JOSÉ MANUEL ESTRADA SCHOOL SHELTER

JOSÉ MANUEL ESTRADA SCHOOL HOSTEL

PROJECT NAME

STATED PROBLEM

The students of the José Manuel Estrada Boarding School mostly belong to
low-income families, with diverse social issues (especially aggression and
of isolation), this hinders the teaching-learning process, since when it comes to providing
attention, to study and to complete mandatory tasks, to integrate into the group of peers, you
it is difficult to control their violent and disobedient behaviors during class.

As a consequence, development in the school environment is often scarce and

uninterested. The child does not strive to improve and better himself, does not value his own work,
its peers or the staff of the School that is in charge of it.

And it is precisely here, where the contents of Music Education are integrated with others.
Artistic languages must be transformed into instruments that channel emotions and feelings,
affects, ideas, etc.

FOUNDATION

Art Education is fundamental in the comprehensive development of the human being, because it
through its activities, it works on the cognitive-intellectual, socio-affective, and sensory areas
motor perception, stimulating in the student, their creative capacity, critical awareness and
evaluative of the environment, allowing it an alternative way to express itself, to know itself and
to communicate.
Music is creativity and this creativity is promoted and developed in the process of
teaching learning and crosses the curricular design of all levels of education
systematic. Creative thinking is essential in the interpretations of nature, the
physical or mechanical facts, the mathematical or philosophical speculations. Creativity is a
foundational quality that distinguishes the human race and which is therefore present in its genesis
of all cultural production.

The development of musical language involves basic processes present at every moment of
learning, that the teacher as a promoter of creative learning achieves in the students.

As Shinichi Suzuki (1898-1998) expresses: "My main purpose is not the teaching of the
music; what I long for is to raise good citizens. If a child hears music from birth and
he learns to play it himself, he will acquire sensitivity, discipline, and strength. And thus a beautiful person is formed.
heart
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This philosophy of Shinichi Suzuki, which is based on the belief that musical talent is not
innate but a skill that can be developed, was one of the pillars that motivated me to start
in 5th grade children in the musical learning of the Recorder and Rhythmic Band.

Why use the recorder in the Music Education classroom?

It is a melodic instrument that allows group performances of pieces.

unison, for two or more voices, canons, etc.

It is useful for the beginning of musical learning, given how easy it is to acquire its handling.
basic.

It is ideal for group interpretation (including in large groups).

It is a good resource for introducing students to instrumental practice.

It constitutes a means for students to enjoy 'making music.'

"Sweet Flute and Rhythmic Band" offers students the opportunity to:

Being participants in the artistic fact from an active role: as creating interpreters and
producers. This experience gives the child the opportunity to feel "part of"
"team member," allows the possibility for them to express their free expression, their
critical approach, his creative capacity and respect for the being.

Being able to produce, for which it is necessary to reaffirm oneself, to self-evaluate, giving oneself
It says that production is the realization of one projected outward, with the gratification of seeing.
a finished product that will respond to the vital experience of the moment.

Experience different alternative activities, various forms of grouping that

they will be characterized by a great elasticity not only in terms of the forms and sizes that the groups
adopt them not only in terms of the spaces and times in which they develop.

Working in groups will encourage the student to learn from others.

OBJECTIVES

General

Develop the creative capacities of the student, their critical awareness, and the ability to
appreciation and valuation of the artistic dimension, developing and executing projects of
artistic production, using the elements and organizational methods specific to a
discipline and/or combining elements from more than one artistic language.
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Specific
To work with the different constituent elements and techniques of musical language in their
creations, interpretations and perceptions.
Value all types of spaces for expression and communication.
Evaluate the possibility of exchange and group cooperation for the benefit of development.
personal and of the social group.

BENEFICIARIES

While the direct beneficiaries of the project are the 5th grade students of education.
The primary school of the José Manuel Estrada Shelter School is the entire community in general that is affected.
benefited, since the creativity and spontaneity of a certain group, projected in the
community, acts within it as a multiplier agent.

ATTITUDE CONTENTS

Assessment of the emotional bond with the internal world, external world, and its forms of externalization.
Joy for expressive production, for creation.
Valuation and enjoyment of the artistic expressions of oneself and of others.
Confidence in their abilities to propose and solve presented situations.
Assessment of the possibilities and acceptance of the limitations of others, avoiding
discriminations.
Respect for one's own time and space and that of others.
Evaluation of group work.
Willingness to agree, accept, and respect rules for creative production.
Confidence in one's own possibilities: autonomy, self-esteem.
Assessment of your possibilities and acceptance of your limitations.

ACTIVITIES

The activities will take into account the progressions of difficulty in learning regarding
the various educational aspects.

HUMAN RESOURCES
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FUNCTION NAME OF
CARGO
RESPONSIBILITY TEACHER
Coordination Elsa Huamán Music Teacher
Execution
Follow-up and
Control

RECURSOS MATERIALES

RESOURCES
AVAILABLE
MATERIALS

Equipment 1 Music Player.

Projector
Speaker
Musical organ
Camera.
Camcorder.

Instruments Sweet Flautas (provided by the teacher, for personal use by

Musicals each 5th grade student

Musical instruments: tambourines, maracas, claves, stick of

water, pump, triangles, etc.

Material Soprano recorder booklets

bibliographic

SUSTAINABILITY OF THE PROPOSAL OVER TIME

The pedagogical innovation initiated in the project will be established in the practices.
daily activities of the institution. The continuation of the project in 2016, with the 6th grade students.

The exchange of experiences, the reflections and analyses that arise from the project, the
theoretical inquiry on specific themes among peers will strengthen professionalization of the
teacher and will return to the school its place as a transmitter of culture.

EVALUATION
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EVALUATION CRITERIA
Aspects of the context and Individual Contributions during the process

Execution of Melodies
Conduct.
Material compliance.
Participation.
Effort and dedication.
Punctuality in the classroom.
Integration into the production process.
Product
Interpretation of the work instructions
Originality and relevance of the proposals by the student to artistic situations
raised.
Assessment of the results obtained.

EVALUATION INSTRUMENTS

Tracking sheets.
Oral interrogations.
Self-assessment forms.
Production in individual and group tasks.
Presentation of works.

MOMENTS OF EVALUATION

a) Initial Diagnosis
Conducting a diagnosis through individual questions to the students in order to
to know their concerns, interests, and openness to the Project.
Your results will help guide the work regarding the formulation and adjustments of the
objectives and the selection of methods to be applied in the teaching-learning process.

b) Of Process
Monitoring the development of individual or group productions in each workshop,
taking into account the following instruments:
Qualitative monitoring indicator sheets.
Anecdotal record.
Exhibitions.
It will take place throughout the year, and its results will allow for verifying the progress of the process.
didactic and make the necessary adjustments to improve the results.

c) Final:
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The final evaluation will take place with the presentation to the community of the chosen work.
at the final moment.
At the end of each presentation, conducting a review of the contents and a subsequent
readjust the exchange according to the needs.
This will be done through a written report to management.

Prof. Elsa Huamán

SWEET FLUTE
THE EXECUTION OF MELODIES ON RECORDER

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SOURCE OF MULTIPLE OBSERVATIONS:

Musical Appreciation

History of the Rhythm

Music Phrase
Era Measure
Author THE MELODY Shape
Country
Style

THE FLUTE
SWEET Melody and Lyrics
Movement
Character:
Meaning and
Origin
Concordance
Use

Shades
Dynamics
Theoretical Knowledge Tonalidad: Agogic
Values - Duration of Modes: Major Musical Expression
Notes and Silences Minor

OBJECTIVES

Enjoy the musical activities.

Know the different parts of the flute
Identify the basic elements of theory for musical reading.
Apply music literacy in the execution of melodies on the recorder.
Coordinating hands and fingers according to the fingerings corresponding to the melody and the
rhythms established in the score.
Control the breathing, work with the diaphragm.
Execute simple melodies with rhythmic accuracy.
Perform melodies in unison, in parts (pedals, ostinatos, canons, quodlibet)
Cultivating concentration and musical memory, two essential elements for a
correct execution of the instrument.

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Integrate a set of flutes.

ELEMENTS OF MUSICAL LANGUAGE: CONTENTS

. Recorder:
Characteristics of the instrument.
Hand position.
Typing diagram.
Body posture.
Blow.

. Musical Reading Writing:

Encoding and decoding of signs and symbols of musical language.
Sounds Re5, Do5, Si4, La4, Sol4, Fa4, Mi4, Re4, Do4.
Group and individual executions
A cappella, with instrumental accompaniment (without melodic reference)
In unison, in voices (pedals, ostinatos, canons, quodlibet)
Melodies of the general repertoire
Melodies from the repertoire created in the workshop.

PRACTICE OF MUSICAL LANGUAGE

Recorder: Instrument, way of producing sound. Parts

The teacher presents the recorder, classification of the instrument according to its production.
of sound. Disassemble the instrument and explain its care.
The students listen to the explanation. They observe the parts of the flute and how to perform.
your cleaning.
The teacher explains the method of execution: the breath. The importance of the correct
issuance of this.
Blowing exercise: The students practice blowing, the teacher evaluates by doing
blow into his hand.

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The notes on the flute.

Sound production. Location of musical notes on the flute.

Execution practice. Digital exercises. Gradually, the teacher explains the

finger positioning for each sound.
The students perform the typing and then the sound production of each note.
musical.
The teacher controls the typing, articulation, and sound production in each
student.
After a correct performance, the students play the learned melody with
accompaniment by piano or electronic organ.
The melodies have progressive difficulty, each with the addition of musical notes.
What will allow the execution of canon, quodlibet. Songs for two voices.

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BUILDING IDENTITY AND CULTURE

Knowledge and appreciation of musical heritage in situations that promote:

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Confidence, taste, and security in your artistic, expressive, and creative ability.
Appreciation and valuation of language as an expression of thought and feelings.
Development of aesthetic appreciation and perceptual ability.
The relationship with other fields of knowledge brings music closer to the everyday life.
Grant meaning to the messages of musical manifestations.
Recognition of the areas in which musical activities are developed:
Auditoriums, Music Schools and other venues.
Assessment of the importance of teamwork.
Obtaining a rich and meaningful musical language.
Search for the modes of communication that characterize music as an artistic discipline.

RHYTHMIC BAND
Moment 1
CONCEPTUAL CONTENT
The sound:
Sound body, transmitting medium and receiving body.
Atributos del sonido: Altura, intensidad, timbre, duración, velocidad, dirección.
Traditional and non-traditional sound sources.
Musical work.
PROCEDURAL CONTENT

Observation, identification, and representation of the sound body, transmitting medium, and body
receptor.
Imitation, recognition, discrimination, differentiation, and production of sounds with
different attributes.
Exploration and Execution of sound sources.
Audio analysis of musical works.
Auditory discrimination of the formal and expressive components of musical works.

Graphic, sound, and bodily representation of color, sound, and texture.

Moment 2:THE CONVENTIONAL AND UNCONVENTIONAL IN ART

CONCEPTUAL CONTENT
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Conventional and unconventional sound sources.

Sound and musical instruments. Materials and objects:
characteristics and properties. The parts of the instruments. Mediators. Modes of action for
produce sound.
Classification of instruments: chordophones, idiophones, aerophones, and membranophones.
Instrumental groups.
a) The soundtrack: sound resources. The music. Sound sources and their utilization.
Sound effects. Relationship between sound, image, and word.

PROCEDURAL CONTENT

Sound exploration of everyday materials and objects for musical purposes.

Making simple instruments with everyday objects. Exploration of
instruments.
Experimentation of different modes of action to produce sound.
Instrumental execution.
Improvisation.
Group musical composition.
Combination of plastic, musical, and theatrical components for the creation of a work
expressive and communicative.

Carrying out critical analysis of artistic productions.

ACTIVITIES

The activities to be carried out will take into account the progressions of difficulty in the
learnings regarding the various educational aspects:

1) Selection of the artistic musical point that will develop the project

Essays

Final activities: Final show

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