Secondary Music
8/31/09
Kelsey Wilhelm
#4 What two attributes should music teachers posses?
Hoffer states in the text that the two qualities a music teacher should have are the true and pure enjoyment of music and the ability to deal with people. These are great reasons for this answer because they underlie two very broad topics. The latter, dealing with people, relates to many different age groups. The teacher must be able to cooperate well with students of a younger age, know how to teach them, interest them, and make them feel excited about what they are doing. You may think this is the only personal relations they must produce, but it is wrong. Teachers must also have good relations with others within the school. They hold a lot of responsibility in becoming a part of different school boards and groups that deal with issues at hand. Look for instance at the cost of a timpani. You must understand that instruments and their maintenance takes a great deal amount of money. Being on the school’s bargaining team or financial board would be creating good personal relations to help benefit the music program’s facilities that may normally have been overlooked.
As an example, an article in the Music Educators Journal announced the “Rally for Music Education” where teachers, professors, and music personnel went to the Capitol to present new ideas for educational reform in the schools music programs. Such personal relationships and skill must be presented in order to get full points across and help the other parties understand the current situations. As many know, music programs tend to be a bit neglected and these types of situations can be addressed properly.
Fehr, Rosalind C., from Music Educators Journal; Jun2009, Vol. 95 Issue 4, p10; accessed 8/30
Secondly, being a true enjoyer of music. Being an enjoyer of music is something COMPLETELY different than being an enjoyer of performing, or being an enjoyer of the applause. To be able to find something enjoyable from a fifth grade band performing the ever over played “Ode to Joy”, not because of their weaving intricate melodic lines or thick gruesome harmonies, but rather in the sound of a young band finding that enjoyment and understanding of music is what the teacher must enjoy in music.
An article written by Rhonda Bernard asks the question, “What is the difference of teaching and making music and how do you mingle and combine the two.” First of all, like Hoffer, she states that you must know your personal objectives and know that you are there to teach the student and not fulfill personal musical performance goals (for personal praise). The underlying idea here is that being a teacher is primarily and foremost about the STUDENTS, not the professor, coach, or whatever it maybe. You must ask yourself, “What will I teach for, to entertain, learn, babysit, or personal goals?” These all play a large role in how you will project yourself to your students and the potential audiences.
Bernard, Rhonda, from Music Education Research; Nov2004, Vol.6 Issue 3, p281-298, accessed 8/30
#5
Continually self evaluating is a large role in the constant learning process. You must always find a way to better yourself and you can’t do that if you feel nothing is wrong. Joining in groups such as MENC and other conferences can help you be able to network with people in the similar education areas. This gives you clinics and people to communicate and ask questions to. Bringing in outside directors or musicians into your classroom can also help you and your students to witness something new and learn from another point of view.
Monday, August 31, 2009
Sunday, August 30, 2009
Chapter 2
2. In the opinion of David Ausubel and Myron Brenton, what is the most important characteristic of a successful teacher?
The book states that David Ausubel wrote, “Perhaps the most important personality characteristic of a teacher is the extent of the teacher’s personal commitment to the intellectual development of students.” (Hoffer, 11) Ausubel is also responsible for the subsumption theory where the teach starts out with generic information and uses the student’s previous knowledge to build up into learning the more specific details.
The book simplifies Ausubel’s statement in Myron Brenton’s theory: “The best teachers wear a large invisible button that reads “I give a damn.’” (Hoffer, 11)
To put these two theories together, I’d say that the most important characteristic of a successful teacher is the ability to care about the student and work so that the students will benefit.
5. Current teachers have to want to continue their education to do so. If you think about it, every day is a new learning experience for the teacher and the student. Teachers can also work on their professional development by going to different workshops and inservices, and by joining differnet groups and networks to be more exposed to these opportunities. Teachers can also look back at their previous work to evaluate themselves and see how they can improve their current teachers habits and skills.
Ausubel, David. Educational Psychology. New York City, New York: Holt, Rinehart & Winston, 1978
Hoffer, Charles R. Teaching Music in the Secondary Schools. Belmont, California: Wadsworth/Thomson Learning, 2001.
The book states that David Ausubel wrote, “Perhaps the most important personality characteristic of a teacher is the extent of the teacher’s personal commitment to the intellectual development of students.” (Hoffer, 11) Ausubel is also responsible for the subsumption theory where the teach starts out with generic information and uses the student’s previous knowledge to build up into learning the more specific details.
The book simplifies Ausubel’s statement in Myron Brenton’s theory: “The best teachers wear a large invisible button that reads “I give a damn.’” (Hoffer, 11)
To put these two theories together, I’d say that the most important characteristic of a successful teacher is the ability to care about the student and work so that the students will benefit.
5. Current teachers have to want to continue their education to do so. If you think about it, every day is a new learning experience for the teacher and the student. Teachers can also work on their professional development by going to different workshops and inservices, and by joining differnet groups and networks to be more exposed to these opportunities. Teachers can also look back at their previous work to evaluate themselves and see how they can improve their current teachers habits and skills.
Ausubel, David. Educational Psychology. New York City, New York: Holt, Rinehart & Winston, 1978
Hoffer, Charles R. Teaching Music in the Secondary Schools. Belmont, California: Wadsworth/Thomson Learning, 2001.
Friday, August 28, 2009
Chapter 2
3. Are the best teachers extroverts? Are the best teachers decisive and in charge?
Although at first it may seem that the excited ‘bouncing-off-the-walls’ type of extroverted teacher is very good at their job, eventually that excitement wears away, and students may eventually become annoyed by it. Just because a teacher always seems excited and happy to be teaching, it doesn’t necessarily mean they are good at being in control and making decisions. According to our textbook, students must know that the teacher is “…competent and in charge. Good teachers cannot be week and timid (Hoffer, 12). It is important for music teachers to maintain a level of control over the students in their classroom while developing a special bond with these same students. In 2002, the MENC published an article titled, Why are you majoring in music education. In the “Teaching Music Journal.” Almost 500 collegiate music education majors were polled and asked questions about their decisions to become music majors. Many students reported that their high school music teacher had the most influence on their choice. One student wrote, “The most influence came from my high school band director. I remember he was always hard on me” (Why). Teachers like this demonstrate decisiveness and being in charge without being too aggressive.
Why are you majoring in music education? (2002). Teaching Music.
5. What actions can music teachers take to continue to grow as teachers?
Contrary to what we all believe, once we leave college, we still have a lot to learn. A friend of mine who taught band in Wheaton last year told me we learn about 5% of what we need to know about teaching in college, about 10% when we student teach, and the rest we have to learn from actual teaching experience. This means that throughout our teaching career, we will be constantly learning, changing, and possibly reforming what we do. A few ways to do this include the required continuing certification that is needed in most states, attending workshops and courses, and being a part of MENC. The article Reflections of Beginning Music Teachers in the “Music Educators Journal” quotes one first-year middle school band director, “Musically, I was inexperienced in knowing what to listen for in my ensembles. One can never have enough rehearsal technique, and I’ll continue to gain more by going to summer workshops and bringing in guest clinicians” (Krueger, 51). This may have just been a beginning teacher, but the same ideas are used throughout music education by teachers and can be helpful tools to continue learning and growing.
Krueger, Patti J. (2001). “Reflections of Beginning Music Teachers.” Music Educators Journal.
Although at first it may seem that the excited ‘bouncing-off-the-walls’ type of extroverted teacher is very good at their job, eventually that excitement wears away, and students may eventually become annoyed by it. Just because a teacher always seems excited and happy to be teaching, it doesn’t necessarily mean they are good at being in control and making decisions. According to our textbook, students must know that the teacher is “…competent and in charge. Good teachers cannot be week and timid (Hoffer, 12). It is important for music teachers to maintain a level of control over the students in their classroom while developing a special bond with these same students. In 2002, the MENC published an article titled, Why are you majoring in music education. In the “Teaching Music Journal.” Almost 500 collegiate music education majors were polled and asked questions about their decisions to become music majors. Many students reported that their high school music teacher had the most influence on their choice. One student wrote, “The most influence came from my high school band director. I remember he was always hard on me” (Why). Teachers like this demonstrate decisiveness and being in charge without being too aggressive.
Why are you majoring in music education? (2002). Teaching Music.
5. What actions can music teachers take to continue to grow as teachers?
Contrary to what we all believe, once we leave college, we still have a lot to learn. A friend of mine who taught band in Wheaton last year told me we learn about 5% of what we need to know about teaching in college, about 10% when we student teach, and the rest we have to learn from actual teaching experience. This means that throughout our teaching career, we will be constantly learning, changing, and possibly reforming what we do. A few ways to do this include the required continuing certification that is needed in most states, attending workshops and courses, and being a part of MENC. The article Reflections of Beginning Music Teachers in the “Music Educators Journal” quotes one first-year middle school band director, “Musically, I was inexperienced in knowing what to listen for in my ensembles. One can never have enough rehearsal technique, and I’ll continue to gain more by going to summer workshops and bringing in guest clinicians” (Krueger, 51). This may have just been a beginning teacher, but the same ideas are used throughout music education by teachers and can be helpful tools to continue learning and growing.
Krueger, Patti J. (2001). “Reflections of Beginning Music Teachers.” Music Educators Journal.
Chapter 2--Questions 1, 5
Chapter 2—The School Music Teacher
1. Often music teachers are ego driven. What influence can this have on the actions they take as teachers?
Teachers who are ego driven are quite often not in their profession for the sake of the students. They want to see their name in the programs and be on the stage just as badly as the students do. The book states that teacher satisfaction is gained through student success. Teachers should teach for the sake of the students, not for their chance to be in the spotlight. When they do not realize their ego is getting in the way of student learning, students will not have a chance to meet their full potential, as they may feel they are just playing the backup to a teacher’s performance.
Ego may be an especially big problem for beginning teachers (how very reassuring). In “Becoming a Teacher: Stories of the First Few Years,” four young teachers were asked to share their thoughts. Going into their first classroom, they thought they’d have it all under control and everything would be a breeze, based on good student teaching experiences and what they had learned in their undergraduate studies. Not so. Each was faced with many challenges and had to remember that the students came first. Whether they thought they knew what they were doing or not, they had to reconsider everything and prioritize, making sure they were first educators who emphasized music, not musicians who happened to be educators. (Conway, 2004)
Conway, C. H.-R. (2004). Becoming a Teacher: Stories of the First Few Years. Music Educators Journal.
5. What actions can music teachers take to continue to grow as teachers?
Teachers can continue to grow and learn by taking classes and attending workshops to further their education. They can also join professional organizations such as MENC, ACDA, NATS, NBA, etc. to advocate for their field and collaborate with other teachers to gain new ideas and share effective strategies. Still other ways to continue to learn include reading journals and research reports, and doing research themselves. Teachers can also learn about themselves by doing self-evaluations of their teaching methods and strategies, and the effectiveness of those techniques. Journaling could be a very effective way of tracking what they have done and how well it worked, and serve as a documentation of frustrations so they know what not to do as they look back on what they’ve written.
In an article by Linda K. Thompson titled “Considering Beliefs’ in Learning to Teach Music,” Thompson goes over some of the downfalls and positive attributes of undergraduate music education. She also goes into detail about the student teaching experience and the importance of good collaborative teachers. We are obviously several years away from even thinking about being collaborative teachers, but that experience would also serve as a great tool for us as educators. The collaborative teachers may end up learning just as much from the student teachers as the young teachers learn from them. It is a good way to stay up on some of the technology being used, the teaching methods being taught, and the new ideas being brought to the table by younger generations of teachers. This article also describes the beliefs of beginning teachers, some of them being quite “off” from reality, which makes me think we need to pay close attention to what is really going on in today’s secondary music classrooms, not just what we are used to seeing and being a part of. (Thompson, 2007)
Thompson, L. K. (2007). Considering Beliefs' in Learning to Teach Music. Music Educators Journal.
1. Often music teachers are ego driven. What influence can this have on the actions they take as teachers?
Teachers who are ego driven are quite often not in their profession for the sake of the students. They want to see their name in the programs and be on the stage just as badly as the students do. The book states that teacher satisfaction is gained through student success. Teachers should teach for the sake of the students, not for their chance to be in the spotlight. When they do not realize their ego is getting in the way of student learning, students will not have a chance to meet their full potential, as they may feel they are just playing the backup to a teacher’s performance.
Ego may be an especially big problem for beginning teachers (how very reassuring). In “Becoming a Teacher: Stories of the First Few Years,” four young teachers were asked to share their thoughts. Going into their first classroom, they thought they’d have it all under control and everything would be a breeze, based on good student teaching experiences and what they had learned in their undergraduate studies. Not so. Each was faced with many challenges and had to remember that the students came first. Whether they thought they knew what they were doing or not, they had to reconsider everything and prioritize, making sure they were first educators who emphasized music, not musicians who happened to be educators. (Conway, 2004)
Conway, C. H.-R. (2004). Becoming a Teacher: Stories of the First Few Years. Music Educators Journal.
5. What actions can music teachers take to continue to grow as teachers?
Teachers can continue to grow and learn by taking classes and attending workshops to further their education. They can also join professional organizations such as MENC, ACDA, NATS, NBA, etc. to advocate for their field and collaborate with other teachers to gain new ideas and share effective strategies. Still other ways to continue to learn include reading journals and research reports, and doing research themselves. Teachers can also learn about themselves by doing self-evaluations of their teaching methods and strategies, and the effectiveness of those techniques. Journaling could be a very effective way of tracking what they have done and how well it worked, and serve as a documentation of frustrations so they know what not to do as they look back on what they’ve written.
In an article by Linda K. Thompson titled “Considering Beliefs’ in Learning to Teach Music,” Thompson goes over some of the downfalls and positive attributes of undergraduate music education. She also goes into detail about the student teaching experience and the importance of good collaborative teachers. We are obviously several years away from even thinking about being collaborative teachers, but that experience would also serve as a great tool for us as educators. The collaborative teachers may end up learning just as much from the student teachers as the young teachers learn from them. It is a good way to stay up on some of the technology being used, the teaching methods being taught, and the new ideas being brought to the table by younger generations of teachers. This article also describes the beliefs of beginning teachers, some of them being quite “off” from reality, which makes me think we need to pay close attention to what is really going on in today’s secondary music classrooms, not just what we are used to seeing and being a part of. (Thompson, 2007)
Thompson, L. K. (2007). Considering Beliefs' in Learning to Teach Music. Music Educators Journal.
8-28-09 Kelsey
Music in the Jr. Sr. HS
Kelsey Wilhelm
8/28/09
#4
The basic difference between teaching and babysitting is the fact that the students should learn something. There should be a clear objective to the lesson and the teacher must present it in a way understandable by the students. Babysitters discipline, watch and keep in order. Teachers do this, but also have to add the concept of learning and advancement.
http://www.unco.edu/cebs/psychology/kevinpugh/motivation_project/resources/ames_archer88.pdf
Achievement goals in the Classroom : Student’s learning strategies and motivation process by: Carole Ames and Jennifer Archer University of Illinois Urbana-Champaign
-Defines that students participate and maintain better discipline when they are involved with the rules that define a classroom setting. They abide better when they are involved and success is shown in the setting. Also, it helps set realistic goals for both student and teacher that once attained can cause for a great performance/ feeling of wellness.
#8
Observable behavior is something that can be noted by the senses. In this case, referring to the changes (hopefully progress) made within the classroom setting. These behaviors are meant to be advancements and can prove and support the continuing education of the student. It, whether or not it is detrimental or assistive, shows the outcome of situations.
http://www.jstor.org/stable/1085165?cookieSet=1
Effective versus Ineffective Schools: Observable Differences in the Classroom by: Charles Teddlie, Peggy C Kirby, Sam Stringfield
This book, which can be view entirely online, basically states how one must find how and which actions and direction cause for the outcome to work. The introduction paragraph says it does not state exactly what will work but more ideas for experiment to find out which teaching ways work for the classroom and environment you teach in.
Kelsey Wilhelm
8/28/09
#4
The basic difference between teaching and babysitting is the fact that the students should learn something. There should be a clear objective to the lesson and the teacher must present it in a way understandable by the students. Babysitters discipline, watch and keep in order. Teachers do this, but also have to add the concept of learning and advancement.
http://www.unco.edu/cebs/psychology/kevinpugh/motivation_project/resources/ames_archer88.pdf
Achievement goals in the Classroom : Student’s learning strategies and motivation process by: Carole Ames and Jennifer Archer University of Illinois Urbana-Champaign
-Defines that students participate and maintain better discipline when they are involved with the rules that define a classroom setting. They abide better when they are involved and success is shown in the setting. Also, it helps set realistic goals for both student and teacher that once attained can cause for a great performance/ feeling of wellness.
#8
Observable behavior is something that can be noted by the senses. In this case, referring to the changes (hopefully progress) made within the classroom setting. These behaviors are meant to be advancements and can prove and support the continuing education of the student. It, whether or not it is detrimental or assistive, shows the outcome of situations.
http://www.jstor.org/stable/1085165?cookieSet=1
Effective versus Ineffective Schools: Observable Differences in the Classroom by: Charles Teddlie, Peggy C Kirby, Sam Stringfield
This book, which can be view entirely online, basically states how one must find how and which actions and direction cause for the outcome to work. The introduction paragraph says it does not state exactly what will work but more ideas for experiment to find out which teaching ways work for the classroom and environment you teach in.
Chapter 1
2) What is one important reason why school music teacher should become active members of MENC.
By being involved in organizations like MENC, music educators are able to meet and work with their colleagues in the area. Groups like this make available resources that they otherwise wouldn’t have available to them especially if they are spread out a good distance between schools. This gives teachers the chance to discuss and trade ideas with other people in their field.
6) Why do music teachers have more responsibility for what is taught in their classes than teacher on English, social science, and other subjects.
Secondary music doesn’t necessarily have as any written guidelines as subjects like English, math, and the sciences do. Because of that, music teachers are largely in charge of deciding what they teach and to which grades they teach it to. And since they are essentially responsible for creating their own curriculum to teach in their classrooms, the music teacher has to be that much more responsible in picking what they put into their lessons.
Dr. Debra Hedden, Professor of Music Education and Music Therapy at the University of Kansas, stresses this point on the MENC website. She mentions that teachers should try and reach a combination of singing, listening, moving, performing, composing, and reading/writing music every time the class meets.
Hedden, D. (2000). General Music Curriculum Framework. Retrieved August 27, 2008 from http://www.menc.org/resources/view/general-music-curriculum-framework-document
By being involved in organizations like MENC, music educators are able to meet and work with their colleagues in the area. Groups like this make available resources that they otherwise wouldn’t have available to them especially if they are spread out a good distance between schools. This gives teachers the chance to discuss and trade ideas with other people in their field.
6) Why do music teachers have more responsibility for what is taught in their classes than teacher on English, social science, and other subjects.
Secondary music doesn’t necessarily have as any written guidelines as subjects like English, math, and the sciences do. Because of that, music teachers are largely in charge of deciding what they teach and to which grades they teach it to. And since they are essentially responsible for creating their own curriculum to teach in their classrooms, the music teacher has to be that much more responsible in picking what they put into their lessons.
Dr. Debra Hedden, Professor of Music Education and Music Therapy at the University of Kansas, stresses this point on the MENC website. She mentions that teachers should try and reach a combination of singing, listening, moving, performing, composing, and reading/writing music every time the class meets.
Hedden, D. (2000). General Music Curriculum Framework. Retrieved August 27, 2008 from http://www.menc.org/resources/view/general-music-curriculum-framework-document
Thursday, August 27, 2009
Chapter 1
3. Why is music education the wrong profession for people who are lazy, faint-hearted, and lack imagination?
Working in secondary schools presents a unique challenge, as teenagers can sometimes be difficult to work with and get through to from the teacher’s standpoint. This is especially true in music classes. Many students are only in band or choir because their parents force them to be, or because they already have a study hall, and as music teachers, we have to be able to use motivation and imagination to keep these students interested. There is also a wide variety of students that music teachers must deal with. Teachers must juggle students with different levels of skill, ambition, and desire to be involved in music. Not only do music teachers work hard to teach their students, but we also strive to continue to learn and perform. A book titled “Teacher to Teacher” compiled by the MENC says that music teachers should continue to learn new instruments to be able to pass on the enthusiasm to their students, and, if possible, teachers should join a community ensemble to continue performing from the ‘other side of the baton’ (Teacher, 85). Obviously, music teachers need to be motivated and strong-willed people or they wouldn’t be able to juggle all the different aspects of being a successful music teacher.
7. Why are specific “cookbook” suggestions for how to teach this or that in music seldom very effective?
Music teachers would struggle if we tried to use “cookbook” suggestions to teach music. There are many variables in teaching that we as music educators must deal with such as geographical region, socioeconomic status, and upbringing. An example our textbook gives says that “teaching seventh-grade general music class in rural Montana is likely to be quite different experience from teaching such a class in inner-city Chicago or Los Angeles” (Hoffer, 5). However, we don’t need to consider just the students, but we as teachers obviously differ from each other. One constant in music education remains: be yourself. Clifford Madsen, in the book “Contemporary Music Education” says that children can detect phonies and fakes easily, and if they think teachers are being fake, they will not relate to them well (Madsen, 57). If we as teachers want to get through to students, we need to act natural. We each have our own strengths and weaknesses that help to create the way we teach, and we need to understand these in order to get the best performance out of ourselves and our students.
“Teacher to Teacher.” MENC. Reston, VA; 2004.
Madsen, Clifford K. “Contemporary Music Education.” Contemporary Publishing Company of Raleigh, Raleigh, NC; 1994.
Working in secondary schools presents a unique challenge, as teenagers can sometimes be difficult to work with and get through to from the teacher’s standpoint. This is especially true in music classes. Many students are only in band or choir because their parents force them to be, or because they already have a study hall, and as music teachers, we have to be able to use motivation and imagination to keep these students interested. There is also a wide variety of students that music teachers must deal with. Teachers must juggle students with different levels of skill, ambition, and desire to be involved in music. Not only do music teachers work hard to teach their students, but we also strive to continue to learn and perform. A book titled “Teacher to Teacher” compiled by the MENC says that music teachers should continue to learn new instruments to be able to pass on the enthusiasm to their students, and, if possible, teachers should join a community ensemble to continue performing from the ‘other side of the baton’ (Teacher, 85). Obviously, music teachers need to be motivated and strong-willed people or they wouldn’t be able to juggle all the different aspects of being a successful music teacher.
7. Why are specific “cookbook” suggestions for how to teach this or that in music seldom very effective?
Music teachers would struggle if we tried to use “cookbook” suggestions to teach music. There are many variables in teaching that we as music educators must deal with such as geographical region, socioeconomic status, and upbringing. An example our textbook gives says that “teaching seventh-grade general music class in rural Montana is likely to be quite different experience from teaching such a class in inner-city Chicago or Los Angeles” (Hoffer, 5). However, we don’t need to consider just the students, but we as teachers obviously differ from each other. One constant in music education remains: be yourself. Clifford Madsen, in the book “Contemporary Music Education” says that children can detect phonies and fakes easily, and if they think teachers are being fake, they will not relate to them well (Madsen, 57). If we as teachers want to get through to students, we need to act natural. We each have our own strengths and weaknesses that help to create the way we teach, and we need to understand these in order to get the best performance out of ourselves and our students.
“Teacher to Teacher.” MENC. Reston, VA; 2004.
Madsen, Clifford K. “Contemporary Music Education.” Contemporary Publishing Company of Raleigh, Raleigh, NC; 1994.
Wednesday, August 26, 2009
Chapter 1--Questions 1, 5
Chapter 1—The Nature and Rewards of Music Teaching
1. What about the teaching experience has convinced experienced school music teachers that their work is important and worthwhile?
Their work is satisfying and rewarding. It is more difficult to tell a music teacher what to do. As our book states, music teachers are "self-directed", and have to show how their work is important and effective. Music teachers also have the opportunity to experience much more than other teachers because the variety in the subject is so great. While other teachers use the same material year after year, those in music education use new or different material and literature every year for their ensembles. That alone may be the thing that keeps students interested. They enjoy experiencing music in many different ways.
Former MENC President June Hinckley offers some advice for “making music matter.” In addition to caring for and teaching students, she strongly suggests being an advocate for our art and the teaching of it and finding good mentors as young teachers, and being good mentors when we have gained sufficient experience as teachers. As I think about it myself, I can imagine how daunting a task teaching music would be without any backup. Thank goodness for veteran teachers who may serve as our mentors!
Hinckley, J. (1998). Music Matters. Music Educators Journal , 6-7.
5. What are the five components of the music teaching process?
The five components of the music teaching process include (1) the purpose for having music in the schools, (2) the material that should be taught in the music class or rehearsal, (3) the method of presentation of the material, (4) the group being taught, and (5) the results of the lesson. These five concepts may sound simple, but there is a lot more to them than their face value. First of all, they are based on preference, and, almost always, change as a teacher progresses in their career. The students and results will vary year by year, month by month, or even day by day. Teaching is such a dynamic occupation, full of exciting twists and turns, and with music, the probability of those twists and turns is even greater due to the variety we have to work with!
In the article “Developing Young Musicians Through Collaboration” by Chris Judah-Lauder, the topic of collaboration is discussed. This is simply one of the teaching methods that could be used. The example used in the article was in breaking up the class into groups for composition, improvisation, and discussion, either randomly or selectively to prove a point. In one instance, the class was split into groups of people with domineering personalities, and groups with quieter, cooperative individuals. The assignment of developing the section of a piece was completed by quiet groups, while the others quickly realized nothing would get done because they didn’t cooperate. This was a good lesson because it made use of musical material, presented it in a unique way, and promoted group cooperation as well—another valuable lesson.
Judah-Lauder, C. (2007). Developing Young Musicians Through Collaboration. General Music Today , 11-16.
1. What about the teaching experience has convinced experienced school music teachers that their work is important and worthwhile?
Their work is satisfying and rewarding. It is more difficult to tell a music teacher what to do. As our book states, music teachers are "self-directed", and have to show how their work is important and effective. Music teachers also have the opportunity to experience much more than other teachers because the variety in the subject is so great. While other teachers use the same material year after year, those in music education use new or different material and literature every year for their ensembles. That alone may be the thing that keeps students interested. They enjoy experiencing music in many different ways.
Former MENC President June Hinckley offers some advice for “making music matter.” In addition to caring for and teaching students, she strongly suggests being an advocate for our art and the teaching of it and finding good mentors as young teachers, and being good mentors when we have gained sufficient experience as teachers. As I think about it myself, I can imagine how daunting a task teaching music would be without any backup. Thank goodness for veteran teachers who may serve as our mentors!
Hinckley, J. (1998). Music Matters. Music Educators Journal , 6-7.
5. What are the five components of the music teaching process?
The five components of the music teaching process include (1) the purpose for having music in the schools, (2) the material that should be taught in the music class or rehearsal, (3) the method of presentation of the material, (4) the group being taught, and (5) the results of the lesson. These five concepts may sound simple, but there is a lot more to them than their face value. First of all, they are based on preference, and, almost always, change as a teacher progresses in their career. The students and results will vary year by year, month by month, or even day by day. Teaching is such a dynamic occupation, full of exciting twists and turns, and with music, the probability of those twists and turns is even greater due to the variety we have to work with!
In the article “Developing Young Musicians Through Collaboration” by Chris Judah-Lauder, the topic of collaboration is discussed. This is simply one of the teaching methods that could be used. The example used in the article was in breaking up the class into groups for composition, improvisation, and discussion, either randomly or selectively to prove a point. In one instance, the class was split into groups of people with domineering personalities, and groups with quieter, cooperative individuals. The assignment of developing the section of a piece was completed by quiet groups, while the others quickly realized nothing would get done because they didn’t cooperate. This was a good lesson because it made use of musical material, presented it in a unique way, and promoted group cooperation as well—another valuable lesson.
Judah-Lauder, C. (2007). Developing Young Musicians Through Collaboration. General Music Today , 11-16.
Class discussion notes 8/26/2009
This is a list of objectives or long term goals that you thought your music teachers had in mind during your high school years:
creative expression
full participation by as many as possible
fun
challenging, engaging music
empathetic to student desires (but may have gotten a little caught up in that causing chaos)
continue music past H.S. by teaching lessons and inviting college speakers
taught concepts such as theory through musical experiences rather than a separate class
global awareness through a variety of music from around the world
creative expression
full participation by as many as possible
fun
challenging, engaging music
empathetic to student desires (but may have gotten a little caught up in that causing chaos)
continue music past H.S. by teaching lessons and inviting college speakers
taught concepts such as theory through musical experiences rather than a separate class
global awareness through a variety of music from around the world
Sunday, August 23, 2009
Welcome to Music 490 at VCSU
In MUS490, we'll discover ways to be an effective teacher in the secondary music classroom. This blog will be used to share ideas, answer questions, and extend the learning from the classroom to the real world. I've once again asked teachers in the trenches to join the blog, to add their 2Cents at any time. That might spark some exciting debate or threads of discussion. I hope so!
Topics will focus around 6 main areas of concern as listed below:
Assessment
Advocacy
Pedagogical Knowledge
Management and Motivation
Reflection
Technology
Topics will focus around 6 main areas of concern as listed below:
Assessment
Advocacy
Pedagogical Knowledge
Management and Motivation
Reflection
Technology
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