a name for yourself on the New York folk circuit. And I’d like my kids to know some of the stuff I did.”īut if McGuinn never really liked Los Angeles, why did he stay for seventeen years? “I guess I liked the weather.” “He had a lot of stories, and he used to tell us to write ’em down, and we never did. “My dad died about four or five years ago,” says McGuinn. This interview - conducted, appropriately, in that city, where he was talking to prospective producers for his upcoming Arista solo album - provides a glimpse at what we might expect in McGuinn’s autobiography, now in progress and entitled So You Want to Be a Rock ‘n’ Roll Star. (He finally put the Byrds to rest in 1973.) But throughout his career, Roger McGuinn - who now lives on the west coast of Florida - has been a keen observer, and often a strong critic, of life and music in Los Angeles. The Byrds themselves were a fractious bunch by 1969, McGuinn was the only original member left, and the hit singles had dried up. The Byrds were also central figures in pop schmooze circles, enjoying friendships with Dylan and the Beatles, helping newcomers like Joni Mitchell and Jackson Browne and partying with Papa John Phillips, Phil Spector and young movie outlaws like Peter Fonda and Jack Nicholson. The band’s legendary residency at a Sunset Strip discotheque called Ciro’s started a live-music scene that included historic clubs like the Trip, the Whiskey a Go Go and the Cheetah and gave birth to future legends like Buffalo Springfield, the Doors, Love and Frank Zappa’s Mothers of Invention. Tambourine Man,” Los Angeles became the main spawning ground for folk rock the Mamas and the Papas, Sonny and Cher, the Grass Roots and the Turtles quickly followed in the Byrds’ wake. These included McGuinn and the Byrds, who were a vital force in L.A.’s metamorphosis from Snoozeville to America’s new capital city of pop. I don’t think the Beach Boys had even started yet.” There was more action in New York during 1962-63, McGuinn was in the Brill Building writing tunes for Bobby Darin, doing session work and playing folk gigs in Greenwich Village.īut by mid-1965, Los Angeles was alive with the crisp sound of electric guitars and the cumulative roar of expensive Porsches driven by the city’s new mod gods. “There wasn’t much going on on the street either. “Pop radio was people like Steve Lawrence and Eydie Gorme,” says McGuinn, then seventeen and already a veteran of the folk scene in his native Chicago. Ironically, James Joseph McGuinn III (he changed his name to Roger in 1967, during a flirtation with Eastern religion) thought Los Angeles was “a sleepy little town” when he first passed through in 1960 while touring as a backup musician with the Limeliters. That Time Joni Mitchell Brought Gordon Lightfoot's House Down With 'Coyote' Tambourine Man” and “My Back Pages” vividly captured not only the city’s sunny allure but also its restive, and hopeful, adolescent spirit. The distinctive chime of McGuinn’s twelve-string Ricken-backer guitar and the metallic resonance of the group’s choirboy vocals on “Turn! Turn! Turn!,” “So You Want to Be a Rock ‘n’ Roll Star,” “Eight Miles High” and on covers of Bob Dylan’s “Mr. was that of the original Byrds - McGuinn, David Crosby, Gene Clark, Chris Hillman and Michael Clarke. And while the twang ‘n’ harmony magic of Brian Wilson and the Beach Boys embodied the SoCal myth of wild surf and sweet beach romance, the real sound of swinging Sixties L.A. It was, however, the very surreal quality of life there - the singular collision of great wealth, high commerce and deviant art in the film, television and music communities, heightened by the rising tide of teenage discontent and the impact of the British Invasion - that made Los Angeles the ideal playground-workshop for the mid-Sixties hip rock elite. “Just the whole attitude here, where people are superficial and so caught up in material things. “I always looked down on L.A., like it wasn’t the real world,” McGuinn says with a chuckle. As the principal singer, lead guitarist and de facto leader of the Byrds, McGuinn was also one of the city’s most distinguished rock & roll citizens - an early champion of Bob Dylan’s songs, a confidant of the Beatles and a major instigator of the folk-, acid- and country-rock movements that transformed pop music during the Sixties. He lived there for the better part of two decades, 1963 through 1980. 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