• Why teach music?

This is individual and gives a teacher determination.

• What should be taught?

Individual to the class, and considers factors such as: student’s musical experience, how much time do you have, the curriculum, etc.

• How will it be taught?

Once again individual to class, it is how to organize instruction. No two classrooms are the same.

• To whom will it be taught?

Beckons the question of what students are going to do with what they’re taught.

• With what results?

Finding out if students learned and through what means that should be found out by (quizzes, homework, etc.).

What makes some groups of sound music and other groups of sound noise?

The difference between sound and noise is context and organization. It is something intentional made by humans for human enjoyment. Though music is natural and part of being a human, music was found in a way. If it is not created (or organized) music does not exist. Sounds exist without that intention, but not music.

Why is it impossible to spell out in advance the exact procedures for teaching music to any class?

Simply because you do not know what students you will have in your classroom. You know some things like the level the class is and the age of the students, but you do not know how individual students will respond. A class may be very eager to participate and enjoy group discussion while another may prefer quiet individual work. This goes for any teaching but especially music. Students might connect better to certain types of music, have varied experiences with music, and each student can have a different goal with music. Even in this class it can be seen. If this was a classroom full of future private instructors this class would have a different path than if the room was full of people who wanted to teach elementary.

In what ways is music both a product and a process?

When you are creating or learning a song, it may not sound pretty, but the organized sounds made in the process of learning/creating is still music. The final piece performed in an opera house, music hall, jazz club, etc. is music, but so are the scales one uses to warm up. Music cannot be created without the process of learning.

Each class will be different. The classes will have different skill levels and need to have different repertoire. They will also need different amounts of time to learn different songs based on what they are good at.

2. What is an observable behavior? Why are observable behaviors so important in analyzing the teaching process?

An observable behavior is a behavior that can be seen that demonstrates a student has been learning like answering questions. They are important to asses where your class is at on a subject.

3. What are the benefits to music teachers, including directors of performing groups, of planning for their classes and rehearsals?

A lot of times music teachers will only meet a certain class once a week and need to optimize the time that they have.

4. What are the advantages of unit planning?

It is a middle point between planning each individual lesson and planning the whole semester. A topic is always studied in depth and unit planning recognizes that no unit can be taught the same.

5. What factors should music teachers consider when planning for a class or rehearsal?

They need to consider what parts of the pieces need to be looked at more carefully. They also need to consider how close the performance is and what they have learned so far.

6. What are the benefits of assessing the results of music classes and rehearsals?

Assessing is beneficial because it lets the teacher know how well students are achieving goals and grasping concepts. Then you know if you are ready to move on to another subject or how to approach the next topic.

7. What is the main difference between testing and assessing?

Testing everyone is not always necessary to asses. Tests are related to grading and they need to have clear correct answers and relate directly to class material. Assessing shows what students have learned and where they are. It helps plan the next lessons.

The writers and music educators’ educators cannot know the details of each particular classroom situation their student or reader is going to wind up in, in their future music jobs.

.2 Why do music teachers need to be god musicians themselves?

You simply cannot teach what you do not know. You need to especially have a good ear so that you can analyze what music your students are creating.

.3 Why should music reachers today know more than the traditional art and folk music of Western civilization?

You need to be able to choose a wide variety of repertoire for your students to play and learn about.

.4 What examples, in addition to getting a group to play short notes, can you describe that demonstrate a music teacher's knowledge of teaching techniques?

A teacher needs to have a lot of tools up their sleeve to teach different musical techniques. They need to have analogies and examples at the ready to give students a deeper understanding of what they are doing.

.5 What are the main reasons for requiring future teachers to observe classes and begin participation in teaching even before student teaching?

So students can learn about many different types of classrooms, curriculums, and students. They can see what they have been learning about in school actually in action. They can see how things like planning and assessment play out in a real classroom.

6.In the student-teaching situation,

.a what is the role of the student teacher?

They observe the work the teacher is doing so they can learn. They get their first experiences teaching in a controlled environment. Thirdly it is to show prospective employers that someone who wants to be a teacher can teach.

.b what is the role of the cooperating teacher in the schools?

Their role is to act as a guide or mentor to the student teacher.

.c what is the role of the college supervisor?

They place student teachers and coordinate between the cooperating teacher and the college of the student teacher.

.7 Why is it so important for music teachers to continue to grow professionaly throughout their entire careers?

You do not want to be in a rut. You want to improve each year because times change and new things are introduced like new rep or technology. Also you want to keep things interesting for yourself.

.8 What are some ways in which music teachers can continue to grow professionally after graduation from college?

They can attend summer or night classes to pursue grad degrees. They can also read up on the newest research surrounding music education. You can also tape and relisten to classes. I often see TA conductors filming their teaching in my choir ensemble here.

A profession has years of education and preparation that go into it. You are responsible for making decisions in a profession. The members of a profession commit to the job. The needs to be some sort of organization that advances the profession.

2. What are the differences between a professional association and a union?

A professional organization advances the work done by the profession while a union looks out for the rights of the people within a profession.

3. In what ways does NAfME attempt to advance music education?

The members continuously educate themselves through rereading and watching new works/research about music education. They inform non- music educators about music education, especially people in power like board members and elected officials. They serve as the moral guidelines and the standard for the profession.

4. How can thinking of yourself as a professional music educator influence your outlook toward the music and music education courses you take? Your participation in your student chapter?

It helps you take what you are doing right now more seriously, as a true professional step. You can develop a feeling of purpose tied to music education. You can join NAfME. (I joint SNATS, the student chapter of the National Association of Teachers of Singing) And you can read journals on music education.

5. In what ways can music educators and professional musicians work together?

If the place the school is in is active musically then that will influence the goals of the community. It’ll put a focus on music which will strengthen school music programs. Educators should invite in professional musicians to put on educational performances for students.

6. In what ways can private music teachers benefit the school music program?

Private teachers can provide more advanced and specific instruction to students who are interested. Not every teacher is proficient in multiple instruments. Educators can also help private teachers and students find each other.

7. In what ways do music teachers influence the overall goals of the school music program?

Teacher cannot act too contrary because it in the end does not help overall education and the well being of students. But only music teachers know the ins and outs of music, not the administrators. So educators decide how best to meet the guidelines placed for them.

Lowell Mason wrote about how music is a mental discipline like any other liberal art. Music, especially vocal music, causes happiness and tranquility. He also wrote that the study of vocal music benefits the health of the lungs.

2. What major changes occurred in high school education between 1900 and 1940?

Young people only attended school until around the eighth grade and teachers did not have much training, but this was enough for the life earlier Americans lived. As America became more urban more students attended high school and the curriculum became more well rounded. There was a movement that places emphasis on the learning process vs. the content. This caused debate in music education around making children proficient in music was more important or having music enrich kids is more important.

3. What were the main points of the Tanglewood declaration?

All forms of music have a place in the curriculum.

Music is most affective in education when it is taught and viewed as art.

All ages should be taught music.

The arts should be important part of the high school senior year.

Technological progress should also be applied to music education.

There should be an emphasis on the goals of the individual.

Music education should be used to combat social issues and especially taught to the underprivileged.

The training of music educators should encompass music history/literature and humanities as a whole.They should also be able to work with all ages and abilities.

4. What major federal program was passed in 1965 that greatly affected education and the arts?

The elementary and secondary education act and the national foundation on the arts and humanities

5. Under what conditions do federal regulations require that students with disabilities be placed in regular classes?

It is required that students with disabilities be educated with not disabled students as much as possible. Students are only separated when disability is severe or when supplemental teaching aids are not enough.

6. In the 1980s, what actions did state and the federal government take with regard to perceived weaknesses in education?

America wanted an educated workforce to compete with Japan and Germany, they also wanted more students to take the SAT to compete with Europe. There was also a concern about the quality of inner city schools.Their actions to combat this was the creation of the National Commission on Excellence in Education. This commission issued reports which listed the weaknesses in American education and suggested more demanding requirements. These suggestions barely mentioned the arts.

7. What has been the impact of the "No Child Left Behind" Act?

The goal was to bring students up to standard in math and reading by 2014. It took so much focus away from the arts and has had a negative effect on music education.

1. Musical Syntax: A sense of the patterns which music forms and the distinction between sound and music.

2. Musical Works: They learn a song that can serve as an example of the style of music that it is in.

3. Intellectual Understandings: Developing concepts about music, learn how to think about music, and know the process of music creation.

4. Skills: Gaining skills like being able to sight read or the fingering of an instrument. Activities: The actual performing and process of learning/ creating music.

5. Attitudes: The feelings towards the subject of music that students have.

2. Think of examples of three different types of musical skills.

Being able to repeat a melody by ear. Being able to sight sing a melody. Being able to hold a part in a choir.

3. Why is a sense of musical syntax so important in learning music?

If this sense of syntax is nurtured at a young age it is ingrained. It can develop into a great sense of intuition with music patterns which makes improvising and learning new music much easier.

4. What is a concept?

An idea that is formed after noticing a repeated instance of something.

5. Why should students develop concepts about music?

It is beneficial to develop concepts because in further learning when labels are assigned to them students have an understanding. They cannot know what “melody” and “tempo” are unless they have interacted with the two.

6. How does musician-like thinking about the song "Simple Gifts" differ from everyday, ordinary thinking about it?

Musicians think about music on a deeper level and think heavily about how it’s made. Instead of thinking “oh that sounds nice!” Musicians think, “I wonder how they achieved that effect!” Musicians also think of music as an activity that stands alone vs. something to accompany daily activities.

7. Why is it very desirable for students in music classes to acquire favorable attitudes toward the subject?

A positive attitude towards music makes students more eager to learn more. Also, if some students have a positive attitude about music it can rub off on other students and change their attitudes.

8. What factors affect the attitudes people adopt towards music?

The opinions of one’s peers affects someone’s attitude towards music. What music someone hears growing up at home and how it was presented also plays a factor.

9. What does the word "relevant" mean in discussions of curriculum?

Relevance is when a topic has meaning and value. What subjects benefit the whole of the group most? What only is “relevant” to a few students? What furthers the topic we are studying?

Every single student is involved and a foundation of how music works and sounds is built. It teaches simple skills like matching pitch that are easier to pick up on young just like language.

2. Why does the general music program sometimes suffer when it comes to funding?

General music classes aren’t performing at big events because that is simply not their purpose, but because of this they have no visibility. And administrators do not see the same value in music classes as in other core classes, music is the first to go. They just see it as a silly class where kids sing songs. They also do not see that it is necessary for people without “talent” to be exposed to music.

3. What does a typical music program at the elementary school level consist of in terms of types of teachers, instruction offered, amount of time, students involved, and materials used?

There is usually a music class and then music extracurriculars which are attended by only those interested. Families of instruments are instructed together. Usually classes meet once a week and extracurriculars twice a week.

4. What are the advantages of having music in elementary schools taught by music specialists?

They majored in music and that is all they do. They are actually knowledgeable about music and no not need the help of a consultant.

5. What are the advantages of having music in elementary schools taught by classroom teachers?

They know their students best and teach them all subjects so they know how the students themselves will best thrive. They can also have help from specialists, so even if they lack knowledge, they aren’t alone.

6. What are the benefits of using materials from one of the graded music series?

The content of these books has already been carefully considered by experts. The books also cater to specific grades which is hard to just come up with what would be best for each particular age. They can be a great starting point to inspire a teacher on what they should teach.

when did you feel ready and qualified to teach?

how do you balance teaching with other aspects of your career like performing?

When is the most accomplished you felt as a voice teacher?

What do you think separates a good voice teacher from a bad voice teacher?

Who is your favorite teacher you’ve ever had and what was your biggest take away from working with them?