"Ich"-Rahmen der weiteren Entwicklung
In den ersten Versionen des Sounds of Intent Framework wurde bewusst vermieden, auf andere als musikalische Formen des Engagements zu verweisen, um der Tendenz der Pädagogen um die Jahrhundertwende entgegenzuwirken, die mit Schülern und Studenten mit Lernschwierigkeiten arbeiteten und sich in ihren Musikberichten und Beurteilungen auf alles außer Musik bezogen. Diese Tendenz wurde in der Tat in der Dokumentation der britischen Regierung - den so genannten "P-Scales" - über die Erziehung von Kindern und Jugendlichen mit schweren oder tiefgreifenden und mehrfachen Lernschwierigkeiten verankert. Diese Fokussierung auf außermusikalische Faktoren könnte eine Folge der Tatsache sein, dass im Vereinigten Königreich, als Kinder und Jugendliche mit schweren Behinderungen in den 1980er Jahren zum ersten Mal in die Schulen aufgenommen wurden, ein angemessenes Musikangebot für sie weitgehend (wenn nicht sogar vollständig) als therapeutisch angesehen wurde. Das heißt, ihre musikalischen Erfahrungen wurden als primär außermusikalisch nutzbringend angesehen, und ihr Engagement und ihre Fortschritte in der Musik wurden in der Regel an außermusikalischen Zielen gemessen.
Nachdem das Team von Sounds of Intent dafür plädiert hatte, dass Menschen mit schweren oder tiefgreifenden und multiplen Lernschwierigkeiten in erster Linie in der Musik unterrichtet werden sollten, anstatt Musik hauptsächlich als Mittel zur Unterstützung anderer Bildungsziele zu betrachten, führte es den Begriff der Bildung durch Musik in Form des "Ich"-Rahmens für die weitere Entwicklung wieder ein. Dieser umfasst vier Bereiche: Ich: mein Körper", Ich: meine Gedanken und Gefühle", Ich, du und andere Menschen" und Ich und meine Welt", was eine Bewegung von biologischen Belangen hin zu psychologischen, sozialen und schließlich kulturellen Aspekten darstellt. Es enthält Deskriptoren für jeden Bereich, die sich auf die Stufen 2-4 des Hauptrahmens der Absichtsklänge beziehen.
Jeder Bereich bezieht sich auf eine der drei Unterebenen des Engagements: "Ich habe es versucht", "Ich habe es!" und "Ich gehe weiter". Diese entsprechen den Deskriptoren "im Entstehen begriffen", "erfolgreich" und "herausragend" der Musikbewertungsmatrix. Assessment DOC 60
Having a go Got it! Taking things further The ‘Me’ Framework of Wider Development based on Sounds of Intent: Assessment Schedule Main descriptor Connects movement with sound Connects repeated or uniform movement with simple patterns in sound Connects short sequences of different movements with particular musical motifs Connects feelings with sound Connects emotional uniformity or change with simple patterns in sound Connects distinct emotional states with particular musical motifs Is aware of others through sound Is aware of others’ thoughts and feelings through imitation in sound Identifies and communicates with others through particular musical motifs Is aware of the world through sound Is aware of orderliness in the world simple patterns in sound Associates key information about the world with particular musical motifs ‘Me’ dimension Level 2 3 4 2 3 4 2 3 4 2 3 4 Me: my body Me: my body Me: my body Me: my thoughts and feelings Me: my thoughts and feelings Me: my thoughts and feelings Me, you and other people Me, you and other people Me, you and other people Me and my world Me and my world Me and my world Shows awareness of self through making vocal sounds or through making own body sounds or through making sound by interacting with the environment Shows awareness of self in two different ways: through making vocal sounds and/or through making own body sounds and/or through making sound by interacting with the environment Shows awareness of self in at least three different ways: through making vocal sounds and/or through making own body sounds and/or through making sound by interacting with the environment Shows awareness of self by moving in response to a pattern or regular change in sound or through making a pattern of sounds through a repeated action or through a controlled movement that produces a regular change in sound (eg strumming a guitar) Shows awareness of self by moving in response to a pattern or regular change in sound and through making a pattern of sounds through a repeated action or through a controlled movement that produces a regular change in sound (eg strumming a guitar) Shows awareness of self by moving in response to a pattern and regular change in sound and through making a pattern of sounds through a repeated action and through a controlled movement that produces a regular change in sound (eg strumming a guitar) Makes an appropriate physical gesture in response to its physical correlate (such as ‘left, right’ from Soundabout Tracks: Motifs ) and makes the necessary physical actions to sing or play a motif Makes at least two appropriate physical gestures in response to their physical correlates (such as ‘left, right’ and ‘up and down’ from Soundabout Tracks: Motifs ) and makes the necessary physical actions to sing or play at least two motifs Makes an appropriate physical gesture in response to its physical correlate (such as ‘left, right’ from Soundabout Tracks: Motifs ) or makes the necessary physical actions to sing or play a motif Shows awareness of self through responding emotionally to sound or by expressing emotions through sound Shows awareness of self through responding emotionally to sound and by expressing emotions through sound Shows awareness of self through responding emotionally to sound in two or more different ways and by expressing two or more emotions through sound Responds emotionally to a pattern of repeated sounds or through a regular change in sound or expresses emotions through repetition or regular change in sound Responds emotionally to a pattern of repeated sounds or through a regular change in sound and expresses emotions through repetition or regular change in sound Responds emotionally to a pattern of repeated sounds and through a regular change in sound and expresses emotions through repetition and regular change in sound Responds to a musical motif with an associated text such as ‘happy’ from Soundabout Tracks: Motifs or expresses an emotion through singing or playing such a motif Responds to a musical motif with an associated text such as ‘happy’ from Soundabout Tracks: Motifs and expresses an emotion through singing or playing such a motif Shows awareness of another person through the sounds they make and through the impact of own sound-making on someone else Responds to two or more musical motifs with associated texts such as ‘happy’ and ‘sad’ from Soundabout Tracks: Motifs and expresses two or more emotions through singing or playing such motifs Shows awareness of another person through the sounds they make or through the impact of own sound-making on someone else Shows awareness of two or more other people through the sounds they make and through the impact of own sound-making on two or more other people Develops an understanding of another person’s thoughts and feelings through copying their sounds or an awareness that another person understands and empathises with self by copying sounds made by self Develops an understanding of another person’s thoughts and feelings through copying their sounds and an awareness that another person understands and empathises with self by copying sounds made by self Develops an understanding of at least two other peoplen’s thoughts and feelings through copying their sounds and an awareness that at least two other people understand and empathise with self by copying sounds made by self Is aware that a distinctive fragment of music (a ‘motif’) with an associated text can be used to identify people and convey their thoughts and feelings or uses a musical motif (eg from Soundabout Tracks: Motifs ) to communicate with others Is aware that a distinctive fragment of music (a ‘motif’) with an associated text can be used to identify people and convey their thoughts and feelings and uses a musical motif (eg from Soundabout Tracks: Motifs ) to communicate with others Is aware that two or more distinctive fragments of music (‘motifs’) with associated texts can be used to identify people and convey their thoughts and feelings and uses two or more musical motifs (eg from Soundabout Tracks: Motifs ) to communicate with others Develops further awareness of the environment through the sounds that an object can make and through the sounds that can be caused by interacting with an object (eg by hitting or shaking it) Starts to become aware of the environment through the sounds that an object can make or through the sounds that can be caused by interacting with an object (eg by hitting or shaking it) Develops still further awareness of the environment through the sounds that two or more objects can make and through the sounds that can be caused by interacting with two or more objects (eg by hitting or shaking them) Becomes aware of the similarities in objects through the similar sounds that they make (helping form a single category or concept) or grasps how one type of regular change in sound can relate to regularity in the environment (such as a sound-making object appearing to be louder the nearer it gets), either through observation or proactive engagement Becomes aware of the similarities in objects through the similar sounds that they make (helping form a single category or concept) and grasps how one type of regular change in sound can relate to regularity in the environment (such as a sound-making object appearing to be louder the nearer it gets), either through observation or proactive engagement Becomes aware of the similarities in objects through the similar sounds that they make (helping form a single category or concept) and grasps how one type of regular change in sound can relate to regularity in the environment (such as a sound-making object appearing to be louder the nearer it gets), either through observation and proactive engagement Is aware that a distinctive fragment of music (a ‘motif’) with an associated text can be used to convey information about the world around, such as ‘What is it?’ in Soundabout Tracks: Motifs or uses such a motif to communicate own understanding of the world Is aware that a distinctive fragment of music (a ‘motif’) with an associated text can be used to convey information about the world around, such as ‘What is it?’ in Soundabout Tracks: Motifs and uses such a motif to communicate own understanding of the world Is aware that at least two distinctive fragments of music (‘motifs’) with associated texts can be used to convey information about the world around, such as ‘What is it?’ in Soundabout Tracks: Motifs and uses at least two such motifs to communicate own understanding of the world
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