Musical Theater Dance Training and Choreography in the 1920–1930s

This chapter provides an examination of how Broadway dancers were trained, the introduction of jazz dance to Broadway, the 1920s gradual move away from unison line dancing in favor of the individuated chorus, and how a few dance directors began to consider dance in musicals in relation to the libretto as an integrated and meaningful addition to the musical play. The common practice of Black choreographers being pushed aside while white choreographers claimed credit for their work and the essential role Black dance teachers and coaches played in training white dancers for Broadway is discussed here. Examinations of choreographic works by dance directors Buddy Bradley, Charlie Davis, Seymour Felix, Sammy Lee, Albertina Rasch, and George Balanchine establish a historical basis in preparation for the radical innovations to be discussed in subsequent chapters.

Living Traditions

Children’s music traditions have been maintained, shaped, and transmitted orally for generations in families and communities in Nicaragua and Guatemala. An integral part of daily life, singing practices serve many purposes. In families, caregivers sing traditional music, religious songs, ballads, and lullabies as parenting tools to form bonds and affect mood. They also carry out finger plays, bouncing games, hand-clapping rhymes, and made-up songs to engage in musical play with their children. This musical environment fosters the continuity of cultural heritage, beliefs, and history....

Rondas (Singing Games)

Part 2: La Música (The Music) contains 90 joyful songs learned on playgrounds, in classrooms, and from families and teachers. The repertoire allows for musical play and movement, encourages lyrical improvisation, and fosters community. The collection is organized into three categories: Rondas (Singing games), Rimas y Juegos (Chants and games), and Canciones (Songs). Canciones, which comprises 51 songs, includes many pieces with accompanying actions as well as three religious songs and three in a Mayan language, Kaqchikel. La Musica includes song transcriptions, game or movement directions, English translations, informant and location citations, brief notes on song histories or performance practice, and illustrations by the Mayan artist Sucely Puluc. Field video, audio recordings, and additional song information on the companion website allow teachers and students to witness the songs in authentic contexts, demonstrate singing games, guide in pronunciation, and learn more about the history of the songs.

Music therapy methods, strategies and techniques for engaging children in meaningful music therapy encounters in hospital play therapy settings

<p>This qualitative study examines a music therapy student’s practice on a paediatric ward in a general hospital in New Zealand. The study arose after I experienced challenges engaging and interacting with patients in a hospital play therapy setting, where patients stay was short-term. The research identified the music therapy methods, techniques and strategies I used to initiate and sustain musical interaction with them. Findings were generated from secondary analysis of two months’ worth of clinical documentation and reflection. Both inductive and deductive thematic analysis was used to analyse the clinical data and reflection. The literature on paediatric music therapy, musical play and play therapy were reviewed. Findings are presented in two parts. The first section highlights the predominant music therapy methods I used: range of instruments, singing, use of props, listening, use of discussion and musical games; and the overlaps of strategies and techniques within. The second section identifies four main categories of music therapy goals to illustrate the unique and subtle differences of music therapy methods, strategies and techniques in relation to the goals. Subsequently, in the discussion section, findings are considered in the light of the literature, and limitations of the research are addressed.</p>

What strategies did I use, as a music therapy student, to promote child-led cooperative play in an inclusive education setting?

<p>The fostering of inclusion in modern mainstream schools can be challenging. Student needs are becoming increasingly diverse, funding is scarce, and an attitudinal shift is necessary to value the contributions and identities of all learners. This study explores how music therapy can assist the process of inclusion by articulating the strategies I, a music therapy student, used when working to enhance musical play within a play-based learning environment. Findings have been generated using the methodology Secondary Analysis of Qualitative Data which involved thematic analysis of session notes and my reflexive diary. They describe the strategies I used to facilitate children’s developing social play skills, which varied from onlooker and solitary play, to parallel (alongside) and associative play (with some unorganised verbal and musical interactions), culminating in cooperative play (with children interacting directly to organise play and assign particular roles). I identified five themes reflecting levels of social participation in musical play; meeting individual needs, facilitating involvement, encouraging participation, encouraging interactions and supporting play stages. ‘Encouraging interactions’ was identified as the key theme relating to cooperative play, and the most significant in fostering pro-inclusive social skills. Musical and non-musical strategies are described and the significance of musical co-playing in facilitating pro-inclusive interactions is explored. The strategies identified are relevant for fostering inclusion in other play-based learning programmes and free play environments in both primary schools and pre-schools in New Zealand and globally.</p>

Music therapy methods, strategies and techniques for engaging children in meaningful music therapy encounters in hospital play therapy settings

<p>This qualitative study examines a music therapy student’s practice on a paediatric ward in a general hospital in New Zealand. The study arose after I experienced challenges engaging and interacting with patients in a hospital play therapy setting, where patients stay was short-term. The research identified the music therapy methods, techniques and strategies I used to initiate and sustain musical interaction with them. Findings were generated from secondary analysis of two months’ worth of clinical documentation and reflection. Both inductive and deductive thematic analysis was used to analyse the clinical data and reflection. The literature on paediatric music therapy, musical play and play therapy were reviewed. Findings are presented in two parts. The first section highlights the predominant music therapy methods I used: range of instruments, singing, use of props, listening, use of discussion and musical games; and the overlaps of strategies and techniques within. The second section identifies four main categories of music therapy goals to illustrate the unique and subtle differences of music therapy methods, strategies and techniques in relation to the goals. Subsequently, in the discussion section, findings are considered in the light of the literature, and limitations of the research are addressed.</p>

What strategies did I use, as a music therapy student, to promote child-led cooperative play in an inclusive education setting?

<p>The fostering of inclusion in modern mainstream schools can be challenging. Student needs are becoming increasingly diverse, funding is scarce, and an attitudinal shift is necessary to value the contributions and identities of all learners. This study explores how music therapy can assist the process of inclusion by articulating the strategies I, a music therapy student, used when working to enhance musical play within a play-based learning environment. Findings have been generated using the methodology Secondary Analysis of Qualitative Data which involved thematic analysis of session notes and my reflexive diary. They describe the strategies I used to facilitate children’s developing social play skills, which varied from onlooker and solitary play, to parallel (alongside) and associative play (with some unorganised verbal and musical interactions), culminating in cooperative play (with children interacting directly to organise play and assign particular roles). I identified five themes reflecting levels of social participation in musical play; meeting individual needs, facilitating involvement, encouraging participation, encouraging interactions and supporting play stages. ‘Encouraging interactions’ was identified as the key theme relating to cooperative play, and the most significant in fostering pro-inclusive social skills. Musical and non-musical strategies are described and the significance of musical co-playing in facilitating pro-inclusive interactions is explored. The strategies identified are relevant for fostering inclusion in other play-based learning programmes and free play environments in both primary schools and pre-schools in New Zealand and globally.</p>

Guiding Hand

The emergence of imaginative children’s music in the second half of the nineteenth century reframed the relationship between children and music in revolutionary ways. The dominant paradigm had been for children to repetitiously practice mechanistic exercises, a time-consuming occupation that the German composer Robert Schumann considered particularly wasteful and tasteless. In response he composed Album für die Jugend in 1848, a collection of children’s pieces that utilised a combination of text, picture and music to appeal to the interests of children, and to inspire their enthusiasm for musical play. Schumann envisioned his music as an extension of familial nurturance, which played a powerful role in directing children towards a musically and spiritually rich adulthood. As the tradition of imaginative children’s music developed during the nineteenth century, the dual themes of entertainment and education remained central to its generic identity, and continued to speak to the significance of piano music as a tool for the socialisation of children. The work of Jacqueline Rose offers a lens through which to explore this music’s manipulative influence upon children. The multimodal and performative characteristics of these musical pieces demonstrate the hidden influence of the adult’s guiding hand and the dire consequences that come to those who transgress musical and social boundaries.

Fantasias on a Theme by Walt Disney

This chapter investigates listening to music in video games by proposing a model of “playful listening” to show how music creates domains of musical play. The chapter uses case studies of three games all based on Walt Disney’s Fantasia (1940/1999) films: Atari 2600 (1983), Sega Mega Drive/Genesis (1991), Microsoft Xbox Kinect (2014). Each Fantasia game highlights these fields of musical play in different ways. Games like the Fantasia titles make obvious how listening to music can be playful (even outside games). When we listen for how music “plays out,” we are engaging with the implied possibilities of the music, its “potential to be otherwise”; the music generates a field of potential sounding forms, only one of which is realized and fulfilled in performance. Games, and these games in particular, encourage us to listen playfully, and to enjoy the dynamic relationships of listening, in-game and outside, on-screen and off.