MODERN BAND Districts, Colleges and Universities

Home , Band (rock and pop), Musical ensemble

1 Contents

School Districts that offer Modern Band �� 3

Community College Modern Band Syllabi Bergen Community College �� 8

Undergraduate Modern Band Syllabi UCLA �� 10 NYU Steinhardt �� 11 University of Florida �� 13 California State University Long Branch �� 15 Eastern Washington University �� 18 Ithaca College �� 21 Stetson University �� 22 Florida International University �� 23 San Francisco State University �� 27 Kean University �� 29 Lebanon Valley College �� 31 Montclair State University �� 35 Slippery Rock University �� 36 Indiana University of Pennsylvania �� 38 University of Kentucky �� 40 Drake University �� 41

Graduate Modern Band Syllabi University of South Florida �� 43

2 E D

3 K-8 Modern Band, 9-12 Modern Band Regular and Modern Band Honors

RS1 Modern Band (960101R)

The major emphasis of this course is to develop student achievement through the exploration of a modern band ensemble. The course will introduce the skills necessary to perform on electric guitar, acoustic guitar, electric bass, keyboard, drums, vocals and technology. With an emphasis on the music styles of the last 50 years, many of these will be discussed, demonstrated and performed by the students. The course will also foster peer to peer development in the band setting while encouraging each band to perform cohesively as a single unit. Students in Modern Band will also be introduced to the art of Composition and Improvisation. End of term projects will culminate with each student having their song performed by the ensemble.

HS1 Modern Band (960101H)

The major emphasis of this course is to build student achievement through a modern band ensemble. The course builds the skills necessary to perform on electric guitar, acoustic guitar, electric bass, keyboard, drums, vocals and technology at an intermediate to advanced level. With an emphasis on the music styles of the last 50 years, many of these will be discussed, demonstrated and performed by the students. The course will also foster peer to peer development in the band setting while encouraging each band to perform cohesively as a single unit. Students in Modern Band will also focus on Composition, both as an individual and group, and Improvisation. End of term projects will culminate with both solo and group ensemble performances.

K-12 Modern Band Course Description

Modern Band focuses on a repertoire of popular music such as rock, pop, reggae, and incorporates playing and composing on guitars, basses, keyboards, drums and computers.

4 K-5 Modern Band, 6-8 and 9-12

Modern Band MS (321123/22)

The major emphasis of this course is to develop student achievement through the exploration of a modern band ensemble. The course will introduce the skills necessary to perform on electric guitar, acoustic guitar, electric bass, keyboard, drums and vocals. Many styles of music will be discussed, demonstrated and performed by the students. The course will also foster peer to peer development in the band setting while encouraging each band to perform cohesively as a single unit. Students in Modern Band will also be introduced to the art of Songwriting. End of term projects will culminate with each student having their song performed by the ensemble.

Modern Band SH (321123/24)

The major emphasis of this course is to develop student achievement through the exploration of a modern band ensemble. The course will introduce the skills necessary to perform on electric guitar, acoustic guitar, electric bass, keyboard, drums and vocals. Many styles of music will be discussed, demonstrated and performed by the students. The course will also foster peer to peer development in the band setting while encouraging each band to perform cohesively as a single unit. Students in Modern Band will also be introduced to the art of Songwriting. End of term projects will culminate with each student having their song performed by the ensemble

K-8 Modern Band, 9-12 Modern Band Non-Varsity and Modern Band Varsity

Modern Band Varsity (2 semesters-8510)

For students who are new to playing guitar, bass, drums, keyboards and vocals. Using Contemporary Music (rock, pop, jazz and country), this course focuses on instrumental and vocal skill development as well as introduce improvisation and composition.

Modern Band Varsity (2 semesters-8512)

For students who have experience playing guitar, bass, drums, keyboards, saxophone, trumpet and vocals. Using Contemporary Music (rock, pop, jazz and country), this course focuses on intermediate and advanced skill development. Pre-requisite includes instrumental students must have band or orchestra background and vocalists will audition.

5 K-12 Modern Band Course Description The major emphasis of this course is to build student achievement through a modern band ensemble. The course builds the skills necessary to perform on electric guitar, acoustic guitar, electric bass, keyboard, drums, vocals and technology at an intermediate to advanced level. With an emphasis on the music styles of the last 50 years, many of these will be discussed, demonstrated and performed by the students. The course will also foster peer to peer development in the band setting while encouraging each band to perform cohesively as a single unit. Students in Modern Band will also focus on composition, both as an individual and group, and improvisation. End of term projects will culminate with both solo and group ensemble performances.

Johnson City High School Modern Band 1 introduces the skills necessary to play electric guitar, acoustic guitar, electric bass, keyboard, and drums. This course examines a variety of contemporary musical styles including, but not limited to, pop, rock, reggae, hip hop, and jazz. The course fosters peer to peer development in the band setting while encouraging each band to play as a single unit. This course is open to all students and no previous musical experience is necessary.

Modern Band 2 is designed for students who have some experience playing guitar, bass, drums, and/or keyboards. This course examines a variety of contemporary musical styles including, but not limited to, pop, rock, reggae, hip hop, and jazz. Students in Modern Band 2 will also be introduced to the art of songwriting and composition. Enrollment in this course requires the signed consent of the instructor or music coordinator.

6 Introduction to Modern Band

Introductory class and small ensemble instruction on Guitar, Bass, Drums, Keys, Vocals and Music Technology, focusing on 20th and 21st century popular music instrumentation and repertoire with emphasis on performance, creativity, and ensemble participation.

Modern Band Ensemble- Levels I, II, III, IV

Performance ensemble class for developing an experienced musicians incorporating 20th and 21st century popular music and instrumentation.

7 MUS-120/220/221/222 Pop/Rock Ensemble Dr. Bryan Powell [email protected] No prerequisites Wednesdays 5:10-7:05 p.m. (001), 7:15 – 9:10 p.m. (002), W-226 (West Hall Recital Hall)

COURSE DESCRIPTION: Pop/Rock Ensemble I/II/III/IV requires students to study and to perform in a variety of popular music styles. Special attention will be given to the development of creative skills and ensemble participation. Students are expected to participate in concerts for college ceremonies and functions.

LEARNING OBJECTIVES:

As a result of meeting the requirements of this course, students will be able to:

1. Demonstrate foundational techniques of popular musicianship, playing both by “ear” and by using notational tools such as lead sheets, chord charts, and tablature. 2. Analyze the basic components of popular music compositions and arrangements, including song structure, chord progressions, melodic and rhythmic patterns, playing the “groove,” and arrangement techniques. 3. Explain the similarities and differences between several popular music styles. 4. Demonstrate professional skills in utilizing music technology, including microphone technique, tone control, amplified instruments, and live sound reinforcement. 4. Articulate the musical legacy of historical popular musicians, discussing their musical and sociocultural importance. 5. Demonstrate the ability to create and perform music together with other musicians in rehearsals and concerts. 6. Exhibit the professionalism and attitude required to foster a creative and productive learning environment. 7. Explain the importance of popular music and Modern Band instruction in educational contexts.

MATERIALS:

There are no required textbooks for this course. Musical charts will be distributed by instructor or can be obtained online. Other instructional materials may be suggested to individual students to facilitate the development of popular musicianship.

It is suggested that students supply their own instruments and accessories. If you are unable to obtain an instrument for the class, please let Dr. Powell know and he can lend you one for the duration of the course. Drums, percussion, keyboards, and amplifiers will be supplied by the college. Each student is expected to purchase a black notebook or folder to keep their assigned music. This music can be taken home for practice. In addition, it is recommended that students utilize the recording function on their phones or other devices to record portions of the class for home review.

8 RECOMMENDED RESOURCES:

Larry Baione and the Berklee Faculty. Berklee Practice Method: Get Your Band Together! Boston: Berklee Press, 2001. (Books are available for bass, drum set, keyboard, voice, vibraphone, alto sax, tenor sax, trombone, trumpet, and violin.)

Modern Band Charts for Modern Band Ensemble- Available for free download at - http://www. littlekidsrock.org/Songchart/LKR-ModernBandCharts.pdf

EVALUATION:

Attendance/Participation 40% Musical Evaluations 40% Professional Attitude and Rehearsal Conduct 20%

A=90-100 C+=76-79 F= below 60 B+=86-89 C=70-75 W= official withdrawal B=80-85 D=60-69 Incomplete given only with the permission of the instructor

COURSE REQUIREMENTS:

Students are expected to practice the material during the week. The course will include midterm and final musical evaluations based on rehearsals, concert performances, and recordings. Each student is expected to improve his or her musicianship and improvisational skills each semester. In addition, students will be evaluated by the following:

• Attendance / Class Participation: To get full credit for Attendance / Participation you should come to all classes, complete all listening and writing assignments and pay special attention to the “ensemble etiquette guidelines.” Since absence or tardiness disrupts the entire ensemble, unexcused absences or tardiness will not be tolerated and will result in a lower grade as well as being barred from performing in the concert. All students are expected to assist with equipment setup and testing. Students will be assigned these tasks on a rotation basis.

• Campus Performances: In December, the BCC Pop/Rock Ensemble will put on a final concert. Friends and family are invited to this event. Participation in this event is mandatory. You are expected to be present for the entire event.

• Off-Campus Performances: The ensemble (or selected members of the ensemble) may have the opportunity to perform at off-campus venues. More information about these performances will be provided later.

ZERO TOLERANCE POLICY:

The instructor reserves the right to ask any student, who is behaving in an inappropriate manner, to leave the room. If a student is asked to leave two times within the semester, the instructor asks that they meet with a school counselor before returning.

9 EDUC 330A – Observation & Participation EDUC 360A - Novice Seminar Instructor: Frank Heuser Office: 2637 Schoenberg Hall Office Hours: Tuesday 3-4, by appointment Phone: 310-206-8297 email: [email protected]

Course Description: These courses provide the first introduction to field experiences in music education. Students teach in an elementary setting (violin or guitar using Modern Band instructional materials- EDUC 330A), explore pertinent literature about teaching, assess their progress as teachers, and reflect on their growth as future professional educators (EDUC 360A - Novice Seminar).

Objectives of the Course: These courses have the following objectives: 1. Students will be able to demonstrate and teach the instruments and musical concepts, manage classes of beginning instrumentalists, and understand and apply the pedagogical principles studied. 2. Students will be able to apply and modify as necessary a prescribed curriculum in beginning violin. 3. Students will use materials provided by Little Kids Rock to create a curriculum for popular guitar for use in the fourth grade. 4. Students will create meaningful lesson plans for use in the different class settings. 5. Students will become increasingly adept at modifying plans in real-time to meet the evolving needs of a given teaching situation. 6. Students should learn to identify and describe major concepts and theories in the field of music education as they apply in the teaching setting. 7. Students should be able to critically evaluate literature in the field of music education, create a thesis and write a research paper to support that thesis

Texts: Readings as assigned Little Kids Rock (2014) Guitar Song Book and Teacher’s Manual (supplied by LKR).

Grading EDUC 330A (Observation &Participation) is a pass/no pass course EDUC 360A (Novice Seminar) is graded as follows: Video reflections 30% Readings & reflections 30% Teaching progress 40%

Course Schedule Seminar meets weekly TBA. Exact course schedule is determined by the classroom teachers at each school and is modified based of changing conditions at the school site (field trips, local school holidays, etc.).

10 Popular Music Methods: Instrumental Materials & Techniques in Music Ed

NEW YORK UNIVERSITY THE STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS

Summer 2015

Instructor: Dr. Bryan Powell

Course Logistics Dates/Times: July 13-16, 5:15 p.m. – 8:15 p.m. Credit Hours: 1 Location: Room 1101, Steinhardt- 35 W. 4th St.

COURSE DESCRIPTION: Exploration into popular music pedagogy through performance, composition, improvisation, informal learning, and Music Learning as Language Learning theory.

PREREQUISITES: Music education undergraduate or graduate standing or consent of the Department.

COURSE FORMAT This course will discuss popular music pedagogy and curriculum, starting with the key tenets of Informal Learning, Composition, Improvisation, Approximation, Scaffolding, and Creating a Safe Space. These will be demonstrated through interactive lecture, performance, and group interaction on guitar, bass, drums, keyboards, technology, and vocals.

COURSE MATERIALS Materials from this course will include a mix of scholarly and practical articles and book chapters, in addition to curricular resources created by Little Kids Rock. In addition, the class will cover basics of different rock instruments, including guitar, keyboard, bass, and a drum set being provided for class study. All course materials, including instruments, will be provided for the students. It is not necessary to own a guitar to participate in this course.

COURSE OBJECTIVES AND STUDENT OUTCOMES At the end of the course, students will be able to: 1. Understand the key components of popular music pedagogy 2. Demonstrate familiarity with popular music education theories such as formal and informal learning styles, learning through familiar material, and the value of all music. 3. Demonstrate some proficiency on a variety of rock band instruments and styles 4. Demonstrate a well grounded knowledge of educational concepts and preparation in order to implement different teaching styles in the classroom 5. Demonstrate comfort teaching improvisation, composition, and group participation in a rock band setting.

11 6. Explain the utilization and importance of popular music education a school setting.

GRADING Midterm Composition=30% Final Presentation=30% Response Journals=30%, Participation=10%

Course Outline Session #1 Date: 7/13/15 Topics: Review Syllabus including midterm performance and final presentation dates and requirements.

Intro to Popular Music Pedagogy • Introduce students to Modern Band • Core values with emphasis on safe space • Beginning and opening jams: immediate music making

Beginner Guitar • Simple and necessary techniques: holding the guitar/using a pick • Understanding frets and strings Introduce reading chord charts • Easy one finger chord charts • Composing and performing one finger songs as a class

Getting Started on Keyboard • Keyboard chords (one shape system) • Using jam cards to play scales and progressions • Composing simple chord progressions • Understanding short hand finger patterns

Journal Entries

Session # 2 Date: 7/14/15 Topics: Sharing Sample Warm Up exercises

Rhythm Section: Bass and Drums • Drumming anywhere: playing the backbeat • Introducing the electric bass: History and function • Jamming along with bass “grooves”

The Full Band Experience • Putting together the pieces of the Modern Band using simple charts • Rotating instruments between students • Sound checking and balancing • Setting up the modern band in a classroom

Music As A Second Language • Music as a Second Language Pedagogy • Stages of language development • Understanding the affective filter

Songwriting • Understanding the process of writing a song • Ways to make composition approachable for students • Compose a song as a class

12 Time to Work on Group Songs/ Journal Entries

Session # 3 Date: 7/15/15 Topics: Mid Term- Group Performance

Beginner Pedagogy • Classroom techniques to make music more approachable • Sticker technique on guitars/basses • Dividing up the role of the drummer

Improvisation • The famous two note solos • Introducing the pentatonic shape on guitar • Connecting the pentatonics to the keyboards

Group work on Final Projects

Session # 4 Date: 7/16/15 Topics:

Advanced Guitar Techniques • Moveable chord shapes: barre chords and power chords • Articulation on guitar: slides, bends, pull-offs and hammer-ons • The history of guitar notation and the power of tablature • Designing your tone: demystifying the endless options on guitar amplifiers

Project Work Time • Students will be given the class time to work on their final presentation. This presentation will include: summary of popular music pedagogies, demonstrating knowledge of content and pedagogy, demonstrating knowledge of resources, and designing student assessments

Final Presentations • Presentation of Final Projects • Reflection

13 MUE 2040: Introduction to Music Education Dr. Megan M. Sheridan Credits: 2 Email: [email protected] meeting time: MW Period 3 Office: MUB 356 (9:35-10:25am) Office Hours: TW pd. 4 10:40am-11:30am; other times available by appointment Graduate Teaching Assistant: Ms. Melissa Life Email: [email protected]

Course Description: An introductory course for candidates for the Bachelor of Music in Music Education that concentrates on the role and function of music education and music teachers.

Objectives of the Course: Through full participation in this course, students will: • Describe the role of public school music teachers and the status of public school music education. • Articulate how students learn and describe major learning theories. • Describe student characteristics in diverse populations common in music classroom contexts. • Demonstrate growth as a pre-service music educator through in class teaching experiences and discussions. • Demonstrate musical skills through singing and playing classroom instruments, including ukulele and Orff instruments. • Identify and describe music teaching methods in terms of historical and current applications in music classrooms, including Kodály, Orff, Dalcroze, and Modern Band. • Write professionally about topics in music education using APA style.

Textbooks Required: Raiber, M. & Teachout, D. (2014). The journey from music student to teacher: A professional approach. New York: Routledge. ISBN: 9780415806855

Strongly Recommended: American Psychological Association. (2010). Publication Manual, 6th ed. APA. ISBN: 9781433805615

Required Materials: Video camera (smartphones and iPads are acceptable)

Required Membership: All music education students must join the student chapter of the National Association for Music Education (NAfME). You must attend the monthly meetings. Attendance is taken at meetings. Information on how to join and the meeting schedule will be given during the first week of classes.

14 MUS 487A Emerging Methods in Music Education California State University Long Beach

REQUIRED TEXTS and MATERIALS: Music education with digital technology. Finney, J. & Burnard, P. New York: Continuum. 2010. Music, informal learning and the school: A new classroom pedagogy. Green, L. Burlington, VT: Ashgate Publishing. 2008. Using technology to unlock musical creativity. Watson, S. New York: Oxford University Press. 2011. Music as a second language & the modern band movement. Wish, D., Speicher, C., Zellner, R., & Hejna, K. Verona, NJ: littlekidsrock.org. 2013.

COURSE DESCRIPTION: This course examines emerging pedagogical methods for music educational settings outside of the traditional general, band, choir and orchestra. Letter grade only (A-F).

STUDENT LEARNING OUTCOMES: Students will:

A. Identify appropriate skills, teaching strategies, and sequence of concepts for developing students’ musical independence. B. Select music literature and materials appropriate for students’ capabilities and musical maturity, including adaptation if warranted. C. Identify appropriate instructional strategies for exceptional students. D. Identify instructional strategies for teaching popular music history and theory. E. Identify techniques for developing students’ creative musical skills (e.g., improvisation, composition, listening skills, sight reading, performance skills). F. Identify appropriate organization of rehearsals and classroom activities to include music history, music theory, listening skills, performance, and sight reading as integral parts of instruction. G. Identify the relationships between music, the others arts, and disciplines outside the arts. H. Identify factors in creating a music curriculum that provides a balance of musical experiences for all students. I. Select teaching strategies that motivate and promote students’ musical growth, independence, and creativity. J. Identify techniques for assessing and evaluating student progress. K. Select strategies for implementing technology in music instruction. L. Identify media resources and technology (e.g., sound recording and reproduction systems, visual aids) for instructional purposes. M. Select acoustic and electronic instruments (e.g., pianos, synthesizers, guitars, keyboards, tablets) for instructional purposes. N. Identify and select appropriate computer hardware and software for both administrative purposes and instructional applications. O. Identify resources available through professional organizations, music industry, and publications. P. Identify procedures for student selection, recruitment, and retention, including feeder schools and placement in appropriate music courses.

15 COURSE REQUIREMENTS:

Discussion Board and Questions A. There will be a weekly discussion board. You will be required to contribute to the discussion board before the start of the next class session. You will need to complete an initial post, consisting of: a) topic you liked/agreed with from the reading, or b) topic you disliked/ disagreed with from the reading. * You must also rely to someone else’s post. All responses must be at least 50 words. B. Each student will be responsible for generating two multiple-choice questions (with four possible answers) before the start of class. Questions are to be drawn from the readings for that week, and vary in difficulty level.

Skills Demonstration You will be expected to demonstrate the skills you are learning about in class. These demonstrations could be in solo or ensemble form. Details will be given as each skills demonstration approaches.

Mid-Term Exam A mid-term examination will be given, based on course readings and my lectures. Questions will be drawn from questions you write for the class (see above), and from questions I prepare for you.

Final Paper Write a 10-page paper on some aspect of the emerging methods learned in this class, i.e., informal learning practices, creativity, peer-to-peer teaching, etc., and how it’s application can help attract and retain students in public school music programs.

Music Practicum Proposal You will identify and partner with other students with similar interests to select a spring semester ensemble development in either, popular music, mariachi, steel drums, or electronics. In your proposal, you will 1) identify the area of study and explain your choice, 2) identify research resources, 3) identify published methods/materials, 4) provide a cost summary for classroom materials.

Attendance and Participation Every course member is to be invested in course work each week, as learning in the class is enhanced by the work of each member. Student work must be turned in on time. Grades on individual assignments and projects will be reduced by a half grade every day that they are late. GRADING POLICY: 15% Discussion Board and Questions 15% Skills Demonstration 25% Mid-Term Examination 25% Final Paper 20% Music Practicum Proposal

POLICIES FOR ATTENDANCE, CHEATING, PLAGIARISM, AND SPECIAL NEEDS: 1. ATTENDANCE : This is a professional preparation course; therefore students are expected to attend all classes. You cannot learn how to play/teach/problem solve strings unless you are in class. Class begins promptly at 4:00PM. Excused absences (limited to 1) include but are not limited to: illness/injury to the student; death, injury, serious illness of an immediate family member or the like; religious reasons (California Education Code section 89320); jury duty or government obligation; university sanctioned or approved activities. Students are

16 responsible for informing the instructor of absences 24 hours in advance when possible and arranging to complete/makeup missed assignments, tests etc. insofar as this is possible. In case of an emergency, absence will be handled one-on-one with the instructor. 2. CHEATING AND PLAGIARISM: Plagiarism is defined as the act of using the ideas or work of another person or persons as one’s own (“person” may be defined as another student), without giving credit to the source. Acknowledgment of an original author or source must be made through appropriate references (i.e., quotation marks, footnotes, or commentary. A student who is in doubt about the extent of acceptable paraphrasing should consult the instructor. Both quoted and paraphrased materials must be given proper citations. Cheating is defined as the act of obtaining or attempting to obtain or aiding another to obtain academic credit for work by the use of any dishonest, deceptive, or fraudulent means. Students should be aware that plagiarism and/or cheating may result in “no credit” for a particular assignment, “no credit” for the course, or expulsion from the University. Please consult the University Catalog, p. 88, for more complete information. 3. SPECIAL NEEDS: Disabled Student Services provides appropriate services for students with disabilities including registration assistance, note-taking, sign language interpreting, reading, test proctoring, academic advising, and scholarship information. It is strongly recommended that students with disabilities attempt to modify their schedules, as necessary, to lessen the impact of a disability. Students with disabilities may request to enroll in a unit load commensurate with their ability. Reduced unit load is defined as less than 12 units for undergraduates and less than eight units for graduates. These requests must be made to DSS prior to each semester affected. If approved, the student will be entitled to all benefits, services, and activities governing by the University accorded to full-time students.

COURSE CALENDAR:

Week/Topic/ Activity Essential Genre Reading Questions Format

Week 1 Topics: LKR’s Modern Band 1) (Zanutto) Popular Music Intro/Overview Movement – Scott Implications of Instruments Music Enrollment Burstein enrollment trends? Trends G1 Intro to Informal Overview of Materials & 2) (Green) What are the Learning Strategies 5 factors of Informal LKR-MBM Music as a Learning? Second Language Website - Musical W1/2 Creativity Futures Overview 3) (LKR-MBM) What can music teachers learn Pre-Reading emailed: LAB - GarageBand from EL theory? Green Ch. 1 (pp. 1-10) basics LKR/MBM (pp 3-29) 4) (Watson) Identify Watson Ch. 1 & 2 (pg. creative activities 3-25) in traditional and emerging ensembles.

17 MUSC 496: 08 Teaching Modern Band Eastern Washington University

Course: MUSC 496: 08 Teaching Modern Band

Semester: Winter, 2014 Times: TBD Credit Hours: 1 to 5 Cap Size: 15 Location: Band Room

COURSE DESCRIPTION Exploration into modern band through performance, composition, improvisation, and Music as Language theory.

COURSE FORMAT This course will discuss Modern Band pedagogy and curriculum, starting with the key tenets of Composition, Improvisation, Approximation, Scaffolding, and Safe Space. These will be demonstrated through interactive lecture, performance, and group interaction on guitar, bass, drums, keyboards, technology, and vocals.

COURSE MATERIALS Materials from this course will cover the Little Kids Rock teacher manual and songbooks. In addition, the class will cover basics of different rock instruments, with guitars, keyboards, a bass, and a drum set being provided for class study. Students will need to provide their own drumsticks and come with guitar picks every day.

COURSE OBJECTIVES AND STUDENT OUTCOMES The course aims to develop in students: 1. Understanding the key components of modern band theory 2. Familiarity with popular music education theories such as formal and informal learning styles, learning through familiar material, and the value of all music. 3. The ability to play a variety of rock band instruments and styles 4. A well grounded knowledge of educational concepts and preparation in order to implement different teaching styles in the classroom 5. Comfort teaching improvisation, composition, and group participation in a rock band setting. 6. The ability to support the formation of a modern band class and be prepared to explain its utilization and importance in a school setting.

18 COURSE OUTLINE

Unit 1 Course Introduction Overview of syllabus Making an Instantaneous Musical Ensemble Left Hand Technique – Dazed and Confused Right Hand Technique - Chameleon Unit 2 What is Modern Band Core values Guitar Skills Open Chords Strumming Patterns Improvisation Unit 3 Keyboard Skills One shape on the keys Jam Cards What is Comping, Rhythm Patterns Unit 4 Drum Skills Chair Drumming Basic Backbeat Drum Notation Unit 5 Bass Skills Bass vs. Guitar Rhythm Grooves Unit 6 Composition in Modern Band Writing lyrics Composing progressions Performance Unit 7 Music as Language Stages of Language Development Affective Filter and Safe Space Unit 8 Beginning Guitar Pedagogy Basics of guitar Breaking up the changes Three string chords Unit 9 Advanced Guitar 1 Power Chords Tablature Unit 10 Advanced Guitar 2 Blues, Funk, and Shuffle Pentatonic scale theory Articulation – ligados, slides, etc.

EVALUATION OF STUDENT OUTCOMES Practical course activities are designed to provide students with opportunities that allow them to achieve the identified outcomes. Therefore, student achievement of outcomes will be determined on the basis of successful completion of course activities during class time. Grades will be assigned on a scale of 0 to 4.0.

OBSERVANCE OF RELIGIOUS HOLY DAYS Students must inform the instructor in the first two units of semester if accommodation is to be requested regarding all other components of the course in relation to the observance of a holy day.

NOTICE OF PERMISSION/NON-PERMISSION TO RECORD OR SELL NOTES/ TAPES OF CLASS LECTURES No permission is given to record lectures in any format, to sell, copy, or use any portion of notes,

19 2 materials or assignments presented in any format by the instructor or other course participants.

ATTENDANCE POLICY Full participation in this course, in terms of active participation in all course activities is required. Short-term non-participation may only be considered excused if approved by the instructor on the basis of official documentation of university schedule conflict or medical/legal conflict or other serious extenuating circumstances, preferably requested in advance. It will be at the sole discretion of the instructor to provide participation excuse or extension of due dates.

MAKE-UP POLICY ON MISSED WORK Only in exceptional cases, if approved by the instructor on the basis of official documentation of university schedule conflict or medical/legal conflict or other serious extenuating circumstances, may work be made up beyond the due dates. This should preferably be requested in advance.

ACADEMIC INTEGRITY Violations of academic integrity will not be tolerated. Examples of academic dishonesty include misrepresenting others’ work as your own, failure to provide proper citations in written text, stealing or destroying material intended for the use of other students, using notes or cell phones during exams, taking photographs of exams, assisting others during exams, copying someone else’s work, letting his or her work be copied. Any violation of academic integrity for any assignment in this class may result in an XF grade for the course as a whole. An XF grade indicates that you failed the course for violating EWU’s policy on academic integrity. Any form of academic dishonesty will be documented and reported to the Vice Provost for Undergraduate Affairs. A student who cheats on a test, quiz or homework assignment (copying someone else’s work, letting his or her work be copied, talking or sharing a calculator during an exam and other forms of cheating) will receive a zero on the assignment or assessment. Another incidence of cheating may result in a grade of XF for the quarter. (XF on a transcript indicates that a student received a 0.0 because he or she cheated.) EWU expects the highest standards of academic integrity of its students. Academic honesty is the foundation for a fair and supportive learning environment for all students. Personal responsibility for academic performance is essential for equitable assessment of student accomplishments. The university supports the faculty in setting and maintaining standards of academic integrity. Charges of academic dishonesty are reviewed through a process that allows for student learning and impartial review. EWU’s academic integrity policy is available online at: http://access.ewu.edu/Undergraduate-Studies/Curriculum-and- Policies/Academic-Integrity.xml

Time Commitment: As per the guidelines for Eastern Washington University, for each credit hour spent in a lecture-discussion setting in the classroom, per unit, requires 2-hours of outside preparation time. This is a 4 credit-hour class, and you can expect to put in up to 8 hours per module outside of viewing/reading materials.

Withdrawal/ Incomplete: If it becomes necessary for you to withdraw from the course, it is your responsibility to do so. To receive an incomplete (X), a student must be passing the course when a verifiable documented emergency occurs after the last withdrawal

20 MUED 28100/ 1.0 credit Contemporary Ensembles in the Public School

Course Description: This course will explore philosophical and pedagogical foundations for providing successful diverse musical experiences within the public schools. In keeping with current trends in musiceducation, and in conjunction with organizations such as Little Kids Rock, we will examine, through practice, models for Modern Band pedagogy in public school contexts. Special focus will be given to a broad range of musical genres and ensembles, including how to incorporate and support their inclusion into the traditional public school music program. Students will participate in two ensembles, each lasting one block. Prerequisite: MUED 20100. 1 credit.

Student Learning Outcomes: This course is designed to help you develop the ability to: 1. Express clearly, in speaking and writing, the essential structure, purposes, and importance of nontraditional music teaching and learning. 2. Demonstrate skills in playing, singing, composing, improvisation, arranging, using technology, and incorporating history and culture appropriate to American and world music. 3. Demonstrate transmission of informal musical structures, including aspects of form, harmony, melody, rhythm, texture and tone color. 4. Design, implement, and assess learning experiences which contain nontraditional subject matter and strategies 5. Draw musical connections between the alternative ensembles being studied and traditional ensembles such that one can: a. Engage all students in both alternative and classical music b. Utilize these opportunities to draw students into the formal music classroom who might not normally do so, and c. Utilize alternative ensembles and alternative music in what has become a fairly limited and traditional public school music paradigm.

Course Meetings: Wednesdays 1-1:50. After the initial introductory meetings in Nab, the class will be arranged into 4 cohorts. Each cohort will be dedicated to one ‘contemporary ensemble’, meet for one block, and be facilitated by an IC faculty member. At the midterm, students will form a new cohort and participate in another ensemble for the remainder of the semester. Each student will participate in a total of two ensembles. See the course calendar for more specific information regarding course meeting locations and format.

Course Overview: There are five faculty facilitators for this class. Each facilitator will organize an ensemble experience lasting one block (half of the semester). After meeting as a full class to learn what ensembles will be offered, students will choose/rank the ensembles they wish to participate in during Block III and Block IV. Each student will be assigned to an ensemble ontemporary Ensembles in the Public School cohort for the block and each cohort will meet separately (rooms TBA). Students will rotate into a new ensemble at the midterm point.

Recommended Reading: Green, L. (2014). Hear, Listen, Play! How to free your students’ aural, improvisation, and performance skills. New York: Oxford. Woody, R (2012). Playing by ear: Foundation or frill? Music Educators Journal. 99(2). 82-88.

21 EDUC265 : Introduction to Music Education: Principles and Methods of Diverse Learners Instructor: Sandra Sanchez-Adorno E-mail: [email protected] Office: Presser Hall 108b Phone: 386.822.8976 Office Hours: TBA and by appointment Meeting Time: Tuesday/Thursday 8:30-9:45am, Presser Hall 132 Off-campus observations as scheduled

Course Description: This four-credit course is designed to help music majors explore the historical, philosophical, and social foundations of music education while examining topics that focus on curriculum and planning, current teaching practices and trends, and teaching diverse student populations. This course will also provide opportunities for classroom observations, peer-teachings, and teaching demonstrations based on popular approaches to teaching music such as Orff-Schulwerk, Dalcroze, and Modern Band.

Objectives of the Course: These courses have the following objectives: 1. Demonstrate professional behavior by reading assigned text (see calendar), participating in class discussions/activities, submitting work in a timely manner, and missing no more than two classes and/or field experience sessions for any reason. 2. Collect information, organize thoughts, and reflect on classroom observations and teaching experiences. 3. Make connections between child development theories, music learning theories, current music teaching practices, and your own approaches to teaching music. 4. Demonstrate awareness, sensitivity, and respect toward diverse student populations. 5. Develop a personal philosophy of education

Course Materials and Required Texts 1. Mark, M., & Madura, P. (2010). Music Education in Your Hands: An Introduction forFuture Teachers. NY: Routledge. 2. Resource Notebook 3. 3-ring binder with dividers labeled: (1.) Syllabus, (2.) Class Notes, (3.) Field Experiences, (4.) Assignments, (5.) Resources, (6.) Misc. 4. Video recording device (e.g., cell phone, tablet, camcorder, etc.) 5. Volusia County Schools Volunteer Background Check and Badge 6. Registration for the FTCE/FELE General Knowledge (Link on BB) 7. Attendance to at least one Orff Works

22 MUE3340: Elementary School Teaching Methods Instructor: Candice Davenport Email: [email protected] Office: Viertes Haus 119 Office Hours: T/Th: 11:00-12:00, W: 10:00-12:00, or by appointment.

Course Description: Every child has the potential to create, perform, listen, and respond to music. Teachers can realize this potential by providing children with myriad opportunities to participate in thoughtfully constructed and developmentally appropriate music lessons that are meaningful, relevant, and engaging. This course is designed to provide initial experiences in constructing, implementing, and assessing music lessons for elementary-age children.

Objectives of the Course: • analyze teaching materials and resources appropriate for the elementary aged children • apply your knowledge of central theories, principles, and concepts related to child development within various educational settings • create and implement lessons using the National Standards as a framework from which to consider short- and long-term goals, objectives, procedures, and assessment • reflect on the multifaceted nature of the teaching and learning process as evidenced through teachings, observations, writings, and discussions • develop appropriate assessment strategies for elementary-age students • uncover ways to facilitate critical thinking in the elementary music classroom • develop a curriculum unit for the elementary general music program

A Few Favorite General Music Resources Rhythmic Movement Activities for use with Children Abramson, R. Feel it! Rhythm games for all. New York: Schott. Feierabend, J. Move it: DVDs and CDs Longden, S. Folk Dance Music for Kids and Teachers. Weikart, P. Teaching folk dance: Successful steps. Ypsilanti, Michigan: High Scope; and corresponding 9-volume CD collection called Rhythmically Moving.

Multicultural Materials for use with Children Campbell, P. & et al. (1994). Roots and branches. Danbury, CT: World Music Press. Goetze, M. (1999). Global voices in song. New Palestine, IN : MJ Pub. Hampton, W. (1995). Hot marimba!: Zimbabwean-style music for Orff Instruments. CT: World Music Press. Lopez-Ibor., S. Quien canta su mal espanta (songs of Hispanic traditions). New York: Schott

Orff Lesson books for use with Children Almeida, A. Mallet Madness Calantropio, S. Pieces and Processes. New York: Scott. Delles & Kriske, Tyme for a Rhyme Delles & Kriske, 2nd Rhyme Around

Song books for use with Children Choksy, L. 120 Singing games and dances for elementary schools. Prentice Hall. Erdei, P. 150 American Folk Songs to sing, read and play Gagne, D. Singing Games Children Love Krull, K. I hear America Singing.

23 Mitchell, L. One, Two, Three, Echo Me! Seeger, P. American Favorite Ballads Seeger, R. American Folk Songs for Children Trinka, J. My Little Rooster

About Singing Page, N. (1995). Sing and shine on: An innovative guide to leading multicultural song. Danbury, CT: World Music Press. Phillips, K. (1996). Teaching kids to sing. New York: Schirmer.

Modern Band http://jamzone.littlekidsrock.org/teachers/teachers-teaching-resources/

About Specific General Music Teaching Approaches and Methods Choksy, L., & al. (2001). Teaching music in the 21st century. Englewood Cliff, NJ: Prentice Hall. Choksy, L. (1998). The Kodaly method. Englewood Cliff, NJ: Prentice Hall. *Choksy, L. and Brummit, D. 120 singing games and dances for elementary school. Englewood Cliff, NJ: Prentice Hall. *Frazee, J. (1987). Discovering Orff: A curriculum for teachers. New York: Schott. Frazee, J. (2007). Orff Schulwerk Today. New York: Schott. Goodkin, D. (2004). Play, sing, and dance. New York: Schott. Gordon, E. (1980). Learning sequences in music. Chicago: GIA. *Mead, V. H. (1994). Dalcroze Eurhythmics in today’s music classroom. New York: Schott. *Steen, A. (1992). Exploring Orff: A teacher’s guide. New York: Schott.

General Music Related Organizations American Orff Schulwerk Association—AOSA International Society for Music Education—ISME National Association for Music Education—MENC Organization of Kodaly Educators—OAKE Gordon Institute for Music Learning

24 Grading Policy: Class assessment is based upon the following: 50% Participation: Each ensemble will have specific participation guidelines. These will be discussed in detail on the first day the ensemble meets. 20% Written reaction and reflections (2 @ 10%): At the conclusion of each ensemble experience, students will be expected to submit a typed reflection that provides a scholarly reaction and summary of the ensemble experience. Specific details will be provided by each ensemble facilitator. 20% Sharing of work: At two times during the semester there will be an ensemble performance representing the work completed during the block. At the conclusion of the first ensemble experience, students will perform for their cohort. At the conclusion of the second ensemble experience, students will perform for the entire class. 10% GarageBand assignment: All students will be expected to create a composition using Garage Band software and share this composition with their peers. This assignment will be described in more detail during class.

Attendance: Because this is a performance-based class, attendance is mandatory. Students with unexcused absencesshould expect to have their semester grades lowered per each infraction. Three tardy marks will count as one absence. In the event of an emergency, please contact the instructor as soon as possible. This attendance policy will be enforced in alignment with Ithaca College’s attendance policy: http://www.ithaca.edu/provost/docs/apc/apcpolicy/AttendancePolicy/

Statement from the Counseling Center Diminished mental health, including significant stress, mood changes, excessive worry, or problems with eating and/or sleeping can interfere with optimal academic performance. The source of symptoms might be strictly related to your course work; if so, please speak with me. However, problems with relationships, family worries, loss, or a personal struggle or crisis can also contribute to decreased academic performance. Ithaca College provides a Counseling Center to support the academic success of students. The Counseling Center provides costfree services to help you manage personal challenges that threaten your well-being. In the event I suspect you need additional support, I will express my concerns and the reasons for them, and remind you of resources (e.g., Counseling Center, Health Center, chaplains, etc.) that might be helpful to you. It is not my intention to know the details of what might be bothering you, but simply to let you know I am concerned and that help, if needed, is available. Getting help is a smart and courageous thing to do -- for yourself and for your loved ones.

Statement from Support Services In compliance with Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act, reasonable accommodation will be provided to students with documented disabilities on a case-by-case basis. Students must register with the Office of Academic Support Services and provide appropriate documentation to the College before any academic adjustment will be provided.

WEEK 1: 1/21- NAB • Course Introduction and Ensemble Descriptions • Ensemble Selections WEEK 2: 1/28- Block III Ensembles (room locations: TBA) • Ensembles form and begin rehearsing o Radio Cremata and Mike Caporizzo – Digital Music o James Mick and Chad West – Popular Music (Jazz/Rock/Folk) o Baruch Whitehead – African Drumming WEEK 3: 2/4- • Block III Ensembles (continued) WEEK 4: 2/11-

25 • Block III Ensembles (continued) WEEK 5: 2/18- • Block III Ensembles (continued) WEEK 6: 2/25- • Block III Ensembles (continued) WEEK 7: 3/4- • Ensemble Performances, Block III (ensemble cohorts) • Written Reflection 1 Due @ 1pm via Sakai SPRING BREAK WEEK 8: 3/18- NAB • GarageBand software introduced. Block IV Ensembles formed. • Guest Speaker: Brian Powell from “Little Kids Rock” WEEK 9: 3/25- Block IV Ensembles (room locations: TBA) • Radio Cremata and Mike Caporizzo – Digital Music • Chad West and James Mick – Popular Music (Jazz/Rock/Folk) • Baruch Whitehead – Urban General WEEK 10: 4/1- • Block IV Ensembles (continued) WEEK 11: 4/8- • Block IV Ensembles (continued) WEEK 12: 4/15- • Block IV Ensembles (continued) WEEK 13: 4/22- • Block IV Ensembles (continued) • GarageBand Assignment Due @ 1pm via TaskStream (composition) and Sakai (reflection) WEEK 14: 4/29- • GarageBand assignment demonstrations (ensemble cohorts) • Written Reflection 2 Due @ 1pm via Sakai FINALS WEEK: Date/Time TBA- Ensemble Performances, Block IV (full class)

26 MUS 760: Curriculum And Instruction I: Music

Office: Creative Arts 152B Office Hours: Thursday 12:30- 2:00 and 3:30- 4:00. Phone: (415) 405-0487 E-mail: [email protected]

Course Description: Curriculum and Instruction in Music I will specifically focus on objectives, issues, and developmental considerations in the K-12 music classroom. Students will study, practice, and reflect on curriculum planning, teaching techniques, and assessment strategies in choral, instrumental, and general music classrooms as well as assessing student learning based on the California Music Standards. Students will also study the research base in music education, and how research and educational theory are related to best practice in music education. Curriculum and Instruction in Music I will prepare student teachers with the knowledge and skills necessary for successfully completing the Teaching Performance Expectations (TPEs) and Standards of Quality and Effectiveness for Professional Teacher Preparation Goals of California State Bill 2042. (http://www.ctc.ca.gov/SB2042/SB2042_info.html) Students will also practice preparing materials for edTPA, teaching performanceassessment.

Knowledge Base Theme: Preparing reflective and innovative professionals as leaders to insure the educational development of diverse populations within dynamic educational contexts.

Themes: • The Developmental Progression of Reflective Practitioners • Human Growth, Development and Musical Learning Theory • Foundations of Music Education • The Complexity of Diversity in Music Education • Research and Experience-Based Principles of Effective Teaching and Learning Practices • Assessment and Evaluation • Educational Technology • Field and Clinical Experience

Coursework Assessments 1. Critical review of assigned articles. 2. Demonstrations of vocal and instrumental teaching practices. 3. Score preparation and teaching objectives for mini-TPA. 4. Text chapter presentations for vocal, instrumental and general music. 5. “Context for learning” commentary. (Mini-TPA) 6. Lesson plans for “learning segment”. (Mini-TPA) 7. Instructional materials used for “learning segment”. (Mini- TPA) 8. “Planning commentary”. (Mini-TPA) 9. Daily Reflections. (Mini-TPA) 10. Modern Band demonstration lessons.

27 28 MUS 3310: Elementary School Music Kean University

Semester: Fall, 2015 Times: 8 - 12 tuesday Credit Hours: 3 Professor: Lindsay Weiss Location: PA-120

COURSE DESCRIPTION Music activities and materials, classroom music procedure and beginning choral techniques for the elementary school. Emphasis on activities and materials for gifted and talented students, ethnically diverse groups, mainstreaming and special education classes.

COURSE OBJECTIVES The students will acquire a proficiency in the knowledge, skills and values together with a disposition towards teaching as they become informed and dynamic professionals. The students will: 1. acquire a knowledge of how subject matter content is organized, based on the philosophical background for teaching music in the elementary school, and use such knowledge to create effective learning experiences in performing, reading, creating, describing, and valuing music for all students; 2. develop an understanding of the developmental characteristics of children and an understanding of the principles of learning as they relate to music in planning a program of music instruction; 3. demonstrate the ability to assess aptitudes, abilities, and interests of children, and to plan educational programs to meet assessed needs; 4. identify and develop the ability to introduce various methods for teaching music in the elementary classroom; 5. select and use appropriate materials for teaching music in the elementary school; 6. demonstrate the ability to communicate professionally both orally and in writing; 7. select and use a variety of evaluative strategies in assessing both the musical progress of the children and the objectives and procedures of the curriculum; 8. reflect upon issues of diversity as a way of developing musical understanding of all cultures.

INSTRUCTIONAL METHODS This course is taught using a variety of instructional approaches including lecture, class discussions, small group work, project creation, and electronic discussion (email and website chat room).

29 COURSE SCHEDULE

30 MED 437 MUSIC TEACHING AND LEARNING II

Course Description: This course is designed as the application of learning theories to the teaching of music, with particular focus on elementary/middle (gr. 4-8) and secondary (gr. 9-12) education. Topics include curriculum design, contemporary practices, and instructional materials, with an emphasis on current and emerging technology. One component of the course will be a weekly field experience (one hour per week, minimum) in the local schools.

Student Learning Outcomes: Through a variety of in-class and in-field experiences students will:

-Further develop their aural musicianship. -Articulate and discuss the informal learning processes and its value to contemporary and world musics. -Understand the distinctions between informal and formal musical styles and the application of these processes to specific musical genres. -Demonstrate strategies and skills in performing, improvising and composing using technology and classroom instruments, including but not limited to, modern band instrumentation such as guitars, bass, drums, keyboard and electronic instruments or software. -Describe the teaching strategies and skills needed to foster creativity and develop musical independence through composing, improvising and performance skills. -Describe strategies needed to implement appropriate technology in music learning at either the primary or secondary levels. -Design and present learning experiences that incorporate informal processes, aural musicianship and technology and non-traditional strategies. -Develop the habits of a reflective practitioner.

Required Text and Materials: Ballantyne, J., & Brydie-Leigh, B. (Eds.). (2010). Navigating music and sound education. Newcastle upon Tyne, UK: Cambridge Scholars Publishing.

Additional journal articles will be perma-linked in the library.

Projects: 1. Modern Band Cover Project: Students will organize themselves into bands at the beginning of the semester. Each group will choose a song to cover and journal about their group and personal experience. Final performances will take place during the week of September 28th. Detailed project information will be handed out during the first week of classes. 2. GarageBand Projects: All students will be expected to show proficiency in using GarageBand. There will be 2 projects: All students are expected to 1) compose an original piece and share in class and, 2) create a cover or a remix of a song using iPads in an ensemble grouping. Detailed information will be shared in class. 3. Reflective Paper: Reflection is a crucial aspect of being a good teacher. All students are expected to write a ten page (2500 word) scholarly paper that draws upon the literature discussed in class as well as your reflections and reactions to the two projects listed above, Modern band ensemble and GarageBand projects. All papers are to be in APA format. Further details will be shared during the first week of classes 4. Teaching Statement: Create a one page teaching statement that succinctly reflects your

31 philosophical beliefs for music learning and teaching. This will be a useful document that you will most likely be asked to present in a job interview. You will draw heavily from your reflective paper. 5. Final Project: In groups of 3 or 4, all students will present a 9 week unit plan for your specific area, i.e. Elementary general, secondary general, Band, Choir or a new course you are proposing to your school board entitled Modern Band. Each of the nine lessons should incorporate aural musicianship in some fashion; at least one lesson utilizing popular music and at least one lesson incorporating technology. This project will be discussed in detail in class. [Each individual will write 2 lessons a piece and the group will collaborate on the final lesson of the unit. Groups of three will envision a 7-week plan and groups of 4 will envision a 9-week plan. Details regarding the final presentation will be presented in class.

Field Observation Observation Blog: All students are required to post an observation log of the field experience. Detailed instructions as to what is expected in this log will be presented in class and posted on the class website.

Grading Scale: 94-100= A 90-93= A- 88-89= B+ 84-87= B 80-83 = B- 78-79= C+

74-77= C 70-73 = C- 68-69= D+ 64-67 = D 60-63 = D-

Course Calendar This is a fluid schedule of the semester. This will most likely evolve and change as we decide where we need to spend more time. Supplementary readings will be assigned based on emerging issues.

Week 1: Intro to Music teaching and learning II. August 31: Syllabus, grading policy and major projects. Introductory tasks and beginning questions. Sept. 2: Informal learning and aural musicianship: Readings: Text: Green, L. Chp. 6. Informal learning pp. 96-114. Woody, R. (2012). Playing by ear: Foundation or frill? Music Educator’s Journal, 99(2), 82–88. Begin to think about your band and a song that you would like to cover.

Week 2: Modern Band Pedagogy and Musical Futures: What does musical engagement look like in the 21st C? Sept 7: Readings: Text: Dillon, S. & Hirche, K., Chp. 10. Navigating technological contexts and experience design in music education. pp. 175-192. Tobias, E. (2014). Crossfading music education: Connections between secondary students’ in- and out-of-school music experience. International Journal of Music Education. Sage. doi:10.1177/0255761413515809 Sept. 9: Band meeting and discussion of cover project. During today’s class session you will have an opportunity to meet with your band and decide your song, choose your instruments and discuss parts. Readings: Wish, D. et al (2013) Music as a second language & the modern band movement. NJ. Littlekidsrock.org Musical Futures reading located on the class website. Journal about your band experience and send me your first log before class on Sept. 14th.

32 Week 3: Pedagogical approaches for non-traditional learning. Sept 14: Readings: Text: Schippers, H. & Cain, M. Chp. 9. A tale of three cities: Dreams and realities of cultural diversity in music education. pp. 161-174. Davis, S. G. (2013). Informal learning processes in an elementary music classroom. Bulletin of the Council for Research in Music Education. 198(Fall). 23-50 Sept. 16: Cover projects—band rehearsal day Journal logs for this week are due to me before Sept. 21. Week 4: Sept: 21-23 Cover projects rehearsal/prep week During this week all bands will have the majority of the class period to rehearse their covers. Each group will present their work in progress at the end of one class day.

Week 5: Modern Band Presentations Sept 28:Presentations of cover projects Sept. 30: Riffs and copying: Reading: Williams, D. A. (2014). The iPad is a real musical instrument. Music Educators Journal,101(1) (pp. 93-98).

Week 6: Creating October 5-7: Creating riff based songs and upload to class SoundCloud.

Week 7: GarageBand ensemble projects Oct. 12. GarageBand ensemble projects begin. Oct. 14 Mid-term grades are based upon: Modern Band cover projects, observation logs, original songs and reading discussion blogs.

Week 8: Creativity Oct. 19: No Class today. Fall break Oct. 21: Fostering Creativity: Teacher control and creativity. Reading: Wiggins, J. (1999). Teacher control and creativity. Music Educators Journal, 85(5), 40–45+44. Continue GarageBand ensemble work.

Week 9: Creativity Oct. 26: Reading: Text: Burnard, P. Chp. 4: Creative learning in music and educational renewal Oct. 28: GarageBand ensemble project performances.

Week 10: LEARNING THEORIES: CONSTRUCTIVISM Reading: Nov. 2: Chp. 2 Teaching for musical understanding: A Constructivist approach pp. 16-29 Lesson design Nov. 4: Lesson design

Week 11: Nov. 9: Housewright paper Nov. 11: Final group project preliminary sketch of your unit plan due.

Week 12: Curriculum Design Reading: Nov. 16-18: Chp. 7, Pitts, S. Musical education as a social act: Learning from and within musical communities pp. 115-128

33 Week 13: Curriculum Design Reading: Nov. 23: Chp. 3: Integrating music with other subjects: Challenges and possibilities. Pp. 31-50 Nov. 25: No class today, Thanksgiving break starts at noon.

Week 14: Practical Issues and Logistics Reading: Nov. 30-Dec. 2: Chp. 11: de Vries, P. The morphing music educator, pp. 193-207 Nov. 30: Teaching Statement Due Today! Week 15: Concluding thoughts and time to polish group presentations for next week. Dec. 7 Dec: 9 Reflective paper due today!

Week 16: Final Project Presentations Dec 14: Final Exam group project presentations.

34 MUED 203: Foundations to Music Education Montclair State University

The literature of ancient Greece contains many statements describing the role of music education in the development of the individual. Plato strongly emphasized the necessity for music (meaning all of the arts) in education to maintain traditional cultural values and to develop the ideal citizen. Aristotle cited historical precedents for music education, saying that music is valued for “intellectual enjoyment in leisure” and that it “...is a sort of education in which parents should train their sons, not as being useful or necessary, but because it is liberal or noble.”

But that was ancient Greece. Things are different now. Or, are they? Why should we care about music education? The teaching and learning of music will not necessarily cure ailments, it will not solve the world’s problems, it will not lead to ever-lasting peace and contentment. Yet, for some reason or another, throughout time, and throughout cultures, people have always and will continue to come together to learn music. So, why does music matter? More importantly, what is music that it matters so much? And once we have some answers to these questions, how do we know we are involved in “good” teaching and learning environments?

This course will begin with the above questions, and adventure through the field of music education.

AIMS: 1. To develop your understanding of key concepts in contemporary music education. 2. To develop your CRITICAL THINKING abilities regarding basic concepts in the philosophy, psychology, and practice of music education. 3. To address the language and career of music teaching as preparation for admission to the teacher education program.

SCOPE: This course serves as an introduction to fundamental issues in music education from a philosophical, psychological, cultural, and musical perspective. Each week addresses a different topic that builds on learning from previous classes, thus providing both depth and breadth of critical concepts in music education. During week 7 of this course, students will experience Modern Band and the pedagogical practice of Music as a Second Language. Content ranges from philosophical to pragmatic issues of teaching. The fieldwork component allows you to observe in the schools and/or community setting throughout the course. These experiences provide the “realism” that you need in order to integrate theory with practice on a meaningful level.

35 MUSI-288-01 Music Education for Diverse Learners

Dr. Cassandra Eisenreich [email protected] - 724-738-2440 Dr. Sue Hadley [email protected] - 724-738-2450

COURSE DESCRIPTION: This course is an introduction to historical and instructional foundations of using music with diverse learners. Major topics and developments in the field of special education, contemporary music styles (Modern Band/Popular Music/World Music Styles), and curricular issues involving diversity are explored. Students will learn about the characteristics of individuals with specific impairments, the educational effects of these impairments, appropriate adaptations, as well as music education approaches used with diverse learners.

FINAL PORTFOLIO:

• Relevant Laws • Behavior Disorders • Cognitive Disabilities • Speech and Language Disorders • Autism Spectrum Disorders • Vision Loss • Hearing Loss • Physical Disabilities • Gifted • Cultural Diversity • Modern Band/Popular Music • Instrument Accommodations • New Methods and Materials

FINAL EXAM:

The final exam requires you to prepare one lesson plan of your choice (choir, band, orchestra, general music, jazz band, modern band/popular music, etc.). You will receive information in the form of an IEP, general list, and video regarding three different students that have special needs in some capacity. Accommodations and meaningful inclusion must be discussed for each student.

36 MEDL SCHEDULE:

MONDAY WEDNESDAY FRIDAY Jan. 20 Jan. 22

Discuss syllabus and class requirements What is normal? Fear of diversity Jan. 25 Jan. 27 Jan. 29

Invisible privileges Invisible privileges Overview of lesson plans/writing accommodations

Feb. 1 Feb. 3 Feb. 5

Assessing Domains (Cognitive, Behavioral, Emo- Strengths based teaching Developmental stages and musical skill develop- tional, Sensory, Physical, Social) ment

Feb. 8 Feb. 10 Feb. 12

Adapting notation/Fonts /Adapting instructions Adapting instruments/Use of technology/Innova- IEPs/Observation/Check List/Diagnosis tive Instruments Feb. 15 Feb. 17 Feb. 19

Student presentations Student presentations Student presentations

(Modifications/Adaptations) (Modifications/Adaptations) (Modifications/Adaptations) Feb. 22 Feb. 24 Feb. 26

Modern Band and Popular Music Modern Band and Popular Music Modern Band and Popular Music

*Population/Settings/Structure *Genres and Instruments *Songwriting

*History/Required Readings

Feb. 29 March 2 March 4

Modern Band and Popular Music Modern Band and Popular Music Modern Band and Popular Music

*LKR Online Resources *Implementation at various levels and example Implementation at various levels lesson plans *Student ideas

SPRING BREAK

March 14 March 16 March 18

World music styles (Gamelan/Orff) World music styles World music styles

(Percussion/Drumming) (Spanish idioms) March 21 March 23 March 25

Student presentations Student presentations Student presentations

(Modern Band/Popular Music/World Music) (Modern Band/Popular Music/World Music) (Modern Band/Popular Music/World Music) March 28 March 30 April 1

Addressing musical goals with individuals with Addressing musical goals with individuals with Field experience observation physical impairments visual impairments *Pittsburgh Public Schools

Modern Band/Popular Music

37 MUSC 540 – Summer Music Workshop Indiana University of Pennsylvania

DESCRIPTION: Exploration into popular music pedagogy and Modern Band through performance, composition, improvisation, informal learning, and utilizing the Music as a Second Language (MSL) approach.

FORMAT: This course will discuss popular music pedagogy and curriculum, starting with the key tenets of Informal Learning, Composition, Improvisation, Approximation, Scaffolding, and Creating a Safe Space. These will be demonstrated through interactive lecture, performance, and group interaction on guitar, bass, drums, keyboards, technology, and vocals.

COURSE OBJECTIVES AND STUDENT OUTCOMES: At the end of the course, students will be able to: • Understand the key components of popular music pedagogy • Demonstrate familiarity with popular music education theories such as formal and informal learning styles, learning through familiar material, and the value of all music. • Demonstrate some proficiency on a variety of rock band instruments and styles • Demonstrate a well grounded knowledge of educational concepts and preparation in order to implement different teaching styles in the classroom • Demonstrate comfort teaching improvisation, composition, and group participation in a rock band setting. • Explain the utilization and importance of popular music education in a school setting.

ASSESSMENT: • Written Report=30% • Final Presentation=30% • Response Journals=30%, • Participation=10% • Grading Scale: A: > 92% B: 83-91% C: 75-82% D: 74-70% F: <70%

COURSE OUTLINE:

Monday Review Syllabus including midterm performance and final presentation dates and requirements. Intro to Popular Music Pedagogy • Introduce students to Modern Band • Core values with emphasis on safe space • Beginning and opening jams: immediate music making • Formal, non-formal, and informal music learning Beginner Guitar • Simple and necessary techniques: holding the guitar/using a pick • Understanding frets and strings Introduce reading chord charts • Easy one finger chord charts • Composing and performing one finger songs as a class

Tuesday Getting Started on Keyboard • Keyboard chords (one shape system) • Using jam cards to play scales and progressions

38 • Composing simple chord progressions • Understanding short hand finger patterns Rhythm Section: Bass and Drums • Drumming anywhere: playing the backbeat • Introducing the electric bass: History and function • Jamming along with bass “grooves” The Full Band Experience • Putting together the pieces of the Modern Band using simple charts • Rotating instruments between students • Sound checking and balancing • Setting up the modern band in a classroom

Wednesday Music As A Second Language • Music as a Second Language Pedagogy • Stages of language development • Understanding the affective filter Improvisation • The famous two note solos • Introducing the pentatonic shape on guitar • Connecting the pentatonics to the keyboards Songwriting • Understanding the process of writing a song • Ways to make composition approachable for students • Compose a song as a class Time to work on group songs

Thursday Vocal • Vocal technique for popular musicians • Vocal exercises for the classroom Technology • Technology as instrument • Technology as pedagogical tool • Technology as resource Advanced Guitar Techniques • Moveable chord shapes: barre chords and power chords • Articulation on guitar: slides, bends, pull-offs and hammer-ons • The history of guitar notation and the power of tablature • Designing your tone: demystifying the endless options on guitar amplifiers

Friday Time to rehearse with groups Original Composition Group Performance and Cover song performance • Reflections on the process Next steps

39 MUS 360-001 General Music I Dr. Martina Vasil, Music Education 203 Wessels House (421 Rose St.) [email protected] (859) 257-8203 Office hours: Tues/Thurs: 1–2pm Please email me to schedule an appointment at a different time

COURSE GOALS:

Based on the principle that children and adolescents learn by doing, you too will have many opportunities to learn through active, hands-on experiences. Assigned readings, in-class discussions, observations, and teaching opportunities are designed to stimulate conversations about a) elementary and secondary general music curricula, b) the musical capacities of children and adolescents, and c) the requisite skills and knowledge of the “general music” teacher. A central goal of MUS360 is to engage and challenge you to think critically and thoughtfully about the principles and practices of general music teaching and learning.

STUDENT LEARNING QUESTIONS:

• Communicate the art of music with aesthetic sensitivity to children and adolescents. • An ability to design sequential, “developmentally appropriate” lessons based on an understanding of children’s and adolescent’s learning capabilities and socio-psychological theories of learning. • Refinement of performance skills in singing, moving to music, and accompanying music on guitar/ukulele, recorder, and piano. • Knowledge of a varied repertoire of music appropriate for K–12 general music teaching. • An introductory knowledge of the contemporary approaches of Orff, Kodaly, and Dalcroze, which are widely practiced by general music teachers. • An introductory knowledge of Modern Band, which is being used by music teachers in large metropolitan areas in the United States. • An introduction to understanding the musical capacities and interests of children and adolescents. • An ability to teach lessons in the elementary and secondary general music classroom that engage students in musical learning and active music making. • An ability to reflect on and assess effective teaching. • An increased sense of your music teacher identity.

OTHER REQUIRED MATERIALS AND MEMBERSHIP:

• Pad of paper for taking notes • Soprano recorder (must be Peripole Halo brand, baroque fingering) (~$10) • Comfortable clothing. We will be moving and sitting on the carpet for most classes. • Kentucky Orff Schulwerk Association or Kentucky Eurhythmics Society membership ($5). You automatically become a member when you attend one of the workshops. • American Orff-Schulwerk Association membership (free)

40 MUS 360-001 Elementary Vocal General Music Education (K-6) Instructor Name Dr. Lindsay Weiss Office Location FAC 254 Office Hours M & W@2:00-4:00pm; T@4:00-5:00pm and by appointment Phone 515-271-3975 Email [email protected]

COURSE DESCRIPTION:

This course focuses on traditional and contemporary philosophies and approaches to teaching music to children ages 5-12 (grades Kindergarden-6th). Musical activities and materials, classroom procedures, and effective teaching practices will be introduced, observed, practiced, and reimagined during this 15-week course. This course emphasizes the impact that children’s cognitive, physical, social, and emotional development has on their musical development.

COURSE OBJECTIVES:

• Acquire a knowledge of how subject matter content is organized, based on the philosophical background for teaching music in elementary schools, and use such knowledge to create effective learning experiences that address the National Core Arts Standards for all students • Develop an understanding of the developmental characteristics of children and an understanding of the principles of learning as they relate to music in planning a curriculum of sequential musical instruction • Demonstrate the ability to differentiate instruction through the ongoing assessment of musical aptitudes, readiness levels, and interests of children • Identify and develop the ability to introduce various methods for teaching music in the elementary classroom, select and use appropriate materials and repertoire for teaching music in the elementary classroom, and demonstrate the ability to communicate professionally to children

COURSE EXPECTATIONS:

• Commitment to attending and completing class assignments on time and in a professional manner • Care and concern with and in supporting members of the class involved in class instructional activities • Active participation in the process of developing your skills and dispositions as a music educator • Active membership and participation in the Collegiate Chapter of the National Association for Music Education (NAfME Chapter at Drake University)

41 COURSE CALENDAR:

42 MUE 3424 – (sec. 001) Progressive Music Ed Methods

University of South Florida College of Fine Arts School of Music Music Education Area

Course Syllabus Fall 2014

Instructor: Clint Randles, Ph.D. Assistant Professor of Music Education

Teaching Assistant: Jose Ruiz Doctoral Student in Music Education e-mail: [email protected]

Teaching Assistant: Jeff Temple Doctoral Student in Music Education e-mail: [email protected]

Room 211 (Music Education) School of Music

Phone: 616.481.8949 e-mail: [email protected] Office: 317 School of Music Office Hours: By appointment

COURSE DESCRIPTION: This course will provide students with a grounding in methods for music education settings outside the traditional general, band, choir and string programs.

OVERVIEW:

This course is designed to stretch what has traditionally marked music education in the schools to include, among other offerings, Modern Band. Topics may vary from semester to semester as new possibilities of music methods materialize. Potential topics include concepts of informal learning principles in music, development of creativity in music, theoretical principles of popular musics, computer and digital music technology, sound engineering and recording, multiple- arts approaches, and sound amplification. The course will include a combination of lecture, discussion, modeling, and “hands-on” activities.

43 OBJECTIVES:

This course should help you develop the ability to:

1. Express clearly, in speaking and writing, the essential structure, purposes, and importance of nontraditional music teaching and learning. 2. Demonstrate skills in playing, singing, composing, improvisation, arranging, using technology, and incorporating history and culture appropriate to American and world music. 3. Demonstrate use of chord progressions, tonal modes, textures, and prosody unique to American music created in the aural/oral tradition 4. Demonstrate transmission of informal musical structures, including aspects of form, harmony, melody, rhythm, texture and tone color. 5. Design, implement, and assess learning experiences which contain nontraditional subject matter and strategies.

TEXTS

Hosken, D. (2010). An introduction to music technology. New York: Routledge Publishing.

Little Kids Rock. (2014). Music as a second language & the modern band movement. New Jersey: Little Kids Rock Publishing.

Turino, T. (2008). Music as social life: The politics of participation. Chicago, IL: University of Chicago Press.

Williams, D.B., & Webster, P. (2006). Experiencing music technology (third edition). New York: Schirmer.

Module 18 – Modern Band

Start Date: On-Campus Week End Date: On-Campus Week At the end of this course module students will be able to (Learning Outcomes):

1. Understand the history of Little Kids Rock and its mission statement. 2. Identify and describe how the concept of Modern Band fulfills a need for music education.

Module Description: Little Kids Rock and the Modern Band Movement in Music Education

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