Showing papers in "Music Educators Journal in 1996"

Professional Development and Change Communities Discipline-based professional development institutes provide a collaborative environment for music specialists, classroom teachers, and school principals

Abstract: O ne approach to professional development places change communities, consortia, and collaboration at the center of sustained, long-term improvement in the quality and quantity of music in general education. These change communities and consortia have strands linking music and the arts directly to a school's core curriculum. Here's an illustration. At discipline-based professional development institutes, which generally run for two weeks in the summer, school teams of music specialists, classroom teachers, and school principals learn through a series of hands-on music activities and planning sessions that collaboration is a tremendous asset in faci l i tat ing educational change. While we would rarely expect classroom teachers or principals to develop the same depth of musical knowledge and performance skills as the music teacher, these professional development institutes are designed to

The Conductor as Transformational Leader When the model of the transformational leader is applied to the conductor, it offers music educators insight into effective leadership

Abstract: W ha hat characteristics best describe a successful conductor? Certainly fine musicianship is one of the first attributes that comes to mind, as well as excellent organizational and disciplinary skills. The successful conductor is also seen as someone who can put together a musically satisfying program and demonstrate musical growth in his or her students. But there is more to successful leadership than producing a worthy product. Conductors (and that includes most music educators) can and should have a transforming impact on their students. The model of the \"transformational leader\" is a topic on the cutting edge of leadership theory. Data on the characteristics of highly successful leaders in business and other types of organizations have been collected and their common characteristics have been described by numerous authors. According to these researchers, the transformational leader ranks the highest in effectiveness and financial success, as well as in employee and customer loyalty.

To Sing or Not to Sing in Instrumental Class: Introducing vocalization techniques at the beginning of band or orchestra rehearsals can improve musical and critical-thinking skills of young performers

Abstract: For studies re lated to the col lege a n d univers i ty level , see B u r t o n , \"A S t u d y to Determine the Extent to W h i c h Vocalization Is Used\"; Will iam J . Hochkeppel, \"Systematic Score Study: Effects o f Four Methodologies on Error Detection Achievement in Instrumental C o n d u c t i n g Students ( C o n d u c t o r T r a i n i n g ) \" ( D . M u s . E d . , d i s s . , I n d i a n a University , 1 9 9 3 ) , abstract in Dissertation Abstracts International 5 4 ( 1 9 9 4 ) : 2 9 3 7 ; and Eddie R. Smith, \"The Effects of Vocalization on the Intonation of College W i n d Performers\" (Ph.D. diss., Florida State University, 1 9 8 4 ) , abstract in Dissertation Abstracts International A5 ( 1985) : 2 7 9 4 ; 4 . For studies related to the curricular implications of singing as an instrumental instructional technique, see James A. M a d den, \"Zoltän Kodäly and Carl Orff: Implications for Program Development in Elementary Instrumental Music Education\" (Ed.D. diss., Temple University, 1 9 8 4 ) , abstract in Dissertation Abstracts International 4 5 (1984 ) : 7 2 . continued on page 47

USING VIDEOTAPES TO IMPROVE TEACHING By videotaping their teaching and analyzing those tapes at "video club" meetings, teachers can help each other become more effective in the classroom.

Abstract: ary, a third-year high school band director, sat down in her office after another unproductive rehearsal. \"I can't seem to figure out why concert band isn't going as well this year,\" she said to herself. \"Of course, the music is different, and there are a few new kids, but it's like that every year. I'm not even sure whom I can ask for help! The other teachers in this building are too busy, and the other music teachers in the system all seem to have it together. Little did Mary know that Steve, a veteran general music teacher with many years of experience, was also having misgivings about his teaching. \"I'm really not motivated this year,\" he said to himself. \"I've got my curriculum and teaching strategies set. Sure, I get to work with new kids each year, but it all feels so automatic and uncreative.\" Do these scenarios sound familiar? Both teachers are frustrated with their Portfolios can be assessed

Special Learners with Special Abilities Developing the special musical abilities of children and adults with Williams syndrome can be a rewarding experience that requires specialized teaching strategies

Abstract: I m a g i n e a p lace where most of your students have an acute sensitivity to sound and immediately sing or play the songs they have just heard for the first time. Imagine students who beg you to let them p l a y an i n s t r u m e n t or ask y o u to supervise their p rac t ice . Imag ine a thirteen-year-old boy who gets out his clarinet to practice as soon as he has finished putting it away after his lesson. Imag ine s tudents s ing ing and clapping throughout the day. Is this too good to be true? During the last two summers, I was privileged to teach instrumental music at a summer camp for children and adults who have a chromosomal disorder called W i l l i a m s syndrome. This syndrome causes a unique assortment of physical and mental characteristics that often include exceptional pitch discrimination, a highly accurate sense of rhythm, and a long-term retention of melodies and lyrics. The Wil l iams Syndrome Music and Arts Camp was held at a site called Belvoir Terrace in Lenox , M a s s a c h u s e t t s , w h i c h for decades has hos ted an e i g h t w e e k camp for girls specializing in the per-

Tuned In to Learning Styles.

Abstract: C arl drove me crazy! He was the j u n i o r class p res ident , starting wide receiver for the football t eam, and a loyal member of the bass section with the potential to be a fine singer. He was also the biggest pain in the n e c k in j u s t a b o u t e v e r y c h o r u s rehearsal. Whenever I worked with the female sect ions of the chorus, Car l constantly moved in his seat, always leaned over to his friend to make comments, and even ate his lunch in class. His behavior constantly distracted me. Consequently, he was always in trouble. If Carl's behavior strikes a familiar chord with you, it may be because he and many children like him learn very differently from the way we teach. It may be that the traditional rehearsal technique is geared to analytic learners and that a significant number of our chorus members, including Carl, learn globally.

Kodaly Strategies for Instrumental Teachers.

Abstract: he incorporation of Kodaly vocal techniques into instrumental teaching, especially string teaching, is a new frontier with potential for limitless creativity and flexibility for the teacher. For the student, it can result in increased knowledge and better musicianship. The Hungarian composer Zoltan Kodaly (1882-1967) based his philosophy of music education on singing. Kodaly believed that singing, rather than instrumental proficiency, was the foundation for broad musical literacy. Today, many American music students think of singing and playing an instrument as two separate entities. But they can be linked.

Developing Critical Thinkers in Music: Fostering critical-thinking skills in students empowers them to control their own musical growth

Abstract: I magine this scenario: The teacher of a high school music appreciation class has just explained to her students that the day's listening assignment will be to determine the form of a Mozart composition. The words are barely out of her mouth when a student asks, \"Why do we have to listen to this junk?\" Nonplussed, the teacher ignores the student's query and proceeds with her lesson, thereby missing a golden opportunity to engage her class in critical thinking. But, you ask, (1) what is critical thinking in music, (2) why is it so important that we engage students in it, and (3) what does that unruly student's interjection have to do with anything, anyway? The issue at hand is nothing less than whether students are mindfully engaged in musical experience and, thereby, in control of their own musical thinking and learning.

Carefully Crafting the Choral Rehearsal

Abstract: T hough the public perception of a conductor is that of one w h o o n l y pe r fo rms a top a podium, most of the conductor's w o r k is a c t u a l l y done behind the scenes in preparation for a performance. It is during the preparation period that musical awareness, sensitivity, and learning take place. Rehearsal time is spent with students practicing the craft and mechanics of music making: learning notes, rhythms, and the technique necessary to reproduce them on demand; training the ear; determining the intentions of the composer; and seeking to shape the performance with a sense of style appropriate to the cultural and historical aspects of the work . Foremost, the conductor attempts to find and communicate the expressive intent of the music beyond the printed notes on the page. In rehearsal, the director must listen for incorrect rhythm and pitch; uncertain entrances and cutoffs; misaligned vowels and poor diction; disc r e p a n c i e s of i n t o n a t i o n , n u a n c e , phrasing, balance, and blend; musical expression and effect—and do so in a way that uses the available time in the most productive manner. This is a formidable task, especially for the young or less experienced conductor.

Steps toward Effective Assessment: Assessing student learning in a fair and accurate manner is no simple task. Here are some points to consider when evaluating your program

Abstract: A s more and more emphasis is placed on student performance and teacher accountability, measurement and assessment are becoming increasingly important to all music educators. With the inclusion of music as a core subject in the Goals 2000: Educate America Act, it is critical that music educators possess not only comprehensive knowledge of the subject matter but also the ability to assess the learning of that subject matter. A concerted effort to use valid measurement and assessment processes can strengthen the effectiveness of music education and provide valuable information for individual programs.

Class Guitar in Middle School: The guitar, an ideal instrument for students in middle school, can be used to study music of all genres and styles

Abstract: I t is the first day of school. Seventh and eighth graders are sitting slumped in their chairs arranged in a semicircle. They hold their guitars awkwardly on their laps, many for the first time. Some students let their fingers glide softly over the six open strings, while others try out chords or licks they have learned from siblings or friends. Many students sit quietly, awaiting instructions. As time passes, no student can resist exploring his or her guitar. Soon the entire classroom is resonating. Students talk about the new sounds they have just discovered. Drum-like thumping, pizzicatos, and cowbell-like sounds are heard—a really cacophonous orchestra! The irregular sounds fade away as class continues. The students start to produce clear, vibrating, sustaining tones as the first secrets of the craft are transmitted. The teacher says, \"Lift up your finger, let it fall onto the string, pull the string through, and land onto the lower string—the 'rest stroke' or, as the Spanish say, apoyando'.\" The teacher describes the stroke that Francisco Târrega (1852-1909), the father of classical guitar, systematical ly applied to guitar technique. It is the stroke that gave Andres Segovia his

Teaching Music in the Year 2050

Abstract: involvement? Is the ability to concentrate solely on aural input an ability we want to preserve? Is it possible to retain it? The music educator may have to make room for expansions to the definition of \"listening.\" As the twentieth century winds down, we see listeners engaged in multimedia (some would say \"multidistractive\") environments. We point to the vivid visual images that accompany many performances, which are, in fact, the expectation rather than the

Why High School Students Should Study the Arts Alternative scheduling may be one way to provide all high school students with the opportunity to study the arts

Abstract: ost educational leaders, researchers, and college ί admissions officers agree I that the arts are an essential part of secondary students' education. There are many important reasons why students need the arts. First and foremost, studying the arts is important for the obvious reason that most citizens are in contact with the arts for hours every day and, therefore, need to be educated so that the arts can enrich their lives. Collegebound students also need to study the arts to increase their chances of admission to high-quality universities and to prepare themselves for successful professional careers. Unfortunately, a large percentage of our nations secondary students do not receive arts instruction.1 Some states require all students to study the arts, but many states either lack such requirements or allow students to substitute other types of courses. While some students fail to elect arts study because they are simply not interested, many others miss out because of poor advice from guidance counselors or parents who fail to recognize the importance of arts courses as preparation for college and a

Management Systems for Music Teachers.

Abstract: M usiusic teachers need to perform many tasks in addition to teaching. Our jobs require us to choose, order, distribute, retrieve, account for, and organize method books, sheet music, uniforms, and instruments; to make and collect permission forms for concert trips; and to arrange for transportation, chaperons, performance facilities, equipment, and occasionally meals and housing. We must also repair equipment; communicate and coordinate programs with other faculty, parents, feeder school teachers, and the media; and, on occasion, raise funds to support our activities. These myriad duties are in addition to instruction tasks: preparing and teaching lessons, monitoring homework, assigning grades, maintaining a safe and attractive learning environment, motivating students to high achievement, and serving on committees. Managing the numerous details of these tasks can sometimes become

Helping Students in the Inclusive Classroom

Abstract: of students with disabilities in an ageappropriate regular educational setting with the bringing of special services to them in the classroom. For music educators working with students who have disabilities, the inclusive classroom offers a new freedom from the traditional categorical limitations. Opportunities are provided for meeting the individual needs of students without preconceived ideas of appropriate activities, methods, or curricula for students who have mental retardation or specific learning disabilities, as defined by P.L. 94-142 or individual state plans for special education. For teachers who do not have extensive backgrounds in special education or who teach in inclusive settings serving a wide spectrum of individual needs, it is crucial to assess each student's needs through personal teacher observation rather than depending on blanket preplanned curricula that often do not meet the idiosyncratic needs of a specific child. Knowing specific behavioral signs that frequently are observed in students who have differences in neurological functioning is essential for planning appropriate activities. In addition, since characteristics associated with neurological dysfunction can sometimes be disruptive to classroom dynamics and student learning, it is crucial that teachers understand these behaviors and recognize educational stress factors that can be avoided through careful planning and adaptive teaching methods. By recognizing behaviors associated with neurological dysfunction (many of which can be observed in all persons at times of extreme stress, fatigue, or illness), teachers can be proactive and adjust to student needs rather than be alarmed by these behaviors (with resulting reactive and sometimes negative consequences). The following section provides descriptions of characteristic behaviors common to persons with any degree of neurological dysfunction.5 In the early days of special education, labels and groupings were not yet defined by legislation. For that reason, guidelines listing observable behaviors served as the primary determinant of a child's need for services. Later, federal legislation and standardized testing were used to provide criteria levels for special education placement. Today, with moves toward inclusion and interrelated groupings (where students with quite varied disabilities are served in noncategorical special education class settings), teachers must rely even more heavily on their personal observations for meeting individual student needs. Because definitions continue to vary from state to state and among school districts, it is important to have additional descriptors to facilitate communication among educational professionals. The following descriptions of characteristics associated with various neurological disorders can assist music teachers working with students in many educational settings. Suggestions for accommodations to meet the needs of students with these behaviors have been added based on our teach-

Satis Coleman's "Creative Music.".

Abstract: n the fourth-grade general music class of Lincoln School, New York City, students were busily engaged in making drums. They had been on a field trip to the Metropolitan Museum of Art to see the CrosbyBrown Collection of musical instruments, followed by class discussions about the kinds of drums they had seen and their uses in cultures around the world. The students were decorating their drums using designs inspired by Native American artwork because the drums were to be used not only in the music class for rhythmic activities but also in a schoolwide project on Native American life. The project would culminate in an assembly program at which the students would perform.

Opening the Door to Classroom Improvisation.

Abstract: beyond music and peruse other forms of expression, including unlikely ones such as television game shows or talk shows, we see how people deal with spontaneity and intuition in their daily lives. Often, by making small modifications, we can turn what we have observed into relevant and joyful classroom improvisation experiences. By being nonjudgmental to the world around us, we allow ourselves to see new connections and new possibilities. This quality of postponing judgment-seeing or hearing possibilities-is extremely useful in the activities that follow. Perhaps the most destructive, uncreative path starts with the phrases \"I can't do that\" or \"That won't work in my situation.\" Although improvisation can create music that is unexpected and sometimes random, the teaching of improvisation needs a careful plan for each session. In A Soprano on Her Head by Eloise Ristad, we learn that her improvisations had a long-range plan.3 First, she started with voice and body sounds. Next, she added piano, individual instruments, and extended instrumental techniques. Then, she followed with exotic and unlikely sound sources. A plan like Ristad's could be completed in a workshop format lasting over several hours, or it could be the blueprint for classes lasting a semester or two.

Overview of Discipline-Based Music Education

Abstract: F or more than three decades, opportunities for children to study music in American schools have sharply declined.1 Erratic funding at the state and local levels has compounded the problem. In many school districts, music education begins with singing for all children in the elementary level and progresses to musical performance ensembles that display exceptional virtuosity and musicianship at the secondary level. The study of music history, theory, music appreciation, composition, and improvisation at all levels remains well in the periphery.2 During the 1990s, many schools have reduced staff and instructional time for music. One result of these reductions is that the music curriculum becomes further confined to performance. In these settings, music educators often restrict themselves to teaching the highly motivated or \"talented,\" developing technique, and perfecting a limited range of musical works. 3 Many of our music perfor-

Enhancing Aural Lessons with multimedia programs: Music is an aural art, yet most students are visual learners. Introducing them to multimedia technology offers a way to bridge the gap

Abstract: L istening lessons are a staple of music educat ion at all levels. From k i n d e r g a r t e n th rough graduate school, many music classes revolve around listening to a variety of music examples . Whether the class is elementary school general music, middle school exploratory music, high school music appreciation, or music history and literature at the college level, music majors and nonmajors alike are introduced to new m u s i c and new mus i ca l concep t s through the same k ind of l i s tening experience that has been in use for generations. The teacher begins by providing background information on the piece and then plays a record, cassette tape, or CD. Students are expected to sit quietly and try to absorb the example. If the teacher wants to highlight a point by repeating part of the example, he or she must rewind the tape or drop the needle un t i l , through trial and error, the right place is found and the excerpt can be p l ayed aga in . S ince many C D players can begin playback on ly at the start of p r e d e t e r m i n e d tracks, the repeating of an excerpt is not always possible. Although trying to find a specific section of a piece can be frustrating

Harold P. Geerdes on Music Facility Design: In this interview, Harold P. Geerdes, music educator and music facility consultant, talks about acoustic phenomena in a way that musicians can understand

Abstract: of Music Facilities: Building, Equipping, and Renovating (MENC, 1987), which has been widely used throughout the United States and Canada, both as a planning guide and in college university music teacher preparation classes* He has appeared regularly at MENC regional and national conferences and was chairman of the MENC Committee on Music Rooms, Buildings, and Equipment from 1974 to 1990. Presently professor of music emeritus at Calvin College in Grand Rapids, Michigan, Geerdes remains active as a music facility planner and acoustician. In this interview, Geerdes introduces teachers to the subject of acoustics by answering questions about how music facilities are designed, what features music teachers can legitimately ask for in a music room or auditorium, how to design a room for both music and speech, and how to solve some common problems that may already exist.

MEJ Encore: Suzuki's Mother Tongue Method This article on Shinichi Suzuki's teaching concept and its growth was first published in the MEJ in February 1986

Abstract: ovements or methods emanating from a single guiding figure are rarely simple phenomena. Certainly the Suzuki movement, while based on a singular, recognizable, even simple concept—the "mother tongue" method—is quite complicated in its manifestations. Those who ask "What is the Suzuki method, in a few words?" are certain to be disappointed. Combining as it does a philosophy, a pedagogical method, a concept of educational psychology, and an implicit social structure (the parent-child-teacher relationship), it is exceedingly difficult to define, or even to explain. Its founder, Shinichi Suzuki, was born in 1898 and studied violin in Germany for eight years in the 1920s. European study brought him into contact with ideas of the Western world, but the influence of educators and philosophers such as Rudolf Steiner, Emile Jaques-Dalcroze, Maria Montessori, and Jean Piaget were probably tangential when compared with his oriental background and his personal pragmatism. Suzuki is a captivatingly direct, warm, energetic, and creative person with a genius for

Structuring a Musical Choral Rehearsal.

Abstract: sitional structure of the work and then identify its natural breaks. Knowledge of these elements will provide a guideline for developing the most musical rehearsal sequence possible. Three aspects of compositional structure must be addressed: form, texture and unifying element. Does the piece have a repeating form such as strophic, ABA, or rondo, or is it through-composed? What is the texture of the piece? Is it primarily homophonic with a clear melody, contrapuntal with greater equality of voicing, or a balance of both? The texture can often determine the order in which parts are sequenced for learning. Finally, what is the single unifying element of the work? Is it the formal structure, a

Defining New Teaching Roles.

Abstract: The music specialist serves as an essential resource person in aesthetics, music history, and music criticism. T he very nature of teaching general music with a discipline-based approach—the incorporation of aesthetics, history, and criticism along with the production activities of performing, improvising, and composing—invites a collaborative effort between the music specialist and the classroom teacher. While each can expect to perform a variety of instructional roles, the specific teaching roles will vary according to the music selected for study, the connections being made between the music and the rest of the curriculum, the instructional activities, and the skills of the teachers involved. The degree of collaboration will depend on how the music can be incorporated into the classroom curriculum and the extent to which the classroom teacher is comfortable in using music with this curriculum.