MUED 418 Secondary Instrumental and Choral Methods

 

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Mr. Rogers Testifies before U.S. Senate

 

For National Standards in music education, click http://www.menc.org/publication/books/standards.htm

 

For Pennsylvania Academic Standards for the Arts and Sciences, click http://www.pde.state.pa.us/stateboard_ed/lib/stateboard_ed/pdfarts.pdf

 

For Advocacy Information: http://supportmusic.com

 

K-12 Resources for Music Education (discussion boards) http://www.isd77.k12.mn.us/music/k-12music

 

Lesson plans/unit plans http://www.cloudnet.com/~edrbsass/edmusic.htm, http://oocities.com/mued418/suggestionsforunitplans

 

Improvisation activities http://nces.ed.gov/nationsreportcard/arts/music.asp, http://radicalpedagogy.icaap.org/content/issue4_1/01_Allen.html.

 

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VOWELS AND CONSONANTS IPA CHART!!

 

 

Course Title MUED 418 Secondary Instrumental and Choral Methods

 

Course Description: This course prepares students to teach instrumental and vocal music at the secondary level.

 

Instructor

Dr. Allen Howell, AMC 114, Telephone 2507, ahowell@edinboro.edu

Office Hours: MWF 9-10, T/Th 10-11, and by appointment.

 

 

Textbooks

 

Mark, M. (1996).  Contemporary music education (3rd ed.). New York: Schirmer

Phillips, K. H. (2004). Directing the Choral Music Program. New York: Oxford University Press.

Music Educators National Conference. (1994). Music at the middle level: Building strong programs. Reston, VA: Author.

Phillips, K. H. (1992). Teaching kids to sing. New York: Schirmer.

Wise, P. C. (1996). So . . . you’re the new band director: Now what? Oskaloosa, IA: C. L. Barnhouse.

 

Music Education Disposition Statement: (please print this out, sign, and return to the Music Dept.)

 

NASM Standards:

Students must acquire:

·      Knowledge and skills sufficient to work as a leader and in collaboration on matters of musical interpretation. Rehearsal and conducting skills are required as appropriate to the particular music concentration.

·      Keyboard competency. Experiences in secondary performance areas are recommended.

·      Growth in artistry, technical skills, collaborative competence and knowledge of repertory through regular ensemble experiences. Ensembles should be varied both in size and nature.

·      An understanding of the common elements and organizational patterns of music and their interaction, and the ability to employ this understanding in aural, verbal, and visual analyses.

·      Sufficient understanding of musical forms, processes, and structures to use this knowledge in compositional, performance, scholarly, pedagogical, and historical contexts, according to the requisites of their specializations.

·      The ability to place music in historical, cultural, and stylistic contexts.

·      Rudimentary capacity to create derivative or original music both extemporaneously and in written form.

·      The ability to compose, improvise, or both at a basic level in one or more musical languages, for example, the imitation of various musical styles, improvisation on pre-existing materials, the creation of original compositions, experimentation with various sound sources, and manipulating the common elements in non-traditional ways.

·      A basic overview understanding of how technology serves the field of music as a whole.

·      Working knowledge of the technological developments applicable to their area of specialization.

Students should be:

·      Working independently on a variety of musical problems by combining their capabilities in performance; aural, verbal and visual analysis; composition and improvisation; and history and repertory.

·      Forming and defending value judgments about music.

·      Acquiring the tools to work with a comprehensive repertory, including music from various cultures of the world and music of their own time.

·      Understanding basic interrelationships and interdependencies among the various professions and activities that constitute the musical enterprise.

 

Computer Competencies

1.     Email

2.     Word Processing

3.     Grading Using Spreadsheets and Grading Software

4.     Web Page Authoring

5.     Web Discussion Forums

6.     Use of Presentation Software

 

Course Objectives

7.     Plan and develop effective instruction based on learner characteristics including different learning styles, intelligences, and performance modes.

8.     Integrate appropriate technology into instruction.

9.     Integrate curriculum areas in lesson/unit plan development.

10.  Adapt instruction to meet the special needs and diverse backgrounds of students.

11.  Develop appropriate formal and informal assessment strategies that monitor continuous intellectual, social, and physical development of the learner.

12.           Develop critical thinking, creative thinking, problem solving, and performance skills in everyday Understand principles and techniques associated with various instructional strategies (e.g. cooperative learning, direct instruction, discovery learning, whole group instruction, independent study).

13.  Understand how learning occurs, how students construct knowledge, acquire skills, and develop habits of the mind.

14.  Select, construct, and redesign assessment strategies and instruments appropriate to the purpose of assessment.

15.  Use effective, age-appropriate rehearsal procedures.

16.  Describe techniques for the effective administration and management of a secondary choral or instrumental program.

17.  Express verbally and in writing the importance of music in education.

18.           Enumerate strategies for enlisting the aid of administrators, parents, other music specialists, classroom teachers, and students for the purposes of music advocacy and successful music instruction.

 

Professional Topics

19.  Learner characteristics including different learning styles, intelligences, and performance modes.

20.  Technology in the music classroom.

21.  Lesson/unit plan development.

22.  Special needs and diverse backgrounds of students.

23.  Assessment strategies and instruments.

24.  Critical thinking, creative thinking, problem solving, and performance skills in everyday teaching situations.

25.  Instructional strategies (e.g. cooperative learning, direct instruction, discovery learning, whole group instruction, independent study).

26.  Reinforcement of content attainment

27.  Fund raising.

28.  Booster clubs.

29.  Classroom management.

30.  Rehearsal strategies.

 

Instructional Methods and Activities

Students will spend the majority of class time teaching each other and watching others teach. Students should be prepared to discuss their field experiences (MUED 419, http://oocities.com/mued419) in class and continually should incorporate the learning and knowledge from other courses—especially keyboard, conducting, theory, history, vocal, and instrumental skills/knowledge—in this course. Each Monday will be choral/vocal day. Each Wednesday will be instrumental day. On these days students will have the opportunity to teach as though their fellow students were of the same age and ability level as public school students. They will observe the instructor model the techniques they will be using. All K-12 National Standards for Music will be addressed. For example, there will be many opportunities to improvise and to teach improvisation. Students also will compose and teach composition. They will lead instrumental and choral rehearsals thus developing their conducting and rehearsal skills. They will arrange age-appropriate choral and instrumental music. They will sequence accompaniments for choral and solo works. They will plan a choral performance, an instrumental performance, and a general music performance.

 

Grading

The final grade in this course will be the lowest grade of those received in the following categories:

 

I. Writing Projects

II. Reading Assignments—Test Questions

III. Class Discussions

IV. Lesson Segments

V. Teaching Skills/Knowledge

VI. Musical Skills (Each must be passed with C or better—grade will be averaged)

Keyboard Skills/Sight Reading

Vocal Skills/Sight Singing

Conducting Skills

Skill on Instruments (other than voice, guitar, and keyboard)/Sight Reading

Diction

Performance Ability on Primary Instrument

Music Theory Skills

VII. Exams

 

A                                             93-100%

B+                                           88-92%

B                                             83-87%

C+                                           78-82%

C                                             73-77%

D+                                           68-72%

D                                             60-67%

F                                              below 60%

 

Competencies Graded Pass/Fail

To complete the course each of the following competencies must be passed with a C or better:

 

VIII. Composing/Arranging

IX. Listening Exams

X. PowerPoint (or similar software) Presentation—General Music Topic of Choice

XI. Web Portfolio

XII. Grades for a hypothetical public school ensemble using a spreadsheet or grading software.

XIII. Plan a choral performance, an instrumental performance, and a general music performance with a printed program for each.

XIV. Practice

 

N.B. All students working towards a BAMU/TC degree must take at least one semester of MUSC 051 (Marching Band). Instrumental BAMU/TC students must take at least one semester of MUSC 054 (University Singers), MUSC 068 (University Women’s Chorus), or MUSC 073 (University Men’s Chorus). Students must complete the audition requirements (if any) for each ensemble before being allowed to participate. Therefore, all students must document completion (or near completion) of this requirement in order to pass MUED 418.

 

            Writing projects will include (a) a journal, (b) a letter to the editor, (c) a cover letter, and (d) one essay for the Standard Application for Teaching Positions in Pennsylvania Public Schools. Journal Entries—There should be approximately 39 brief dated journal entries in which students discuss some aspect of each class discussion or a related topic (December 3 is the last journal entry). Infrequently, topics will be assigned in class. Journal entries should not be class notes but rather brief diary-type entries written sometime after each class session. Journal entries should be stored in a loose-leaf notebook or folder so that individual entries may be turned in separately from the rest of the journal. Journal entries are due each Friday (or the following Monday if there is no Friday meeting) and should include the entries from that week only (also include the previous Friday if there was a class meeting and not an exam). Journal entries need not be typed. Please turn in one week’s worth of journal entries at a time (not separate entries) and include the week number (see course calendar for week numbers). Journal entries must be turned in on time to be accepted. Letter to the Editor—Your letter must be typed. I recommend that you turn it in to me for possible editing before submitting it to a newspaper. The final decision whether or not to submit your letter to a newspaper is yours. Your letter should be policy-oriented and should have something to do with the importance of music education in local schools. Cover Letter—Your letter must be typed. See Chapter 21 of DCMB for help. Finding good cover letters on the Internet and adapting them is a good idea for this assignment. Essay—Your paper must be typed and should be exactly two pages in length (not including title). Margins must be one inch or less. Use 10 or 12 point font. Double space your paper (22-24 lines per page). The finished product for the actual Standard Application for Teaching Positions in Pennsylvania Public Schools will be a one page single-spaced essay to be printed on the last page of the application. Here are the listed topics from which to choose:

 

1.       The Most Important Qualities of an Outstanding Educator.

 

2.       My Philosophy of Student Discipline.

 

3.       The Importance of Continuing Professional Development and How I Plan to Incorporate It Throughout My Career.

 

4.       Essential Elements of Instruction, Administration or Area of Certification.

 

5.       How Information Technology (i.e., computers, Internet) Can Be Integrated into the Instructional Process and Curriculum.

 

            Reading Assignment Test Questions are due each Friday (or the following Monday if there is no Friday meeting) and will include the reading from the current week (see calendar). Write six test questions (include the answers) that deal with ideas that seem to stand out from the rest. Pose questions that require higher level thinking skills (avoid Trivial Pursuit types of questions). This assignment will reveal the ability of students to prioritize the various ideas discovered in the reading. Please do not type your questions and answers—write them out by hand. Turn in one week’s worth of reading assignment test questions at a time (not separate assignments) and include the week number (see course calendar for week numbers). Reading assignment test questions must be turned in on time to be accepted.

            Class Discussions should be lively and related to music education. Students should attempt to see more than one side of issues and be able to defend ideas logically (emotionally is also fine). There is no advantage to agreeing with the instructor. It is important that students participate regularly in class discussions.

            Lesson Segments-- Students will prepare for and lead six (or more) musical rehearsals (3 choral, 3 instrumental) of their peers or of other local vocal and instrumental groups. You may choose one piece to rehearse three times. It is your responsibility to locate the music and to prepare the score adequately. It is admissible to teach at your field experience site if you make arrangements in advance with me to observe the lesson segments. Lesson segments must be planned in enough detail to allow a smooth sequence of events while encouraging spontaneity and sensitivity to student needs. A copy of your written plan must be given to me before the lesson is taught (this is not the same as your write-up, which must be turned in later). Also, include all of your written plans on your web portfolio. Skills such as conducting, presenting, managing, pacing, and so forth will be evaluated. Teaching segments must be completed before or during the week in which they are assigned to receive credit. Completing teaching segments ahead of time is encouraged. All teaching segments must be completed on or before Thanksgiving Vacation to receive credit. Lesson Segment Write-ups are your written assessment of your teaching performance. Write-ups should focus on strengths as well as weaknesses. The write-ups are due within 3 days following each teaching activity. No credit will be given for teaching segments unless the write-ups are turned in within one week of the time each lesson segment was taught.

Teaching Skills and Knowledge will be assessed throughout the semester—both formally and informally—and will include the following: (a) pacing, (b) classroom management, (c) content knowledge (i.e., theory/notation, history/literature, performance skills, etc.), and (d) human relations skills.

Musical Skills (Each must be passed with C or better) will be assessed regularly and will include the following:

Keyboard Skills/Sight-Reading will be assessed regularly and will include your ability to accompany your choral lesson segments, your sight-reading ability, and your ability to play warm-up exercises. For choral music you must be able to sing the melody while playing any other part against it. You must be able to play any two parts together.

Vocal Skills/Sight-Singing will be assessed regularly and will include your ability to sing without excess tension, with healthy, beautiful vowels, with correct diction, and with proper registration.

Conducting Skills will be assessed regularly and will include your ability to conduct correct beat patterns, give cues, indicate the tempo and style of the music, isolate and correct problems that come up in the music, give effective and concise verbal instructions, be able to transpose parts (on the fly) to concert pitch, be able to sing and play any part from the score, and inspire excellent musicianship.

Skill on Instruments/Sight-Reading will be assessed regularly and will include your ability to play your primary instrument well enough to play any part in the score. You will need to be able to transpose all the parts for your instrument and be able both to play and sing each part. Vocalists and guitarists must be able to use their voices and keyboard to sing and play individual parts. You will need to be able to play at least one woodwind instrument, one brass instrument, and one stringed instrument well enough to play the parts you assign for those instruments (unless you have not yet taken the appropriate methods class). You will need rudimentary skills on snare drum, bass drum, timpani, and bells. You will need to be able to sight-read parts appropriate for 7th and 8th grade students of those instruments as well as for the other instruments you select.

Diction will be assessed during the semester in English, Latin, German, French, and Italian. Students will be required to demonstrate competence with unfamiliar texts in English and Latin. Specific texts in German, French, and Italian will be assigned and tested. Click here for foreign texts. Click here for Italian sound file. Click here for German sound file. Click here for French sound file.

Performance Ability on Primary Instrument will be assessed during the semester in a classroom recital. We will choose dates for each person near the beginning of the semester. There will be a 5-point penalty for each date change. You must choose a piece with accompaniment and use a computer or synthesizer to record the accompaniment. Please record or sequence the accompaniment and convert the file to MIDI (or WAV or some other format that will play on Windows Media Player) and play it using the computer station available in the classroom.

            Music Theory Skills will be assessed regularly and will include some or all of the following skills: your ability to see and hear chords and analyze them; to write, call out, and play the chords to simple melodies (on piano, guitar, or autoharp); to add solfege syllables to written pitches; to add solfege syllables to lyrics of familiar songs; to write pitch names above the lyrics of familiar songs; to sight-sing simple melodies using solfege; and to sing familiar melodies using solfege.

 

N.B. Musical Skills will not be tested after Thanksgiving Vacation. All competencies and other assignments must be completed before Thanksgiving Vacation.

 

Exams will be given every 2 weeks (usually on Fridays--see course calendar). The exams will consist primarily of essay questions and will relate to topics from the reading and from class discussions. The final exam will include material from throughout the semester but other exams also will be somewhat retroactive. There will be no make-up exams (unless you make prior arrangements). If you miss class on the day of an exam, you will receive a zero for that exam. Please note that exam questions from MUED 216 also will be included in some or all of the exams. See http://oocities.com/mued216 for reading assignments from last semester. Click here for old exams.

 

Competencies Graded Pass/Fail

            Listening Exams will be given twice per semester (see course calendar). The exams will require students to identify musical works by title and composer from an assigned list. There will be no make-up exams. If you miss class on the day of an exam (unless you have given prior notice and have worked it out with the instructor), you will receive a zero for that exam. Prior to each exam we (class members and instructor) together will choose 12 pieces from the following list: http://oocities.com/listeninglist (1-3 from each style period). For the exam students will be required to identify pieces aurally (from any section of any movement) and give the title and composer of each piece.

            The composing/Arranging assignment will be a choral/instrumental work that you arrange from an existing choral piece (see calendar). This arrangement must be completed using Finale or some other approved notation software. Include at least two voice parts and three to five instrumental parts. It is not necessary to arrange entire pieces. Check with me beforehand to determine how long your assignment should be. Please print out the score and turn it in.

            PowerPoint Presentation will be related to a general music lesson dealing either with music history, multicultural music, or music theory. Please submit to my email address as an attached file. This presentation should have enough information to work as a stand-alone presentation although presentations will be made in class, as well. We will choose dates for each person near the beginning of the semester. There will be a 5-point penalty for each date change.

            Grades for a Hypothetical Public School Ensemble will be submitted using the software of your choice. Grading criteria should include skills as well as effort/attendance. You will need to submit numerical data. Please print out your grades and turn them in. It is not necessary to submit them as a file attachment.

            Web Portfolio Your portfolio must be hosted on the Internet (Geocities, etc.). This portfolio should represent your professional attributes and accomplishments in the most appealing format possible. In addition to your résumé, it should include photos, sound and/or movie clips (YouTube), lesson plans, articles, PowerPoint presentations, evaluations, and so forth. It must include examples of your work as a teacher/musician. It is necessary to expand and improve your page from MUED 216 to meet this requirement. See p. 374 of DCMP for suggestions.

Plan a choral, instrumental, and general music performance each will include 4-6 selections for three different groups. For example, the choral concert will include music for three different choirs. The instrumental concert will include music for three different instrumental ensembles. The general music program will include selections for three different general music classes. The general music concert also will include cross-curricular elements and will involve the expertise of other teachers. Each concert will require a printed program including hypothetical student names and acknowledgements. For help with printed program elements, see pp. 333-339 of DCMP.

Practice To pass this competency, practice room time will be recorded in a number of the following areas: (a) primary instrument, (b) keyboard, (c) voice, (d) woodwinds, (e) brass, (f) strings, (g) percussion, (h) conducting, (i) aural skills, and (j) sight singing. Using the forms provided (http://www.oocities.org/mued418/practicereport.doc), list the time you spend each week in these categories. Please include only time spent outside of class, lessons, ensembles, etc. Please list only once (under primary instrument) the time spent on your primary instrument. List each type of practice in one area only—no double dipping. Do not round up—list time to the minute (see the note below about cheating). For at least 12 weeks of the current semester, documentation of 7 hours per week spent on your primary instrument and a combination of 3 hours per week spent on the other areas is necessary to meet this requirement.

 

Extra Credit

Practice To receive extra credit, practice room time will be recorded as above but will include a minimum of 12 hours per week spent on your primary instrument and a combination of 6 hours per week spent on the other areas. Up to five points will be added to your final grade (2 weeks equals one point).

MENC Membership Student (or regular) members of MENC will have two points added to their final grade. An additional point will be added if they also attended the PMEA Conference last spring. See MENC Chapter President for details.

 

Attendance—Three absences will be allowed with no grade reduction. If you have planned absences for which you will receive a Dean’s excuse, these need to be fewer than three in number to be excused. All subsequent absences will lower the final grade by 5 percentage points each. I will not excuse more than three absences regardless of the reason. These include medical problems with a physician’s written description, appointment with a physician (or dentist, orthodontist, veterinarian, chiropractor, etc.), death in the family, car trouble, repair people who are later than they say they will be, child care concerns, campus activities, field trips, fraternity/sorority functions, back surgery, appointments with your advisor, medical problems/appointments of parents/relatives, weddings, funerals, airline reservations, housing emergencies, military functions, sports events, etc. There are, of course, legitimate reasons to miss class and some absences will be unavoidable. The bottom line, however, is that it is necessary to attend class regularly to receive its full benefit. Your education needs to be a priority during the time you are enrolled.

 

Note--All written or typed assignments should be saved after they are returned so that you will have a record of your work.

 

Course Calendar

WEEK 1 (8-25, 8-27, 8-29):

DCMP                        Chapters 13-14 (due on 8-29)

MML                          pp. 1-12

TKTS                          Chapter 7

 

WEEK 2 (9-3, 9-5):

DCMP                        Chapters 15-16

MML                          pp. 13-23

TKTS                          Chapter 8

 

WEEK 3 (9-8, 9-10, 9-12):

DCMP                        Chapters 17 & 19

MML                          pp. 24-35

TKTS                          Chapter 9

Exam #1                      (9-12)

 

WEEK 4 (9-15, 9-17, 9-19):

DCMP                        Chapters 18 & 20

Wise                            Preface/Foreword

MML                          pp. 36-45

TKTS                          Chapter 10

Paper                           (due on 9-19)

Teaching Segment #1 (due 9-15 or 9-17)

 

WEEK 5 (9-22, 9-24, 9-26):

Wise                            Part 1

MML                          pp. 46-59

TKTS                          Chapter 11

Exam #2                      (9-26)

 

WEEK 6 (9-29, 10-1, 10-3):

Wise                            Part 2

MML                          pp. 60-71

TKTS                          Chapter 3

Cover Letter                (10-3)

Teaching Segment #2

 

WEEK 7 (10-6, 10-8, 10-10):

Wise                            Part 3

MML                          pp. 72-82

TKTS                          Chapter 4

Exam #3                      (10-10)

 

WEEK 8 (10-13, 10-15, 10-17):

Wise                            Part 4

MML                          pp. 83-94

Arranging Project        (10-17)

Teaching Segment #3

Listening Exam I      (10-17)

 

WEEK 9 (10-20, 10-22, 10-24):

Wise                            Part 5

MML                          pp. 95-106

Exam #4                      (10-24)

 

WEEK 10 (10-27, 10-29, 10-31):

Wise                            Part 6

MML                          pp. 109-121

PowerPoint Presentation (TBA)

Teaching Segment #4

 

WEEK 11 (11-3, 11-5, 11-7):

Mark                           Chapter 1

DCMP                        Chapter 1

MML                          pp. 122-134

Exam #5                      (11-7)

 

WEEK 12 (11-10, 11-12, 11-14):

Mark                           Chapter 2

MML                          pp. 135-146

Grades for a Hypothetical Ensemble (11-14)

Letter to the Editor

Teaching Segment #5

 

WEEK 13 (11-17, 11-19, 11-21):

Mark                           Chapter 7

MML                          pp. 147-156

Exam #6                      (11-21)

Teaching Segment #6

 

WEEK 14 (11-24, Thanksgiving Break):

Mark                           Chapter 8

DCMP                        Chapter 21

Concert Programs and Descriptions (11-24)

Teaching Segment #6 (only for those left over from last week)

All teaching skills/competencies must be completed

 

WEEK 15 (12-1, 12-3, 12-5):

Bring all course materials

Last journal entry is dated 12-3

 

WEEK 16 (Final Exam – 12-12-07)

Listening Exam II (will be given during the final exam time)

Final Exam (12-12) 8:00 – 10:30 a.m.

 

NOTE: If you need special accommodation in testing or presentation of class materials, please contact the instructor during the first week of classes to file a written request for a reasonable accommodation plan. Course requirements will not be waived but accommodations may be made to assist you to meet the requirements, provided you are timely in working with the instructor to develop a reasonable accommodation plan.

 

NOTE:  If you need special accommodation regarding the observance of a religious holiday or holidays, please contact the instructor during the first week of classes to file a written request for a reasonable accommodation plan. Course requirements will not be waived but accommodations may be made to assist you to meet the requirements, provided you are timely in working with the instructor to develop a reasonable accommodation plan.

 

NOTE: Cheating is prohibited. Any acts of cheating or plagiarism will result in failure of the course. The disruption or prevention of the peaceful and orderly conduct of classes, lectures, and other University functions is prohibited. Disruptive students will be requested to leave class and will be counted absent. Please refer to the University Policy Manual at http://www.edinboro.edu/departments/judicial/homepage_letter.dot.

 

NOTE: Only work that has been evaluated by me will be used in grade calculation.

 

CAVEAT: The above schedule and procedures are subject to change in the event of extenuating circumstances.

 

BIBLIOGRAPHY

 

Abeles, H. F., Hoffer, C. R., & Klotman, R. H. (1984). Foundations of music education. New York: Schirmer Books.

 

Abrahams, F., & Head, P. (1998). Case studies in music education. Chicago: G.I.A. Publications.

 

Blakeslee, M. (Ed.). (1994). National standards for arts education. Reston, VA: Music Educators National Conference.

 

Caldwell, J. W., & Beardell, L. Y. (1997). Arts law. Philadelphia: Philadelphia Volunteer Lawyers for the Arts.

 

Carpenter, F. (1918). Stories pictures tell. Chicago: Rand McNally & Co.

 

Doerksen, D. P. (1990). Guide to evaluating teachers of music performance groups. Reston, VA: Music Educators National Conference.

 

Elliott, D. J. (1995). Music matters: A new philosophy of music education. New York: Oxford University Press.

 

Freeman, G., & Freeman, R. (1933). The child and his picture book. Chicago: Northwestern University Press

 

Gardner, H. (1983). Frames of mind: The theory of multiple intelligences. New York: Basic Books.

 

Eisner, E. W. (1985). Aesthetic modes of knowing. In E. W. Eisner (Ed.), Learning and teaching the ways of knowing: Eighty-fourth yearbook of the National Society for the Study of Education (pp. 23-36). Chicago: University of Chicago Press.

 

Goodlad, J. I., Klein, M. F., and associates. (1970). Behind the classroom door. Worthington, OH: Charles A. Jones.

 

Kliebard, H. M. (1985). What happened to American schooling in the first part of the twentieth century? In E. W. Eisner (Ed.), Learning and teaching the ways of knowing: Eighty-fourth yearbook of the National Society for the Study of Education (pp. 1-22). Chicago: University of Chicago Press.

 

Hoffer, C. R. (1989). Teaching music in the secondary schools (4th ed.). Belmont, CA: Wadsworth.

 

Leonhard, C., & House, R. W. (1972). Foundations and principles of music education (2nd ed.). New York: McGraw-Hill.

 

Mark, M. L., & Gary, C. L. (1998). A history of American music education (2nd ed.). Reston, VA: Music Educators National Conference.

 

Mark, M. L. (1996). Contemporary music education (3rd ed.). New York: Schirmer Books.

 

Music Educators National Conference. (1991). Growing up complete: The imperative for music education. Reston, VA: Author.

 

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