1. Philosophy
1.1. Description
1.1.1. In education, it is very important to have your own philosophy. If you do not have your own philosophy, you will be unable to know why you are teaching what you are, what your goals are, and where you want your students to be. Philosophy is a hard topic to discuss because of the differing opinions between each philosopher. It is important for each teacher to understand what their own opinion is and to implement it into their teaching so that students can see why that teacher is teaching. Langer, S. K. (1977). Expression. In Problems of Art: Ten philosophical lectures (pp. 13–26). essay, Macmillan. Hodges, D. (2005) Why study music? International Journal of Music Education, 23:2, 111-115. University, W. S. (2002, April 15). Professor's love of Music and giving benefits musicians and music teachers in South Africa. Today@Wayne. Retrieved November 4, 2021, from https://today.wayne.edu/news/2002/04/15/professors-love-of-music-and-giving-benefits-musicians-and-music-teachers-in-south-africa-694.
1.2. Philosophy and Pedagogy
1.2.1. The differing amount of opinions in philosophy create so many options for teachers and student teachers alike. Using those opinions to filter out what you do and don’t agree with as a teacher will help you understand better what you want your students to know and feel. Pedagogically, your philosophy will be present in your teaching, it will dictate what you focus on the most and define why you teach what you teach.
1.3. Continued Growth
1.3.1. How can we begin studying Philosophy without being filled with bias from the first author we read? How drastic does our bias need to be separated from our educational philosophy?
1.3.2. Reimer, B. (2009). Seeking the significance of music education: Essays and reflections. Rowman & Littlefield Education. www.musicinaction.org.au
2. Teacher Identity
2.1. Description:
2.1.1. Music Educators all have certain qualities that make them who they are. These personal beliefs that are created by each individual are crucial to creating our system of beliefs. If done correctly, most educators will follow their system of beliefs no continue to learn and grow every single day of their career. However, in some instances, there are those educators who go against their beliefs, because they never fully defined them, and revert to old teaching methods that they may have not wanted to use. CAMPBELL, P. A. T. R. I. C. I. A. (2008). Chapter 1 A Musician's Life in Teaching. In Musician and Teacher (pp. 1–16). essay, W.W. NORTON AND Company. Music Educators Journal, Vol. 93, No. 3, Special Focus: Music Teacher Preparation(Jan, 2007), pp. 30-35
2.2. Philosophy and Pedagogy:
2.2.1. One of the best qualities of a teacher is being open minded. Being open to the positives and negative of my teaching will help me understand as a teacher what is important to me and what I should center my philosophy around. Having this unique but open philosophy will help my pedagogy grow and be open to change based on the students I am teaching.
2.3. Continued Growth:
2.3.1. Should I always look at older teachers for new ideas? Am I allowed to try new things in my teaching that hasn’t been seen before but stays true to my philosophy?
2.3.2. Frank Pajares, "Teachers' Beliefs and Educational Research: Cleaning Up a Messy Construct," Review of Educational Research 62, no. 3 (1992): 307-32. Harm H. Tillema, "Belief Change Towards Self-Directed Learning in Student Teachers: Immersion in Practice or Reflection on Action," Teaching and Teacher Education 16, nos. 5-6 (2000): 575-91.
3. History of Music Ed
3.1. Description
3.1.1. Philosophical Leaders of history have been advocating for Music Education dating all the way back to Plato and Aristotle. They said that music brings wisdom, but also emotion, and creates a whole person. While other philosophers, like Martin Luther, argued that music was for God and should be used to spread his word, we still see many philosophers arguing that Music Education is just as important as any other form of education and should be present in our children’s education. MARK (n.d.). Greece and Rome. In Music Education Source Readings from Ancient Greece
3.2. Philosophy and Pedagogy
3.2.1. The history of music education shows that many great thinkers agree with music education. I can use their beliefs and base my philosophy around “why music?”. This also translates into how I pedagogically teach in my classrooms, if I can base my philosophy around these thinkers, then that shows I can base my pedagogy off of historical figure heads as well!
3.3. Continued Growth:
3.3.1. When exploring pedagogy, how can I incorporate old ideas into the modern day classroom? Are there modern philosophical thinkers that have advocated for music education in the classroom?
3.3.2. https://www.k-state.edu/musiceducation/eportfolio/archived/jhuey/Jessica_Huey/Philosophy_of_Music_Education.html https://cte.ku.edu/sites/cte.ku.edu/files/docs/portfolios/thomas2/Thomas.HW1.example.pdf
4. What it means to teach art
4.1. Description
4.1.1. Education nurtures the growth of the child and human brain that creates an innate need for information and growth. We as educators must understand that students have the ability to learn, but things that hinder their growth. children have an innate ability to learn at a very rapid rate, and this is seen with their ability to learn language. The fact that children learn languages at these rates proves that “…it is not their hands but their heads that are slow” (Suzuki 39). This quote is not saying that they are slow learners, it is trying to depict that any physical problem is more often than not a mental block problem that has been placed by the learner. It is our job as educators to help students understand how to get past that mental block to grow musically. Suzuki, S. (1966) Introduction The classic approach to talent education. Nurtured by love (pp.1-3, 36-41)
4.2. Philosophy and Pedagogy
4.2.1. My philosophy, which is based off of the idea that music is a language that explains what words cannot, is based off of the fact that students have the innate need for information and growth. The hindrance of the human brain mentally is what I philosophically want to show students how to get past. The pedagogy that is used in the arts is built around that mental block, because students are able to physically do what they can, but only can perform as much as they can mentally. The mental block will change your pedagogy in the classroom and force you to adapt and be open to new options as an educator.
4.3. Continued Growth
4.3.1. How do you get past the mental block with a certain individual during an ensemble based class session? What are some methods we can use to further understand the student’s mind in holding back their body in specific situations?
4.3.2. https://youtu.be/ZcFRfJb2ONk https://youtu.be/UPk56BR1Cmk
5. Basic Learning Theories
5.1. Description
5.1.1. When it comes to Learning Theories, there are so many that we can look at for advice and research. From cognitive development to Multiple Intelligences, we have so many theories that we can draw from for information. These theories try to explain how humans learn in the most general sense. As educators, we must look at differing theories in order to understand how humans learn at the basic level to understand how to teach to your students. Kelly, S. (2008) Social components of music learning. Teaching music in American Society (pp. 101-117) Campbell, P. (2008) Theories of musical thinking and doing. Musician and Teacher (pp. 104-123)
5.2. Philosophy and Pedagogy
5.2.1. In a pedagogical sense, this is what our pedagogy is based off of, understanding how students learn and catering our lessons around that. In a philosophical sense, however, we find a new answer. Basic Learning Theories are abundant, our Philosophy might draw us as learners towards specific theories. The bias of our own human brain dictates what we research and what we believe in our classrooms and as educators.
5.3. Continued Growth
5.3.1. How does our human bias with our philosophy affect basic learning theories? Is there a reason as to why Learning in general has so many theories and not a lot of concrete fact?
5.3.2. https://www.verywellmind.com/gardners-theory-of-multiple-intelligences-2795161 https://www.edutopia.org/multiple-intelligences-research
6. Assessment
6.1. Description
6.1.1. As music educators, we delve into multiple types of Assessments (Formative, Summative, Diagnostic, and Authentic) and the struggles that come with grading in an ensemble environment. Many music educators focus on either individuals, or the ensemble, and struggle finding a balance between the both. This chapter focused on methods that we can use as educators to structure a plan in which we can try to focus on both individual and ensemble Lehman, P. R. (1998). Grading practices in music. Music Educators Journal, 84(5), 37–40. ht t ps://d oi.org/10.2307/3399129 CAMPBELL, P. A. T. R. I. C. I. A. (2008). Chapter 13 Assessment. In Musician and Teacher (pp. 253-265). essay, W.W. NORTON AND Company.
6.2. Philosophy and Pedagogy
6.2.1. Music educators have the hardest time with assessment, we have so many choices that my work with one group and one that works with another group. Using an open mind to philosophically understand what type of assessment to use will help with your pedagogy in the classroom and will show you what to focus on while teaching.
6.3. Continued Growth
6.3.1. Is the standard grading system used in American education applicable in the ensemble based classroom? How do you become unbiased enough with your students to grade them fairly in a class based on talent and skill?
6.3.2. Kagan, Spencer. Cooperative Learning Structures Binder. San Clemente, CA: Resources for Teachers, 1991. Larkin, Michael H. "The Construction and Validation of Rating Scales for the Objective Measurement of Five Dimensions of Achievement in Choral Music." Ph.D. diss. Temple University, 1985.
7. Observing and Analyzing Teacher Behavior
7.1. Description
7.1.1. The field, or any educational classroom environment where we find ourselves in a position of authority as an educator, requires us to have a level of excellence in our practice in order to fully demonstrate and educate our students. The first impression of the school is the most thrilling experience, we must step back for a second and make sure that we survey our surroundings, the types of things we see, and how the students act in order to start one step ahead than any other teacher that maybe also entering the school. As we continue to learn about the new environment, we must observe our surroundings, asking ourselves how the teacher filled the room, how did they help limit the number of distractions from other outside classrooms, and how the teacher acts in any given situation throughout the school day. The musicianship, and active communication of the teachers displays how well the teacher understands the content and how well they can teach that to their students, and this shows the difference between an effective and non-effective educator. The last thing we need to observe is the classroom management and scheduling of the teachers and their environment, how does the teacher display the growth of their students effectively in their rooms, and are the teachers organized in a way that makes each day as seamless as possible for any lesson they are preparing to teach. CAMPBELL, P. A. T. R. I. C. I. A. (2008). Chapter 15 Out in the Field: Look-Listen-Learn. In Musician and Teacher (pp. 276–298). essay, W.W. NORTON AND Company.
7.2. Philosophy and Pedagogy
7.2.1. As teachers, our philosophy must always be changing, and is always shown in our teaching. If we know what we are observing in other teachers, we can in turn figure out their philosophy and understand why they teach what they teach. My pedagogy will change because I may observe a method that another teacher uses that I may want to use in my classroom.
7.3. Continued Growth
7.3.1. What types of classrooms should I be observing as a beginner teacher? Are there changes that happen in the students or teacher while I am observing them that effect the classroom?
7.3.2. https://www.tandfonline.com/doi/abs/10.1080/00336297.1977.10519896?journalCode=uqst20 https://files.ascd.org/staticfiles/ascd/pdf/journals/ed_lead/el_196112_flanders.pdf
8. What is an Effective Teacher?
8.1. Description
8.1.1. There are many methods that are used by amazing and under appreciated teachers across the nation. “ A music educators’ mastery of the area of teaching can be expressed in ways as varied as the backgrounds and personalities of the teachers themselves-but the dynamic individuals share a few traits that illuminate their roles and their students lives.” (Brand 1). The most effective teachers are those that are passionate in what they are teaching and have the ability to show that to their students while teaching. This creates the passion in their students that help them strive to be better in the classroom. Brand, M. (1990). Master music teachers. Music Educators Journal, 77(2), 22–25. ht t ps://d oi.org/10.2307/3397811
8.2. Philosophy and Pedagogy
8.2.1. A teacher who is truly passionate and loves the subject they are teaching will, in turn, have philosophical ideals that align with that given subject. If I can be passionate about the music and subject that I am teaching, then I will fully engage my best and worst students and show my love in my pedagogy.
8.3. Continued Growth
8.3.1. Can you teach when you are not in love with the subject you are teaching? Is there a difference between understanding a concept and loving a concept?
8.3.2. Walter Doyle, "Effective Teaching and the Concept of Master Teacher, "' in Teacher Competence, ed. Gayle C. Hall (Bloomington, IN: Phi Delta Kappa, 1984-85). Elliot W. Eisner, "The Art and Craft of Teaching, »' Educational Leadership 40, no. 4 (January 1983), 4-13.
9. Planning Instruction
9.1. Description
9.1.1. To effectively assess the students, you may want to have small groups or sections perform certain excerpts of the piece to make sure that most of the group is performing at the level required. However, you have to always keep in mind the playing ability of the students, the information that has been given out, and what you have told the students to work on previously. One of the most important things is to plan out each class based on the students you have in that class and make it engaging and fun while staying on course for each classroom. Mark, & Maruda. (2014, September 13). Mark & MADURA, "Competencies that music teachers need to be SUCCESSFUL" (Chapter 8), book.
9.2. Philosophy and Pedagogy
9.2.1. Planning instruction is the culmination of my teaching philosophy. I place a lot of my philosophy on the way I want to teach my class and what we are learning. If I cannot plan my classes properly, than any pedagogy used in that class will be jumbled and confusing for the students, if I do plan effectively though, then each pedagogical method I use will help better my students and their understanding of each topic.
9.3. Continued Growth
9.3.1. Is it better for me to be original in every plan I have, or to use some other ideas from other teachers every so often? What are ways that I can not repeat myself in lessons each year and become bored of what I teach?
9.3.2. Archibeque, Charlene (September 1992). "Making Rehearsal Time Count." Choral lournal. 18-19, Bennis, Warren (1997). Managing People is Like Herding Cats. Provo, UT: Executive Excellence Publishing. Gumm, Alan (2003). Music Teaching Style: Moving Beyond Tradition. Galesville, MD: Meredith Music Publications.
10. Standards for Music Ed
10.1. Description
10.1.1. The standards of Music Education have been created by the experiences of music educators historically and the observation of what students should understand after leaving your classroom that year. They are based on the traditions and culture of the music that is created in the nation that those standards are being created. They are the building blocks that we use as music educators to guide our instruction Music Standards Review and Revision Committee - CDE. (n.d.). Retrieved December 13, 2021, from https://www.cde.state.co.us/coarts/2020cas-mu-p12.
10.2. Philosophy and Pedagogy
10.2.1. Standards are how we guide our modern classrooms, if standards change on any level, we may need to change our philosophy to be able to follow these standards that should be used by every music educator. This translates into my pedagogy because it dictates what I am teaching and why I am teaching it.
10.3. Continued Growth
10.3.1. Is there any time that standards could hinder the learning of a few students? Are there times where standards should not be looked at when creating a lesson plan to better your student’s education?
10.3.2. www.NAfME.org/standards https://youtu.be/bxP5X5NHnfM
11. Class Management
11.1. Description
11.1.1. Classroom management depicts the major problems of directing an ensemble and how to properly prepare for the ensemble classroom. Work outside of the classroom like score study, careful planning for each lesson, and creating measurable and obtainable objectives are great systems that proactive educators use in order to be successful in the ensemble environment. Just planning on conducting and giving feedback to students will not create the environment needed in order to have a well performing and healthy classroom. Bauer, W. I. (2001). Classroom Management for Ensembles. Music Educators Journal, 87(6), 27–32. https://doi.org/10.2307/3399689
11.2. Philosophy and Pedagogy
11.3. Continued Growth
11.3.1. How do you redirect student’s negative actions or words in the ensemble environment? What are ways to manage your classroom in the moment without distracting your students?
11.3.2. Collins, Donald L. Teaching Choral Music, 2d. ed. Englewood Cliffs, NI: Prentice-Hall, 1999. Curwin, Richard L., and Allen N. Mendler. Discipline with Dignit, rev. ed. Alexandria, VA: Association for Supervision and Curriculum Development, 1999.
12. Curriculum Basics
12.1. Description
12.1.1. The curriculum of a classroom evolves constantly with how students are evolving technologically and mentally. As there is more information for students to understand, we must be able to filter out unneeded information in curriculum while also conforming around the world that students are living in while we are teaching them. Curriculum is hard to create because it may be changing per each class you teach and each worldwide event that affects us. The world is ever growing, but if the curriculum does not follow that growth, then information will become outdated and unnecessary in as few as a year. Introduction, Grades 5-8. A New Vision (pp. 1-7, 17-21) Conway, C. (2002) Vol. 88, No. 6. Music Educators’ Journal (pp. 54-59)
12.2. Philosophy and Pedagogy
12.2.1. We cannot create a spiral staircase for our students to climb if we cannot create pillars for that staircase. Curriculum and understanding of it is a reflection of the philosophy and pedagogy that we have as teachers. The philosophy is what pillars we want to create, if we do not create those pillars in our pedagogy, then our students will be unable to climb up the case, or will have a hard time following, in turn, rickety steps.
12.3. Continued Growth
12.3.1. In a educational classroom, like music education that has a very loose common core curriculum, how do you know you are creating the correct curriculum? How much should your personal curriculum reflect the music education standards?
12.3.2. Lizabeth B. Wing, "Curriculum and its Study," 211-12. Ralph W. Tyler, Basic Principles of Curriculum and Instruction (Chicago: University of Chicago Press, 1949).
13. Diversity and Exceptionalities
13.1. Description
13.1.1. The diversity of students as not only learners, but also humans greatly change the way teacher think about their teaching methods. The learning capability of many students may be a drastic shift in the classroom, but it is one that teachers have to be prepared for. “The best-laid out plans scatter in the wind when students are not going with the flow because they cannot, or because they need time and special prompts, accommodations, and strategies.” (Campbell, pg. 233) Kelly, S. N. (2015). 5. In Teaching Music in American Society (pp. 71–99). essay, Routledge. CAMPBELL, PATRICIA. SHEHAN. (2008). Ch. 11 Diverse Learners and Learning Styles. In Musician and Teacher (pp. 214–233). essay, W.W. NORTON AND Company.
13.2. Philosophy and Pedagogy
13.2.1. The diversity and exceptionalities of our students will make any lesson plan scared for it’s life. We as teachers must be ready for the diversity of humans and be so prepared pedagogically that when we walk into the classroom and everything goes off the wall, we can change how we pedagogically teach our classroom to conform around our class. This experience will bring in new experiences in the classroom, and what is philosophy based off of? EXPERIENCE!! Philosophy, as stated, must be open to change, and has the greatest opportunity to change when it is approached by our students.
13.3. Continued Growth
13.3.1. Is there a time where one student’s accommodation for their exceptionality will negatively affect another student’s learning environment? Is there any way for teachers to be prepared for the unpredictability of the classroom?
13.3.2. National Association of Social Workers. (n.d.). Social justice. Washington, DC: Author. Retrieved https://www.social workers.org/pressroom/features/issue/peace.asp O'Flynn, J. (2005). Re-appraising ideas of musicality in intercultural contexts of music education. International Journal of Music Education, 23, 191-203. doi:10.1177/0255761405058238