12/7

Concerts, Festivals, and Trips

This collection of papers is full of checklists, questions, and examples of concert programs, festival information, and trip information. Reviewing these articles could prove very beneficial when planning for any of these three events. There is great information on how to promote concerts and program concert themes as well as how to go through the process of taking your band on a trip.

These are exactly the kinds of resources that I crave as someone who doesn't know the first thing about these ideas, particularly those about travel. These concise articles that demonstrate exactly what elements go into certain processes are of infinite value to me as a future teacher. I particularly appreciate the discussion about connecting with the community.

1. How do I go about planning a trip with an ensemble?
2. How strict are the rules regarding trip location and duration?
3. How much funding comes from the administration vs. fundraising?



Instrument Purchase, Uniforms, and Facilities

These articles are also fantastic resources for any band director. It includes a list of instrument manufacturers and trustworthy model numbers that band directors could consider when buying new instruments. There is also an article outlining how to go about replacing old instruments. Additionally the article includes a repair shop price list for reference. Also included is the information needed to purchase concert uniforms. It discusses the importance and how to go about purchasing them.

I am fascinated by the last two pages of the packet. There are very specific recommendations for designing music facilities. I suppose it makes sense to be that specific when it comes to acoustics but a lot what I am reading has to do with the psychology of the music room. I wish that there was more information and persuading the administration that instrument, uniform, and facility purchase is important.

1. How likely is it that I will have any say in how much money we spend on new instruments?
2. Why is concert uniform considered important? Are we too deeply rooted in tradition?
3. What are some forms of alternative uniforms that could be utilized?

11/30

Latten, James E. "Chamber Music for Every Instrumentalist." Music Educators Journal 87.5 (2001): 45. Web.

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?

11/9

Bauer, William I. "Your Personal Learning Network: Professional Development on Demand." Music Educators Journal 97.2 (2010): 37-42. JSTOR. Web. 08 Nov. 2015.

Bauer's article is about professional development and the role that this topic plays in a music educator's  career. The content that an educator finds important in the arena of professional development changes as the educator matures and spends more time in the classroom. Younger teachers typically want to develop more in the realm of classroom management, while more experienced teachers will work to learn more about musicianship and musicality. Whatever the focus, professional development can come in many forms; conferences, online resources, etc. This article covers PLN (Personal Learning Networks), RSS (Really Simple Syndication), blogs, podcasts, wikis, social media, and more. Bauer is sure to emphasize that working on professional development is an active process that every educator should continue doing all the time. 

I like this article a lot because professional development is an important topic to me. All the educators I've had in my life that are worth their salt have understood the importance of professional development and have actively worked to better themselves as teachers. I have also had teachers who did not attempt to further themselves in the professional world, and that was apparent in their teaching. The varied sources for enhancing professional development presented in this article are very useful and practical for the everyday teacher.

1. Can social media also be a danger to professional development/reputation?
2. Can professional development be enhanced to the same degree without technology as it can with it?
3. Can a PLN expand to include others in your field without the use of the web?

10/28

Reynolds, H. Robert. "Repertoire Is the Curriculum." Music Educators Journal 87.1 (2000): 31. Web.

H. Robert Reynolds describes the importance of repertoire in the music curriculum in a way that is irrefutable. Repertoire does not make up the entire curriculum, but it is an important part of a holistic music education. In the article, Reynolds lists ways to become familiar with more music, whether it be through standard repertoire lists or new music. Attending concerts, networking with colleagues, and keeping lists are among the most important steps to knowing as much music as possible.

It is difficult for me to be distrustful of H. Robert Reynolds because his reputation in our profession is legendary. He provides some very useful ways to learn more music, but there seems to be a larger, overarching theme of this article. It seems as if Reynolds is saying that staying active in the music community and never ceasing to be curious is the ultimate tool for learning about literature.

1. How can I determine a quality piece from one that may have no value?
2. What are some resources to assist in finding quality music specifically for younger ensembles?
3. What role do transcriptions and arrangements play in the wind music world?



Music Literature and Repertoire (Selected Readings)

The readings included in this list all assist the educator in either the process of finding music, or by listing pieces that have been proven to be important and educational to students who study them. The steps involved in the process of finding music include determining the musical needs of your concert season, determining the playing skills of your ensemble, evaluating music, and matching the music to your purposes. After laying out the steps, lists are provided for educators to begin going through that process.

I really appreciate the knowledge on how to find good music, but what is really helpful for me is to see lists of pieces that have been played enough to earn the respect of educators and performers. These lists are very telling of what is appropriate vs. inappropriate. A variety of different ensembles have played those pieces, so I know that my ensemble will be able to approach the pieces on the list, despite our diversity.

1. Does it sometimes make sense to program for the audience if the piece is not helping students grow?
2. What should a concert program look like in terms of difficulty for the students?
3. How do I decide what grade level is appropriate for an ensemble? Should they be able to read it easily so they can dig into the musicality quicker?

10/26

Fant, Greg. "Motivational Ideas for the Musical Ensemble." Music Educators Journal 81.5 (1995): 17. Web.

Fant's article is about student motivation in music ensembles. Initially, he presents common reasonings for students participating in music in school, whether it be for the music or for social reasons. Questioning reasonings for doing certain things should be a part of everybody's thought process. Fant discusses a few different types of motivation that can be utilized in a classroom, including incentive motivation, fear motivation, and intrinsic motivation, or growth motivation.

Motivation is an extremely important to me as a teacher and a student of music. In different activities I find myself motivated for different reasons. Whenever I take part in something with a growth mindset, I am more driven to do well for my own benefit than if I am extrinsically motivated. This is not to say that extrinsic motivation is not effective. It can be very beneficial, but growth motivation is a stronger form of motivation for an individual and will last more long term than other forms of motivation.

1. How can I know when students need a certain type of motivation to accomplish a task?
2. Even though extrinsic motivators can be effective, does that mean they should be used?
3. How can an educator encourage a constant desire for growth motivation in students?


Kenny, William. "Rehearsal Traps." The Instrumentalist (1996): 13-18. Web.

Kenny lists and describes certain traps that directors fall into in their teaching. These traps include the dynamics, superconductor, tuning, talking, drilling, repertoire, and other traps. It seems as if the more teaching experience you have, the less likely you are to fall into these traps, assuming that you haven't become set in a routine. Getting caught in these traps can mean that your students are not getting the most out of their music experience. Too often music becomes about the conductor, but the conductor is truly the least important person in the room.

I like this article a lot because I think every educator, and every human being for that matter, has their own "traps" that they consistently find themselves falling into. For an educator, falling into these traps means the downfall of our students. The traps presented in this article are just a few examples of falling into a routine that is not conducive to student growth and can actually cause a lot of unhappiness in the educator.

1. How do these traps come to be a problem? From past experience? Past directors?
2. What are some ideas for getting out of these traps?
3. It always seems like music educators fall into these traps more than other educators. Is this true? If so, why is that?

10/19

Caldwell, Bruce. "Do We Need Chairs?" The Instrumentalist (1985): 96-97. Web.

This article discusses the utilization of the "chair" system in school music ensembles. Caldwell reveals the downfalls of that system and presents a new solution to be used by current music teachers called the rotation system. This system gives all students the opportunity to play every part. In the traditional method, the "better" players will always play first part while the less skilled players will always play second or third part. This makes it difficult for those playing second and third part to improve at the same rate as those playing first part.

I really like this method! It is my belief that we should do anything we can to educate all students equally and give everybody the same opportunities. This method also allows for peer teaching, because the more skilled players have the responsibility to help guide the less skilled players. The students don't have to rely on the teacher to learn if they can learn from each other.

1. Are there any notable programs that utilize the rotation system or something similar?
2. What other methods can be used to break away from the chair system?
3. Could this method cause issues with the more skilled players (playing easier parts) or less skilled players (playing parts that are "too hard" for them)?



Gordon, Debra G. "Classroom Management (Problems and Solutions)." The Music Educators Journal (2001): 17-20. Web.

Gordon's article presents the reader with methods that can be used to strengthen their classroom management skills, or rather, eliminate the need for classroom management. She states that preparedness is a great way to avoid lulls and removes the need for teacher intervention. One way to stay on top of things is to score study before rehearsals. Going into a rehearsal planning to improvise what you'll rehearse will not lead to effective time management and the students will take advantage of that. If an instance occurs in which a student acts inappropriately, the teacher must be consistent from case to case about how the situation is dealt with.

Classroom management is somewhat of a scary thing to me. When I think about my future as a teacher I do not often consider the possibility that my students will not be perfect humans. This is a problem. This article helps bring me into reality by providing real situations and solutions to classroom management issues. I appreciate the generalizations that Gordon makes in this article. Each instance of classroom management will be different, so generalizations are more helpful than specific scenarios.

1. How much of the stress of teaching comes from classroom management?
2. Preparation can't always defend against classroom management issues if students aren't paying attention at all. How can we initially engage students and keep them interested?
3. Does classroom management become easier as students get used to a teacher?



Manfredo, Joseph. "Effective Time Management in Ensemble Rehearsals." Music Educators Journal (2006): 42-46. Web.

This article provides insight into the process of creating effective and dynamic ensemble rehearsals. Simply playing warm-ups then repertoire for the entire class is not an effective way for students to learn concepts or understand music, they will just be better at playing specific pieces. Manfredo outlines alternate techniques for rehearsing an ensemble effectively, including the Rule of Three, proper preparation, verbal correction, and more.

I came from an ensemble that spent an overwhelming amount of rehearsal time on repertoire. That ensemble is evidence that students need a greater understanding of concepts rather than literature. Manfredo's argument resonates strongly with me for that reason. I strongly believe that concepts found in literature should be regularly isolated and rehearsed in ways that don't necessarily relate directly to the piece that it is from.

1. How can this method of rehearsing be used in a class period that only lasts 45 minutes?
2. This method would keep most students more engaged than normal, but what about the students who just want to play the music? How can we engage them equally?
3. What ratio of class time should be spent directly rehearsing the concert program? Does it change as the concert time approaches?



"Is This Working?" Audio blog post. This American Life., 17 Oct. 2014. Web.

This podcast talks about classroom management, discipline, and ethnic tendencies regarding those topics. It begins with a few teachers discussing how they would approach a specific situation in which a student refuses to take off his hat in class. A large portion of the podcast talks about Lyons Community School in New York. This school offers alternative methods of dealing with classroom management. This school "Lyonizes" students to become well behaved and conscious students.

This podcast is very informative and encouraging! It is uplifting to hear stories like those from Lyons Community School. It gives me courage and hope that no student is too far gone to be able to exist successfully in a school setting. The stories that are told in the podcast are so inspiring to me.

1. How common are stories like this in America? Other countries?
2. Do things like this happen often in Colorado?
3. Where can I find more resources like this podcast on similar topics?

10/12

Liperote, K. A. "Audiation for Beginning Instrumentalists: Listen, Speak, Read, Write." Music Educators Journal 93.1 (2006): 46-52. Web.

This article discusses the importance of learning by ear versus by rote. Liperote recognizes the importance of both but states that the order in which we teach these skills is incorrect. Similar to learning a language as a child, students should first listen to play their instrument by ear. Teaching students to rely on what they hear from themselves and others instead of from the notation is a valuable skill that is significantly more difficult to teach later in life.

I absolutely agree with Liperote on the importance of audiation and its place within the music classroom. I particularly enjoyed the connections that were made to elementary music methodologies such as Kodaly, Dalcroze, and Orff. Those connections helped relate the article to my personal experience in elementary methods. I wish I were able to see more evidence of this approach occurring in schools in my area.

1. Is it difficult to explain to an administrator that reading music is not of the utmost importance?
2. Is there a successful (yet likely hypothetical) curriculum that exists that does not involve reading music notation?
3. What potential problems stem from students not learning how to read music notation early on?



Johnson, E. "Practical Tools to Foster Harmonic Understanding." Music Educators Journal 99.3 (2013): 63-68. Web.

This article describes several tactics for teaching an elevated knowledge about harmony in primarily secondary level students. These strategies include arpeggiated singing, chunking, and students singing together. The article also includes additional applications of harmonic understanding that were not discussed within the sections describing each strategy, such as a way to address standards and increase students' understanding in other areas of music.

I believe all of the methods discussed by Dr. Johnson have the potential to be extremely effective and beneficial to the students. They are quantifiable ways to see impressive results and that seems to be a rare thing in music. The examples that were included throughout the article were very helpful in my understanding of each concept, because simply reading about a topic can make it difficult to receive all the necessary information. The synthesis of information that occurred with those examples and also with the mention of the Zone of Proximal Development really helped tie all the information together.

1. Can other learning methods like ZPD be applied to any of the other concepts?
2. Why is it easier for beginning singers using solfege to start on la for minor melodies?
3. Chunking seems like it could play a huge role in a secondary music program. In what ways could this concept be included besides as homework?


The Transformative Power of Classical Music. Perf. Benjamin Zander. Ted.com. Ted Talks, Feb. 2008. Web.

Benjamin Zander tells stories and shows his audience that classical music is not just enjoyed by 3% of the population as some figure suggests. Classical music has an application to everybody's life. He begins his talk by talking about the progression of a child's musical knowledge as they age and how it simply comes down to phrasing and understanding where music is going. He then displays this with a Chopin prelude, explains how the piece is "sad" from a compositional standpoint, and invites the audience to connect the piece with someone that they admire that is no longer with them.

Benjamin Zander's ability to engage an audience is incredible. There is something about him that is so approach, relatable, and enjoyable. I have loved this video for years and I get something new from it every time I revisit it. He makes classical music seem less like a heavy topic and more relatable to the "average" person. His enthusiasm makes everybody in the audience want to participate in his talk and that is something that I greatly admire.

1. Can a demonstration like this take place in a classroom?
2. If so, does it happen like it did in this video or does it take place over time? Like throughout an entire curriculum?
3. Even with such an amazing talk, I'm not convinced that the entire audience will take what they learned with them throughout their lives, and Zander is extremely engaging. If I am not as engaging as him, how can I expect my students to carry that enthusiasm with them?