Showing papers in "Music Educators Journal in 2001"
TL;DR: For instance, this paper argued that history and the social sciences into social studies; or grammar, declamation, and literature into language arts seem a natural fit, but does it make sense to combine them?
Abstract: ciplinary learning, teaching, and curriculum came to the fore as part of the progressive educational movement of the early twentieth century. Language arts and social studies, school subjects taken for granted in today's elementary curriculum, are themselves interdisciplinary versions of several former separate subjects. However, the current trend takes us beyond those prior attempts to coalesce, for instance, history and the social sciences into something called social studies; or grammar, declamation, and literature into something called language arts. The movement today is dedicated to crossing new frontiers among school subjects. Those who have attempted to integrate various curriculum areas have always faced the question of which subjects lend themselves to this endeavor and how those subjects might be most advantageously combined. Literature and history seem a natural fit, but does it make sense to
99 citations
TL;DR: In the context of music teaching, context has been a hot topic in the last few decades as mentioned in this paper, and much attention has been paid to these contextual matters, as our profession has sought to expand its teaching repertoire to include music from the world's vast
Abstract: f any one idea has taken center stage in contemporary music teaching, it is \"context.\" No music exists in a vacuum. All music comes from someone and someplace, at some point in time, and for some purpose. In any musical interaction, the fullest rewards are reaped when the experience is centered within a chronological, stylistic, cultural, and geographical framework. Much attention has been given to these contextual matters, as our profession has sought to expand its teaching repertoire to include music from the world's vast
77 citations
TL;DR: For example, the authors stated that "integration has to do with people and their lives, not primarily with subject matter, but with people's lives" and viewed curriculum integration as an effect to be produced in people, not a way of organizing the curriculum.
Abstract: of our leading authors in music education in earlier years, stated in his book Music Education: Principles and Programs that \"integration has to do, not primarily with subject matter, but with people and their lives.\"2 He viewed curriculum integration as an effect to be produced in people, not a way of organizing the curriculum. Today, integration is generally viewed as a way to organize curriculum.
56 citations
TL;DR: In this article, the authors focus on three primary areas of concern relating to integrated instruction-theoretical, curricular, and instructional, and neglect these concerns, while placing teachers at a disadvantage and violating the integrity of one or more disciplines.
Abstract: nterdisciplinary instruction is a recurring curricular trend that has once again become popular. Provoked perhaps by Howard Gardner's work on multiple intelligences or Frances Rauscher's work on what has come to be known as \"The Mozart Effect,\"1 teachers-and music teachers in particular-are being asked to integrate their teaching across disciplines. As this approach grows in popularity, it is important to consider what it will mean to both educators and students engaged in these efforts. There are three primary areas of concern relating to integrated instruction-theoretical, curricular, and instructional. If we neglect these concerns, any integration efforts in schools will provide little benefit to the students, while placing teachers at a disadvantage and violating the integrity of one or more disciplines. Among the various types of curriculum integration, a topic connection allows ateacher to use one subject area (e.g., dance) to clarify or enrich another (e.g., music).
55 citations
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44 citations
TL;DR: The National Standards for Music Educa- tion as discussed by the authors have been used in a variety of curricular reform proposals. But they do not address the need for students to test the strength of those connections and discern a tangential association from a strong bond.
Abstract: ur rapidly changing postmodern society presents us with a staggering array of information, ideas, images, sounds, and possibilities. Teachers designing curricula are challenged to select the most enduring, compelling, useful, and meaningful ideas and examples from that array to shape into educational experiences for their students. They must also teach students how to find interrelationships among various streams of human knowledge and achievement. Few would dispute that an ability to perceive connections is fundamental in a complex world. Many would add that it is equally important for students to be able to test the strength of those connections and discern a tangential association from a strong bond. It is not surprising, then, to find many examples of \"relationship standards\" in national, state, and local proposals for curricular reform. The National Standards for Music Educa-
43 citations
TL;DR: The incorporation of student assistance in the daily activities of music instruction has benefits that reach far beyond the obvious as discussed by the authors, when implemented properly, teachers can turn to students to help teach other students.
Abstract: tudent leadership is hardly a new concept in music education. It's not unusual to see students helping music teachers in a variety of ways. The incorporation of student assistance in the daily activities of music instruction has benefits that reach far beyond the obvious. When implemented properly, teachers can turn to students to help teach other students. Although it takes time, organization, and a positive outlook to activate such a design, peer tutoring not only helps provide an extra source of instruction for tutees, it also helps to fortify concepts and skills among the tutors while enabling the music instructor to utilize time more effectively.
35 citations
TL;DR: In this paper, O'Hair suggests that disruptive behavior and violence have become only two of many problems hampering maximum efficiency in teaching and learning in the music classroom and suggests that student apathy, negative attitudes, and inappropriate behavior may not only impede learning, but several studies also suggest that they can cause a high degree of stress for the teacher.
Abstract: Cla rlassroom discipline and management may be among the most difficult challenges for teachers, particularly for beginning teachers. While gum chewing and casual chatting may once have been the most taxing problems in the classroom, Mary John O'Hair suggests that disruptive behavior and violence have become only two of many problems hampering maximum efficiency in teaching and learning.1 Furthermore, student apathy, negative attitudes, and inappropriate behavior may not only impede learning in the classroom, but several studies also suggest that they can cause a high degree of stress for the music educator.2 Compared with managing other kinds of classrooms, managing a K-8 (and, to some extent, a 9-12) music classroom differs in three basic ways. First, the music classroom is typically \"product-oriented\" in an immediate sense, and the nature of the work
35 citations
TL;DR: In this paper, Kratus, ''Growing with Improvisation'' and ''A Developmental Approach'' describe a growing-with-improvisation approach to the problem of self-direction.
Abstract: in Dissertation Abstracts International 59 (09) (1999): 3386A. 3. Kratus, \"Growing with Improvisation\"; and Kratus, \"A Developmental Approach.\" continued on page 53
TL;DR: This article examined the nature of my experience as a general classroom music teacher; that is, I researched my own teaching, drawing on the multiple perspectives of other teachers I had worked with to clarify the teaching.
Abstract: education is taught in the new millennium. My observations have emerged from a study in which I examined the nature of my experience as a general classroom music teacher; that is, I researched my own teaching, drawing on the multiple perspectives of other teachers I had worked with to clarify the nature of my teaching. Although I have worked in an Australian context, the issues from my own teaching experience have implications for teachers of music in other countries who have
TL;DR: The male disenchantment with singing arises from sociological perceptions about music and singing, the male's psychological and physiological development during puberty, and inappropriate choral literature and training.
Abstract: ue to be concerned that male participation in choir remains less than female participation. The male disenchantment with singing arises from several related factors: sociological perceptions about music and singing, the male's psychological and physiological development during puberty, and inappropriate choral literature and training. To keep young men interested in singing, teachers may benefit from an examination of the physiology of the male voice change, the psychology of the adolescent male, the unique
TL;DR: The provision of support services for students with special needs is governed by the Rector's Provision No. 9/2013: Charles University standards of support for students as discussed by the authors, which can be found in the full version of this article.
Abstract: Compiled 30.3.2016 10:28:04 by Document Globe ® 1 Charles University students with special needs can use a range of University services which are designed to help students to overcome any difficulties they may encounter. The provision of support services for students with special needs is governed by the Rector’s Provision No. 9/2013: Charles University standards of support for students with special needs.
TL;DR: For instance, the authors found the equivalents of Pablo Picasso, Paul Klee, James Joyce, W. B. Yeats, Sigmund Freud, Carl Jung, Albert Einstein, Charlie Chaplin, Martha Graham, Igor Stravinsky, Louis Armstrong, Duke Ellington, and Charlie Parker, all of whom accomplished their major work between 1900 and 1950.
Abstract: pressed to find the equivalents of Pablo Picasso, Paul Klee, James Joyce, W. B. Yeats, Sigmund Freud, Carl Jung, Albert Einstein, Charlie Chaplin, Martha Graham, Igor Stravinsky, Louis Armstrong, Duke Ellington, and Charlie Parker, all of whom accomplished their major work between 1900 and 1950. This is equally true in education-Rudolf Steiner, Maria Montessori, Jean Piaget, Alfred North Whitehead, and John Dewey published their groundbreaking ideas before 1940. In the field of music education, Emil JaquesDalcroze, Zoltain Kodaly, and Carl Orff likewise had worked out the basis
TL;DR: In this article, the authors present strategies and techniques that make it possible to conduct assessment unobtrusively and efficiently, while actually motivating and improving student achievement, while making time for assessment without sacrificing music learning can seem like an overwhelming and impossible task.
Abstract: A Ithough a music teacher's load may not precisely total thousands of students, it can often appear that way; making time for assessment without sacrificing music learning can seem like an overwhelming and impossible task. Happily, strategies and techniques are being developed that make it possible to conduct assessment unobtrusively and efficiently, while actually motivating and improving student achievement. When I decided to align my elementary music curriculum with the state music standards, I was forced to examine my methods of assessing the seven hundred students that I teach in grades K-4. Sadly, methodology was almost nonexistent. My students were always busily engaged in musicmaking activities when they were with me in music class, but I rarely stopped to give a test. I didn't want to waste valuable instruction time. Besides, I often listened to individuals play or sing alone or in small groups as part of the instructional process. When the class was in front of me, I knew who was doing well and who wasn't. If the class sounded good as a whole, I assumed that the students were learning satisfactorily.
TL;DR: In this paper, the idea of teaching instrumental music to special learners is presented. But, the authors do not consider the individual modifications and instructional goals needed to successfully teach such a student.
Abstract: eaching special learners in the general music classroom is a commonly accepted concept, but the idea of teaching instrumental music to special learners is less common. The wide variety of cognitive, physical, and social abilities and disabilities possessed by \"special learners\" makes the task of inclusion a challenge, especially for the instrumental music teacher who must keep in mind the individual modifications and instructional goals needed to successfully teach such a student. However, instrumental music teachers can successfully teach learners with a variety of disabilities to play band and orchestral instruments by making minor modifications to traditional instrumental teaching techniques and by employing approaches used primarily in special education. With these adaptations, inclusion of students with special needs into the regular instrumental music program can take place.
TL;DR: The National Standards for Music Education have once again renewed our commitment to composing and improvising experiences for students of all ages and all backgrounds, continuing a clear thread of interest in creativity in our profession for the last three decades as discussed by the authors.
Abstract: oM~ r any music educators have come to realize the usefulness of computers in the music classroom for a myriad of tasks. But given computers' reputation for questionable reliability and high cost, some teachers find themselves asking why they should invest time and money in these complex machines. Perhaps the best response to these concerns is that computers and music technology provide truly unrivaled and powerful ways for students to compose and improvise music. Of all the ways we use computers in music teaching, helping students create music may be the best and most unique thing that computers do. The National Standards for Music Education have once again renewed our commitment to composing and improvising experiences for students of all ages and all backgrounds, continuing a clear thread of interest in creativity in our profession for the last three decades. However, the 1997 National Assessment of Educational Progress in the Arts showed that the
TL;DR: A teacher's responsibility in the composing process is primarily twofold: to try to determine what a student composer's intentions are, and then to suggest ways that he or she might better achieve them as discussed by the authors.
Abstract: is sustained. A teacher's responsibility in the composing process is primarily twofold: to try to determine what a student composer's intentions are, and then to suggest ways that he or she might better achieve them. Unfortunately, many teachers have been reticent to become involved, having never had the opportunity to develop compositional skills themselves. Ideally, students will approach composition as they approached finger-painting in kindergarten: rolling up their sleeves and reveling in the goo we call sound to create something meaningful. Because the composition process can seem abstract at times, the teacher can make it more concrete, offer suggestions, and help the student
TL;DR: The country trembled in the latter part of the decade as U.S. forces moved into Vietnam to fight a war that no one quite understood as mentioned in this paper, and America's seams were sorely frazzled as violence against blacks and civil rights workers shattered the South, and poverty loomed in everwidening pockets of the nation.
Abstract: assassinated in Dallas, Texas. Between 1963 and 1965, the nation's seams were sorely frazzled as violence against blacks and civil rights workers shattered the South, and poverty loomed in ever-widening pockets of the nation. Our country trembled in the latter part of the decade as U.S. forces moved into Vietnam to fight a war that no one quite understood. Because of their role in inculcating values and teaching ways of knowing, schools were shaken by antiwar protests, the splintering of the liberal center, the rise of the counterculture, the growth
TL;DR: In this paper, the authors show that mainstreamed music classes (those having students with special needs) are not limited to the elementary level but take place at the junior and senior high level as well, and that successful integration of special learners into choral performing ensembles can be achieved in ways that not only meet the necessary goals but also prove
Abstract: The surveys also reveal that mainstreamed music classes (those having students with special needs) are not limited to the elementary level but take place at the junior and senior high level as well. Because many high school choral programs spend a majority of time and energy working toward performance-related goals, the unique and oftentimes overwhelming demands of mainstreaming placed on the secondary choral music teacher can make success in these goals seem unobtainable. However, if approached from the right perspective, successful integration of special learners into choral performing ensembles can be achieved in ways that not only meet the necessary goals but also prove
TL;DR: The Grand Masters Series as discussed by the authors is an opportunity for readers to become more familiar with some special individuals who have spent their careers dedicated to the advancement of music education, such as Eunice Boardman, who served as professor emerita of the University of Illinois at Urbana-Champaign (U-C) until her retirement in 1998.
Abstract: The Grand Masters Series is an opportunity for readers to become more familiar with some special individuals who have spent their careers dedicated to the advancement of music education. Eunice Boardman is professor emerita of the University of Illinois at Urbana-Champaign (U-C), where she served as professor of music and education and chair ofgraduate studies in music education until her retirement in 1998. Her career as a music educator spans more than fifty years, with forty of them spent in the field of music teacher education. Boardman graduated from Cornell College in Mount Vernon, Iowa, in 1947, received a master's degree from Teachers College, Columbia University, New York, in 1951, and completed her doctorate at the University of Illinois at U-C in 1964. After spending ten years in the public schools of Iowa, she began her career as a college teacher, with her first appointment at
TL;DR: In this paper, the authors argue that elementary or secondary instrumental music curriculum consisting primarily of full-ensemble experiences and inschool lessons or sectionals may produce admirable results and make a community proud, but could shortchange the students' musical development and education.
Abstract: 11 instrumental students should be provided with regularly scheduled smallensemble or chamber music opportunities as a basic part of their annual school music experience. This experience should be in addition to in-school large-ensemble rehearsals and semi-private weekly lessons (or private study outside of school) and should focus mainly on material other than large ensemble repertoire or solo literature. An elementary or secondary instrumental music curriculum consisting primarily of full-ensemble experiences and inschool lessons or sectionals may produce admirable results and make a community proud, but could shortchange the students' musical development and education. Earlier in my career, I would not have believed that incorporation of across-the-board chamber music experiences was possible or even important. I believed that it was simply a special opportunity to offer a few talented players in my band from time to
TL;DR: The Individualized Education Program (IEP) as mentioned in this paper is written annually by the school special education team, which helps guide teachers in planning educational goals and objectives tailored to the special needs of individual students.
Abstract: the Individualized Education Program (IEP) for each child. Written annually by the school special education team, the IEP helps guide teachers in planning educational goals and objectives tailored to the special needs of individual students. Although music teachers may sometimes be involved in preparing an IEP, the program usually does not make specific recommendations for music classes. Therefore, music
TL;DR: In this paper, the authors provide three suggestions that can be used by private instrumental music teachers and ensemble directors to help young music students practice more effectively: include the parents in both the private lesson and practice session, create a documented routine or weekly practice plan, and meet the National Standards for Music Education.
Abstract: Unfortunately, many young music students do not know how to practice. The majority of high school and middle school students-even the more advanced musicians and the ones who study privately-have difficulty establishing effective practice habits. Because \"practice makes permanent,\" it is imperative that young musicians learn how to practice correctly. The following discussion provides three suggestions that can be used by private instrumental music teachers and ensemble directors to help young music students practice more effectively: include the parents in both the private lesson and practice session, create a documented routine or weekly practice plan, and meet the National Standards for Music Education.1