Singing in the Instrumental Music Classroom - Reflections

Educators and theorists have long advocated the use of singing, or more specifically, vocalization, as an instructional technique in instrumental music classrooms. These scholars contend that vocalization activities afford students unique ways of representing aural and notational stimuli and may aid in the comprehension and performance of instrumental music, especially for beginners.
While the first content standard of the National Standards for Music Education includes the statement that music students from kindergarten through grade 12 should have experiences singing, alone and with others, a varied repertoire of music, teachers of beginning instrumentalists often fail to use singing as an instructional technique in the classroom, and few instrumental method books even include it.
However, an overwhelming amount of research shows that vocalization may, indeed, have a positive effect on the training of instrumentalists. The findings of studies by Grutzmacher (1987), Lee (1996), MacKnight (1975), and McDonald (1987) indicate that vocalization using movable Do solfege syllables may have a positive impact on beginning instrumentalists, while Sheldon (1998) observed similar results with college students. Additionally, Davis (1981) and McGarry (1967) found that vocalization may be employed, to a high extent of effectiveness, with scale degree numbers and pitch letter names.
While this doesn't even touch the tip of the iceberg in terms of justifiable research for the advocacy of vocalization in instrumental music programs, I think it is important, as educators, to find the actual source of the absence of this instructional process. I think this most certainly has to do with the fact that for many band students, singing seems to be an unreasonable task because it is too far out of many of their comfort zones. If we force our students to make a leap that is beyond their level of comfort, we risk all sorts of behavioral problems and having the flow of our class disrupted. Our first reaction to something like this that doesn’t work is to get rid of it and try something else. However, perhaps all our students need is some kind of stepping stones that help them bridge the gap and become more comfortable with this highly beneficial practice.

SSM: Effectively Using Journals -Reflections

I found this chapter particularly interesting because I think journal writing can be an incredibly flexible instructional tool that is useful across the entire curriculum. While often used as a class startup activity, it can also be used primarily to give students an opportunity to speculate on paper and rest assured tthat their ideas, observations, emotions, and writing will be accepted without criticism. Even when I was with Glassmen, we used journals all of the time for both discussion-based activities and private, personal reflection, which allowed to to be much more self-aware of both the musical and social aspects of the experience itself.

Further, I think that curriculum-oriented journal entries have the advantage of causing students to relate personally to the topic before instruction actually begins. Asking for a summary of learning or for a question about something causes the student to process and organize his or her thoughts about the material covered - a great instructional device, particularly in the world of music education where a classroom with any activity other than rehearsal can be hard to find.

Chapter 8 Reflections- Assessment

As a whole, I think two significant assessment challenges face those who seek to bring quality music programs to students in the United States. We are first faced with the challenge of maintaining a balanced curriculum in an environment where dependence on large-scale, high stakes testing of students in a small range of programs (reading, math, and science) severely limits learning opportunities to those tested subject areas. In this regard, music educators, along with colleagues in other disciplines and officials at the U.S Department of Education, strongly believe that testing must be implemented in such a way as to improve the total school experience, rather than in a way that effectively narrows educational opportunities for students. Second of all, music educators face the challenge of using assessment in their own programs in order to inform theirteaching as well as benefit the students in their classroom.

Additionally, music educators have historically used multiple forms of assessment for their students, reported on students’ musical progress to parents, and implemented sophisticated systems for the evaluation of school performing ensembles to establish publicly accessible quality measures in certain aspects of their programs. However, I think that they face multiple unique challenges as they seek to expand their assessment work. For one, music teachers are often responsible for teaching and assessing large numbers of students, such as in ensemble classes or across a weeklong schedule of elementary general music students, in addition to the fact that most important assessable work in music classes consists of multimedia products, such as performances and improvisations which must be recorded and scored individually. Ideally, I think schools should and would greatly benefit from balancing large ensemble rehearsals with small group lessons and provide recording devices and other technology to facilitate the collection, management, and scoring of students’ individual music work.

Chapter 17 Reflections - Concerts

Of the many facets and challenges of performing concerts in the world of music education, The behavior of public audiences is one issue that is very difficult to address. While school administrators and teachers can exercise direct control over the student body, when dealing with the general public this is certainly not the case, yet it is easy to have the same high expectations for their concert behavior. People whispering, cell phones, general talking, leaving before the performance is finished, and miscellaneous noise and disruption are all part of tho typical "bad concert behavior" list. However, despite this challenge, if we, as educators, can find a way to make an impact and do something about this, the real winners will be our students who will enjoy their performance experience much more with an attentive, well-behaved audience.

Choosing Repertoire - Reflections

Composers, conductors, and educators constantly discuss the importance and significance of variety in programming and repertoire selection. Selecting literature of diverse style and origin provides something I find to be extremely important - a much-needed diversity for teacher and student alike. Though often underestimated, simple concepts like contrasting tempos, balancing different textures, and major, minor, and modal tonalities are ways in which variety in programming can easily be achieved. Other, more technical considerations when programming literature include having the required instrumentation and equipment, the available time to effectively teach the pieces efficiently, and the simple enjoyment that comes from rehearsing and performing the piece for the teacher, students, and the audience.

Further, because repertoire is also a source for long-term planning, I think it is very important that teachers at any level have a repertoire list he or she believes that all students should perform over a period of several years. This should not only focus on formal, rhythmic, harmonic, and melodic creativity, but also convey the composer’s imagination, be well-orchestrated, and most importantly, convey both emotional and expressive depth.

Finally, the process of repertoire selection should aim to give our students the opportunity to hear a range of emotion in the music they perform and rehearse. Through this process of recognizing and exploring emotional moments in music, students become aware of and reflect upon their own feelings, and can thus forge some type of connection between this and the music itself. Through this, we can ensure that our students begin to explore and understand what these emotions convey and how the composer expresses it in the music, allowing them to find a means of expressing their own personal emotions through performance and self-reflection within the ensemble.

Chapter 10 - "Score Study" Reflections

Over all, one key component of being proactive in rehearsing any instrumental ensemble is performing a detailed score study and analysis. However, most people do not realize how multi-faceted this process really is, and how it has to be in order to be most effective.

Beyond learning the technical aspects of notes and rhythms, a "macro" analysis must first me done where the conductor examines the overall architecture of the piece, such as form and movements, tonal centers and key areas, transitions, meters, and tempo changes. This also includes textures, melody and accompaniment, counterpoint, orchestrations, solos - the overall melodic, harmonic, rhythmic and formal picture of the piece.

On the next level, or 'micro' analysis, the conductor analyzes the piece in far greater detail, deconstructing the piece on every level to form a complete recording in one's head. We examine the harmony and chords and crystallize the conception of the orchestration, while trying to interpret the composer's intent. Studying music theory and learning how to perform a harmonic analysis has been extremely helpful in this process for me.

Finally, in the third or 'macro-redux' phase, we go back and make the important musical decisions that give the piece musical effect. I think it is important to realize that there is usually no right or wrong answer when interpreting a piece of music, but at the same time, it is the responsibility of the conductor to make consistent decisions that are in the best interest of the music as intended by the composer.

Additionally, regarding the comment within the text that recordings are a 'crutch' that "restrict the development of the mind's ear", I think they can be really effective if used properly. An initial listening to the piece can be highly effective in determining much of the "macro" analysis - something we often do in my form and analysis class. However, more of the minute musical details are probably best left to us before we listen to one recording multiples times and are biased by that conductor's interpretation.

First Teaching Episode - Teaching Reflections

Over all, my first middle school teaching experience with fifth grade percussion was extremely positive. While I was initially nervous to have someone as experienced as my particular instructor observing my first teaching episode with the students especially because percussion is one of my weaker areas of instrumental instruction, I was also extremely lucky to have someone who has been teaching for many years that could offer me very valuable advice and constructive criticism.

With this being said, I thought that the lesson went very well and was, overall, successful. I was complimented on keeping good pacing throughout the lesson and a continuous flow, and all of the material was covered in the ten minutes that I was allowed to have teaching. Further, the problem areas that needed to be covered, such as certain measures with difficult crossovers between hands in the mallet parts, were effectively isolated.

However, as any regular performer, I was often buried in the music just out of habit, despite the fact that I know very well how the tune to "Jingle Bells" goes. Next time, I will work to keep the students engaged by moving around the room and reading from the student's music if necessary.

As a whole, I am glad that this experience was so positive, and I am looking forward to working with the students this coming week. It was especially rewarding to have had some of the students ask if I was coming back next week because they "liked me", as well as having my instructor say that he "doesn't usually write so many positive things down" in an observation. Hopefully, they will continue to enjoy and learn from my teaching as I incorporate all of the constructive criticism I have received for next week and all other future teaching episodes.

Chapter 6 Reflections - Models of Instructional Design/Constructivism

I strongly agree with the notion presented in this chapter that teaching is both an art, influenced by our unique experiences and personality, as well as a science, where we can identify effective strategies for teaching almost anything.

As far as the scientific aspect of teaching is concerned, the concept of teaching through'constructivist' theory fascinates me. What's interesting is that through this theory, learning always builds upon knowledge that a student already knows, and constructivists suggest that learning is more effective when a student is actively engaged in the learning process rather than attempting to receive knowledge passively. I think this would especially lend true for students who process information and learn kinesthetically, though it is debatable as to whether or not all students, especially those at a younger age, can be considered 'kinesthetic' learners. Additionally, I was surprised at how many different methods claim to be based on this theory or some form of guided discovery where the teacher avoids most direct instruction and attempts to lead the student through questions and activities to discover, discuss, appreciate, and/or verbalize the new knowledge.

With this being said, it is no surprise that in the constructivist classroom, students work primarily in groups where learning is interactive and dynamic through activities like research projects, field trips, films, and class discussions. There is a strong focus on social and communication skills, as well as collaboration and exchange of ideas. Depending on what you believe the role and purpose of formalized education is, I think this is extremely important. In my opinion, the purpose of the classroom goes far beyond learning basic academic knowledge, and the experience of learning how to communicate and function with others socially is even more significant.

Lastly, the role of teachers in the constructivist classroom are to prompt and facilitate discussion. Thus, the teacher’s main focus is on guiding students through asking questions that lead them to develop their own conclusions on the subject. However, while I believe this strategy is one important way to implement in the classroom to allow students to think both critically and independently, utilizing only one method of instruction can be equally as limiting for students, and other methods of instruction should also be used simultaneously.

"Teacher as transmitter"/Instrumental Teaching Observations

"Teacher as transmitter"

This concept is especially relevant after observing instrumental music educators "in action" this past week at Greenview. How the teacher presents and passes along information to students is critical to the success of them actually gaining the knowledge and appreciation for the subject matter. With this being said, teachers, first and foremost, must know the subject matter, the music, concepts, and techniques to be taught extremely well. This requires much preparation and planning beforehand. Also, the effective teacher must serve as a live model for students because many performance skills are learned though imitation or observing the behaviour of the teacher. Verbal explanations in the realm are far less effective. Finally, the teacher must present the information with energy and enthusiasm to keep the students constantly involved and excited about the information they are to learn. If we cannot convince our students that they are learning about something that is significant, then the likelihood that they will retain any of the knowledge we have presented to them is very low.

Seeing different teachers and their methods of "transmitting" information to students was extremely valuable this past week. It was especially interesting to compare a new teacher with someone with over twenty years of experience, and how their methods of classroom management and instruction have undoubtedly changed over time. I look forward to observing more of their teaching and gaining further insight into beginning instrumental instruction.

Method Book/Suzuki Reflections

There are many aspects and features to take into account while choosing an appropriate instrumental method book for a fourth or fifth grade beginning instrumental program. However, while performing an analysis of The Essential Elements 2000 beginning band books, I was reminded of my own beginning instrumental studies on piano. Instead of having the personal experience of going through a band program and using a similar methods book, I studied piano privately using the Suzuki method and the respective books. With this being said, I have always wondered the actual effectiveness of the Suzuki method on multiple instruments in comparison to other instrumental programs.

The Suzuki method, over all, is a musical philosophy which strives to make students high-achieving performers while instilling a love of music and good character within a loving environment. Through this, students primarily study on a single instrument, often violin or piano, like myself. The 'nurture' aspect of this is modeled after an early childhood education which Shinichi Suzuki "observed in native language acquisition, such as immersion and encouragement". The term "Suzuki method" can also refer solely to the Suzuki repertoire of sheet music books and audio recordings, both of which I utilized in my formal instruction.

Through listening to the audio recordings hundreds of times before learning to read traditional music notation through the Suzuki method, the development of my performance poise, musical expression, and aural skills were more than enhanced. However, with the lack of stress on physically reading music, I do feel like I am still behind since it was not introduced or stressed until much later in my studies. However, I would be interested to see research on how the Suzuki method and books are effective in comparison to other traditional method books. In my personal opinion, I think a hybrid of Suzuki supplemented and mixed with other traditional techniques would be highly effective. I think this would be especially effective if the books were somehow expanded to all of the traditional band instruments, instead of just strings and piano.

Scheduling and Grouping of Elementary Instrumental Music Classes

I cannot exactly speak from personal experience since I was not involved in beginning instrumental music when I was in middle school, (I was involved in choir, but we did not have any type of special schedule as instrumental music did) but I did observe many of my classmates who were in band at the time and can vaguely remember what their experience was like at the time.

Over all, I think the most effective way to schedule any instrumental music program is completely dependent on the individual school district and situation. Ideally, private lessons should be implemented from the beginning and continued on until high school, though not all students will want to continue on. In conjunction with this, I think homogeneous classes in the very beginning (first year or half-year) are most helpful for students to learn balance and blend when they are only focusing on one specific timbre - that of their own instrument. Once they are more experienced playing within their section, they can then learn to listen and blend their sound within the context of other timbres and instrument colors within heterogeneous classes, or full ensemble rehearsal.

Also, while many classes utilize "pull-out" programs, instrumental music, from the beginning, should be treated like a regular class with a regularly scheduled time, such as like the situation at my middle school. If student's first impression is that instrumental music is an "extra-curricular" class, the motivation to stay participated can be negatively effected in the long-term. However, this may be the only option for many schools with limited scheduling options. I can remember my classmates always being confused as to what time their lesson was since the times were different every week, which resulted in people forgetting to bring their instrument to school when they needed it or always leaving it at school and never practicing. Ideally, administrators and music educators should sit down and make these scheduling decisions together after taking into account their specific situation and program, the teacher's individual goals, the support from the community, and the needs of the individual students.

OMEA Reflections

One of my favorite professional developement opportunities is the annual Ohio Music Educators Conference, mostly due to the diversity of informative sessions to attend. One of the greatest sessions I attended at OMEA this year was one titled, "Building Artistry Through Repertoire and Programming" by Dr. Joe Miller of Westminster College.

His sessions focused on the importance of programming interesting, exciting, and well-balanced repertoire. One of his key points was to find your personal inspiration through live performance, reading, visual art, conversations, and/or family. Discovering what people,including ourselves, "feel" and how this translates into the music we are selecting for our ensembles serves as a vehicle for the artist to serve their fellow man through music and "elevate the human condition".

More broadly speaking, Dr. Miller discussed how choosing repertoire is simply the key to building a successful ensemble. Learning to balance student learning objectives, community awareness, personal treats and building music literacy is a challenge that faces all music educators. First, we need to identify the needs of our students, including literacy and vocal needs, texts, historical perspectives, and culture. Further, consider your unique community. What are its values? What role should music hold in shaping it? What brings everyone together?

Lastly, thematic programming can be a great tool to allow you and your ensemble to explore new repertoire. More importantly, it can also allow you to form a "mission to market" to your students and the community and open a world of collaboration while focusing a deeper discussion on the role of art. Collaborations can be with other arts groups or with charitable organizations. Matching your goals with theirs will only further improve the musical experience for you, your students, and your audience.

Reflections on Recruitment

Coming from a very small school district, I saw, first hand, the importance of recruitment for the instrumental music program. With this being said, I think one of the best ways to build quality instrumental music programs is to ensure an adequate number of beginners in the program each year while keeping as many of them as possible. Moreover, effective communication between the student, parents and administrators is crucial. Without proper attention to the significant role that communication plays, music directors will never be completely successful in generating the support necessary for their programs to thrive. Music students need to know what is expected of them and that they play a key role in the success of their department. Through conferences, letters, and even phone conversations, parents need to be alerted to any success or problems of beginning students. Even little things like publishing the names of all students in concert programs can help build pride and motivate them to continue practicing towards the goal of participating in an ensemble. To further aid communication while clarifying student responsibilities, a student handbook should be created that clearly states the goals and objectives of the program and gives detailed information. Additionally, one of the most obvious but neglected areas of communication is the parent-director relationship. If music students are to be successful and stay involved in the program, enlightened and supportive parents are essential. Ideally, a three-way partnership is entered into by the student, parent, and instructor.

I also think it is important to note that directors need to recruit more than just students but their families as well. No one will have a more direct influence on the success of the music department and retention of its students than the parents. Without their enthusiasm and interest, it is easy for students to drop out of the instrumental program or never even join. Parents need to feel as if they are involved with the program in some way, such as utilizing them as chaperons for trips or asking them to help with concerts, uniforms or other administrative tasks in order to increase their loyalty and concern while at the same time, making the director’s job easier!

Philosophy Reflections

1. What qualities make a good instrumental teacher?

While certain qualities of teaching may benefit different personalities of students more than others, I think there are a few specific, key personality traits that are necessary in being an effective instrumental educator.
The first and most obvious of these can be summed up quite nicely by composer, Henry Cowell, who so eloquently yearned to "live in the whole world of music". In other words, a good instructor must be a "complete musician" whose knowledge of music is not limited to their primary instrument/voice. On the other hand, this knowledge extends to music history, music theory and form, phychology, including the psychology of teaching and how students learn, knowledge of how all of the instruments work and play at a basic level, as well having the skill of a highly accomplished musician and conductor. If this seems like asking an immense amount of one person, it is. However, in order to correctly and accurately convey the sophisticated and seemingly "intangible" art form to students, we need to have the ability to expose them to the entire "world" of music, not only one of its many facets.
Moreover, the aspect of individual personality is just as significant. Being an effective educator requires one to be responsible, resourceful, hard-working, and highly dedicated to the profession, one in which you must be prepared for a myriad of unexpected circumstances and challenges. More importantly, truly effective teachers are honest, caring, and supportive of all students, regardless of level or ability. Music is a vulnerable art that can make students who may initially struggle and are easily frustrated be quick to want to give it up, and this is not what we want for our programs or for individual students. Instead, it is our job to provide a comfortable learning environment and give students every possible aid to reach their full potential and realize music's unique place within their daily lives - a feat that requires a vast amount of love and patience on our parts.

2. What should students learn as part of k-12 instrumental instruction?

Most obviously, students should learn how to play their chosen instrument to the best of their ability, which includes learning basic rudiments, playing expressively with a good tone, good sight reading and music reading skills, and learning to play in an ensemble. However, beyond this, the fact that students should additionally have a basic knowledge of music history, music theory and form, composition and improvisation, be able to sing using the head voice/match and audiate pitches, respond to and analyze music, and be able to articulate why music is important to them it is often over-looked. If we truly want our students to become well-rounded musicians, whether they go on to be professionals in the future or just use music as an anjoyable hobby, students need to understand how music works far beyond the mechanics of the instrument they play in our ensembles.

3. Why should music be part of school curricula?

While studies have proven that involvement in music ultimately makes kids better students academically, there are far greater reasons as to why music has a critical role within school curricula, and being able to effectively justify them is something all music educators should be capable of doing. Besides all of the musical benefits of developing the skill of playing an instrument, the extra-musical skills that studying music provides are invaluable and can be applied to almost every facet of daily life, especially for children as they grow and develop through the trying time known as "adolescence". These include helping to improve social development and communication and cooperation, self-reflection and helping students to be in touch with their own emotions, creativity, and coordination and other physical benefits among others. Over all, these ultimately help foster a passion that can be enjoyed for an entire lifetime.