Verfügbarkeit: Teaching instrumental music

Teaching instrumental music: developing the complete band program

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Bibliographische Detailangaben
1. Verfasser:	Jagow, Shelley (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Galesville, MD Meredith Music Publ. 2007
Ausgabe:	1. ed.
Schlagworte:	Bands (Music) > Instruction and study Instrumental music > Instruction and study Ensembleleitung Musikerziehung Ratgeber
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	"HL00317167"--P. [4] of cover. Includes bibliographical references (p. 289-295) and index
Beschreibung:	XIV, 300 S. Notenbeisp. 28 cm
ISBN:	1574630814

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246	1	3	\|a Developing the complete band program
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Datensatz im Suchindex

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adam_text	Contents Introduction .............................. χ Acknowledgments ........................xiv PART I: Curriculum .....................1 Introduction ....................1 Chapter 1: Scope and Sequence .............2 Spiral Curriculum ................5 LEARNING ACTIVITIES: Spiral Curriculum ...................9 Chapter 2: Music Curriculum Standards .......10 Why Do We Need Standards? ......10 A Look at Music Curriculum Standards in Canada ...........10 A Look at Music Curriculum Standards in the United States . . .10 National Standards: More Resources ..............12 LEARNING ACTIVITIES: Music Curriculum Standards .....13 Music Education versus Music Performance Curriculum — Is There a Difference? ................14 Chapter 3: Technology s Role in Music Curriculum ....................16 Selected Resources for Music and Technology ..................16 What Can Software Products Do for Your Instrumental Program? ......17 Where Do I Begin? ..............19 How Do 1 Find Funding for Technology Assistance? ........19 LEARNING ACTIVITIES: Technology s Role in Music Curriculum ........19 PART II: Then & Now of North American Wind Bands .................21 Introduction ...................21 Chapter 4: Snapshot of the PAST ............22 Early European Influence ..........22 Beginnings in North America .......22 Factors Influencing the Standardization of Band Instrumentation ........23 Founding North American Songs of Patriotic Spirit ................26 Evolution of Significant Band Events, Organizations, and Ensembles. . . .26 Chapter 5: Snapshot of the FUTURE ..........29 LEARNING ACTIVITIES: Past and Future of North American Wind Bands .....................30 PART III: The Anatomy of Music Making 31 Introduction ...................31 SECTION I: Respiratory System .............33 Tone Quality, Balance and Intonation ...................33 Chapter 6: Tone Quality ...................34 Tonal Concept of Director and Student ....................34 Tonal Ability of Student ...........38 Long Tones ....................40 Tonal Quality and Audiation ........40 Tonal Quality in Relation to Connecting Mind and Body ......42 LEARNING ACTIVITIES: Section I — Respiratory System (Tone Quality) . .44 Chapter 7: Balance and Blend ..............46 Blend by Color .................46 Color and Texture Influenced by Nature of Repertoire ................46 The Fundamental is the Basic Law of Sound ....................47 Pyramid of Ensemble Balance ......47 Double-Pyramid .................48 Balanced Instrumentation .........49 Planning for Balanced Instrumentation50 Instrument Transfers and Substitutes 51 Balance by Part Rotation ..........52 Balance by Note Length ...........52 Equipment Selection and Blend .....53 Volume and Balance .............55 LEARNING ACTIVITIES: Section I— Respiratory System (Balance and Blend) .....................56 iii IV CONTENTS Chapter 8: Pitch/Intonation ...............57 Verbal Learning Style (Left-Brain) ... .57 Visual/Aural Learning Style (Right-Brain) .................57 Kinesthetic Learning Style .........59 Just or Pure Interval Tuning versus Equal Tempered Tuning .........59 Interval Relationships of Tones in the Harmonic Series ...........60 Pure Tuning of Ensemble Chords . . . .61 I Said Listen! ... But What Exactly Are We To Listen For? ..........62 Tuning — An Ongoing Process .......63 Factors Affecting Pitch ............63 Clarinet Controversy .............65 Brass Pitch and the Harmonic Series .....................66 Best Tuning Notes for Specific Instruments .................66 Tuning the Ensemble .............69 Intonation Tendencies ............71 Monitoring Correct Embouchure Pitch ......................72 Singing as a Means to Improving Intonation ...................72 Interval Recognition .............73 All I Really Need to Know I Learned in Chamber Music Experience. .. .73 Pitch Monitoring ................74 Intonation Training Software .......74 Warm-Up .....................76 Components of the Warm-Up .......77 LEARNING ACTIVITIES: Section I— Respiratory System (Pitch/ Intonation) ..................78 SECTION II: Circulatory System ..............80 Chapter 9: Pulse and Rhythm ..............80 Language of Rhythm .............80 Pulse and Beat .................81 Rhythmic Matrix ................83 Dragging or Rushing Tempos and Rhythms ....................85 Poor Entrances and Releases ......85 A Pencil is Worth its Weight in teáé Gold. ......................86 Rhythmic Air ...................87 Ruler of Time (Ed Lisk) ...........89 Ensemble Releases .............90 Chapter 10: Duration ......................92 Verbal/Visual/ Kinesthetic Learning Styles .....................92 Counting Systems ...............93 Tempos that Rush or Drag .........95 To Foot Tap or Not to Foot Tap? That is the Question ............96 Chapter 11: Teaching Pulse and Rhythms ......98 Verbal/Visual Learning Styles ......98 Teaching Dotted Rhythms .........99 Teaching Consecutive Eighths or Sixteenths .................100 Teaching the Triplet .............101 Teaching Syncopation ...........102 Teaching the Hemiola ...........102 Teaching Rhythmic Silence ........103 LEARNING ACTIVITIES: Section II— Circulatory System (Pulse and Rhythm) ................104 SECTION III: The Brain ....................105 Chapter 12: Technique, Style and Articulation . .105 Stylistic Listening ..............107 Accents .....................108 LEARNING ACTIVITIES: Section Ill- Brain (Style and Articulation) . . . .109 SECTION IV: The Heart ...................110 Musicianship, Spirit and Soul ......110 Chapter 13: On Musical Phrase ............. Ill Phrasing by Melodic Contour ......112 Chapter 14: On Interpretation: ..............114 Selected Resources: The Wind Band Conductor And Expressive Musicianship ...............115 On Conducting Gestures .........115 Chapter 15: On Teaching Emotion to Young Musicians ...................116 How to Open Your Heart .........117 Chapter 16: Suggestions for Encouraging the Heart .......................118 Encouragement Index (El) ........121 On Dynamics .................123 On Tempo ....................124 On Style .....................125 Points to Consider in Musical Interpretation ...............126 CONTENTS ■ v Chapter 17: March Style ..................128 March Style Do s & Don ts ......129 LEARNING ACTIVITIES: Section IV— Heart .....................130 PART IV: Motivation ...................131 Introduction ..................131 Chapter 18: Motivation for a New Century .....132 Rondo Motivation: Understanding the Formal Structure ..........133 Peer-Cable ...................133 Parent-Cable ..................134 Teacher-Cable .................135 Chapter 19: Intrinsic and Extrinsic Motivation . .137 Incentive Motivation ............139 Fear Motivation ................139 Conformity and Nonconformity . . . .140 Chapter 20: Motivating from the Heart .......141 Fuel of Encouragement ..........141 Random Recognition ............142 Self-Esteem ..................142 No Pain — No Gain ..............143 Chapter 21: 7 Steps to Opening a Motivational Bank Account with Your Music Program .....................144 Step 1: Placing Value on the Music Program (Set Clear Standards). . .144 Step 2: Select High Return Mutual Funds (Expect the Best) ............144 Step 3: Monitor the Interest Returned (Pay Attention) ..............145 Step 4: Monitor the Stocks that add Portfolio Value (Personalize Recognition) ................145 Step 5: Record Your Monthly Investment Statements (Tell the Story) .....145 Step 6: Share the Profit (Celebrate Together) ..................146 Step 7: Continuous Smart Investing (Set the Example) ...............146 Chapter 22: What Makes a Great Motivational Teacher? ....................148 What Type of Motivator Are You? . . .149 On Commitment ...............150 Fire in the Belly ................150 You Become What You Teach and You Teach What You Are 151 LEARNING ACTIVITIES: Motivation . .153 PART V: Program Organization and Administrative Leadership .......155 Introduction ..................155 Chapter 23: Assessment and Evaluation ......156 Is there a difference between Assessment and Evaluation? ... .156 Why Evaluate? ................156 Assessment of Student ..........157 Assessment of Teacher ..........157 Performance Evaluation: Artistic Thinking-ln-Action ............159 Performance Portfolio ...........160 Objective Evaluation ............161 Subjective Evaluation ...........161 More Tools for Evaluation ........163 Complications in Evaluation .......165 LEARNING ACTIVITIES: Assessment and Evaluation ..............166 Chapter 24: Rehearsal Plans ..............167 6TÉPŽ to Constructing Instrumental Rehearsal Plans .............167 б = žcore Study ...............167 Interpretive Score Study and Marking ...................168 Constructing a Score Map ........170 Cognitive Domain ..............170 Psychomotor Domain ...........170 Affective Domain ..............172 LEARNING ACTIVITIES: Score Study and Marking ...................177 Τ = Tswbat (t he student will be able to...) .....................178 Writing Measurable Objectives .....178 LEARNING ACTIVITIES: Writing Objectives .................181 í = Know Your Ensemble .........182 LEARNING ACTIVITIES: Know Your Ensemble ..................182 P = Identify Potential Problems .....182 LEARNING ACTIVITIES: Identify Potential Problems ...........183 ž = Identify Solutions to the Problems ..................184 LEARNING ACTIVITIES: Identify Solutions to the Problems ......184 Rehearsal Methods .............185 Variations on the Traditional Rehearsal Methods ...........186 Rehearsal Structure ............187 Instructional Style ..............188 Pacing Structure ...............189 vi ■ CONTENTS Finding Your Own Style ..........189 Sight Reading .................189 Chapter 25: Selecting Repertoire ...........191 Diversity in Repertoire ...........191 Repertoire Lists ...............192 In Quest of Quality Music .........193 Reason for Concern — What is Your Taste? ....................195 What is Good Music? ...........196 The Q-Factor, Determining Quality . .200 Selecting Music — Can my band even play this piece? .............202 Chapter 26: Rehearsal Facilities and Equipment 203 Preparing the Rehearsal Environment ................204 Facilities and Critical Factors ......204 Performance Area ..............205 Selected Resources: Music Facilities ..............205 Music Library .................206 Chapter 27: Concert Programming ..........208 Programming for a Dinner Party ... .208 Writing Program Notes ...........210 Selected Resources: Researching Program Notes ..............211 Printing the Program ............211 Concert Etiquette ..............212 Commissions .................212 Selecting Repertoire for Beginning Band .....................214 Chamber Music ...............215 Food for Thought ...............215 LEARNING ACTIVITIES: Selecting Repertoire & Concert Programming ...............215 Chapter 28: Auditions and Instrumental Seating .....................217 Chair Placement ...............217 Challenges ...................217 Seating Arrangements ...........218 Common Seating Plans ..........219 Chapter 29: Recruiting and Retention ........220 Instrumental Infomercials ........220 Steps for Recruiting Beginning Instrumentalists .............222 Contact Elementary Teachers ......222 Classroom Visit #1: Introduction .. .222 Classroom Visit #2: Recruiting Concert ...................223 Classroom Visit #3: Instrument Try-Outs ...................223 Meeting #4: Parent Information Night .....................224 To Be Or Not to Be? ............225 New Student Registration ........226 Balanced Instrumentation ........226 Suggested Guide to Balanced Beginning Band Instrumentation .227 Getting Started! ...............228 Head Start Workshop ...........228 Retention ....................228 Rehearsal ....................228 Enthusiasm ..................228 Teacher Communication .........229 Encouragement ................229 Nonpartisanship ...............229 Team .......................229 Image ......................229 Observable ...................229 Nutritious ....................229 Chapter 30: Budget and Program Funding .....231 Short Term — Annual Budget Items . .231 Long-Term Budget Items .........233 Budget Presentation ............233 Fundraising ...................233 LEARNING ACTIVITIES: Budget and Program Funding .............234 Chapter 31: Support Personnel .............235 Student and Parent Music Council . .235 10 Easy Weeks to Professional Artistry—(Whatever?) .........236 Okay, So If I m Not an Expert on Every Instrument, Then How Do I Assist the Students? ..........237 Host a Head-Start Workshop; Colleagues Helping Colleagues . .238 Instructional Videos ............239 Invite a University Ensemble ......239 Message Boards ...............239 LEARNING ACTIVITIES: Support Personnel ..................240 Chapter 32: Advocacy and Public Relations . . .241 Selected Resources: Music Advocacy ..................244 Public Relations ...............245 LEARNING ACTIVITIES: Advocacy and Public Relations .............246 CONTENTS vii Chapter 33: Festivals, Camps and Workshops . .247 Festivals ....................247 Music Workshops and Camps .....247 Host Your Own Workshop .........247 Chapter 34: Organization and Time Management .................249 Inventory ....................249 Attendance Keeping ............250 Team Teaching ................250 Program Handbook; Newsletters; Communication ..............251 LEARNING ACTIVITIES: Organization and Time Management ........252 Chapter 35: Practicing ...................253 A Two-Sided Coin: Accuracy and Musicianship ...............254 More is better, right? ............255 Paper-Clip Method ..............256 The Tortoise and the Hare ........256 Practice Journal ...............257 Priority Pyramid ................257 Scales Are Like Vitamins — The Scale Matrix .............258 LEARNING ACTIVITIES: Practicing . . .259 Chapter 36: Music Copyright ...............260 Introduction ................. .260 What is Copyright? .............260 Should I Register or Publish My Work in Order to Protect It? . .260 Fair Use .....................261 Public Domain and Duration of Copyright ..................261 Attaining Permission to Arrange a Copyrighted Musicai Work ......261 Copying Music ................262 Photocopying Books and Periodicals .................263 Copying Music Recordings ........263 Recording Copyrighted Music with Your Own Performing Ensemble . .264 Mechanical Licensing and Royalties .........;........264 Performing Copyrighted Music with Your Own Performing Ensemble . .264 Performing Rights Organizations . . .265 Music and the Internet ..........265 Digital Licensing ...............266 Limited Quantity Licensing ........266 Infringement Penalties ...........266 Copyright Forms ...............266 Selected Copyright Resources .....267 LEARNING ACTIVITIES: Music Copyright ................ . .268 Chapter 37: Classroom Management and Discipline ...................269 Introduction ..............------269 Classroom Management Methods . .270 Selected Resources: Classroom Management ...............271 Chapter 38: The Many Hats We Wear ........272 Teacher .....................272 Conductor ...................272 Administrator .................272 Committee Member ............273 Counselor ....................273 PART VI: Please Mind Your P s and Q s .....275 Introduction ..................275 Chapter 39: P-l: Professional Growth ........276 Professional Membership ........276 Evaluation ...................276 Continuing Study ...............276 Chapter 40: P-2: Personal Growth ...........278 Work Hard—Play Hard ...........278 Personal Awareness ............278 Family and Friends .............279 Self ........................279 Chapter 41: Q-l: Intelligence Quotient ........280 Philosophical Views .............280 Nurturing I.Q ..................280 Chapter 42: Q-2: Emotional Quotient .........282 Philosophical Views .............282 Nurturing Your Own E.Q ..........283 Chapter 43: Nurturing Your Ensemble s E.Q .....285 Do You Fear That Your Students Are Emotionally Tone-Deaf? .....285 Using E.Q. to be an Artful Ensemble Manager ...........286 LEARNING ACTIVITIES: Please Mind Your P s and Q s ..........287 Final Thoughts from the Author ..............288 Bibliography ...........................289 Index .................................296 viii ■ CONTENTS LIST OF FIGURES Figure 1: Cognitive Taxonomy — Activities Form ... .9 Figure 2: Curriculum Planning Form ...........13 Figure 3: Summarized Phases of the Development of the Wind Band .......28 Figure 4: The Anatomy of Music-Making ........31 Figure 5: Double-Pyramid Balance ............48 Figure 6: Pyramid Balance (Simplified for Younger Bands) ........................48 Figure 7: Correct and Incorrect Pyramid Ensemble Balance ................49 Figure 8: Just Intonation Chart ..............62 Figure 9: Ruler of Time ....................89 Figure 10: Melodic Contour Pattern ...........113 Figure 11: March Form ....................128 Figure 12: Rondo-Motivation—ABACADA .......134 Figure 13: Music Performance Assessment .....162 Figure 14: Macro-Micro-Macro Process of Study . .168 Figure 15: Conducting Icons ................171 Figure 16: Master Flow Chart (score map) ......173 Figure 17: Score Map—COGNITIVE ...........174 Figure 18: Score Map—PSYCHOMOTOR .......175 Figure 19: Score Map—AFFECTIVE ...........176 Figure 20: M & M: Macro and Micro Rehearsal Processing .....................185 Figure 21: Common Seating Plans ............219 Figure 22: Musical Muffins Recipe : (A Beginning Instrumental Practice Plan) .........253 Figure 23: Priority Pyramid .................257 Figure 24: Quadrants of P s and Q s ..........275 LIST OF TABLES Table 1: Recommended Curriculum Scope of Music Fundamentals and Elements .....2 Table 2: Taxonomy of the Psychomotor Domain . . .4 Table 3: Taxonomy of the Affective Domain ......4 Table 4: Benjamin Bloom s Cognitive Taxonomy. . .7 Table 5: Levels of Musicianship ..............8 Table 6: Summary of Criteria for Program Standards — Canada ...............11 Table 7: Summary of Criteria for Program Standards—United States ..........12 Table 8: Recommended Instrumental CD s Form .........................35 Table 9: Recommended Quality Classical Recording Labels .................36 Table 10: Factors Affecting Tone .............38 Table 11: Recommended Supplementary CD s Form .........................45 Table 12: Suggested Guide to Balanced Instrumentation ..................51 Table 13: Recommended Instrument Transfers . . .51 Table 14: Recommended Instrument Substitutions ....................52 Table 15: Recommended Mouthpieces, Ligatures, and Reeds for Intermediate — Advanced Instrumentalists ..................54 Table 16: Interval Relationships ..............61 Table 17: Factors Affecting Pitch .............63 Table 18: Recommended Tuning Notes .........67 Table 19: Suggested 5 Minute Ensemble Tuning Routine ........................69 Table 20: Recommended Pitch Production on Mouthpiece/Reed Alone ............72 Table 21: Rhythmic Matrix ..................84 Table 22: Encouragement Index .............121 Table 23: Encouragement Index Scores .......122 Table 24: Criteria for Choosing Tempos .......124 Table 25: Key Concepts for Musical Interpretation ...................126 Table 26: Examples of Intrinsic and Extrinsic Motivation in Music ..............138 Table 27: Types of Motivators ..............149 Table 28: Motivational Methods and Outcomes . .149 Table 29: Commitment and Leadership Regulations of the Huns ...........150 Table 30: Activities for Motivating the Instrumental Music Program ........151 Table 31: Qualities and Competencies for Music Educators .....................158 Table 32: Summary of the Score Study Process ......................169 Table 33: Bloom s Taxonomy of the Cognitive Domain .......................179 Table 34: Taxonomy of the Affective Domain .. . .179 Table 35: Taxonomy of the Psychomotor Domain .......................179 Table 36: Rehearsal Structure Guide .........188 Table 37: Bibliography of Selected Band Repertoire Resources .............193 Table 38: Criteria for Judgments of Repertoire of Serious Artistic Merit .............197 Table 39: Compositions Familiar to All Twenty Evaluators Receiving the Maximum . . .198 Table 40: Compositions Familiar to All Twenty Evaluators Receiving the Required Minimum Percentage of Points Listed by Percentages of Maximum Possible Points ........................199 Table 41: Determining the Q-Factor by Using the Quality Meter ..................201 CONTENTS ix Table 42: Fundamental Factors in Grade Appropriateness................. 202 Table 43: Making Improvements to a Rehearsal Room ........................203 Table 44: Supplementary Issues in Measuring Programming Needs ..............208 Table 45: Criteria for Selecting Beginning Band Repertoire at the Beginning Level . . . .214 Table 46: Criteria for Selecting Beginning Band Repertoire at the Advanced Level . . . .214 Table 47: Repertoire Project ...............216 Table 48: Suggested Guide To Balanced Beginning Band Instrumentation .....227 Table 49: Scale Matrix ....................258 Table 50: Permissible Fair Use for Photocopying Music ..............262 Table 51: Prohibited Actions for Photocopying Music ........................262 Table 52: Guidelines for Photocopying Music Books and Periodicals ............263 Table 53: Reproducing Sound Recordings ......263 Table 54: Guidelines for Recording Your Performing Ensemble .............264
adam_txt	Contents Introduction . χ Acknowledgments .xiv PART I: Curriculum .1 Introduction .1 Chapter 1: Scope and Sequence .2 Spiral Curriculum .5 LEARNING ACTIVITIES: Spiral Curriculum .9 Chapter 2: Music Curriculum Standards .10 Why Do We Need Standards? .10 A Look at Music Curriculum Standards in Canada .10 A Look at Music Curriculum Standards in the United States . . .10 National Standards: More Resources .12 LEARNING ACTIVITIES: Music Curriculum Standards .13 Music Education versus Music Performance Curriculum — Is There a Difference? .14 Chapter 3: Technology's Role in Music Curriculum .16 Selected Resources for Music and Technology .16 What Can Software Products Do for Your Instrumental Program? .17 Where Do I Begin? .19 How Do 1 Find Funding for Technology Assistance? .19 LEARNING ACTIVITIES: Technology's Role in Music Curriculum .19 PART II: 'Then & Now' of North American Wind Bands .21 Introduction .21 Chapter 4: Snapshot of the PAST .22 Early European Influence .22 Beginnings in North America .22 Factors Influencing the Standardization of Band Instrumentation .23 Founding North American Songs of Patriotic Spirit .26 Evolution of Significant Band Events, Organizations, and Ensembles. . . .26 Chapter 5: Snapshot of the FUTURE .29 LEARNING ACTIVITIES: Past and Future of North American Wind Bands .30 PART III: The Anatomy of Music Making 31 Introduction .31 SECTION I: Respiratory System .33 Tone Quality, Balance and Intonation .33 Chapter 6: Tone Quality .34 Tonal Concept of Director and Student .34 Tonal Ability of Student .38 Long Tones .40 Tonal Quality and Audiation .40 Tonal Quality in Relation to Connecting Mind and Body .42 LEARNING ACTIVITIES: Section I — Respiratory System (Tone Quality) . .44 Chapter 7: Balance and Blend .46 Blend by Color .46 Color and Texture Influenced by Nature of Repertoire .46 "The Fundamental is the Basic Law of Sound" .47 Pyramid of Ensemble Balance .47 Double-Pyramid .48 Balanced Instrumentation .49 Planning for Balanced Instrumentation50 Instrument Transfers and Substitutes 51 Balance by Part Rotation .52 Balance by Note Length .52 Equipment Selection and Blend .53 Volume and Balance .55 LEARNING ACTIVITIES: Section I— Respiratory System (Balance and Blend) .56 iii IV CONTENTS Chapter 8: Pitch/Intonation .57 Verbal Learning Style (Left-Brain) . .57 Visual/Aural Learning Style (Right-Brain) .57 Kinesthetic Learning Style .59 Just or Pure Interval Tuning versus Equal Tempered Tuning .59 Interval Relationships of Tones in the Harmonic Series .60 Pure Tuning of Ensemble Chords . . . .61 I Said Listen! . But What Exactly Are We To Listen For? .62 Tuning — An Ongoing Process .63 Factors Affecting Pitch .63 Clarinet Controversy .65 Brass Pitch and the Harmonic Series .66 Best Tuning Notes for Specific Instruments .66 Tuning the Ensemble .69 Intonation Tendencies .71 Monitoring Correct Embouchure Pitch .72 Singing as a Means to Improving Intonation .72 Interval Recognition .73 "All I Really Need to Know I Learned in" Chamber Music Experience. . .73 Pitch Monitoring .74 Intonation Training Software .74 Warm-Up .76 Components of the Warm-Up .77 LEARNING ACTIVITIES: Section I— Respiratory System (Pitch/ Intonation) .78 SECTION II: Circulatory System .80 Chapter 9: Pulse and Rhythm .80 Language of Rhythm .80 Pulse and Beat .81 Rhythmic Matrix .83 Dragging or Rushing Tempos and Rhythms .85 Poor Entrances and Releases .85 A Pencil is Worth its Weight in teáé Gold. .86 Rhythmic Air .87 Ruler of Time (Ed Lisk) .89 Ensemble Releases .90 Chapter 10: Duration .92 Verbal/Visual/ Kinesthetic Learning Styles .92 Counting Systems .93 Tempos that Rush or Drag .95 To Foot Tap or Not to Foot Tap? That is the Question .96 Chapter 11: Teaching Pulse and Rhythms .98 Verbal/Visual Learning Styles .98 Teaching Dotted Rhythms .99 Teaching Consecutive Eighths or Sixteenths .100 Teaching the Triplet .101 Teaching Syncopation .102 Teaching the Hemiola .102 Teaching Rhythmic Silence .103 LEARNING ACTIVITIES: Section II— Circulatory System (Pulse and Rhythm) .104 SECTION III: The Brain .105 Chapter 12: Technique, Style and Articulation . .105 Stylistic Listening .107 Accents .108 LEARNING ACTIVITIES: Section Ill- Brain (Style and Articulation) . . . .109 SECTION IV: The Heart .110 Musicianship, Spirit and Soul .110 Chapter 13: On Musical Phrase . Ill Phrasing by Melodic Contour .112 Chapter 14: On Interpretation: .114 Selected Resources: The Wind Band Conductor And Expressive Musicianship .115 On Conducting Gestures .115 Chapter 15: On Teaching Emotion to Young Musicians .116 How to Open Your Heart .117 Chapter 16: Suggestions for Encouraging the Heart .118 Encouragement Index (El) .121 On Dynamics .123 On Tempo .124 On Style .125 Points to Consider in Musical Interpretation .126 CONTENTS ■ v Chapter 17: March Style .128 March Style "Do's & Don'ts" .129 LEARNING ACTIVITIES: Section IV— Heart .130 PART IV: Motivation .131 Introduction .131 Chapter 18: Motivation for a New Century .132 Rondo Motivation: Understanding the Formal Structure .133 Peer-Cable .133 Parent-Cable .134 Teacher-Cable .135 Chapter 19: Intrinsic and Extrinsic Motivation . .137 Incentive Motivation .139 Fear Motivation .139 Conformity and Nonconformity . . . .140 Chapter 20: Motivating from the Heart .141 Fuel of Encouragement .141 Random Recognition .142 Self-Esteem .142 No Pain — No Gain .143 Chapter 21: 7 Steps to Opening a Motivational Bank Account with Your Music Program .144 Step 1: Placing Value on the Music Program (Set Clear Standards). . .144 Step 2: Select High Return Mutual Funds (Expect the Best) .144 Step 3: Monitor the Interest Returned (Pay Attention) .145 Step 4: Monitor the Stocks that add Portfolio Value (Personalize Recognition) .145 Step 5: Record Your Monthly Investment Statements (Tell the Story) .145 Step 6: Share the Profit (Celebrate Together) .146 Step 7: Continuous Smart Investing (Set the Example) .146 Chapter 22: What Makes a Great Motivational Teacher? .148 What Type of Motivator Are You? . . .149 On Commitment .150 Fire in the Belly .150 You Become What You Teach and You Teach What You Are 151 LEARNING ACTIVITIES: Motivation . .153 PART V: Program Organization and Administrative Leadership .155 Introduction .155 Chapter 23: Assessment and Evaluation .156 Is there a difference between Assessment and Evaluation? . .156 Why Evaluate? .156 Assessment of Student .157 Assessment of Teacher .157 Performance Evaluation: Artistic Thinking-ln-Action .159 Performance Portfolio .160 Objective Evaluation .161 Subjective Evaluation .161 More Tools for Evaluation .163 Complications in Evaluation .165 LEARNING ACTIVITIES: Assessment and Evaluation .166 Chapter 24: Rehearsal Plans .167 6TÉPŽ to Constructing Instrumental Rehearsal Plans .167 б = žcore Study .167 Interpretive Score Study and Marking .168 Constructing a Score Map .170 Cognitive Domain .170 Psychomotor Domain .170 Affective Domain .172 LEARNING ACTIVITIES: Score Study and Marking .177 Τ = Tswbat (t he student will be able to.) .178 Writing Measurable Objectives .178 LEARNING ACTIVITIES: Writing Objectives .181 í = Know Your Ensemble .182 LEARNING ACTIVITIES: Know Your Ensemble .182 P = Identify Potential Problems .182 LEARNING ACTIVITIES: Identify Potential Problems .183 ž = Identify Solutions to the Problems .184 LEARNING ACTIVITIES: Identify Solutions to the Problems .184 Rehearsal Methods .185 Variations on the Traditional Rehearsal Methods .186 Rehearsal Structure .187 Instructional Style .188 Pacing Structure .189 vi ■ CONTENTS Finding Your Own Style .189 Sight Reading .189 Chapter 25: Selecting Repertoire .191 Diversity in Repertoire .191 Repertoire Lists .192 In Quest of Quality Music .193 Reason for Concern — What is Your Taste? .195 What is Good Music? .196 The Q-Factor, Determining Quality . .200 Selecting Music — Can my band even play this piece? .202 Chapter 26: Rehearsal Facilities and Equipment 203 Preparing the Rehearsal Environment .204 Facilities and Critical Factors .204 Performance Area .205 Selected Resources: Music Facilities .205 Music Library .206 Chapter 27: Concert Programming .208 Programming for a Dinner Party . .208 Writing Program Notes .210 Selected Resources: Researching Program Notes .211 Printing the Program .211 Concert Etiquette .212 Commissions .212 Selecting Repertoire for Beginning Band .214 Chamber Music .215 Food for Thought .215 LEARNING ACTIVITIES: Selecting Repertoire & Concert Programming .215 Chapter 28: Auditions and Instrumental Seating .217 Chair Placement .217 Challenges .217 Seating Arrangements .218 Common Seating Plans .219 Chapter 29: Recruiting and Retention .220 Instrumental Infomercials .220 Steps for Recruiting Beginning Instrumentalists .222 Contact Elementary Teachers .222 Classroom Visit #1: Introduction . .222 Classroom Visit #2: Recruiting Concert .223 Classroom Visit #3: Instrument Try-Outs .223 Meeting #4: Parent Information Night .224 To Be Or Not to Be? .225 New Student Registration .226 Balanced Instrumentation .226 Suggested Guide to Balanced Beginning Band Instrumentation .227 Getting Started! .228 Head Start Workshop .228 Retention .228 Rehearsal .228 Enthusiasm .228 Teacher Communication .229 Encouragement .229 Nonpartisanship .229 Team .229 Image .229 Observable .229 Nutritious .229 Chapter 30: Budget and Program Funding .231 Short Term — Annual Budget Items . .231 Long-Term Budget Items .233 Budget Presentation .233 Fundraising .233 LEARNING ACTIVITIES: Budget and Program Funding .234 Chapter 31: Support Personnel .235 Student and Parent Music Council . .235 10 Easy Weeks to Professional Artistry—(Whatever?) .236 Okay, So If I'm Not an Expert on Every Instrument, Then How Do I Assist the Students? .237 Host a Head-Start Workshop; Colleagues Helping Colleagues . .238 Instructional Videos .239 Invite a University Ensemble .239 Message Boards .239 LEARNING ACTIVITIES: Support Personnel .240 Chapter 32: Advocacy and Public Relations . . .241 Selected Resources: Music Advocacy .244 Public Relations .245 LEARNING ACTIVITIES: Advocacy and Public Relations .246 CONTENTS vii Chapter 33: Festivals, Camps and Workshops . .247 Festivals .247 Music Workshops and Camps .247 Host Your Own Workshop .247 Chapter 34: Organization and Time Management .249 Inventory .249 Attendance Keeping .250 Team Teaching .250 Program Handbook; Newsletters; Communication .251 LEARNING ACTIVITIES: Organization and Time Management .252 Chapter 35: Practicing .253 A Two-Sided Coin: Accuracy and Musicianship .254 More is better, right? .255 Paper-Clip Method .256 The Tortoise and the Hare .256 Practice Journal .257 Priority Pyramid .257 Scales Are Like Vitamins — The Scale Matrix .258 LEARNING ACTIVITIES: Practicing . . .259 Chapter 36: Music Copyright .260 Introduction . .260 What is Copyright? .260 Should I Register or Publish My Work in Order to Protect It? . .260 Fair Use .261 Public Domain and Duration of Copyright .261 Attaining Permission to Arrange a Copyrighted Musicai Work .261 Copying Music .262 Photocopying Books and Periodicals .263 Copying Music Recordings .263 Recording Copyrighted Music with Your Own Performing Ensemble . .264 Mechanical Licensing and Royalties .;.264 Performing Copyrighted Music with Your Own Performing Ensemble . .264 Performing Rights Organizations . . .265 Music and the Internet .265 Digital Licensing .266 Limited Quantity Licensing .266 Infringement Penalties .266 Copyright Forms .266 Selected Copyright Resources .267 LEARNING ACTIVITIES: Music Copyright . . .268 Chapter 37: Classroom Management and Discipline .269 Introduction .------269 Classroom Management Methods . .270 Selected Resources: Classroom Management .271 Chapter 38: The Many Hats We Wear .272 Teacher .272 Conductor .272 Administrator .272 Committee Member .273 Counselor .273 PART VI: Please Mind Your P's and Q's .275 Introduction .275 Chapter 39: P-l: Professional Growth .276 Professional Membership .276 Evaluation .276 Continuing Study .276 Chapter 40: P-2: Personal Growth .278 Work Hard—Play Hard .278 Personal Awareness .278 Family and Friends .279 Self .279 Chapter 41: Q-l: Intelligence Quotient .280 Philosophical Views .280 Nurturing I.Q .280 Chapter 42: Q-2: Emotional Quotient .282 Philosophical Views .282 Nurturing Your Own E.Q .283 Chapter 43: Nurturing Your Ensemble's E.Q .285 Do You Fear That Your Students Are Emotionally Tone-Deaf? .285 Using E.Q. to be an Artful Ensemble Manager .286 LEARNING ACTIVITIES: Please Mind Your "P's" and "Q's" .287 Final Thoughts from the Author .288 Bibliography .289 Index .296 viii ■ CONTENTS LIST OF FIGURES Figure 1: Cognitive Taxonomy — Activities Form . .9 Figure 2: Curriculum Planning Form .13 Figure 3: Summarized Phases of the Development of the Wind Band .28 Figure 4: The Anatomy of Music-Making .31 Figure 5: Double-Pyramid Balance .48 Figure 6: Pyramid Balance (Simplified for Younger Bands) .48 Figure 7: Correct and Incorrect Pyramid Ensemble Balance .49 Figure 8: Just Intonation Chart .62 Figure 9: Ruler of Time .89 Figure 10: Melodic Contour Pattern .113 Figure 11: March Form .128 Figure 12: Rondo-Motivation—ABACADA .134 Figure 13: Music Performance Assessment .162 Figure 14: Macro-Micro-Macro Process of Study . .168 Figure 15: Conducting Icons .171 Figure 16: Master Flow Chart (score map) .173 Figure 17: Score Map—COGNITIVE .174 Figure 18: Score Map—PSYCHOMOTOR .175 Figure 19: Score Map—AFFECTIVE .176 Figure 20: M & M: Macro and Micro Rehearsal Processing .185 Figure 21: Common Seating Plans .219 Figure 22: "Musical Muffins Recipe": (A Beginning Instrumental Practice Plan) .253 Figure 23: Priority Pyramid .257 Figure 24: Quadrants of P's and Q's .275 LIST OF TABLES Table 1: Recommended Curriculum Scope of Music Fundamentals and Elements .2 Table 2: Taxonomy of the Psychomotor Domain . . .4 Table 3: Taxonomy of the Affective Domain .4 Table 4: Benjamin Bloom's Cognitive Taxonomy. . .7 Table 5: Levels of Musicianship .8 Table 6: Summary of Criteria for Program Standards — Canada .11 Table 7: Summary of Criteria for Program Standards—United States .12 Table 8: Recommended Instrumental CD's Form .35 Table 9: Recommended Quality Classical Recording Labels .36 Table 10: Factors Affecting Tone .38 Table 11: Recommended Supplementary CD's Form .45 Table 12: Suggested Guide to Balanced Instrumentation .51 Table 13: Recommended Instrument Transfers . . .51 Table 14: Recommended Instrument Substitutions .52 Table 15: Recommended Mouthpieces, Ligatures, and Reeds for Intermediate — Advanced Instrumentalists .54 Table 16: Interval Relationships .61 Table 17: Factors Affecting Pitch .63 Table 18: Recommended Tuning Notes .67 Table 19: Suggested 5 Minute Ensemble Tuning Routine .69 Table 20: Recommended Pitch Production on Mouthpiece/Reed Alone .72 Table 21: Rhythmic Matrix .84 Table 22: Encouragement Index .121 Table 23: Encouragement Index Scores .122 Table 24: Criteria for Choosing Tempos .124 Table 25: Key Concepts for Musical Interpretation .126 Table 26: Examples of Intrinsic and Extrinsic Motivation in Music .138 Table 27: Types of Motivators .149 Table 28: Motivational Methods and Outcomes . .149 Table 29: Commitment and Leadership Regulations of the Huns .150 Table 30: Activities for Motivating the Instrumental Music Program .151 Table 31: Qualities and Competencies for Music Educators .158 Table 32: Summary of the Score Study Process .169 Table 33: Bloom's Taxonomy of the Cognitive Domain .179 Table 34: Taxonomy of the Affective Domain . . .179 Table 35: Taxonomy of the Psychomotor Domain .179 Table 36: Rehearsal Structure Guide .188 Table 37: Bibliography of Selected Band Repertoire Resources .193 Table 38: Criteria for Judgments of Repertoire of Serious Artistic Merit .197 Table 39: Compositions Familiar to All Twenty Evaluators Receiving the Maximum . . .198 Table 40: Compositions Familiar to All Twenty Evaluators Receiving the Required Minimum Percentage of Points Listed by Percentages of Maximum Possible Points .199 Table 41: Determining the Q-Factor by Using the Quality Meter .201 CONTENTS ix Table 42: Fundamental Factors in Grade Appropriateness. 202 Table 43: Making Improvements to a Rehearsal Room .203 Table 44: Supplementary Issues in Measuring Programming Needs .208 Table 45: Criteria for Selecting Beginning Band Repertoire at the Beginning Level . . . .214 Table 46: Criteria for Selecting Beginning Band Repertoire at the Advanced Level . . . .214 Table 47: Repertoire Project .216 Table 48: Suggested Guide To Balanced Beginning Band Instrumentation .227 Table 49: Scale Matrix .258 Table 50: Permissible "Fair Use" for Photocopying Music .262 Table 51: Prohibited Actions for Photocopying Music .262 Table 52: Guidelines for Photocopying Music Books and Periodicals .263 Table 53: Reproducing Sound Recordings .263 Table 54: Guidelines for Recording Your Performing Ensemble .264
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spelling	Jagow, Shelley Verfasser aut Teaching instrumental music developing the complete band program Shelley Jagow Developing the complete band program 1. ed. Galesville, MD Meredith Music Publ. 2007 XIV, 300 S. Notenbeisp. 28 cm txt rdacontent n rdamedia nc rdacarrier "HL00317167"--P. [4] of cover. Includes bibliographical references (p. 289-295) and index Bands (Music) Instruction and study Instrumental music Instruction and study Ensembleleitung (DE-588)4408122-4 gnd rswk-swf Musikerziehung (DE-588)4040843-7 gnd rswk-swf (DE-588)4048476-2 Ratgeber gnd-content Ensembleleitung (DE-588)4408122-4 s Musikerziehung (DE-588)4040843-7 s DE-604 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015822988&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Jagow, Shelley Teaching instrumental music developing the complete band program Bands (Music) Instruction and study Instrumental music Instruction and study Ensembleleitung (DE-588)4408122-4 gnd Musikerziehung (DE-588)4040843-7 gnd
subject_GND	(DE-588)4408122-4 (DE-588)4040843-7 (DE-588)4048476-2
title	Teaching instrumental music developing the complete band program
title_alt	Developing the complete band program
title_auth	Teaching instrumental music developing the complete band program
title_exact_search	Teaching instrumental music developing the complete band program
title_exact_search_txtP	Teaching instrumental music developing the complete band program
title_full	Teaching instrumental music developing the complete band program Shelley Jagow
title_fullStr	Teaching instrumental music developing the complete band program Shelley Jagow
title_full_unstemmed	Teaching instrumental music developing the complete band program Shelley Jagow
title_short	Teaching instrumental music
title_sort	teaching instrumental music developing the complete band program
title_sub	developing the complete band program
topic	Bands (Music) Instruction and study Instrumental music Instruction and study Ensembleleitung (DE-588)4408122-4 gnd Musikerziehung (DE-588)4040843-7 gnd
topic_facet	Bands (Music) Instruction and study Instrumental music Instruction and study Ensembleleitung Musikerziehung Ratgeber
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