Ancient cultures

1-I don't teach music. Why would I use your CDs?
2-What do you mean by "dramatic atmospheres"?
3-How might music increase the effectiveness of my teaching, or the students' learning?
4-Some of your titles are not suitable for my particular classwork (e.g. Dance of Death in BIRDSNAKE). What can I do, other than not using the music?
5-I don't teach science. Why would I use the INSECTS CD?
5-I'm an elementary teacher. Do you have any CDs that are particularly effective for that grade level?
6-I'm an intermediate teacher. Do you have any CDs that are particularly effective for that grade level?
7-I'm an intermediate teacher. Do you have any CDs that are particularly effective for that grade level?
8-I'm a high school teacher. Do you have any CDs that are particularly effective for that grade level?
9-I want quiet music for the classroom. What do you suggest?
10-Are you suggesting that students actually choose their own music?
11-How could my students or I use music as "support" for storytelling?
12-I want to use music more, and so do my students, but how can I come up with new ideas?
13-I teach a lot of very rowdy boys in Grades 6-8. Do you have any suggestions?
14-If I use 'violent' music, won't there be chaos in my classroom?

1-There is absolutely NO musical background required to use the audio CDs in the classroom, and they are not meant to "teach music." They are meant to be used: as background for classwork; to accompany students doing projects; or for storytelling; or as catalysts between certain material and the students' responses to them. See the workshop section, under "Education" for more specifics on this. Back to top

2-By "dramatic atmospheres," we mean music that tends to suggest clear, specific moods or scenarios: e.g. loneliness, longing, joy, curiosity, suspicion, etc. Unless specified (e.g. Dual-Mood Anthology Series, or Sound Effects), each of our CDs provides a cross-section of varied emotional moods, to increase their versatility. Back to top

3-Mood-based music tends to have many positive effects on the students and on their work. Instrumental, non-commercial, mood-based music tends to "wrap around" the room, creating a kind of "security blanket" that helps increase concentration and focus. It also "fills in" auditory space, thus reducing the tendency to chatter. As well, when used as background for student projects, it works like a "partner" to increase the effectiveness of the presented work. And if teachers allow students to choose which mood-based pieces they want for their projects, the very act of having to define why they chose a particular piece will involve a great deal of work in analysis, verbal (and written) literacy, and dialoguing. Back to top

4-Many teachers have told me that they deliberately avoid giving out titles, so they can let their students name the different selections. The teachers then pencil in these student-given names on the covers, or on a special reference page. For example, the class of a kindergarten teacher we know refers to Dance of Death mentioned in the question, as The Drum Song. It is one of the children's favourites! Back to top

5-The titles of the CDs are not meant to refer to literal subject areas, and all CDs can be used right across the curriculum, and/or for all kinds of creative projects. The titles simply represent the theme or source of inspiration that the composer used as a basis for creating his original music, and the titles determine the thematic reference for all the individual music selections on the CD. So each selection in the ELEMENTS CD will have a title that refers to nature; each separate selection in LEADING CHARACTERS FROM THE THEATRE will be based on a character from a famous play, etc. We encourage teachers not to let the titles limit their use of the CDs! Music from INSECTS can work beautifully for a story about artic explorations, or as background for scene work in Hamlet…just keep experimenting! Or…write to us for some advice!Back to top

6-Although we know that all our CDs are being used at literally every grade level, there are several CDs that work particularly well for children from JK to Grade 5. These are:
CHILDREN'S CANADIAN WOODLAND ADVENTURES: funny, vibrant, imaginative selections about spiders spinning webs (salsa), bears snoring in their caves, frogs waltzing, ducks promenading, etc.
SENSATIONS: from melodic music to more abstract sound-based selections, all inspired by human, physical sensations (e.g. shivers, hiccups, itching, tummy aches, etc.)
LULLABIES: soothing, gentle versions of traditional European and Mexican lullabies, as well as several original selections. Even the bridges between selections are musical, making for non-stop music during the entire CD
CLASSICS FOR KIDS: clear, crisp synthesizer versions of classic music, with melodies forefronted for easy recognition by children. Back to top

7-Frankly, by intermediate levels, literally any of our CDs will work effectively with students of this age and grade level. One of the advantages of this age group is that often, the music that works well with children is still able to resonate with them-especially CHILDREN'S CANADIAN WOODLAND ADVENTURES, or even LULLABIES. Although it might seem too "babyish," many teachers have reported that so few of their students actually still recognize the tunes in LULLABIES for what they are-that they just accept them as quiet, calming music for the classroom. It is a chance worth taking for the quietening effect that particular CD creates. Back to top

8-Absolutely all the CDs in our company are appropriate for this age group. I know of high school teachers who use the CHILDREN'S CANADIAN WOODLAND ADVENTURES, which is "normally" thought of as being for children, for choreography or specific dance style. Back to top

9-There are several CDs that are predominantly quiet music, and that are very good as quiet background for the classroom; they also work for meditative work. The best titles in this area are: MOONLIGHT REFLECTIONS, or SEVEN DREAMS. MYTHICAL LANDSCAPES also has predominantly quiet pieces.Back to top

10-Yes, my own experience, and that of many, many other teachers in this area is unequivocal. Having the CDs available to students so that they can choose and prepare which music they want to use as an integral part of their project provides an excellent opportunity for more learning to happen. Making a written explanation of why they chose their particular music, and what effect they wish it to have, is a way of assuring that the students have put thought into both the material and the presentation, and have had to take the time and effort to articulate those choices in writing from discussions amongst themselves. And teachers are usually surprised at the level of the work!Back to top

11-Using music as background/backdrop for storytelling does not mean that the music has to coincide exactly with every moment; rather, it is about letting the music set the tone and mood that will enhance the story. Decide what kind of mood or dramatic atmosphere would be best for the story, and then, go to the CDs and choose several individual selections that would likely transmit that mood (the titles provide the clues for the dramatic atmosphere). Practice by putting on the music, and telling the story along with it. It will quickly be apparent if the story and the mood work well together. Be prepared, too, to listen to whole pieces of music and trying to start the story at different times (not always just as the music begins)… We know it works, because literally dozens of students, teachers and professional storytellers have told us so! Let us know about your work, and if you want any advice, contact us, and we can help.Back to top

12-Frankly, many, many Drama teachers who have been using our CDs for over twenty years consistently report that their best source for coming up with new (and wonderful) ideas for using music across the curriculum come from the students themselves. The best strategy seems to be to suggest to the students: "yes, of course we can use the CDs, but how exactly should we use them, and what kinds of outcomes do you expect?" The students seem to rise wonderfully to the occasion, and come up with ideas that are pedagogically sound-and amazing! Once teachers get beyond the worry that they must have "all the answers," a real learning partnership can grow up between teachers and students-with the music as catalyst. And-teachers are always welcome to write, email, fax, or phone us for consultations! Back to top

13-Any of our Library of Dramatic Music series works extremely well for this age group. Each CD has a cross-section of moods, and variations in tempo and rhythms, as well as some more abstract pieces, so there is literally, "something for everyone." If you need to calm down the class, there will be appropriate pieces on each of the CDs. Conversely, if you wish to give them music to which they can move dramatically (and a lot), then there are those kinds of selections, as well. I often find that the more abstract, but quick tempo pieces can be quite successful. This might mean using CDs such as: SYNTHETICALLY ALTERED MOODS; SENSATIONS; or even many of the more lively pieces of CHILDREN'S CANADIAN WOODLAND ADVENTURES, or HIEROGLYPHICS. Back to top

14-I never suggest using the more violent pieces until students are used to using music as a catalyst, or source for inspiration. The more violent pieces should not be a source of chaos, but of imagination and insight, if properly introduced. If the activities involve movement, once I start using these pieces-which can be enormously valuable-I make sure that everyone knows the "freeze" control mechanism, where everyone must freeze in mid-action the moment a certain signal is given (verbal command, lights flicking, a whistle, or tambourine, etc.). That control is to make sure everyone will obey if any kind of problematic situation (unlikely) should occur. I also use the idea of using violent music behind "slow motion work", so that even if the material is about violent themes, it is done in a controlled manner…and the juxtaposition of violent music behind slow motion movement is extremely powerful. If violent music is used for non-movement work, the concern about chaos is usually very rare. Regardless of the exercises with which it is being used, however, I think that the more violent music pieces present excellent springboards for reflection, discussion and dialogue amongst teachers and students. Back to top