Elemente und Strategien
Der erweiterte Rahmen für die musikalische Entwicklung "Sounds of Intent" umfasst 72 Elemente, die hier beschrieben werden. Jedes Element wird mit drei alphanumerischen Zeichen definiert, die sich auf den Bereich, die Stufe und das Element selbst beziehen. Zum Beispiel bedeutet "R.4.D" "Reaktiv, Stufe 4, Element D"; "P.2.C" bedeutet "Proaktiv, Stufe 2, Element C"; und "I.6.A" bedeutet "Interaktiv, Stufe 6, Element A". Die Segmente des kreisförmigen Rahmens sind zur Veranschaulichung horizontal am oberen Rand der Matrix abgebildet.
Während es einen allgemeinen Sinn gibt, dass der Fortschritt zwischen den Stufen kumulativ ist (so impliziert die proaktive Beschäftigung mit Musik auf Stufe 4 zum Beispiel die Fähigkeit, auf Stufe 3 zu funktionieren), ist die Beziehung zwischen den Bereichen weniger klar. Es ist sehr wahrscheinlich, dass das Engagement im reaktiven Bereich weiter fortgeschritten ist als z. B. im proaktiven und interaktiven Bereich. Und oft gibt es keine Kontingenz zwischen den Elementen innerhalb eines Segments: So kann jemand beispielsweise in verschiedenen Kontexten absichtlich Geräusche erzeugen (P.2.C), ohne jemals seine Gefühle in Tönen ausgedrückt zu haben (P.2.B). Ein Abstieg in der Matrix (vertikal) kann also eine zunehmende Breite des Engagements bedeuten, aber nicht unbedingt den Erwerb fortgeschrittener Fähigkeiten.
Die Hintergründe der Elemente sind farblich gekennzeichnet, um anzuzeigen, ob sie sich auf reinen Klang und Musik, auf Klang und Musik als Teil einer multisensorischen Erfahrung oder auf die physische Fähigkeit zu spielen oder zu singen (d. h. "Technik") beziehen.
Klicken Sie auf jedes Element, um es zu finden:
detailliertere Beschreibungen des musikalischen Engagements, das zu jeder "Überschrift" der Aktivität gehört
Interpretationen darüber, was jedes dieser Elemente für die Fähigkeit einer Person bedeutet, sich mit Klang und Musik zu beschäftigen
Strategien zur Förderung einer breiteren und potenziell fortgeschritteneren Beschäftigung
Links zu Ressourcen, die sich speziell an Menschen mit bestimmten Behinderungen richten
Level 1 Level 2 Level 3 The Expanded Sounds of Intent Framework of Musical Development Level 4 Level 5 Level 6 sound and music related to other things pure sound and music segments interactive proactive reactive Segments Elements A Elements B Elements C Elements D R.6 P.6 technical elements I.6 performs and/or improvises solos of increasing sophistication expressively with other people has a mature, shared understanding and appreciation of the music of a particular culture, in a given style or styles R.5 attends to whole pieces of music, anticipating prominent structural features and responding to general characteristics R.3 reacts to simple patterns in sound R.2 shows an awareness of sound R.1 encounters sounds R.4 recognises musical motifs and the relationships between them performs and/or improvises solos of increasing sophistication persuasively within a given style and/or composes stylistically coherent pieces that are intended to convey particular effects P.5 performs, improvises and/or composes short and simple pieces of music, which may increase in complexity over time P.4 reproduces or creates musical motifs and potentialy links them together P.3 intentionally makes simple patterns in sound P.2 intentionally makes or controls sound P.1 makes sounds unknowingly I.5 performs and/or improvises short and simple pieces of music with other people, which may increase in complexity over time I.4 engages in dialogues using motifs I.3 copies others’ sounds and/or is aware of own sounds being copied I.2 interacts with others using sound I.1 relates unwittingly through sound R.3.A recognises and responds to the repetition of sounds P.3.A intentionally makes simple patterns through repetition I.3.A shows awareness of own sounds being imitated R.3.C recognises and responds to simple patterns formed through regular change P.3.C intentionally makes simple patterns through regular change I.3.C recognises own patterns in sound being imitated R.3.D responds to musical sounds used to symbolise other things P.3.D uses sound to symbolise other things I.3.D imitates simple patterns in sound made by another (through repetition, regularity and/or regular change) R.3.B recognises and responds to a regular beat P.3.B intentionally makes simple patterns through a regular beat I.3.B imitates the sounds made by someone else R.2.A shows an awareness of sounds, potentially an increasing variety P.2.A makes sounds intentionally, potentially through an increasing variety of means and with greater range and control I.2.A sounds made by another person stimulate a response in sound R.2.C responds to musical sounds increasingly independently of context P.2.C produces sounds intentionally in a range of contexts I.2.C interactions occur increasingly independently of context R.2.D responds to musical sounds linked to other sensory input P.2.D produces sounds as part of multisensory activity I.2.D interaction through sound involves activity that engages the other senses too R.2.B makes differentiated responses to the qualities of sounds that differ (eg loud/quiet), and/or change (eg get louder) P.2.B intentionally expresses feelings through sound I.2.B makes sounds to stimulate a response in sound by another person R.4.A recognises and responds to distinctive groups of sounds (‘motifs’) P.4.A (re)creates distinctive groups of musical sounds (’motifs’) I.4.A R.4.C recognises the coherent juxtaposition of different musical motifs P.4.C juxtaposes different musical motifs coherently I.4.C produces musical motifs in the expectation that they will stimulate a coherent response R.4.D responds to musical motifs being used to symbolise things P.4.D uses musical motifs to symbolise other things I.4.D interactions form coherent patterns of turn-taking, with the possibility of some simultaneity R.4.B recognises and responds to musical motifs being repeated or varied P.4.B links musical motifs by repeating or varying them I.4.B imitates distinctive groups of sounds (’motifs’) made by others (as in ‘call and response’) R.5.A attends to whole pieces of music, becoming familiar with an increasing number and developing preferences P.5.A performs short and simple pieces of music, potentially of growing length and complexity, and increasingly ‘in time’ and (where relevant) ‘in tune’ I.5.A performs simple pieces of music simultaneously with others, sharing a common part R.5.C responds to general characterisitics of pieces (such as mode, metre, feel and texture) P.5.C creates short and simple pieces of music, potentially of increasing length, complexity and coherence, whose general characteristics may be intended to convey particular moods or feelings, and which may be linked to external associations I.5.C improvises with others, repeating, varying and/or building on the material that is offered in simple ways R.5.D responds to pieces through connotations brought about by association with objects, people, activities or occasions in the external world P.5.D develops the technique to produce short and simple pieces of music, potentially evolving to meet the needs of material of growing complexity and length I.5.D improvises with others, consciously offering material for them to use R.5.B recognises and anticipates prominent structural features (such as the choruses of songs) P.5.B improvises on familiar pieces of music, varying the original material in simple ways I.5.B performs with others, using increasingly developed ensemble skills and maintaining an independent part R.6.A develops a mature response to music, engaging with pieces as abstract ‘narratives in sound’ P.6.A plays or sings expressively using familiar conventions of performance, at the highest level producing orginal interpretations I.6.A is aware of, and emulates, the expressivity of others’ playing or singing in ensemble performance R.6.C becomes familiar with different performances of pieces, and styles of performance, and develops preferences P.6.C composes pieces in a familiar style or styles to convey desired effects, at the highest level producing original material judged to be of intrinsic musical value within a given culture I.6.C improvises with others with stylistic coherence, sharing and developing material in increasingly sophisticated ways R.6.D becomes aware of how music as an abstract narrative in sound relates to other media (words, movement etc) to create multi-modal meaning. P.6.D technical proficiency develops to meet the demands of a widening repertoire I.6.D develops increasingly advanced ensemble skills, managing material of growing technical and musical complexity as part of a group R.6.B becomes familiar with an increasing number of styles and genres and develops preferences P.6.B improvises on music in a familiar style or styles to convey desired effects, at the highest level producing original versions of existing pieces (as in ‘jazz standards’) I.6.B contributes own expressivity to others’ playing or singing in ensemble performance R.1.A is exposed to a rich variety of sounds P.1.A the sounds made by life-processes are enhanced and/or involuntary movements are used to make or control sounds I.1.A practitioners seek to stimulate interaction by prompting with sounds and responding empathetically to any sounds that are made R.1.C is exposed to music in different contexts P.1.C activities to promote sound production and/or control occur in a range of contexts I.1.C activity to promote interaction through sound occurs in a range of contexts R.1.D is exposed to music and musical sounds that are systematically linked to other sensory input P.1.D some activities to promote sound production and/or control are multisensory in nature I.1.D some activities to promote interaction through sound are multisensory in nature R.1.B is exposed to a wide range of music P.1.B sounds are made or controlled through co-active movements I.1.B practitioners model interaction through sound responds to others by using different musical motifs coherently (as in ‘question and answer’) text boxes background colours Figure 1: Download PDF