MUED 418 Secondary
Instrumental and Choral Methods
NEW - ONLINE
MENC REGISTRATION FOR STUDENTS! MENC/PMEA now allows and encourages
collegiate members to activate their membership online at https://www.netforumondemand.com/eWeb/Shopping/Shopping.aspx?Cart=0&Site=PMEA.
Edinboro University of Pennsylvania School of Education. All pertinent information regarding students in teacher education is accessible at this website: http://departments.edinboro.edu/education/index.html
Application Form (pdf)
http://ncate.edinboro.edu/SOE/teachercandidacy/spring2006.pdf
Apply Online - this allows you to fill out the application form on-line but it still needs to be printed....http://ncate.edinboro.edu/SOE/teachercandidacy/spring2006fillable.pdf
Edinboro
University Department of Music on Facebook! (music positions advertised here)
EAOLEF, Inc. (Erie Arts Opportunity Local
Education Fund) http://erieartsopportunity.org
TRINITY
CENTER INTERNSHIPS! Follow this link to learn
more!
Jamaica Field Service Project The Jamaica
Field Service Project is a 3 credit course on Jamaican
and Caribbean culture. Directed by Eric Wills, this project allows university
students to travel and study in Jamaica, while doing volunteer work in the
schools and community.
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.
To
order textbooks online http://www.addall.com
or http://www.allbookstores.com
Student
Teaching Page: http://oocities.com/mued495
To contact government officials about pending legislation.
http://capwiz.com/psea/state/main/?state=PA
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.
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.
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
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.
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.
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.
Music
Educators National Conference. (1989). TIPS: Discipline in the music classroom. Compiled by R.
Louis Rossman. Reston, VA: Author.
Peters, G. D., & Miller, R. F.
(1982). Music teaching and learning. New York:
Longman.
Rainbow, E. L., & Froehlich, H. C.
(1987). Research
in music education: An introduction to systematic inquiry. New York: Schirmer.
Reimer, B. S. (1989). (A philosophy of
music education (2nd ed.). Englewood Cliffs, NJ: Prentice-Hall.
Smith,
P. (1996). The history of American art education: Learning about art in
American schools. Westport, CT: Greenwood Press.
Spring, J. (1997). The American school
1642-1996 (4th ed.). New York: McGraw-Hill.
Stake, R. E. (1975). To evaluate an arts
program. In R. Stake (Ed.), Evaluating the arts in education: A
responsive approach (pp. 13-31). Columbus, OH: Charles E. Merrill.
United States National Commission on
Excellence in Education.
(1983). A nation at risk: The imperative for educational reform.
Washington, DC: Author.
Wilson,
B. & Hoffa, H. (Eds.). (1985). The history of art education: Proceedings
from the Penn State Conference. The Pennsylvania State University College
of the Arts and Architecture School of Visual Arts.