Make the Arts Curricular - Shuler

Britt Beil
MUSIC 23241
March 15, 2011

Make the Arts Curricular

               In today's schools, we still view education in a more developed pragmatism environment because we are taught lessons to help us get a job and be an educated citizen in our society. This view doesn't leave much room for music and other arts because they aren't generally used to get jobs or function in society. Scott Shuler discusses why he thinks schools should accept the arts in their curriculum and then he talks about how educators should develop the subject to help the acceptance process. He explains how an art educator should set up their curriculum and what kind of content they should use. He then talks about how art educators sometimes need to schedule activities and such after school, unlike most other curriculum teachers. He discusses assessment, grading, and growth in the curriculum for art teachers. 

               I always hated when people who were in choir would say that were just in it for the "easy A" that they get by showing up. I think that was the only downfall of my choir teacher is that she didn't challenge us enough and make us work for that A. People who didn't try would just come into class and do nothing the whole time and end up with an A, and I feel that isn't fair to those of us who were working like crazy to improve ourselves. This definitely falls into the curricular grading mentioned by Shuler. I feel that tests aren't necessarily the only way to grade students in a musical ensemble and teachers should find a way to test the progress of the choir in a more fair and productive way.

               I definitely agree with Shuler that the schools in America are way too shortsighted and that they are only focusing on the basic steps to becoming a productive member of society. Unfortunately, by doing this, they are taking away so many good opportunities for students to develop even more than they can with just the basics. I also agree that many music educators are forced to select repertoire and other supplies just for entertainment purposes when they perform because of low budgets. I don't think this is fair for the students and the listeners because they aren't learning the more complex and intricate sounds that would challenge them, but instead they are playing/singing superficial songs just to please higher powers.

Shuler, Scott C. (1990). Making arts education curricular. Words of Note, 1-14.

Music in Today's Schools - Lehman

Britt Beil
MUSIC 23241
March 15, 2011

Music in Today's Schools

               The main point of this article is to describe why music is essential in schools. The author, Paul Lehman, gives several rationales and reasons for the importance of music in today's schools. He also lists a couple issues that schools present when teachers are trying to convince them to include music in the school along with a few facts to prove that these are not valid excuses. He mentions that according to administrators, there isn't enough time in the school day or enough money in the budget for music classes, but neither of these are necessarily true. The time in the school day could be altered to allow more time for a music class and the budget is directly linked between the teacher/student ratio, not the subject being taught. He then continues his article by talking about the reasons that music in schools is important for the students. His reasons include that the arts are important in our culture, music provides an outlet for creativity and self-expression, and creates opportunity for success for students having difficulties in other curriculum. There are several more reasons to the list but that is a general overview. He ends the article just by summarizing what has already been said.

               I can relate with a few of the reasons music is essential in schools that Eisner mentioned. The main one I relate to is that music provides opportunity for success in other subjects because I always had difficulties focusing in my other classes and I never wanted to be there. Music gave me a reason to want to go to class and because I was excited for my choirs, I would be in a better mood and able to focus in all of my classes. I also felt like music was the only way I could express myself in high school and I think because of that, I have learned to be more expressive and able to voice my concerns more now. This has helped in my development in several different ways.

                I agree with one of his main points that music shouldn't need a thousand reasons to be included in schools, the only reason should be that it is worth knowing and worth learning about. Music makes a significant impact in our lives everyday. If you take a moment to think about your day, I am sure every single person could say that they heard some form of music on any given day. Music is a powerful and profound symbol in our society. It can express different emotions, stories, etc., and I personally don't want to be in a world where music isn't taught in schools.


Lehman, Paul R. (1987). Music in today's schools: rationale and commentary. Words of Note, 5-16.  

Misunderstood Role of the Arts - Eisner

Britt Beil
MUSIC 23241
March 15, 2011

Misunderstood Role of the Arts

               In this article, Elliot Eisner focuses on the importance of arts in the schools and how people perceive them today. One of his concerns is the lack of time the schools provide for these classes and how that is affecting the students. He believes that schools who don't provide the arts can't give their students the proper opportunities the arts supply in human development. He discusses the common flawed beliefs that people have such as human conceptual thinking requires the use of language, sensory experience is low on the hierarchy of intellectual functionary, and intelligence requires the use of logic. He then tells the reader four contributions the arts provide such as not all problems have single, correct answers; the form of a thing is part of its content; having clear objectives and pursuing them clear-cut aren't always productive or necessary; and arts can help with the distinction between expression and discovery.

                I have had many experiences where there just wasn't enough time in my choirs and art classes to get everything accomplished that the teacher wanted to do. Whether it was because students were slacking off during class, or interruptions by the school, or it just took longer to learn something than expected, it was very frustrating for the class and the teacher. Also, my choir teachers was one of the first teachers I had who would ask a question, and then tell us that there were more than one answer. Of course, at a younger age, this was mind-boggling for me because I had been taught that if you ask a question, you will receive one answer, so the music classes definitely helped in the development of critical thinking for me.

               I had a lot of neutral feelings while reading this article. I didn't particularly agree or disagree with any of the statements or main points. I do believe that if schools don't have art and music classes, they are definitely taking away from human development in the students because of the many qualities and basic skills the classes have to offer. Overall, I just wasn't as interesting in this article as some of the others we have read so far.

Eisner, Elliot W. (1992). The misunderstood role of the arts in human development. Phi Delta Kappan, 591-595.

Designing Substantive Playing Tests - Byo

Britt Beil
MUSIC 23241
March 8, 2011

Designing Substantive Playing Tests

               The article's main point is to describe and show the significance of an effective playing tests for bands and orchestras. The main ideas in the article can be adapted to other sorts of ensembles as well to help with the assessment and improvement of the students. A music teacher must think about the musicality and measurement issues to create the ideal test to inspire higher thinking for the students. A teacher must also have a main goal in mind to help guide the student to the proper outcome. The article then talks about what to look for in an accomplished learner and then he talks about how to assess the students when using the tests periodically. He then lists some outcomes of using his methods and some concerns that teachers can work on and improve in the development of the tests.

               The majority of the article discusses how to adapt the playing tests to an instrumental group so I don't have much experience with this form of assessment because I have never been in an instrumental ensemble. I can generally relate to being able to assess where my progress is by testing myself musically, but I have never been tested by a teacher. This article didn't really relate much to me and it was difficult to read most of it.

               I agree that having your students take a playing test on occasion is an effective way of figuring out how the students are progressing and figuring out what you need to change to help the learning process. One thing I do not agree on is how often Byo said the students should be tested. I feel that at the high school or middle school level, the students don't have enough in class time to really learn the music and giving them only two weeks to improve major issues is not reasonable in this situation. Maybe a test a month is more realistic, and definitely can be highly effective.

Byo, James L. (2001). Designing substantive playing tests - a model. Music Educators Journal, 39-44.

Writing Rubrics for the Music Classroom - Whitcomb

Britt Beil
MUSIC 23241
March 8, 2011

Writing Rubrics for the Music Classroom

               This article is spent describing what a rubric is and does in the classroom to help benefit the teacher and the students. According to Whitcomb, the music educator should also have a general understanding of the standards and knowledge level of students in the language arts and writing classes and of course other subjects, but these are crucial for writing papers in the music class. Whitcomb talks about creating a rubric with both musical categories and writing requirements and she also discusses how to compose a rubric for performances. She also feels that the students should have some say in what is put into the rubric that they would also find interesting to write about.

               Generally, I never really had to write a paper about music until I got to the college level, so I didn't need any rubrics in my music classes. However, I did have rubrics in my English classes and it was definitely significantly helpful when writing a paper because it told me the information needed to make an efficient paper and get the grade I wanted. In college, we have used rubrics in several of my classes and it definitely helps in case you don't have a firm grasp of what to write about so it gives a bit of an outline of what you need to know.

               I agree with the benefits of a rubric, it is a flexible tool for assessment of music and communicates the goals for the students given by the teachers. I also agree that the students should have some input in the rubric the teacher creates for them because it is important that the students decide what they would like to write about and are interested in so they will succeed. I also agree that by handing out the rubrics early it helps the student feel more prepared when they know exactly what the teacher is looking for in advance. I feel that the rubric is definitely beneficial for the students and the teacher and an effective way to assess the comprehension level of the students.

Whitcomb, Rachel. (1999). Writing rubrics for the music classroom. Music Educators Journal, 26-32.

A Portfolio Model for Music Educators - Hill

Britt Beil
MUSIC 23241
March 8, 2011

A Portfolio Model for Music Educators

               This is an informative article about how to properly create, explain the uses and importance, and the history of a portfolio. Today, many universities require a portfolio for a music education major to graduate and practicing teachers need to keep a portfolio to keep track of their improvements and accomplishments. Hill then describes what a portfolio is and a brief history of how it was created and formed. There are three types of portfolios, learning, assessment, and employment, all of which are significant and can be used for several different purposes and a teacher can use sections of each type to create an even better portfolio. Hill also mentions the significance of not only using a hard-copy of the portfolio, but also a digital copy for several reasons.

               In high school, we were taught in our English classes how to compose a resume and it was mentioned a few times that some people in the future would need to build a portfolio as well, but the teachers never went into much detail about it. I did learn a few things from the resume building that I think will be beneficial when creating my portfolio, like taking all of my positive attributes at the forefront and keep it very professional. The article mentions recording yourself as a performer or teacher and giving yourself some feedback to help build critical thinking and self-reflection abilities, I have done this for a few classes and I definitely feel like it helps show how you are improving and is effective in the learning portfolio.

               Based on the information I gathered from this article, I feel that using a portfolio is a very helpful and effective way to show growth, progress, and that you are capable of holding a job position. I agree that by having a digital copy of your portfolio definitely shows that the student or teacher is good with technology and can definitely be beneficial in the classroom. The brief history provided in the beginning of the article was very informative and interesting to read. I feel confident that I have a lot of the information needed to start the portfolio which is great.

Hill, Cheryl F. (2008). A portfolio model for music educators. Music Educators Journal, 95(1), 61-72.

Enhanced Assessment - Burrack

Britt Beil
MUSIC 23241
March 1, 2011

Enhanced Assessment

               A main point that Burrack makes is that music educators can't assess students based solely on attendance and technical skills, they need to start using thinking skills. Burrack then discusses different forms of assessment such as student self-assessment and large-group assessment. He then discusses how to fit assessments into grading and he talks about student reactions to assessments and how they can help students improve.

               In high school, my teacher would always play recordings for the class without telling us who the ensemble singing was and then she would ask us to make little notes about what we hear. After the song would end, my teacher would ask what we heard and what we think the ensemble could do better. Finally after we would give our opinions and observations, she would tell us if it was another ensemble or if it was a recording of us. I felt that this was a really effective way of improving the ensemble and working on listening skills. 

               I definitely agree with the above statement that music teachers can't successfully assess their students based on attendance and technical skills. It takes much more than just showing up on time and being able to do the basic skills to be a great musician and students should know this. Student self-evaluation is also a good way to have students understand how to do things right and improve without private lessons with someone telling you exactly what you are doing wrong. It can also improve listening and analyzing skills which is crucial to becoming a great musician.

Burrack, Frederick. (2002). Enhanced assessment in instrumental programs. Music Educators Journal, 27-32.

Authentic Assessment - Bauer

Britt Beil
MUSIC 23241
March 1, 2011

Authentic Assessment

               This article was particularly hard for me to understand and try to figure out how to even write a blog about it. The article starts off by listing all sorts of sources about assessing music programs. Then after the long list of resources, the actual article just consists of terms that correlate with the assessment process and their definitions. There really isn't much else to write about. 

               In high school I never really thought about how my choir teacher may have been assessing my progress in the two choirs I was a member of and the music theory course I took. I'm not sure what type of assessment she may have used or what forms she may have gone over with all of her students. If I had to guess I would guess that she used a mix of all of them really but the one that stands out the most is summative assessment and possibly diagnostic assessment.

               I feel that the most useful form of assessment for a music teacher would probably be the summative assessment with the diagnostic assessment mixed in. I feel this way because neither form involves comparing a student to another. Also, the summative assessment just deals with achievement after instructions and then assigning a grade after that. The diagnostic assessment helps a teacher understand what a student already knows and what they are capable of so they can eventually notice their improvement and assess them based on this.

Bauer, William I. Authentic assessment in instrumental music education.

Reconceiving the Standards - Reimer

Britt Beil
MUSIC 23241
March 1, 2011

Reconceiving the Standards

               The article begins by showing just how limited the music curriculum is in schools even with the standards because time is so limited. Also, Reimer explains that music educators have successfully met the needs of the first two standards, but have been slightly slacking when it came to the others. Reimer also begins to describe how to bring more musicality into the schools; how to expand the general music programs; and describes the elective music program.

               In high school, my choir director, Mrs. Jane Page, was a very big proponent of musicality and creating musicality. She also believed that all people engaged in playing a musicianship role are musicians regardless of their age or experience, so the ensembles were always making music. Also in high school, my teacher always inspired a lot of diversity in many different musical aspects which is one of the statements Reimer makes about the general music programs.

               I agree with the statement that music education should attempt to help all people become immersed in the musical roles in their culture and other cultures. I also agree that there should be more focus on general music programs in all schools to help students further their education about music. Finally, I agree that performance itself, can't teach all of the standards. It is important for the standards to be implemented in as many ways as possible in all sorts of music programs.

Reimer, Bennett. (2004). Reconceiving the standards and the school program. Music Educators Journal, 91 (1), 33-37.

Raising the Bar - Lehman

Britt Beil
MUSIC 23241
March 1, 2011

Raising the Bar

               In this interview, Lehman discusses the standards and his impression of how they have improved the music education program and his feelings towards the standards. He talks about what standards are getting the most use, how some of the standards are being neglected, and what he would like to change about the standards. He also addresses the challenges teachers face when trying to implement the standards into their lesson plans. The standards were created in 1994 and they have become the backbone of music programs.

               One of the challenges Lehman describes that I can personally relate to is that the music educators don't have enough time to put enough emphasis on the right standards to make sure students have sufficient information to help them gather a full understanding of music. I don't have any personal experience with the belief that different states follow different standards in several different ways, but I do know some high school students who transferred schools and they made observations about how the teachers go about their lessons in the two or three different schools. I also know from my high school music experience that music education is way more than entertainment and I have seen teachers try to justify it.

               I agree that the standards definitely clarify expectations for students because teachers know where their students need to be by the end of the year or end of their section. Therefore, teachers can clearly explain their expectations of their students. I also agree that one challenge needing addressing is the lack of resources, staff and time. With more time, resources and staff, it would help teachers use the standards effectively and help their students advance in music and understand it all.

Lehman, Paul R. (2004). Ten years after the national standards. Music Educators Journal, 12 (2), 34-39.

Power of the Standards - Lehman

Britt Beil
MUSIC 23241
March 1, 2011

Power of the Standards

               Lehman uses the introduction to discuss the complexities of the standards and how it is difficult to explain it clearly to everyone. He also provides basic ideas of how to teach certain skills by using examples of teachers and how they use the standards and what they think about them. He then proceeds to identify the nine standards and then explain their purpose and why they are important. He talks about the reasons for the standards in his opinion and how he feels they should function.

               Obviously I have been subjected to many of the standards throughout my educational career. The most obvious one is dealing with singing and playing instruments. Another standard that I was very much a part of in high school was reading and notating music. I wish I could have learned more about the historical and cultural context of some of the music I performed, but there wasn't nearly enough time to learn all of that in the limited class time. I also wish there would have been more time for listening to, analyzing, and describing music because when I got to college it was hard for me to do the listening comprehension tests in my music theory classes.

               I agree that the standards can definitely help benefit students because it gives them a broader idea of music and helps them truly comprehend music from several different stand points. I also agree with Lehman that the standards can help music educators focus where their efforts should go and help keep class organized and productive. Music deserves a place with the other curriculum in schools because of all the benefits music can have on a person and community and humans in general. I am also a believer in the standards and I feel they are very important in many aspects of music education.

Lehman, Paul R. Power of the national standards. 3-9.

Applying the national standards in school band programs

Britt Beil
MUSIC 23241
February 17, 2011

Applying the National Standards in School Band Programs

               This article generally just explains why the standards are important in the music program. Hayslett explains that it is sometimes hard to work the standards into your already established curriculum and you should start by examining your curriculum and seeing what standards you already meet and then just see if you can tweak a few of your other lessons to meet any of the other standards. If your curriculum doesn't meet any standards, the best way to go about incorporating them is to focus on one standard and then build from there. The rest of the article is spend with Hayslett giving suggestions of activities you could use to help with using all of the standards.

               I know in my high school choir we had a lot of issues with rhythms so I know that the clapping and vocalizing the beats definitely helped a lot of people learn. The rest of the suggestions he gives are good but I don't have much experience with the activities he provided.

               Honestly, I felt that this article was kind of a waste for me to read because I am going to be a vocal teacher and I felt that the majority of the article was pointed towards a future band director. Although a few of the problems listed could be applicable to any ensemble, I feel like it would have been better if he would have listed some suggestions or even general ideas for choirs or general music classes. Overall it was a decent article though. 

Hayslett, Dennis J. Applying the national standards in school band programs.

Using the Ohio Standards

Britt Beil
MUSIC 23241
February 17, 2011

Using the Ohio Standards

               The article starts off talking about the standards and what their functions are in music education. It talks about the five common standards which are as follows: historical, cultural, and social contexts; creative expression and communication; analyzing and responding; valuing the arts/aesthetic reflection; and connections, relationships, and applications. The main objective of the article is to go into a little more detail about each of the sections and explain what it all means and how you can incorporate it into your curriculum as a music educator.

               My favorite part about my high school choir, other than the performing obviously, was learning about the music we were performing. Learning the history, cultural and social contexts of the songs we were singing helped in understanding the general idea of how the song was supposed to sound and it gave it deeper meaning which helped us relate to the music better. I also enjoyed when my teacher would play a recording of another group performing for us because it helped us with listening and being able to pick up some musical tips or it helped us critique the performance with music terminology. 

                Based on this article it is easy to see why each section of the standard is important to use in the schools so the students can get a better education in their music classes. I also feel that having a set of guidelines will help when I am writing lesson plans because I will have a better grasp on where I need to lead my students so they can meet the requirements so I am not as lost as to what to do as a teacher. I work better with a structured idea of where I need to go with the lessons. Overall this was a very great article and enlightening.

Doty, Amy. (2004). Using the Ohio standards. Special Focus Issue, 15-16. 

History of the National Standards

Britt Beil
MUSIC 23241
February 17, 2011

History of the National Standards

               This article is used to describe the history and formation of the National Standards for the arts. The article starts out with the background as to how the idea of the national standards started. A system of assessments in core subjects with others to follow (arts) was called for in January 1992 and that is when they began working on the standards for the arts. The next section of the article is spent talking about the organization of the project and how they ended up with a draft to send to be approved. The standards reflect a vision for the future. The next section talks about the document format which is three sections by grade levels and each section has content telling what the student should be able to do and what they should know. The author then discusses how the drafts were sent around and built on by different music educators until it was perfect and ready to sent in to a U.S. Secretary of Education on March 11, 1994. The last paragraph is spent explaining how to implement the standards into a music educator's curriculum.

               Having a general understanding of how the National Standards were formed and how to work them into your curriculum is really great knowledge to have. I personally have no experience with the standards, because I was never really taught about them until now although I knew they existed. 

               I feel that having the history of almost any musical accomplishment will help improve your teaching techniques because you understand how to set up your curriculum to help students learn. I was surprised by the fact that it only took two years to get the standards established. Mainly this shocked me because the arts have gone through so many troubles and dilemmas that they are still having to deal with for years and two years just strikes me as a short amount of time compared to the main timeline. 

Effective Time Management in Ensemble Rehearsal

Britt Beil
MUSIC 23241
February 11, 2011

Effective Time Management in Ensemble Rehearsal

               In this article, Manfredo describes the different qualities he finds important in creating an effective class in the limited amount of time given for rehearsal. He refers to rehearsal content, preparation and planning, verbal feedback, error correction and self-evaluation. All of these qualities are crucial to keeping the rehearsal rolling with as much student participation and activity as possible so the teacher can accomplish all of their goals.

                I am a firm believer in making a strong relationship between teachers and their students. When I was in high school and even now in college, I always enjoyed when the teacher would treat like a human and not like I was just a child who they had to take care of. Teachers must be clear, concise and unambiguous when it comes to giving students instructions to keep the students in the rehearsal and focused. I also enjoy when my choir teachers let the choir go through an entire song without stopping them and then when they finish, the teacher will go back and make a few pointers and corrections where needed. In my opinion, it feels much more efficient and effective than just starting randomly in a piece, although that is also necessary sometimes.

               I agree that choosing literature that isn't beyond the students' abilities is very important, especially when you only have a limited amount of rehearsal time. As the teacher, you set goals, but you have to limit the concepts you want to achieve in the rehearsal to help the students learn and you must comprehend the music you present your students. You should also maintain strong eye contact and limit your comments to ten to twenty seconds so you don't waste any time. I also feel that by video taping yourself and keeping track of how much you talk during rehearsal is an efficient way to figure out how to cut back on your talking so the students have time to learn the music and stay active in the rehearsal. This article definitely helped me understand all the different ways to save time in the short amount of time you have in rehearsal.

Manfredo, Joseph. (2006). Effective time management in ensemble rehearsals. Music Educators Journal, 93 (2), 42-46.

Key to Classroom Management

Britt Beil
MUSIC 23241
February 11, 2011

Key to Classroom Management

               They start off the article with a lot of research they found from other professionals to set the mood of the entire article. They also state that they believe effective classroom management is the most important trait for a teacher and many studies support this theory. The discuss the different tasks and how they should be accomplished effectively. Throughout the article they talk about the appropriate levels of dominance, appropriate levels of cooperation, and the awareness of high needs students.

               Some of my favorite teachers, music and non-music, have been the teachers who go the extra mile to get to know you and take a personal interest in your life. As a student, hearing a teacher greet you outside of school or just greet you at the door of the class always made me smile and feel like the teacher was making an effort to make their students feel more comfortable and relaxed when coming to class, thus making them want to learn. It also was a good feeling when the teachers would share their goals for the class that day with the students so the students knew what they would be working for and hopefully be rewarded for their good behavior and what they accomplish. 

               It is very important for a teacher to establish clear expectations and the consequences that will come after if anyone misbehaves and to provide rewards for good behavior. This is important so the students know what will happen if they misbehave and that will hopefully keep them at their best. It is also crucial to take a personal interest in your students and be very aware of the students with high needs to keep the rehearsal and class time comfortable and happy. A teacher needs to build relationships with their students to keep the dynamics of the classroom positive and enjoyable for everyone. 

Marzano, Jana S. & Robert J. (2003-2004). The key to classroom management. Education Leadership, 2-7.

Becoming an Effective Classroom Manager.

Britt Beil
MUSIC 23241
February 11, 2011

Becoming an Effective Classroom Manager

               This article was very interesting and helped the reader understand what you need to know when you go in to teach your first ensemble. Kantorski gives a list of pointers for good classroom management which consists of impressing students with musicianship, making students responsible for their behavior, establish a routine, maintain excellent instructional pacing, only give instructions once, and decide what to ignore during rehearsals. These pointers are all crucial to creating an educational, enjoyable, and effective class and ensemble.

               In high school, I had seven classes a day. These included the traditional classes like science, math, and English, all of which bored me to death. The highlights of my day were my choirs. This wasn't just because I loved to sing and was good at it, but because my choir director, Jane Page, always greeted the choir with a smile and "good afternoon". She also decorated the classroom with posters that had inspirational quotes, plaques from accomplishments and music notes all over which created a positive atmosphere which created great outcomes. I do believe that students are affected by their surroundings and a comfortable room with positive feelings can make a student want to learn and do better in class.

               I definitely agree that classroom management and discipline come at different times. Classroom management is more proactive in that it sets the stage for appropriate behavior for the class, but discipline is definitely reactive and happens after behavior problems. The first day of class sets the bar for how the year is going to turn out because it establishes the classroom management you are going to hold for the year. I also agree that you should only need to give instructions once and only in some cases twice. You must maintain good pacing throughout the rehearsal so you aren't wasting your time, or more importantly, your students' time.

Kantorski, Vincent. (2007). Becoming an effective classroom manager. TRIAD, 75 (2), 58-60.

Classroom Management for Ensembles

Britt Beil
MUSIC 23241
February 11, 2011

Classroom Management for Ensembles

               In this article, Bauer describes all the important aspects of classroom management for a musical ensemble. He starts out by discussing the minor, yet significant, differences between a music class and a traditional class, including: the physical setup of the room itself, the students are active participants, students are encouraged to make sounds (music), and there are a variety of ages, academic standings and musical abilities throughout the class. He continues by explaining the different parts of being effective in classroom management such as: being a proactive educator, the general teaching practice, and classroom discipline. He includes many details and examples of the various sections of proper management.

               In high school, my choir teacher would write the order of songs she wanted to work on each day on the front board. This helped students get their music in order so there was less searching between songs which helped keep the flow of the class moving. At my school we had three different choirs and the biggest choir had mostly students who weren't really interested in choir, they just needed the art credit. This being said, many of the students would get bored if my teacher would talk to long because of the inactivity and they would start talking and disrupt the class. I agree that keeping the teacher talking down, helps the students stay involved in the class, thus more interested and eager to learn more. 

               It is very important to be aware that there are several students on different levels of skill, age, and academic standing, so it is important to know what lessons should have more emphasis or what lessons you could teach less of to avoid student boredom or frustration. Also, I agree that a teacher should be very aware of their personal qualities, how they look, talk, and act, it should all be very professional. I have seen situations where a student breaks a rule but a consequence doesn't follow and it doesn't teacher the student a lesson or correct their behavior. Being a teacher, you have many responsibilities to keep the class and ensemble running smoothly and this article helps with the different ways to do so in an effective way. I really enjoyed reading this article.

Bauer, William I. (2001). Classroom management for ensembles. Music Educators Journal, 27-32.

What We Learn Along the Way - Thomson

Britt Beil
MUSIC 23241
February 1, 2011

What We Learn Along the Way

               John Thomson asked several veteran teachers what they wish they would have known earlier in their careers and how that information has made them a better teacher. Roy Holder, Anthony Gibson and Anthony Pursell all mention how the relationships you build with students, parents, administrators and even custodians can help you grow as an educator. Charles Menghini has four main concepts he likes to follow, which are not rushing to judgement, select appropriate music, know what you can and can't fix in rehearsal, and put yourself in their shoes first. Joseph Manfredo is a firm believer in establishing a network with experienced and novice music educators. Scott Casagrande believes that individual assessment helps a student grow and makes sure the student is performing well and understands what you are teaching them.

               Although my own parents have never given any of my teachers a hard time, I know many people whose parents take to extremes with teachers. As a teacher, one must be prepared for the kind parents who will offer to help and even do good things without being asked, but also one must prepare themselves for the parents who believe they know what is best. It is imperative that teachers know how to approach the situation to avoid further contact. As a young teacher it is hard to tell the difference of what you want to perform and what your ensemble is capable of performing, so it is very important to choose appropriate music for the skill level of your ensemble.

               I feel that relationships formed between the teacher and students, parents, administrators, etc are very important and can help you succeed and grow as a music educator. Appreciating people who don't generally get acknowledged, such as custodians, secretaries, coaches, etc, is also a good way of getting things done in your classroom effectively. Don't rush to judgement is also very important because you don't want to put any students in a bad situation if you don't need to. You need the support of fellow educators, students, parents, colleagues, administrators, community and family to excel as a music educator.

Thomson, John. (2010). What we learn along the way. The Instrumentalist, 64 (9), 26-30 & 54-55.

Getting the Most Out of Going to Convention - Barton

Britt Beil
MUSIC 23241
February 1, 2011

Getting the Most Out of Going to Convention

               Just like the title suggests, in this article Barton explains how you can get the most out of your visit to convention. He suggests that you make your schedule of events you plan to attend in advance so if a conflict comes up, you still have several other concerts and clinics you can attend. He also says that there is no concert that has no value. There are three basic things you can learn from attending the concerts,  literature ideas, awareness of student capabilities at all ages, and genuine music inspiration. He also gives a few suggestions on how to attend the event as a staff so you all gain a lot of knowledge and he gives the reader ideas on how long to spend at the conference if you are there on school time or money. His last suggestion to the reader is just to have fun as you learn. 

               I am a big fan of making lists whenever I do anything whether it is packing for vacation, making plans for big events, or even just a daily schedule, so I am very supportive of making a schedule of events you may want to attend while at convention. Knowing where you want to be and for how long helps you feel less stressed and more relaxed so you can fully enjoy yourself. Also, I feel that listening to several different ensembles just helps you grow as a musician as well as a teacher, so I fully condone seeing as many performances that your schedule allows.

               I agree that if you go to convention as a staff, it is much easier to split up the concerts, exhibits and workshops so you all get the most knowledge out of the important event. You can all get together after the event and compare notes on what you heard and saw. If you have to miss school to go to convention I agree that you should only spend as much time at the conference that you would while you were teaching at your school. Spending too much time at convention can be stressful if you aren't prepared, but spending too little time is just a waste of your school's time and possibly money. Convention is an important event that every music educator should attend several times before, during and after their careers.

Barton, Gary. (2009). Getting the most out of going to convention. NBA Journal, 50 (2), 15-16.

Looking for the Wow Factor in the OMEA Conference Exhibit Hall - Adamson

Britt Beil
MUSIC 23241
February 1, 2011

Looking for the Wow Factor in the OMEA Conference Exhibit Hall

               In this article, Adamson lists off some of the same ideas for shopping at the exhibit hall of OMEA, but he adds some more details to the situation. He suggests making a list of present and future needs, review the TRIAD/website for exhibitors before the conference, and to visit the exhibit hall often. He also suggests consulting the Conference Program Book for the schedule of showcases, make sure you get the exhibitor's business cards for potential follow-ups or contact after conference, and return to exhibitors several times to continue asking questions. All of these suggestions should help with getting the most out of your experience.

               When attending the OMEA Conference it is imperative that you come away with more knowledge and tools than you arrived with. The exhibitors are there to help you become a more talented teacher and help your students learn, so you should want to learn all you can for all the money you can afford to spend. Having a list of things you need to accomplish can help you from becoming overwhelmed from all the exhibits at your disposal. 

               This article is very similar to the last one and I feel I can learn a lot for the future when I attend these conferences. I really think that the connections made between all the participants can help in the future. I like that the conference helps access the college/university level of education and advancing, either for yourself or referring your high school students to an appropriate school. So not only can you help yourself become a better educator but you can help your students figure out what they might want to do with their lives.

Adamson, David N. (2008). Looking for the wow factor in the OMEA conference exhibit hall. TRIAD, 75 (3), 28-29.

The Business Side of OMEA - Adamson

Britt Beil
MUSIC 23241
February 1, 2011

The Business Side of OMEA

               Adamson starts the article off by describing the relationship between the exhibitors and the teachers who attend the conference. The Ohio Music Educators Association ranks second to Texas as far as size of the conference. Exhibitors go to the conference to make money by offering and explaining their products and services and they also depend on members' input. The role of a member is to walk through the exhibit hall and interact with the exhibitors. He then gives several suggestions for shopping while at OMEA such as reviewing the TRIAD/website lists of exhibitors, visiting the conference frequently, plan for future and current needs, and shop for service as well as products.

               I feel that this article does give many hints to help while attending the exhibit. It can be overwhelming to go into the conference without having any idea as to what you need or want to gain from the exhibitors and clinics. I have participated in OMEA once and felt completely dumbfounded when I started to explore the exhibit because I was so unprepared for what was to come. 

               OMEA is very important for future, current, and past music educators to attend because we never stop learning. The exhibitors are there to share new ideas and get teachers to improve their teaching habits. Each year, over 1,200 potential and past companies are invited to share their products and services and it would be wrong for teachers to not take advantage of the wonderful experience. You can walk away from the exhibit feeling more positive and prepared to go teach students what you have learned.

Adamson, David N. (2005). The business side of OMEA. TRIAD, 74 (2), 63-65.

The Qualities That Make Some Directors Outstanding - Leonard

Britt Beil
MUSIC 23241
January 25, 2011

The Qualities That Make Some Directors Outstanding

               By now I have read many articles about different qualities that can make an average teacher into an amazing teacher and many of the articles have said the same things. In Mark Leonard's article, he points out a few different qualities that are very crucial to teaching. He mentions that you should set limits for your ensemble, get to know your students, deal with parents appropriately, delegate authority among parents or students, create a concrete and realistic plan, and be prepared for anything. He spends the majority of the articles with the previous stated qualities and concludes with a few more obvious traits such as patience with your students, admitting your mistakes, and ask for advice from your superiors who have been through all of this before. 

               At the beginning of the article, Leonard reflects on his first year as a music teacher and the obstacles he faced and overcame. I feel that he and I have a lot in common personality-wise. I, like him, can set all sorts of standards for myself but I am uncomfortable setting standards for others. Also I thoroughly enjoy conversing and socializing with people, but I am not comfortable telling people what to do. I also know that in the groups I have been a part of, getting to know your students is a very vital thing. When you know your students you are more aware of what they are capable of and you know how to push them to do their very best.

               I feel that delegating authority is a very important trait to possess when teaching music. By giving students important leadership roles, they are likely to feel a sense of pride and importance and can hopefully motivate their peers to be more productive and confident. I also feel that having a plan is of utmost importance so you never run out of time or overwhelm your ensemble with too much rehearsal. I am a firm believer in making lists of what needs to be done just because it will also keep you organized and that too is very important in schools. This article pointed out a few different characteristics that I have not spent much time thinking about.

Leonard, Mark. (2004). The qualities that make some directors outstanding. The Instrumentalist, 59 (1), 12-15.

Some Characteristics of Excellent Teachers - Kantorski

Britt Beil
MUSIC 23241
January 25, 2011

Some Characteristics of Excellent Teachers

               Vincent Kantorski starts the article by saying that all the lists of what it takes to make a teacher excellent won't necessarily make you an excellent teacher, you need to be able to apply the traits in your own way. Teaching is far too complicated to just follow a checklist of qualities. According to Kantorski, you should have a thorough knowledge of the material, be enthusiastic about teaching, maintain good eye contact, listen carefully to students, challenge your students to excel, use a sense of humor appropriately, be very well organized and ask questions that require a higher level of thinking. These qualities all work together to make a good teacher.

               In music it is very crucial that the conductor keeps eye contact with the students so they can feel connected to the music and be on time for all the cues. It is also important for any teacher to maintain eye contact so the students feel comfortable and know that their teacher is truly listening to them. Another important quality that I have seen is when a teacher challenges their students to excel. In high school, my choir teacher would give us homework assignments whenever we couldn't get a certain parts right in a song, the next day if we were still getting it wrong she would make us sing in little quartets until we all got it correct. Singing in quartets was nearly terrifying in high school, so it always motivated us so we would go home and rehearse the music and feel a greater sense of accomplishment.

               Many teachers come into the class and get straight to business and almost never even crack a smile, and most students would say that class is boring. This is why a sense of humor is helpful in the classroom, to keep students involved and entertained and want to come to class. Another very important trait is to ask questions to make students think on a higher level to help them fully understand the subject matter. All of the qualities listed in this article seem to be crucial in becoming an excellent teacher and I can't wait to learn how to apply every aspect in my own professional job. 

Kantorski, Vincent J. Some characteristics of excellent teachers. TRIAD, 73 (1), 40-43

Professional Qualities of Successful Music Teachers - Ervin

Britt Beil
MUSIC 23241
January 25, 2011

Professional Qualities of Successful Music Teachers

               In Max Ervin's article, he describes what qualities a music teacher must possess to be successful. Many of the qualities are quite obvious such as a love of young people, a love of teaching, sincerity, contagious enthusiasm, optimistic and organized. A few other qualities are a little less obvious but still very important such as a continued interest in learning, a sense of humor, faith in human potential, concern with personal appearance and mannerisms, and a sensitivity of emotions and intellect. He gives little details and examples of how these qualities are important and can put you ahead of the curve when applying for a job. 

               Although I have only had three different directors who have made an impact on my life, I feel that they all possessed most, if not all, of the qualities Ervin points out as being important. I know that whenever I go into my choir, if the teacher is in a good mood, I tend to join them because they are so optimistic and their enthusiasm is very contagious. Never have I had a teacher come into class dressed down or looking like a bum, and I feel that makes quite an impact because you know that they mean business and they aren't lazy. I have had issues outside of school, my teachers have always been supportive and have helped me out. 

               A teacher can have a major impact on their students and it is very important for them to realize this and do whatever they can to make their students happy. I definitely agree that having a strong concern in your personal appearance and mannerisms is especially important because your appearance is one of the first things anyone will notice about you and it can set the bar on the experience you have together. Also you must have a sense of humor or your experience will be a dull one.  The main trait I know I need to work on is sincerity, but mainly just the patience part of that. Nothing is worse than an impatient teacher trying to push you too work harder and stress you out.

Ervin, Max T. (1981). Personal qualities of successful music teachers. TRIAD, 57 (6), 12-13.

Preparing for Today and Tomorrow - Eisner

Britt Beil
MUSIC 23241
January 25, 2011

Preparing for Today and Tomorrow

               In this particular article, Eisner says that in order to prepare for the future, you must teach your students how to deal efficiently with the present. A teacher must challenge students with problems and ideas that are interesting as well as intellectually demanding. He spends the majority of the article talking about what schools should teach along with everything already being taught. He believes that judgement should be taught so students can deal with problems that may have more than one solution. Also students should be presented with ideas worth exploring to support critical thinking. Another important skill to be taught is meaningful literacy, the ability to encode or decode meaning in any of the symbolic forms used in the culture. Collaboration is also an important skill to be taught in schools to help students learn to work with others collectively, cooperatively, and in harmony. Working in the community can help with appropriate socialization as well as moral virtues. He also thinks that test scores shouldn't be nearly as important as they are made out to be today. The primary goal is to help students do well in their lives outside of school.

               Throughout my schooling, elementary through high school, I always felt that the teachers were only teaching us the bare minimum. I always left school wishing they would go more in depth with details they would just skim over. Also, there wasn't enough group activities to help with socialization for a good cause because we never had enough time in the individual classes and a lot of the teachers didn't think the students could handle that much freedom during class time. Often we were presented with issues that there was really only one good solution to, and when we thought of another solution, we were told we were incorrect. I could never truly thrive in my surroundings until I came to Kent State University.

               I feel that since students have to spend 8 hours in a day, 5 days a week and 9 months a year in school, they should be able to have a little fun and learn some things that are going to help them with the future. I agree that schools should take some time to teach all six qualities/skills that Eisner mentions in the article. Students should feel comfortable and leave at the end of the day feeling that they have learned something that will be valuable for the rest of their lives. I really enjoyed the quote at the end of the article saying "preparation for tomorrow is best served by meaningful education today".

Eisner, Elliot W. (2004). Preparing for today and tomorrow. Educational Leadership, 61, (4) 6-10.

Early Public School Music in the State of Ohio - Sanders

Britt Beil
MUSIC 23241
January 19, 2011

Early Public School Music in the State of Ohio

               It took many years for schools to accept music education into their curriculum plus a lot of convincing from people who understood the impact of music. Music educators faced many hardships and complications while trying to establish music in schools. This article starts out by explaining some of the issues music educators dealt with while fighting to provide music to schools. Most music education programs started out just with vocal skills and only about three schools provided instrumental music education. Some schools only taught music to certain age groups so not all students in a school district would get music classes. The article then shows examples of schools from all over the state and how music education started in that particular city. This is mainly done to show that it wasn't just the big city schools being offered music education.

               I really enjoyed that article showed how a lot of schools got their start in music. It was interesting to read how long it took a school to finally recognize music into their curriculum. Most of the schools would have music involved one way or another and, in my opinion, the schools were far to slow in accepting music. I can't even imagine how frustrating it must have been for music educators back then to have to go around and justify why music should be in schools and then get turned down for years. I have a lot more respect for music teachers because of this article.

Sanders, Paul D. (1996). Early public school music in the state of Ohio. TRIAD. 37-39

Important Influence on the Intro to Music Ed in Ohio - Sanders

Britt Beil
MUSIC 23241
January 19, 2011

Important Influences on the Introduction of Music Education in Ohio

               The first Ohio school to get music added to their curriculum was Zanesville schools in 1842. The Eclectic Academy of Music was founded in 1834 with the goal of promoting music education in the West. Judge Jacob Burnet was chosen to be President, Nathanial Wright was secretary and Timothy B. Mason was assigned the music professor. Lowell Mason played organ and was the choir director at the Second Presbyterian Church and he established the Boston Academy of Music in 1833. The Western Literary Institute and College of Professional Teachers was a group of people interested in the cause of education. Mason and Beecher defended music education on physical, mental and moral grounds. The Common School Advocate was an educational journal published from 1837-1841 and it contributed greatly to music education in Ohio by making entries available to teachers, school boards and others interested.

               I agree that music is very important for students to learn and participate in. Music is a way to express yourself when you aren't sure how else to do it, it helps you relax and have a break from the constant hustle and bustle of life, and it is something we experience every day whether we mean to or not. The creation of educational journals definitely help teachers learn new teaching techniques or just inform them on new advances.

               In the article, Mason and Beecher were describing how music education is school can be a definitely benefit for physical and mental health, plus morality. They used a professional, Dr. Benjamin Rush, to explain how singing is good for you physically because he believed singing could help prevent tuberculosis. Mentally, music helps with paying close attention, abstraction and analysis. Morally, it helps with the ability to refine, teach order and discipline, instill affection and confidence from the student to their teacher, and it helps appeal to the feelings of students through appropriate song lyrics. A few of these items may be a bit of a stretch, but for the most part I believe all of this to be true and it was nice to see someone sharing my deep passion for music.

Sanders, Paul D. (2001). Important influences on the introduction of music education in Ohio. TRIAD. 28-30.

Great Minds on Music in Education - Campbell

Britt Beil
MUSIC 23241
January 19, 2011

Chapter 2: Great Minds on Music in Education

               In today's economy, many schools are experiencing some major cut-backs in several departments including laying off teachers, dropping certain programs, etc. As a music educator, we need to find ways to convince administrators, teachers, and taxpayers that music in the schools is still very important. We need to have solid evidence to back up any arguments we may have. Music teachers enhance the musical experiences of their students and people in general. Music is very influential and a way of artistic expression in schools today. Many great minds and philosophers, such as Confucius, Aristotle, Martin Luther, and Nelson Mandela,  have described music as being very important in society. Music is vital in society and in the progress of young people's education.

               When I was younger I would always try to think of songs to remember little daily activities that I needed to accomplish. I have always enjoyed being in the choirs and felt a sense of pride and accomplishment when a concert was over or when I would audition for a solo. There were other ways that I used music to learn too. In my French class in high school, we would use simple little songs to help with learning the possessions, verbs, adverbs, etc. It was highly effective and to this day I still remember a lot from that simple  teaching technique.

               Children are introduced to music at very young ages whether it is a tape you enjoyed listening to or even when your parents would sing lullabies to help you fall asleep. Children have even been able to learn simple tasks through music. Music is a way of expressing yourself and it influences the people participating and the audience. I can't even imagine how dull elementary through high school would have been without music and I don't really ever want to know what that would feel like. 

A Musician's Life - Campbell

Britt Beil
MUSIC 23241
January 19, 2011

Chapter 1: A Musician's Life

               The chapter begins by describing all the jobs a musician can have including, but not limited to, performing, composing, improvising, arranging and even sound and recording engineering. Campbell talks about how a music teacher may have to do any of these jobs at any given time and sometimes several of these will pop up in the profession. She refers to people calling music teaching a "back-up career" and how this notion is very uninformed and untrue. Teaching requires traits and techniques that not everyone possesses or can learn. A key trait of a musician is to learn music and pass it on. The next section divides up into five mini-sections describing five different people who are at different stages of decision making to figure out if they truly want to be teachers while still students at a university. To be a great music teacher you must have training and experience, but it is almost safe to say that your real experience starts on the first day of the job. The reality of teaching techniques, leading rehearsals, and communicating music effectively is important for a teacher to learn. There is a nature versus nurture argument about music teaching because some people believe you are born with the natural talent, other believe it is all learned, and then the rest believe you have to possess both natural talent and education. 

               When describing the five different types of students who want to go on to music teaching as their profession, I could definitely identify with the "Shy Girl" description. I would love to teach, but I can't help but feel nervous as soon as I am in front of a group of any size or age. I am uncomfortable knowing people are judging me and I am afraid of not being effective enough to get my point across when leading a rehearsal. I know, of course, I will have to get over this fear and become the leader I know I can be, I just need to be more confident in myself and my audience. 

               Throughout the chapter I found many things I agree with. I definitely agree that your real experience won't start until you are in front of your group of students and they are all listening to you and waiting for you to lead them. You must keep good eye contact, have focused energy and honest enthusiasm, minimal teacher talk, and clear cues, gestures and directions. Warmth and humanness are also very important to make the group feel comfortable and want to learn from you. I have seen many situations in which the teacher has to take on many other jobs to keep the group together and happy. This chapter definitely inspires me even more to want to be a music teacher.

Campbell, Patricia Shehan. (2008). Musician & Teacher. 1-15.

Ohio's First Band Contest - Bianco

Britt Beil
MUSIC 23241
January 19, 2011

Ohio's First Band Contest

               In this particular article, Bianco describes what happened at the first Ohio Band Concert. OMEA organized the event on June 6th, 1924, at the Hays Hotel in Fostoria, Ohio. The Fostoria High School Boys Band participated in the schools Band Contest of America in Chicago the year before and was declared the winner. The entire city of Fostoria was excited to host the contest. Eight other bands participated in the contest from various schools in Ohio. Only 15 out of 600 band members were female. The solo event had five different categories, cornet, trombone-baritone, other brasses, reeds, other woodwinds. The bands could only have two soloists for each category. The judges assigned by the Committee on Instrumental Affairs were Taylor Branson, Jay W. Fay, and H.S. Warren. The judges were separated and placed behind a screen so they couldn't see the band playing. Bands were scored on a point scale for intonation, precision, interpretation, and tone quality with a maximum of 25 each for the categories. The Fostoria High School Boys Band won, Cleveland West Technical High School Band followed in second place, and Akron West High School got third place. 

               Although I don't have any personal experience with the band adjudicated events that went on in my high school, because I was in choir, I did help host a contest at our high school my junior year. It was a very exciting experience for me to see behind the scenes of a District V Contest. Obviously a lot has changed since 1924, so there were a lot of differences in the amount of schools present and the make up of the students in the groups. There were also more categories for the bands to choirs as far as musical choices and types of bands and choirs they wanted to take to contest. 

               While reading the description of how they ran the contests I was very intrigued by the scoring, judges, and casualness. In the article Bianco mentions that the schools also competed for honors such as Best Marching Band, Best Appearing Band, Best Appearing Drum Major, and Best Looking Bass Drummer, which was determined by three Fostoria High School females. This put the schools all in a good mood and it would be rather exciting to be part of the parade. The scoring system was interesting as well just because I am used to a one-to-five system presented now, but I do think giving you more numbers to choose from makes it more precise and the judges can be more detailed. The judges not being able to see the choirs also made it really interesting. Personally, as a performer, I always felt more nervous when I could see the judge, but at the same time I thought it improved our performance because we could see the person judging us. Overall, the article was very fascinating and fun to read.

Bianco, Robert S. (1974). Ohio's first band concert. TRIAD. 16-17, 28.