1. Welcome back! Stuff to know – Coop evaluation form – Candidate Reflection form Danielson Domain Essay – Reflective Journal

2. Music Education Foundations Might be helpful for Praxis II

3. Pedagogical/ Cognitive Theories Kodály Orff Dalcroze Generative – Boardman Suzuki CMLS – Froseth – Gordon Developmental Constructivist Social Learning Behaviorism Developmental Constructivist Social Learning Behaviorism

4. Pedagogical (teaching) approaches Kodály Dalcroze Orff Suzuki Comprehensive Music Learning Sequence Generative Kinda like your music teaching ‘church’

5. Kodály Hungarian music curriculum developed in 1940’s Developed in conjunction w/ Zoltán Kodály – Choksy brought this method to Northern America (1970’s1980’s) Emphasis on – quality folk songs

6. Kodály cont. Empahsis on – Quality/folk music – Singing Sol feg in prescribed intervalic sequence Curwin hand signs – Rhythmic time syllables Ta Ti-ti Ti-ki-ti-ki (ti-ri-ti-ri) – Short-hand dictation w/no note heads or staff Developmentally appropriate sequential presentation Sound/movement before notation Developmentally appropriate sequential presentation Sound/movement before notation

7. Dalcroze Developed by Swiss composer, Émile Jaques-Dalcroze Emphasizes – Eurhythmics (Movement analogies) – Sol feg – Improvisation For practical MUED purposes, “Dalcroze = Movement”

8. Orff Schulwerk German music curriculum developed by Orff/Keetman in 1920’s Emphasis on play and creative activities Percussive rhythm basic to human expression Often paired with Dalcroze movement Not a ‘method’ – No sequence – An attitude Uses barred instruments, recorders,drums Ostinato Body Percussion Singing is used, but not as primary sound source 4 stages – Exploration – Imitation – Improvisation – composition Uses barred instruments, recorders,drums Ostinato Body Percussion Singing is used, but not as primary sound source 4 stages – Exploration – Imitation – Improvisation – composition

9. Suzuki Japanese private instruction method Developed by Shinici Suzuki Well established in strings, somewhat in other timbres Repertoire of etudes in sequential order Mother Tongue approach – Parental involvement – Imitation/rote in early stages – Frequent performance Mother Tongue approach – Parental involvement – Imitation/rote in early stages – Frequent performance

10. CMLS Developed by Froseth Based on Gordon research – Scientific empirical data – Sequential approach Key words: – Aptitude – Audiation

11. Generative Developed by Eunice Boardman, others in 1960’s-1970’s Developmental (but not sequential) in approach Constructivist in approach Relies on musical application of Jerome Bruner’s theory of human cognition – Can be applied to lots of ‘churches’ Key words – Icons – Spiral curriculum – Known/unknown/new known – Musical context

12. Cognitive Theories Developmental – Piaget – Pestalozzi – Dewey – Mazlow – Erickson Constructivist – Bruner – Vygotsky – Piaget – Dewey Social Learning – Vygotsky – Bandura Behaviorism – Skinner – Thorndyke Stimulus/response Rewards/punishment Modification of observable behaviors Behaviorism – Skinner – Thorndyke Stimulus/response Rewards/punishment Modification of observable behaviors

13. Developmental theories Adhere to the idea that humanity moves through ‘stages’ that can usually be relied upon – Piaget (knowledge) – Erickson (moral development) – Mazlow (need fulfillment) – Pestalozzi – Dewey Educators who applied the idea of adapting instruction to the appropriate developmental stage of the students.

14. Constructivist Adheres to the idea that people form, or “construct” knowledge based on experience with the world – Vygotsky Lots of overlap with Developmental theories – Spherical vs. Linear understanding

15. Social Learning Adheres to the idea that people create knowledge based in large part on social interaction – Scaffolding – Zone of Proximal Development – Much overlap with Developmental and Constructivist theory

16. Behaviorism Adheres to the idea that people change behavior (response) based on positive and negative stimuli from the external world – Conditioned – Reinforcement – Reward – punishment

17. So, what teaching methods are based in what cognitive theories? Kodály Orff Dalcroze Generative – Boardman Suzuki CMLS – Froseth – Gordon Developmental Constructivist Social Learning Constructivist Behaviorism Developmental Constructivist Social Learning Constructivist Behaviorism

18. Music Education Professional Resources Things every music educator should know.

19. Professional Resources Organizations – Pedagogical (teaching) – Professional (gigging) Publications – Pedagogical – Scholarly

20. Organizations Public school based Professional based NAfME – MENC ACDA ASTA AOSA OAKE NSBA AFM ABA MTNA ASCAP NASM NAMM AFTA MPA AFM ABA MTNA ASCAP NASM NAMM AFTA MPA

21. National Association for Music Education: NAfME Formerly known as “MENC: The National Association for Music.” – Stands for “Music Educators National Conference” – 1907 Keokuk, Iowa – NEA (National Educational Association) – Umbrella organization for regions, states Conferences, festivals, events – Important advocacy organization for public school music Standards Monographs/white papers/benchmark statements – Important organization for scholarship in music education

22. NAfME journals Teaching Music – Not ‘peer reviewed’ Music Educators Journal (MEJ) Journal of Research in Music Education (JRME) General Music Today (GMT) Update Journal of Music Teacher Education (JMTE)

23. NAfME/MENC rag mags InTune Monthly Music Alive

24. ACDA American Choral Directors Association – 1959 – Promotes choral singing, repertoire Choralnet freebies are from this organization – Umbrella organization for regions, states – Conferences, festivals events Publications – Choral Journal – Chorteach (e-newsletter)

25. ASTA American String Teachers Association – Founded in 1950’s – Umbrella organization for regions, states. – Conferences, festivals, resources American String Teacher – Published quarterly

26. AOSA American Orff-Schulwerk Association – All Orff, all the time – Music and Movement – Conferences, workshops Publication – The Orff Echo

27. OAKE Organization of American Kodály Educators – Founded 1975 – All Kodály, all the time – Conferences, workshops Publications – Kodaly Envoy (quarterly) – Books, DVDs

28. NSBA National School Boards Association – Not associated with Music Education per se – Important for music educators to understand how school boards work How programs are funded How to advocate for arts at the local level

29. Organizations Public school based Professional based MENC ACDA ASTA AOSA OAKE NSBA AFM ABA MTNA ASCAP NASM NAMM AFTA MPA AFM ABA MTNA ASCAP NASM NAMM AFTA MPA

30. AFM American Federation of Musicians of the United States and Canada – “The Union” – Founded in 1896 – Local chapters all over the place – All about gigging, wages, contracts,etc Publication – Musician 1950’s statement on school musicians

31. ABA American Bandmasters Association – Invitational organization for Band conductors/composers – Conferences – Establish foundations/scholarships Journal of Band Research – Biannual publication

32. MTNA Music Teacher’s National Association – The NAfME equivalent for private studio teaching – Founded 1876 – Provides certification and scholarship Journal – American Music Teacher

33. ASCAP American Society of Composers, Authors, and Publishers – Copyright kickback group – Licensing/recording rights group – Deals primarily with audio recordings “mechanical rights” If you gig/arrange/compose at all, you (or your organization) should join.

34. NASM National Association of Schools of Music – Founded in 1924 – Accrediting agency for schools of music. Usually collegiate, but sometimes community or pre-collegiate Provides stats that are useful to public school teachers on where to send students

35. NAMM International Music Products Association – (National Association of Music Merchants) – Founded 1901 – Non-profit organization for music business Instruments, lighting, speakers, sound boards, etc.

36. AFTA Americans for the Arts – Founded in 1960 – Organization for promoting all of the Fine Arts – Clearing house for advocacy, funding information, residency programs, business partnerships, etc.

37. MPA Music Publishers Association – Founded in 1895 – Deals with copyright issues of print or sheet music Similar to ASCAP – If you do any composing/arranging for profit, you want to join this group

39. Why do you care? Short term – Praxis II Knowledge (remember) Comprehension (understand)

40. Long term You will encounter difficulties that these organizations will help you overcome. – Application You may have complex difficulties that need the assistance of more than one of these organizations – Analysis There may emerge a new difficulty for which these is no organizational support, and you’ll need to start an organization – Synthesis You may find yourself in an advocacy role in which your knowledge of these organizations will allow you to influence others/policy – Evaluation There may emerge a new difficulty for which these is no organizational support, and you’ll need to start an organization – Synthesis You may find yourself in an advocacy role in which your knowledge of these organizations will allow you to influence others/policy – Evaluation