Music Teaching as a Profession- Emily Young: 2011

Sunday, November 27, 2011

Webb- Vocal Health

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

CRN: 200910 – Section number: 001 – Class Days: TR 7:45a – 8:35 am - Classroom: SOM E202
Office: Band Office - 330.672.2965 - Telephone: 330.672.2965 (Kent Campus) - E-mail: mneiman@kent.edu
Office Hours: TR 9:00 – 9:55 am (Additional hours available by appointment)

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 29, 2011

Webb, Jeffrey L. (2007). Promoting vocal health in the choral rehearsal.
Music Educators Journal. (May). Pages 26-31.

    Vocal musicians only get one instrument that can’t be repaired. Therefore, singers must take very good care of their voice. Singing is a lot of work and requires the entire body. Choir directors are a big factor in helping their ensemble students have better vocal health. Jeffrey Webb offers several tips to choir directors that can make a difference in the sound of their ensemble.
    As a singer and a future choir director, tips on vocal health are very useful to me. I can use this information now when I have to sing in choir. I will also be able to use these helpful tips with my choir students. I am very aware of the care that is needed to keep the voice healthy. While, I know I can’t control what my students do outside of the choir room, I can certainly encourage good vocal health in the classroom.
    Some of these tips were little things that I never would have thought of doing. Such as having students give each other shoulder massages and doing cool down exercises at the end of a rehearsal. There were also some really good warm-up tips offered in this article that I will likely use with any ensembles I direct. I feel that this article was a very good read and provided a lot of good information. I agree with all of the points the Webb made, the voice is very important and requires proper care.

Smith- Who Told You You Could Sing?

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 29, 2011

Smith, Gary R. Who told you you could sing.
TRIAD.

    In this article, Gary Smith tells a story of the influence of his music teacher when he was younger. Smith talks about one teacher who really stands out in his mind. This teacher was very encouraging and really boosted his confidence. The following school year, this teacher was gone and a new one had taken her place. When Smith sang for this new teacher the teacher looked at him and asked “Who told you you could sing?” In that moment, all of Gary’s smiths confidence was crushed and he almost never sang again.
    As a future teacher, it is important to be aware of the impact a teacher’s words can have on a student. This story proves that point. Whether positive or negative, students really do listen to their teachers. Especially at such a vulnerable age. It is important for us be very aware of everything we say to our students. As this story illustrates, a teachers words can stick with a student for a very long time.
    I personally feel that a very important quality in a musician is confidence. I have never had much confidence myself. Some of my teachers and peers have been helpful in instilling confidence in me with their words of encouragement. I do not think I would be where I was today if my high school choir director didn’t believe in me. Encouragement from my college professors continues to fuel me today. I know how much a few words of encouragement can do for a student and I hope I can help give all of my students confidence in the field of music.

Freer- Male Changing Voices

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 29, 2011

Freer, Patrick K. (2008). Boys’ changing voices in the first century of MENC journals.
Music Educators Journal. (September). Pages 41-47.

    Several articles have been written about male changing voices. When young men reach the eighth or ninth grade, their voice begins to change. Vocal teachers have a lot to say about boys’ changing voices and how it effects their participation in vocal music ensembles. Choral ensemble directors have to help these boys feel comfortable with themselves when their voice begins to change. It can be common for boys to drop out of choral ensembles when they enter this stage of their lives. Several people have offered suggestions to make this transition easier for these boys.
    As a possible future high school choir director I will encounter boys that are going through vocal changes. This article will be useful to me in handling those kinds of boys. This glimpse of information is a window to further research that I can do to help understand why boys voices change and how I can work with them through that time. I would like to do everything I can to encourage these boys to continue to sing and be involved in music.
    I think the author offered some very good tips in this article. Having separate ensembles for men and women can be very beneficial to the students. Having more ensembles also allows for more repertoire selections. I like that Freer stresses the importance of the teacher on the students. I feel that an ensembles ability is dependent on the director. The director must be prepared for any issue that may occur in their students musical ability.

Campbell- Chapter 9

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 27, 2011

Campbell, Patricia S. (2008). Of school bands, orchestras, and jazz ensembles.
Musician & Teacher. Pages 165-186.

    In this chapter, Campbell talks about instrumental music programs in the schools. Instrumental music teachers should be prepared to teach many different types of ensembles. Ensembles can be large or small and consist of a different make-up of instruments. Teachers should also be aware of their students’ instrumental and musical background. Instrumental teachers must also be aware of the costs of maintaining instruments and what effect that will have on the students. Leading an instrumental music program requires a lot of knowledge and skills.
    There is a possibility that I could get a job as an instrumental music teacher. If that happens, this information will be very valuable to me. Knowing what to expect can be very helpful to any kind of teacher. This chapter made me realize all the different instrumental ensembles that I may run into, teaching at a middle or high school level. My own high school only had a couple different instrumental ensembles.
    I agree with Campbell that instrumental training is very important to kids. By learning to play an instrument, a student can gain many other skills. Music is very important to children to have an opportunity to be creative and conquer the challenge of learning to play an instrument. Playing in an ensemble can also show a student how to effectively work as a member of a team. There is a good reason that music holds its place in the school curriculum.

Friday, November 11, 2011

Tagart- Developing musicianship

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 17, 2011

Tagart, Cynthia C. (2000). Developing musicianship through musical play.
TRIAD, (June), Pages 25-27.

    Children can learn music in the same way they learn music. Starting at a young age and enforcing music practice often can be very helpful to the child in developing musicianship. Children can start by learning through movement. Children encouraged in their musical achievements frequently. These theories are rooted in Edwin Gordon’s ideology of music methodology.
    I will surely learn more about Gordon’s theories throughout my studies to become a music teacher. He and others focus on the importance of beginning music education at a very young age. Students can learn so much from exposure to music at a young age. Even just listening and moving to music can do a lot for the child. Unfortunately, this early exposure to music depends on the parents.
    I feel that it is still possible for people to become good musicians without early exposure to music. I feel that music educators can use this information to encourage parents to allow their children more exposure to music. Being involved and music can do so much for a child. I wish that my parents had been more involved in music and allowed me to be more involved in music. Developing great musicians definitely takes more than a half hour music class once a week.

Howell- Curricular pillars

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 17, 2011

Howell, Allen C. (2009). Curricular pillars in the elementary general music classroom.
Music Educators Journal, (March), Pages 37-41.

   Often times, when students learn something at a young age they will forget it very easily. For this reason, elementary general music teachers should consider the use of pillars in their lesson planning. Using pillars allows teachers to focus on a few key areas and revisit them frequently. Teachers can focus on the nine national standards for music education and stick with a few activities that work. These activities can be used each year to reinforce the lesson, and may increase in difficulty and skill level.
   When I try to remember what I learned in my own elementary general music classes, I can’t think of much. I think that I would have benefited from frequently revisiting subjects that were learned. This can be a very useful method of teaching. It is a scary thought to think about sitting down to make lesson plans for my first year of teaching. Thinking in terms of pillars based on the national standards provides a much better idea of the overall structure of the class.
   I am really glad I got the chance to read this article. The author mentioned at the end how thankful she was to have discovered this method of teaching general music. I am happy that I got the chance to learn about it before even entering the profession. However, reading about an idea and actually doing it are two completely different things. I can’t wait to use all of these ideas that I am learning about in an actual classroom. I think that these teachers learn these things through a system of trial and error and I will eventually develop a style that works best for me.

Campbell- Chapter 12

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 10, 2011

Campbell, Patricia S. (2008). Classroom management and motivation.
Musician & Teacher, Pages 235-252.

    In this chapter of Musician & Teacher, Campbell discusses classroom management. One may be a very good musician and a very good teacher, but classroom management in very important to the profession as well. Teachers have to deal with students who are trouble makers or who do not want to learn. Teachers have to be able to motivate their students to want to learn. There are many different things a teacher must consider in terms of how to manage their classroom.
    As I am preparing myself for a career in music education, I am consistently learning more about the profession. Teaching music is requires a lot of dedication. I must be prepared for many different situations that I may face in my career. I may be given many different kinds of students to work with or I may end up teaching at a position that I am uncomfortable with. It is best that I prepare for these things now and learn how to handle different students and situations.
    I feel that motivating students to want to learn music will be an exciting challenge for me. I want others to see music the way I do. The more I learn about being a music educator, the more it seems to fit. It is a very scary and challenging field to go into, but with the right preparations it can be incredibly fun and rewarding.

Campbell- Chapter 8

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 10, 2011

Campbell, Patricia S. (2008). The choral classroom.
Musician & Teacher, Pages 145-164.

    In this chapter of Musician & Teacher, Campbell talks about choral programs in schools. A lot of people sing at church , or sporting events, or in their car. Choral programs should teach music reading, stylistic awareness, critical listening, and expressive performance. There are many different types of choral ensembles due to size, members, and the type of music they perform. A successful choir director must be knowledgable of the voice and dedicated to teaching. Future choir directors should gain experience by helping with local choral programs in schools and churches.
    I may be directing a choir at some point in my future. This information is very useful to me right now. This helps me understand what I might expect as a choir director and how I can prepare for that position. It is also helpful in deciding whether or not I want to be a choir director.
    I agree that the best way to learn is by doing. This chapter definitely made me think more about going out and gaining experience with a choir. I am scared of getting up in front of a classroom and actually teaching. I need to find some way to get over that fear, and I think helping with local groups would be a great way to do that.

Thursday, November 10, 2011

TRIAD- Dalcrose, Kodaly, and Orff

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 10, 2011

(2000) Where we’ve been/ where we’re going.
TRIAD, (April), Pages 22-30.

    This article discusses three different methods in elementary music education. Those methods are known as Dalcrose, Kodaly, and Orff. All three believed that music education should begin very early in a child’s life. Dalcrose believed that movement and eurythmics should be used to teach children music. Kodaly uses Dalcrose’s ideas of movement, but also focuses on singing being a strong basis for understanding of music. Orff combines movement, singing, and also the playing of instruments.
    These three methods of teaching come up a lot when talking about elementary general music teaching. I will definitely be learning about them a lot in the next few years. This article is a good introduction to give me a slight understanding of what each method is. These methods can provide me with several activities to use if I become an elementary teacher. These methods are helpful in understanding how children learn and how the teacher can help them understand and appreciate music thoroughly.
    I feel that all three of these methods are very useful. I wish that I would have learned more music when I was younger. I do not feel that I got as much education in music as I should have. Since music teachers only get to see their students a couple times a week, we need to make much better use of out time and impart lasting knowledge on them.

Taggart- Metting the needs of all students

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 10, 2011

Taggart, Cythnthia C. Meeting the musical needs of all students in elementary general music.
Michigan State University, Pages 127-142.

    Music teachers need to be very aware of what their students are capable of achieving. This can be difficult for music teachers because they only see students a once or twice a week for a short amount of time. Having students take a music aptitude test would be very useful for the teacher to understand their level of achievement. Lessons must be inclusive of every student at every level. Evaluation and assessment should be done for each student individually.
    This article is very useful to me at this point in my career. I should be thinking about how I will handle children who are not quite normal. Teachers have to consider teaching students with exceptionalities and are incapable of learning at the same rate of other students. We also must consider students who excel beyond other students and get bored quickly.
    I liked the idea of providing three levels of difficulty and ensuring that each student achieves their respective level. This allows every student to reach success at their own rate.   I feel like it could be very difficult to find ways to include each and every student. I think this article is a good outlook on how to make it easier.

Devany- Learning Centers

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 10, 2011

Devany, Melinda. (2005). Centers in my classroom.
Teaching Music, (August), Pages 44-47.

    In this article, Devany talks about the use of learning centers in a classroom. Learning centers are stations set up around the classroom that students rotate around. These learning centers can consist of many different games and activities that teach many different aspects of music. Learning centers are good for time, individual student needs, positive student behavior, self-concept growth, and opportunities.
    Since I may be teaching elementary general music, this article can be very useful to me. At this point in my career, I am gathering different ideas and ways of teaching. Having classes with learning centers is definitely something I can consider doing in my classroom. Learning centers are a great way to incorporate many different lessons and standards into one class. This is a way that I would get a chance to be creative with the types of games and activities that will be used.
    I feel that this could be a great way to get the students excited about learning music. Even if they don’t have a lot of time to spend at each center, they are still being exposed to several different aspects of music. This gives the students much more control in the classroom, rather than having to sit and listen to the teacher talk. I think that this could also be a good way to review things that have been learned throughout the class. I am very excited to use learning centers in my classroom when I become a teacher.

Thursday, November 3, 2011

Shuler- making the arts curricular

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 3, 2011

Shuler, Scott C. (1988). Making arts education curricular.
Words of Note, Pages 1-14.

    The arts have come very far in gaining acceptance and support from many different people. Yet, they are still categorized as an extra curricular when it comes down to budgeting. Since art teachers can not change the economy, they must push to teach people why they do what they do. To earn curricular status, the arts must develop a set curriculum to follow. If people were able to see and accept the arts as important and necessary, educators in the field could spend more time teaching and less time advocating.
    Today we do have set standards for music educators, this has changed from the time the article was written. These standards are definitely a huge step for music education. The standards are very inclusive of every different aspect of music and even connecting music to other curricular subjects. The standards alone are proof that music is worthwhile to teach in the schools.
    I really liked Shuler’s statement about all the attention that art educators must devote to defending their subject. No other teachers have to worry about their program being cut year after year. Math teachers do not have to convince people of the importance of math, everyone just accepts its importance. I can’t help but wonder why this is not the same for music. Everyone went through elementary school taking music classes, I don’t understand when they decided that it was useless. They must be forgetting how excited they were to go to music class. How much fun they had playing instruments and singing songs and dancing instead of reading and writing and taking tests. Young children cannot be expected to sit in a traditional classroom all day every day. Taking the arts out of the schools would have very negative effects on our students in many different ways and we need people to understand that.

Lehman- Music in today's schools

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 3, 2011

Lehman, Paul R. (1987). Music in today’s schools: rationale and commentary.
Words of Note, Pages 5-16.

    Questions of the importance of music always tend to arise. Many understand music and other arts to be one of the basics of education. Typical reasons for cutting music programs are time and money constraints. Music is important in understanding culture, emotions, development, and creativity. Every school in the nation should provide a program for the study of music.
    It is difficult to think about what my own education would have been like without music. My success in music inspired me to be successful in other subjects. As I learn more about music, I feel that I am learning more about myself and the world. Music doesn’t necessarily come easy to me, which has taught me that I have to work a little harder than my peers. This and other incredibly valuable lessons can be found through study of the arts.
    I like the way Lehman presents his argument in this article. He is straight forward and honest about how he feels. He wonders why people continue to question why music should be taught in schools. Constantly having to fight to get people to understand it’s importance can get old. The arguments for music education have never changed. Unfortunately, those questions are probably not going to go away. I think the worst problem I see is that fellow teachers in other subjects have a huge lack of respect for our profession.

Eisner- Misunderstood role of the arts

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 3, 2011

Eisner, Elliott W. (1992). The misunderstood role of the arts in human development.
Phi Delta Kappan, (April), Pages 591-595.

    The trouble with music education is that many people don’t understand it’s importance. Learning music can help children develop in ways that other subjects can’t. The arts can be very helpful to students in understanding problem-solving and their own feelings and emotions. Art classes are also a great place for creativity and discovery, which are two qualities that are very important in our world.
    In most schools, several top performing students are involved in musical ensembles. I think this fact certainly shows how useful music is in education. Sometimes students are in desperate need of a creative release and arts classes provide this. I often have days where things just aren’t going well, and going to choir and singing can erase it all.
    I completely agree that there is a general misunderstanding of the importance of music. I have come across several people who do not see the importance of studying music. Eisner brings up several good arguments as to why music is needed. The statements in this article will be very useful in my career. I am sure that there will be times that I will have to advocate for my profession and convince people that what I do is truly necessary for the kids.

Campbell- Chapter 6

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 3, 2011

Campbell, Patricia S. (2008). Theories of musical thinking and doing.
Musician & Teacher, Pages 86-103.

    Knowing the psychology of kids and people can be very useful to music educators. It is important to know how children think, feel, learn, and listen. Knowing these things can help teachers help their students. It is important to know that not every child learns the same, there are many different type of learning. Therefore, there must be different ways of teaching.
    I have come across several teachers whose teaching styles don’t make sense to me. I have also come across teachers who help me to see their subject more clearly and trigger my interest. Teachers have always been a huge factor on my ability to learn and succeed. I hope that as a teacher I will be able to find a way to reach as many students as possible. I’ve heard of many cases where teachers try everything to get to their students and find that nothing works.
    I think learning about human and educational psychology can definitely help us to make these connections for out students. The field of psychology is broad and so much is still unknown. However, teachers should still make an effort to learn as much as possible for the sake of their students. Finding out this information is easier than ever with today’s technology. I think that every educator has a duty to do everything in their power to help each student learn in their class.

Campbell- Chapter 5

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: November 3, 2011

Campbell, Patricia S. (2008). Music in “your local.”
Musician & Teacher, Pages 86-103.

    A school district is a community within a community for the students who go there. The music department can even be a community in and of itself. Some schools have a very in depth music program with several classes and ensembles to choose from, while others may not have quite as many. Music educators are at the basis of the music community. The teachers must know their school and students well enough to create a program that works.
    In my own school, the music program was not spectacular. There were only a few ensembles and not very many music classes. The teachers did not appear incredible enthusiastic about what they were teaching. A very small percentage of students were actively involved in ensembles. A lot of people just wanted to earn an easy grade by joining choir. My negative musical experience definitely makes me want to make a better experience for my future students.
    I agree that the teacher is the basis for the music education program. A lot of people leave school with fond memories of one or two teachers they had throughout the years, we have to do our best to ensure that more of those memorable teachers are teaching music in order to keep our programs alive. Music educators have a constant duty to advocate and prove the importance of their program. With enough dedication and enthusiasm a teacher can create a phenomenal music program for their students.

Thursday, October 27, 2011

Hill- Portfolio model for music educators

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: October 27, 2011

Hill, Cheryl F. (2008). A portfolio model for music educators.
Music Educators Journal, (September), Pages 61-72.

    In this article, Cheryl hill discusses the importance of portfolios of music educators. Portfolios can be used in a few different ways. Educators can keep portfolios for themselves to keep track of their own professional growth, and college students can create a portfolio to show to future employers. A portfolio can contain several different artifacts and it can be either a hard copy or electronic. These artifacts can include writing samples, recordings of performance, recital/concert programs, and several other things that will show who one is as a music educator.
    As a future music educator, I will definitely be constructing my own portfolio to show to future employers. This article has definitely given me a good idea of things that can be included in my portfolio. I have a much better idea of the purpose and objective of a portfolio. I had never thought of keeping a portfolio in my career to keep track of my own professional development.
    I wish I had been preparing this portfolio sooner. There are a lot of things from my freshman year that I would like to include in my portfolio. I wish I had more recordings of my voice to keep track of my progress as a musician. I think that it is important to start thinking of myself as a future educator. This means that I should treat all school work as if a future employer might be looking at it.

Byo- Designing substantive playing tests

MUSIC 23241: MUSIC TEACHING AS A PROFESSION

Mr. Marcus L. Neiman, Assistant Professor

Kent State University School of Music

Fall, 2011

CRN: 200910 – Section number: 001 – Class Days: TR 7:45a – 8:35 am - Classroom: SOM E202

Office: Band Office - 330.672.2965 - Telephone: 330.672.2965 (Kent Campus) - E-mail: mneiman@kent.edu

Office Hours: TR 9:00 – 9:55 am (Additional hours available by appointment)

BlackBoard and Text Readings

Submitted by: Emily Young

Submitted for: Mr. Marcus L. Neiman, lecturer

Date: October 27, 2011

Byo, James L. (2001). Designing substantive playing tests- a model.

Music Educators Journal, (September), Pages 39-44.

In this article, Byo offers advice to band directors on having students take playing tests. These playing tests require a student to play a chorale and the director will grade it based on assessment goals he/she has created for the students. These tests can help to ensure that each member of the ensemble is understanding and enforcing the performance goals they are learning. These tests can even be administered during rehearsal time with little to no disruption. The students would be required to go into a testing room, in which they would play their piece while being recorded on a sound or video recording device.

Assessment was not a regular occurrence in my high school choir. Our grade was mostly based on whether or not we showed up to the concert. There were some other things that our director could lower grades for, but the grading procedure was not clear to the students. I have taken very few singing tests at the college level. Testing in this manner can definitely be done for choral students, and may be useful to me in any future ensembles I direct.

I feel that this kind of testing can have several positive effects on an ensemble. If I was tested regularly on my chorale pieces, I would definitely spend a lot more time working on them outside of class. I feel that directors should definitely be very aware of the skills and abilities of each member in the ensemble. In my opinion, one must be able to sing or play independently before they can sing or play confidently in an ensemble. Providing the students with feedback on their individual performance can help create a much better ensemble sound.

Wednesday, October 19, 2011

Bauer- Authentic assesment in instrumental music education

MUSIC 23241: MUSIC TEACHING AS A PROFESSION

Mr. Marcus L. Neiman, Assistant Professor

Kent State University School of Music

Fall, 2011

CRN: 200910 – Section number: 001 – Class Days: TR 7:45a – 8:35 am - Classroom: SOM E202

Office: Band Office - 330.672.2965 - Telephone: 330.672.2965 (Kent Campus) - E-mail: mneiman@kent.edu

Office Hours: TR 9:00 – 9:55 am (Additional hours available by appointment)

BlackBoard and Text Readings

Submitted by: Emily Young

Submitted for: Mr. Marcus L. Neiman, lecturer

Date: October 20, 2011

Bauer, William I. Authentic Assessment in instrumental music education.

Pages 1-2.

This article contains a list of resources that would be very useful to a music educator looking for more information about assessment. There were a couple titles that I would be interested in reading. Those articles are Assessment strategies for self-directed learning by A.L. Costa and B. Kallick and Arts PROPEL : Handbook for music by E. Winner, L. Davidson, and L. Scripp. Assessment Strategies for self-directed learning would be interesting to me because I personally believe that ensemble students can learn better when they are given a little more power to apply their musical knowledge. Arts PROPEL: Handbook for music is something that would interest me because I don’t really know much about Arts PROPEL, but I have heard about it a lot, so it seems to be very important in the assessment process.

One of the online resources in this article is Kathy Shrock’s guide for educators. This website is a fantastic resource for teachers. It offers several links for creating rubrics, which can be a very helpful assessment tool. There are also several other links on this site for teachers of any subject area. When I begin teaching, this would be a great resource to have when it comes to assessing students. There are also several links on this website that can help teachers get ideas on different ways of assessing students.

Another Website in this article is a website dedicated to the SmartMusic software. SmartMusic is computer software that allows teachers to send assignments to their students and the students will then practice on their computer with immediate feedback. This software can help to ensure that students are practicing and practicing correctly. Technology is such a big part of our society today; I think that teaching with technology is a great way to keep the students engaged in the curriculum. However, affording this software may be difficult for some teachers and students, and it would be hard to convince students and parents to want to buy it.

Tuesday, October 18, 2011

Burrack- Assessment

MUSIC 23241: MUSIC TEACHING AS A PROFESSION

Mr. Marcus L. Neiman, Assistant Professor

Kent State University School of Music

Fall, 2011

CRN: 200910 – Section number: 001 – Class Days: TR 7:45a – 8:35 am - Classroom: SOM E202

Office: Band Office - 330.672.2965 - Telephone: 330.672.2965 (Kent Campus) - E-mail: mneiman@kent.edu

Office Hours: TR 9:00 – 9:55 am (Additional hours available by appointment)

BlackBoard and Text Readings

Submitted by: Emily Young

Submitted for: Mr. Marcus L. Neiman, lecturer

Date: October 20, 2011

Burrack, Fredrick. (2002). Enhanced assesment in instrumental music programs.

Music Educators Journal, (May), Pages 27-32.

In this article, Fredrick Burrack describes a way that music teachers can make assessments in their ensemble. In this method of assessment students would keep a portfolio that will perdiodically be checked by the teacher. Students would be required to listen to recordings of their individual persormance and ensemble performance. After listening to these recordings they would make a comment on the performance in several different categories and file these comments in their portfolio. This is a great way to keep the students engaged in every piece that is done in the ensemble.

The portfolios can provide solid evidence that the students are learning and doing work in their music classes. This kind of evidence is always needed to prove the importance of music in a child’s education. Students can gain a much broader understanding of muic by being forced to listen and pay attention to different aspects of the music. By evaluating themselves students in ensembles would be much more willing to make the steps that are necessary to create a better sound. The portfolios will also give the director a much better understanding of the knowledge and abilities of their students.

I feel that these portfolios are a fantastic idea. A director could use these portfolios in so many different ways. For example, students could do some research on composers and put that in their portfolio. Sometimes it is very difficult to get the students to listen and react to the director’s instruction; self assessment is a fantastic way to work around that barrier. Portfolios are a great way for the student and teacher to get a good sense of organization. This is absolutely a form of assessment that I will use in any ensembles I direct in the future.

Sunday, October 16, 2011

Reimer

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: October 13, 2011

Reimer, Bennett. (2004). Reconceiving the standards and the national music program.
Music Educators Journal, (November), Pages 33-37.

    There are nine national standards that have been put in place for music education. Teachers may often have trouble teaching all nine of these standards. In this article, Reimer provides a very convincing argument as to why these standards are so important. These standards are created to enhance the learning process in music for all students. Music programs tend to put a lot of focus on singing and playing instruments, but not every student has an interest in these things. Actively applying all of these standards in every music class can make a huge difference for the future of music education.
    By the time students reach high school, music is an optional course that they can take. Many students choose to opt out of musical programs. There needs to be a way to get all students involved in music. There has to be substantial evidence available to administrators, that music courses are important. It is hard to justify teaching a course that only ten percent of students will take. These standards can provide a huge aide to teachers trying to make their programs survive.
    There is a huge difference between music performers and music teachers. It takes real passion and dedication to teach music, just having musical skills is not good enough. The field of music education needs individuals who can evoke inspiration and a willingness to learn in their students. Those who really care about what they are doing are the ones who can understand and implement these standards to the fullest. Having the right teachers is probably the best way to keep music programs alive throughout the nation.

Campbell- Chapter 13

MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011

BlackBoard and Text Readings

Submitted by: Emily Young
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: October 20, 2011

Campbell, Patricia S. (2008). Assessment.
Musician & Teacher, Pages 253-265.

    In this chapter Cambell talks about assessment in the music room. Assessment is not always easy for music teachers, especially in ensembles. It is important to have concrete evidence of each students assessment. Parents and administrators like to know how students receive the grades they get. This assessment can be done by creating a rubric or a checklist for each student to determine weather they are reaching the goals that were established by the teacher.
    For ensemble directors, it can be difficult to get a chance to listen to each student individually. For this reason, teachers can give playing or singing tests. However, the students will surely hate these kinds of tests and we will not like giving them, it is a way to acquire a solid grade for each student. I sometimes forget about how much teachers have to deal with parents. The dialogue at the beginning helped me to understand the kinds of interactions I need to prepare myself for in my future career.
    I agree that assessment should be based solely on the goals established for the class. I think it is very important for the student to know exactly what is expected from him or her. Some studies have shown that students like organization. As teachers, we should always keep the needs of the students first. Campbell offered a lot of good ways to assess students in this chapter. Since it is rather difficult to assess musicianship of paper, these assessment tools can be very useful to music teacher.

Monday, October 10, 2011

Lehman- Ten Years Later

MUSIC 23241: MUSIC TEACHING AS A PROFESSION

Mr. Marcus L. Neiman, Assistant Professor

Kent State University School of Music

Fall, 2011

CRN: 200910 – Section number: 001 – Class Days: TR 7:45a – 8:35 am - Classroom: SOM E202

Office: Band Office - 330.672.2965 - Telephone: 330.672.2965 (Kent Campus) - E-mail: mneiman@kent.edu

Office Hours: TR 9:00 – 9:55 am (Additional hours available by appointment)

BlackBoard and Text Readings

Submitted by: Emily Young

Submitted for: Mr. Marcus L. Neiman, lecturer

Date: October 13, 2011

Lehman, Paul R. (2004). Assesses ten years of national standards.

Teaching Music, (October), Pages 34-39.

For this article, Teaching Music interviewed the former president of MENC, Paul R. Lehman. This interview discusses the National Standards for Arts Education which were published ten years prior. Lehman has a lot to say about why these standards are important in music education. Lehman was a part of the committee that developed the standards. These standards have had quite a bit of an impact on music education in the last ten years. However, there are still things that can be done to improve music in the American school system.

There is no standardized test in music; therefore there is no means of judging whether the standards are being fulfilled. In order for these standards to work, we need dedicated and passionate teachers in the classrooms. These standards are there to provide guidelines to provide the best possible education to the students. The standards are a great resource to show why music is necessary for students in grades k-12. They were constructed by a team of capable musicians and educators and they can be achieved by all teachers of music in every course.

Lehman said, “Standards make assessment possible. They also make it necessary.” This is something I have been thinking about a lot. There has to be a means of measuring the effectiveness of our teachers, but the current system is not the best way. State and national testing have caused a lot of corruption in our school system. Music teachers are lucky to not have to worry about test scores, but this also means that music programs get less importance in the eyes of administrators who depend on test scores to keep the school functioning. Music teachers should do everything they can to fight for their profession and use all the time and resources they get to instill a vast array of musical knowledge in each and every one of their students.