This article by Latten outlines the extreme importance of chamber ensembles in a school setting. Students learn an entirely different skill set than they do in large ensembles. The goal is to provide students with as many musical opportunities as possible because a large ensemble is not enough to give students a holistic music education. Ideally, schools will create time for chamber music or private lessons in a student's schedule, but this is not realistic, particularly in Colorado.
I am a huge proponent of chamber ensembles in secondary schools, so this article is excellent to me. The things that Latten says seem like they take place only in an absolutely ideal situation, however. An article on the implementation of chamber ensembles in a small school would be more beneficial to me as a future educator since it is a trickier subject.
1. How can chamber ensembles be implemented without having a separate class for them?
2. 2. How common are chamber ensembles in CO?
3. 3. What's the average participation percentage for chamber ensembles?
Patterson, Glenn W. "Modifying Block Schedules to Salvage Music Programs." The Instrumentalist (1997)
Under the traditional block schedule in which students only sign up for four classes per semester, it can be difficult to make room for a music class. Music teachers experienced a significant drop in enrollment when this schedule change occurred. Although this type of schedule appeals to administrators and other teachers, it is detrimental to music programs.
In my experience, the block schedule has been revised to include eight classes that alternate by fours every other day. This still allows for a normal number of classes while maintaining longer class periods, however it takes away 50% of the time that teachers previously had with each class. I preferred this schedule in high school over a school day that consisted of all eight class periods. Block schedule meant longer band rehearsals which I enjoyed.
1. Could this schedule change depending on age? i.e. Younger students have shorter classes.
2. How common are block schedules?
3. Despite the decrease in numbers, can a block schedule increase ability level?
Trimis, Edward. "Year-round Music: A Pattern for Success." Music Educators Journal 83.4 (1997): 17. Web.
Year-round schools have been established in many places around the country. These types of schools eliminate the loss of knowledge that occurs each summer by taking shorter breaks more often through out the entire year. Under this schedule, music programs have the opportunity to break away from the typical rehearsal model. Additionally, teachers may also see a salary increase.
I'm intrigued by the idea of year round schools. I've always wondered if they were effective or not. It seems like a music program has the opportunity to operate more smoothly as opposed to having a three month gap with no music making. Student growth could be constant and more measurable than ever before.
1. How do students feel about this schedule?
2. How about teachers?
3. Is this equally more effective for other content areas in terms of a smoother curriculum?
