Readings for 4/20

Large-Ensemble Handbook by R. Cofer

In this article, the author, R. Shayne Cofer speaks about the way in which to construct a handbook for an ensemble class and stresses the importance of having a well designed handbook. The author lays out the sections that should be included in the handbook, including sections on rules, grading procedures, and a calendar. The author acknowledges that the completion of such a book will be time-intensive, however states that the rewards and hassles that will be avoided due to miscommunication are well worth the time.

At this point in my career, I have not had to assemble a handbook, so I have no real practical experience in this area. I have, however, been subject to many different handbooks throughout my educational career and I have noted the similarities between all of these documents. Additionally, through this course, I have seen several examples of handbooks (namely those from Mr. Kirk) that I feel I can use as appropriate models for the development of my own handbook.

I agree with the author's point that a handbook is a necessary document to create for your own program. Miscommunication is, unfortunately, a very common problem that occurs in the world and the creation of a document such as this will help to ease that, allowing for more time to be spent on music as opposed to explaining grading procedures. While I have not had to develop my own handbook, I do feel compelled to create a very thorough handbook in the future so that I will be able to quickly and accurately communicate with students and parents.

There's More to a Concert than Just Music by Dixie Detgen

In this article, the author speaks about the logistics of concerts that some directors overlook when preparing a program, specifically concert etiquette. Various topics, such as how to enter the stage as well as exit the stage, bows, soloists, and how to accept applause are all addressed in this article.

I actually have had a small amount of personal experience with this topic. I was fortunate enough to have the opportunity to conduct the Camerata orchestra recently and, before the concert, I was asked how I would handle entering the stage, exiting the stage, and accepting applause. Having never thought of these factors of a performance (since I had always taken cues from a conductor, never given them as a conductor), I was thankful for input that was given to me. I was able to pre-plan what I would like the orchestra to do and how I would handle the concert etiquette, something that I felt was very useful to accomplish.

After that experience, I feel that concert etiquette is something that can not be overlooked. In addition to increasing the uniformity of the group, it significantly relaxes the conductor. After the concert, too, I feel that this definitely should be pre-planned and rehearsed with the group. I am looking forward to developing good concert etiquette with my future groups.

Organizing with a Filing System by Kelley

In this article, the author speaks about ways in which to create an effective filing system. The author asserts that a filing system that allows for rapid retrieval of data is a necessity in the music education field.

I have had a significant amount of experience with filing. Due to my personality, I am compulsive about filing all of my material in very specific locations, allowing for easy retrieval. I continually update my filing system on my personal computer as well as my paper filing systems. I feel that this is the most efficient way to retain data without loosing it and I feel that, when I have my own ensemble, I will not treat the filing of its important information any differently.

Again, due to my personality, I am compulsive about filing and, as such, I completely agree with the author about the necessity of maintaining an organized file system. Data retrieval speed and ease are significantly increased and important documents are not lost. While I am fair at organizing paper data, I am more adept at organizing digital data and feel that, in some cases, it is better to digitize any paper data and file it electronically. In all, though, I do agree with the article and will continue to develop my organizational skills to increase my preparedness for running my future ensemble.

Techniques in Publicizing your Musical Activities by Thomas

This article speaks about ways to efficiently publicize your ensemble's concerts and other activities. In addition to the tips on this, tips on good press etiquette are also presented. Many common errors, such as not allowing the paper enough lead time to publish the story, are also presented.

I have not had much experience, unfortunately, in the area of publicity through news mediums. The majority of the advertising work that I have done has been through fliers for the CWRU bands. While not through news sources, I feel that many of the skills, such as a command of concise language, are quite applicable and transferable.

I definitely agree with the author that publicity is very important to the success of your program. Without publicity, your supporters will not know when performances are scheduled. Additionally, I do very much like the idea of publicizing events not necessarily linked to performances. The more positive attention, I feel, that your ensemble receives, the better. I feel that publicity is necessary and I look forward to further developing my skills in this area.

Readings for 4/13

Comprehensive Musicianship Research by James Austin

In this article, James Austin speaks about comprehensive musicianship and how it can relate to the national music standards. He asserts, through presenting the latest research, that while comprehensive musicianship does take instruction time that could be used for performance instruction, it has been empirically proven to not hinder students performances and has, in some cases, increased the quality of performances by students. In this article, too, examples of how comprehensive musicianship can be applied to teach the national standards are also included. Finally, at the end of the article, there is a discussion on why teachers do not include comprehensive musicianship activities in their classroom (he asserts that many teachers are unfamiliar with the way comprehensive musicianship would look in a normal classroom and they are also afraid of loosing instructional time on each individual work). There is also a discussion on how teachers can become more familiar with comprehensive musicianship and include it in their classroom.

As of right now, the main experience that I have with comprehensive musicianship comes from my methods courses, articles that I have read on the subject, and professional development sessions that I have attended. I feel that comprehensive musicianship is a great way to teach as it focuses more on the process (where I feel a greater amount of learning actually takes place) as opposed to the product. It has been proven to be an effective way of educating students and allowing them to take a fuller experience from the music instead of simply learning the piece and then moving on to the next piece without fully understanding what they played or why they played it. I hope to learn more about comprehensive musicianship.

I completely agree with the points that were made in this article. Comprehensive musicianship is a great way to effectively meet the national standards smoothly and without deviating from the lesson in a terrible way. As I stated above, I very much believe in comprehensive musicianship and intend to implement it in my future classroom. I feel that there are only gains to be had from this type of a curriculum. I also feel that the problem with teachers not being able to understand how to incorporate comprehensive musicianship into their classrooms is going to be ending very shortly as my generation of teachers have been indoctrinated with this style of teaching since the beginning of our studies. I feel that this is excellent and I look forward not only to the chance of including comprehensive musicianship into my classroom, but also my generation incorporating it as a whole. Again, there are only gains to be had from this style of teaching.

Standards Based Instruction in Rehearsal by Todd Fallis

In this article, Todd Fallis speaks about Standards Based Instruction. This variant on comprehensive musicianship requires all students to learn all parts and then assemble them into a finished product. Mr. Fallis asserts that this form of teaching will allow students to learn the piece so intricately that, when finally assembled, it will be close to performance ready on the first read-through. He also explains how the use of this teaching style will address all of the standards through the various lessons, almost automatically.

I have not had a significant amount of experience with this type of instruction, however, I have had experience in developing lessons that address the national standards. I do feel that it is difficult to properly align instruction to the national standards without loosing teaching time. I realize, though, that this is mostly due to inexperience. I am also familiar with the concept of teaching a piece completely to all sections. I have seen several professional development sessions on this and I think that this technique is an excellent way to teach a piece of music.

I agree with the author's points in this article and support this style of teaching. In reference to the other articles this week, I feel that this could be an excellent way for older teachers to begin teaching comprehensively as it is a compromise: the majority of instruction time is spent working with the piece instead of supplemental materials. I feel that this would be extraordinarily effective for teaching a piece of music and, if I ever was not able to complete a comprehensive musicianship unit with my students, I could see myself employing this type of a strategy. It is very important to meet the standards while still teaching the piece and accomplishing this within 50 minutes of instruction per day. This type of standards based instruction will enable the teacher to accomplish all 3 while still producing a well polished product for the performance.

The National Standards in Performance Classes by Judy Kerchner

In this article, Judy Kerchner looks at ways the national standards can be applied to teaching a piece, specifically Balladair. While this article is not as comprehensive as the last several articles in terms of a full program, this article is presented in a manner that will allow many teachers to develop their own ideas for each standard based on the open-ended suggestions that are presented. The article concludes with a justification for including the national standards in instruction and a statement that the national standards will allow children to have a deeper understanding of what they are playing and why (actually saving instruction time over the course of the year).

Again, I have had very limited experience in actually executing full units based around the national standards, however, I have had experience planning lessons. I also found this article useful as many of the suggestions that were given could lead to very unique teaching strategies.

I again feel that it is important to align instruction to the national standards. This will ensure children a quality musical education. I also agree with the author that inclusion of the standards, while more time intensive at the beginning, will lead to more effective rehearsals. I again, see myself developing units that are closely aligned to the national standards and I look forward to the opportunity to put these into practice.