“Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.” ― Plato, The Republic MUS 382 Methods for Teaching Secondary Performance Ensembles Winter 2013 Tuesday and Thursday 9:30-10:45 144 French Hall Instructor -- Dr. Karen Salvador Contact Information Email: ksalvado@umflint.edu Office: 126 French Hall Office Phone: 810 762-0950 Office Hours: Tuesdays 1-3 and Thursdays 11:00-1:00 or by appointment. Please email. Course Aim In this class, you will synthesize your skills as a musician and educator by learning to organize and lead performance ensembles. You’ll learn techniques, methods, and materials for designing (and running) effective rehearsals, building successful programs, individualizing instruction, and assessing student progress. This course assumes previous instruction in conducting, music theory, arranging, keyboarding, and aural skills, as well as extensive experience as a performer in ensembles. Course Goals Preservice music teachers enrolled in this course will: 1. Examine the dynamic nature of music in individual lives, schools, and society; 2. Construct a philosophy of music education that values the rights of all secondary students to have access to engaging, relevant, and meaningful music study; 3. Develop pedagogical strategies for fostering the musical, intellectual, social, physical, emotional, psychological, and moral development of adolescents; 4. Develop strategies for differentiating instruction according to individual differences; 5. Examine multiple approaches to secondary music instruction that engage students in performing, creating, and representing music as well as thinking in sound, responding to music, and understanding music in cultural and historical contexts; 6. Create innovative rehearsal plans building on these approaches, incorporating appropriate materials and resources, curricular content, instructional strategies, and assessments; 7. Investigate ways to incorporate technology to serve as a medium of expression, creative and critical thinking, collaboration, and innovation for your students as well as a tool for you in administering your program and delivering effective instruction; 8. Demonstrate and apply what has been learned through peer teaching and by working with secondary students in field placements; 9. Reflect and engage in self-analysis to foster a disposition toward continuous growth as an educator and to build well-informed and imaginative visions of teaching and learning Goals adapted from Gallo, Jones, Sundloff, Thompson and Barrett, 2011. This class will be a lot of work—because teaching music is a lot of work. But the class should also be enjoyable; teaching music is the best job in the world! Stay on top of the work. Do the readings when they are assigned. Prepare—carefully and thoroughly—for your in-class responsibilities. Reflect thoughtfully, and make improvements. Required Texts
All Students: Musical Identities, edited by Raymond A. R. MacDonald, David J Hargreaves, and Dorothy Miell, [paperback] Oxford University Press, 2002. ISBN 0198509324 Choral Majors: Directing the Choral Music Program, by Kenneth Phillips. Oxford University Press, 2003. ISBN 0195132823 Instrumental Majors: Teaching Instrumental Music: Developing the Complete Band Program by Shelley Jagow. Meredith Music Publications, 2007. ISBN 1574630814 Please note that two of the three are required, and further that it is recommended you purchase all three and keep them. You do not know what kind of job you will get, and these texts should serve as excellent resources. Guitarists need to pick if they are “choral” or “instrumental.” Course Policies Exam Time: Tuesday, April 23 7:45-10:15 AM Attendance/Preparation: Prepare for each class meeting, attend all class meetings, complete all assignments on time. Regard yourself as a professional—a teacher. Just as you will expect your students to attend classes and be on time, I expect the same. You will be learning from each other, so tardiness and absences not only affect your learning, but also the education of your classmates. You are allowed three absences for any reason (including work, illness, emergencies, etc.). If you have more than three absences this semester, your final grade will be lowered by .5 for each absence. In addition, two tardies will count as one absence. Come prepared with the instruments/books, etc. for the day. Assignments: Must be free of errors in grammar and spelling (this includes blog posts and comments), and no handwritten work will be accepted. Parents, administrators, and members of the community have no patience with teachers who do not write well. I prefer assignments emailed to me as attachments (.doc or .docx are fine). Assignments submitted electronically must be received before the start of the class in which they are due to be considered “on time.” If you submit a hard copy, it must be typed (12 pt font, ds), notation must be computer generated (e.g. using Finale). Late Assignments: If you do not turn in an assignment by the beginning of the class during which it is due, it is considered late, even if you are absent from class that day (you always have the option to email me written assignments). The assignment may be turned in at the next class, but the assignment grade will automatically be lowered by 10%. Assignments will not be accepted more than one week late. BlackBoard: I use BlackBoard for a variety of purposes, and if you are not familiar with it, please log in and look around. I’ll post lecture powerpoints, assignment descriptions, the rubrics I use to grade assignments, handouts, additional (required) readings, and other things as they arise. I also use the gradebook function and keep it up to date. In addition, several assignments will be submitted via BlackBoard in the form of journals, blogs, and comments on other people’s blogs. Email: Please check your UM-Flint email daily (read it and reply if needed). I often send clarifications and announcements to the whole class. I check and respond to email twice each day, except Wednesday, Saturday, and Sunday when I check it once (usually around 1PM). I will respond within 24-48 hours if you contact me via email (often sooner).
MUS 382 Syllabus W13 Salvador, p. 3 Resources, University Policies: Writing Center: The Writing Center can help you with any writing or speaking project, from starting an assignment to the finished paper or speech. You can get help with papers or speeches for any course on campus, graduate or undergraduate. Take a draft of your paper or speech to the Writing Center and the tutors will help you complete it. If you have an assignment sheet, bring that too. For more information about the Writing Center or to schedule an appointment, go to the Writing Center website at http://www.umflint.edu/writingcenter/ or call (810) 766-6602. The Writing Center is located in 559 French Hall. Academic Integrity: All violations of academic integrity will be reported to the College of Arts and Sciences immediately and will result in a lowered grade or failure for the course. Additionally, violations of academic integrity could result in expulsion from the University of Michigan-Flint. Academic dishonesty includes plagiarism, cheating, fabrication, aiding and abetting dishonesty, falsification of records and documents, identity theft, misrepresentation, or the attempt to commit any of these acts. For further information, consult the latest UM-Flint Course Catalog. Americans with Disabilities Act: Anyone requiring special adaptations or accommodations should inform the instructor as soon as possible. In accordance with University procedure, if you have a documented disability and require accommodations to obtain equal access to this course, please contact the Office of Equal Opportunity and Disability Services at the beginning of the semester or when given an assignment for which an accommodation is required. Please turn off your phone and put it away before you come in to class. Laptops/tablets are acceptable when used appropriately.
This syllabus is subject to change.
Course Schedule
MUS 382 Syllabus W13 Salvador, p. 5 Week 1 – Jan 8: Course Orientation—What is this class going to be like? What is expected? For Jan 10: DTCMP pp 19-30; TIM pp 1-19; for discussion Thursday How to build sound will be an ongoing thread read, re-read, STUDY: DTCMP pp. 222-278; TIM 31-130 several times in the next two weeks. Jan 10: Why music in secondary schools? What are the goals of secondary music instruction, and who is it for? Should we fear the “f” word? Can we talk about “aesthetics?” Why does your philosophy matter? For January 15: Philosophy of Music Education1. You will revise this and incorporate it in your Band or Choir Handbook. TIM 21-30; DTCMP 1-18; 200-220; 348-364
Week 2 – Jan 15: What is the current state of music instruction in secondary schools? What is offered? Where? Why? What are the trends, and what are the possibilities? No class on Jan 17: Michigan Music Conference, Grand Rapids MI is Jan 17-19. Plan to attend at least one day! Dr. Salvador presents Saturday… For Jan 22: Review of MMC sessions. Be ready to present to the class on your favorite session. MI pp 1-20. Week 3—Jan 22 and 24: Curriculum in Secondary Performance Ensembles: National Standards, other considerations. Is the repertoire the curriculum? How do we assess music teacher effectiveness? How should we? *Note* Field placements begin Week of Jan 28 For Jan 29: Prepare a pretend semester-long schedule for your dream (realistic) job. You’ll need to include a brief description of: About how many students will you have? What kind of schedule? What ensembles? (curricular and extracurricular?) What will be your long-term goals? What will be some of the ways that you meet all nine standards for music education? How would you want to be evaluated on your effectiveness as a teacher? This will be revised and incorporated into your Band or Choir Handbook. MI pp 41-59; 117-133 Week 4—Jan 29 and 31: Curriculum in Secondary Performance Ensembles: What else are we teaching (and is it on purpose)? 1 Detailed assignment descriptions and rubrics for assignment evaluation will be posted on BlackBoard.
Journal Entry 12 Musician Identity Reflection MI pp. 79-96; 134-150; DTCMP pp. 108-129 Week 5 – Feb 5: Adolescent Development No class 2/7 Dr. Salvador presenting at Suncoast NOTE: NAfME Meeting at 12 Noon on 2/8 For Feb 12: Journal Entry 2 TIM pp. 217-259; DTCMP pp. 31-66; Week 6 – Feb 12 and 14: Advocating for and Building your Program; Recruitment, Auditioning, Extracurricular Expectations For Feb 19: Journal Entry 3 DTCMP pp. 132-146; TIM 269-288 Week 7– Feb 19: Classroom Management No class 2/21 Dr. Salvador presenting at Desert Skies For Feb 28: Journal Entry 4 Classroom Management Policies (Code of Conduct). You may revise this and use it in your Choir or Band Handbook. TIM pp. 156-166; DTCMP pp. 67-87 Week 8 –Feb 26: No class: “Comp time” for Professional Enculturation. Feb 28: Assessing student learning. For March 12: Journal Entry 5 Midterm Project: Choir or Band Handbook DTCMP pp. 147-157; 183-198; 331-347 TIM: 191-216
2 All journals submitted privately through blackboard, I will comment on all. Furthermore, each journal will be in response to a specific prompt.
MUS 382 Syllabus W13 Salvador, p. 7 Spring Break March 2-10 Week 9 – March 12 and 14: Selecting Repertoire (Long-range planning toward the goal of every individual increasing in musical skill and independence). Concert Planning. For March 19: Journal Entry 6 Initial Repertoire List To be expanded, incorporating my feedback, for your Annotated Concert Program DTCMP pp. 158-182; 295-313 TIM pp. 167-189 Week 10 – March 19 and 21: Rehearsal Strategies: Literature. Macro: Plan your work and work your plan. Score analysis. Bubble maps. Micro: Nonverbal and verbal leadership techniques, weekly/daily lesson planning. For March 26: Journal Entry 7 Score Analysis You may incorporate my feedback and use this on your Pedagogical Analysis Project. TIM pp. 131-154, 253-259; MI 163-198 Week 11 – March 26 and 28 Rehearsal Strategies: Motivation, Individualizing Instruction, Inclusion of students with special needs. How will you balance the needs of individual students with the performance of the ensemble as a whole? For April 2: Journal Entry 8 Bubble Map You may incorporate my feedback and use this on your Pedagogical Analysis Project. DTCMP pp. 278-294; TIM 31-130 Week 12 –April 2 and 4: Rehearsal strategies: sight-reading, aural skills, music theory. For April 11: Journal Entry 9 Annotated Concert Program Week 13 – April 9: No class: “Comp time” for Professional Enculturation. April 11: Rehearsal planning: medium/long term. Backward design. For April 18 (continues next page): Pedagogical Analysis Project DTCMP pp. 89-107; the only parts of the book you haven’t read yet are optional: 315-329 and 368-382; TIM: 231-240; 249-252 optional 260-268
Week 14 – April 16: Logistics and Politics: What I wish I’d known about running my program. April 18: Logistics and Politics: Contracts, Unions, Colleagues, Administrators For April 23: Revise your Choir or Band Handbook for resubmission, including a reflection on the changes you made. Prepare copies of your Annotated Concert Program and Pedagogical Analysis Project to share with your peers at a potluck breakfast. Final: Tuesday, April 23, 7:45 to 10:15: Potluck Breakfast Idea Fair. Evaluation: 40% Weekly Assignments (includes pop quizzes, warm-up leadership, and other assignments) 15% Fieldwork Journals 15% Choir or Band Handbook Due 3/12 15% Annotated Concert Program Due 4/11 15% Pedagogical Analysis Project Due 4/18 Total of 1000 points Grades will adhere to the following scale in accordance with the College of Arts and Science: 95-100 A 73-76 C 90-94 A70-72 C87-89 B+ 67-69 D+ 83-86 B 63-66 D 80-82 B60-62 D0-59 E Major Assignments: For each assignment, a complete assignment description and scoring rubric will be available on blackboard. Field Placement: Starting the week of February 4, you will go once a week for an hour to observe instruction in a secondary band or choral classroom (scheduled at mutually convenient times for you and the director). You will need a total of 8 visits, which you will document in reflective journals based on specific prompts. Keep in mind that schools have snow days, conferences, spring break, PD days… please plan ahead. Students who are concurrently enrolled in EDS 360 are not required to add additional hours, but must journal in response to the MUS 382 journal prompts in addition to whatever is required for 360. Professional Enculturation: Attend 4 hours of: MMC sessions and/or performances with secondary emphasis; OR 6 hours of MSVMA choral festival/MSBOA band festival and/or solo and ensemble OR some combination. Document this attendance with signatures from presenters/presiders/judges AND a written description of what you saw and how it will help you as a future teacher of band or choir. I have built in 6 hours of “comp time” for this assignment. In addition, I have procured grant funding to help offset the cost of attending MMC.
MUS 382 Syllabus W13 Salvador, p. 9 Warm-up Leadership: The first 10 minutes of selected Tuesday class periods will be a warm-up led by a student (treating the remainder of the students as their band or choir). Student leaders will be evaluated on their plan and on their leadership, and students who are participating will gain a repertoire of strategies as they watch what works (and what doesn’t). Bring materials to distribute AFTER you teach, so others have copies of what you did. Leadership of Aural Musicianship: In the first 10 minutes of selected Thursday classes, pairs of students will demonstrate active ways to engage students’ aural musicianship (i.e., rote learning and improvisation abilities, among other things). Student leaders will be evaluated on their plan and on their leadership, and students who are participating will gain a repertoire of strategies as they watch what works (and what doesn’t). Bring materials to distribute AFTER you teach, so others have copies of what you did. Annotated Concert Program: Design and annotate an end of the year concert for your “fantasy job” ensembles. Band or Choir Handbook: Create a handbook for your “fantasy job” ensembles, including your code of conduct, schedule for the semester, philosophy, and goals for the group. You will initially submit this handbook March 12, then revise it and reflect on your revisions (due April 23). Pedagogical Analysis Project: Select a piece of music from your annotated concert program. Complete score analysis, bubble map of rehearsal strategies, and sing and plays. ------------------------------------------Education Unit Mission: Our mission is to guide and support the growth and development of our education candidates into caring educators and engaged citizens who embrace our guiding principles in their understanding of the many aspects of their roles in schools and society. Education Unit Vision.…to prepare educators who, as socially responsible individuals, are committed to shaping classrooms, schools, and communities that are caring and student centered. Unit Goals 1. Instill our education candidates with an ethic of caring which must be nurtured and exists as a foundation for fostering a sense of student-centeredness in the classroom. 2. Prepare our education candidates to make instructional decisions that reflect a belief in and commitment to the potential of all learners. 3. Guide our education candidates to employ effective teaching strategies through reflective practice, and create environments that encourage students’ development of critical thinking, problem solving, and performance skills so they can be academically successful. 4. Teach toward the goal of preparing our education candidates to become respectful and socially
responsible professionals not only in their classrooms and schools, but also in the local, national, and global communities they and their students share.
Additionally, For the music education student, this course fulfills (in part, and in concert with other courses in the curriculum) the following State of Michigan Standards for the Preparation of Teachers: No.1.8, develop artistry, knowledge, and technical skills sufficient to make artistic decisions as a leader and in collaboration with others; No.1.9, develop artistry, knowledge, technical skills, and collaborative competence to work with others through participation in a variety of music ensembles; No.1.10, develop rehearsal and conducting skills sufficient to create accurate and musically expressive performance with various types of ensembles; No.2.3, develop knowledge, skills, and creativity to arrange music for instruments and voices, and to adapt music from a variety of sources to meet the needs of classroom instruction and performing ensembles; No.3.1, develop knowledge and skills to use technology for a variety of instructional purposes such as: improvisation, composition, arranging, listening, performance, and additional classroom and administrative responsibilities appropriate to music education; No.4.3, develop knowledge to recognize, describe, and analyze connections among the arts; between music and other disciplines; and between music and everyday life; No.4.4, develop knowledge to form and defend value judgments in music; No. 5.1, develop knowledge of the interrelationships among the various professions and activities that constitute the musical enterprise; No. 5.2, develop knowledge of the variety of career pathways available to students of music and music education (career development for K-12 students); No. 5.3, develop knowledge of the resources available through, and opportunities to become involved with professional education, music, and music education organizations (professional affiliations); No. 5.4, develop knowledge of the ethics of the profession and the laws related to music education, including equity, copyright, inclusion, privacy, confidentiality, and child abuse; No. 6.1, develop knowledge and skills to teach how music uniquely expresses knowledge of ourselves and the world; No. 6.2, develop knowledge and skills to teach students how to read music; No. 6.3, develop knowledge and skills to teach students how to listen to, analyze, and perform music
MUS 382 Syllabus W13 Salvador, p. 11 without using notation; No. 6.4, develop knowledge and skills to teach students how to make artistic decisions, including musical interpretation, independently and in collaboration with others; No. 6.5, develop knowledge and skills to teach performance and technical skills on voice and band, string and classroom instruments in solo and ensemble settings; No. 6.6, develop knowledge and skills to teach students improvisation, composition, and arranging; No. 6.7, develop knowledge and skills to teach students how to use technology for musical purposes; No. 6.8, develop knowledge and skills to teach students how to perform, describe, analyze, and critique a diverse and global body of music within the appropriate context, i.e., historical, cultural, and stylistic; No. 6.9, develop knowledge and skills to teach students how to recognize, describe, and analyze the connections among the arts, between music and other disciplines, and between music and everyday life; No.6.10, develop knowledge and skills to teach students show to work independently and collaboratively on a variety of musical problems by combining their knowledge and skills in performance, analysis, composition, and history; No. 6.11, develop knowledge and skills to effectively manage music education classrooms and instruction; No. 6.12, develop knowledge and skills to communicate and promote the role of music in education and society to colleagues, community, and policy leaders; No. 6.13, develop knowledge and skills necessary to assess the learning of students of different age groups and in a variety of ensemble settings; No. 6.14, develop knowledge and skills to evaluate the effectiveness of music instruction; No. 6.15, develop knowledge and skills to evaluate the effectiveness of secondary school performing ensemble programs; No.6.16, develop skills in communication of student progress and achievement in music to students, parents, and the community; No.6.17, develop knowledge and skills to plan, deliver, and assess differentiated instruction to meet the needs of al music learners, including special education, ESL, and gifted and talented students; No.7.1, develop knowledge of what constitutes safe and effective facilities and equipment for vocal and instrumental music instruction, rehearsal, and performance; No. 7.2, develop knowledge and skills to analyze how music and music education functions withing the context of schools, communities, and society; No.7.3, develop knowledge of how to adapt facilities and environment for safe and effective vocal and instrumental music instruction, rehearsal, and performance; No.7.4, develop knowledge of staffing, facilities, scheduling, and resources needed for a music program.