Pat Tregoning
MUS 23241
Readings 13
[Curriculum adaption for the handicapped in music]
This article by author unknown talks about ways teachers can adapt their curriculum to successfully help handicapped students. They show ways that you can use different disabilities and adapt your curriculum to help each disability effectively.
I have not had the experience of teaching a curriculum to kids with a disability that has required me to alter my curriculum to help that student be successful.
This is a good reference tool that can show examples of how I could make changes to my curriculum to guarantee that my students including those with disabilities have success in the classroom with my lessons.
Wednesday, April 27, 2011
Bb Readings
Pat Tregoning
MUS 23241
Readings 13
[Adapting to meet the needs of handicapped students]
This article with author unknown talks about what you should do exactly when approaching working with handicapped students in your classroom. This reading looks at what to do with different kinds of "handicaps".
I have not had any personal connections to working with students in the classroom through teaching. I havent had this because I have not had my first teaching position yet. I will have more experience once I begin my teaching career.
I believe this is a fantastic reference tool and I will definitely use this for reference when I enter the field in a few years to begin teaching.
MUS 23241
Readings 13
[Adapting to meet the needs of handicapped students]
This article with author unknown talks about what you should do exactly when approaching working with handicapped students in your classroom. This reading looks at what to do with different kinds of "handicaps".
I have not had any personal connections to working with students in the classroom through teaching. I havent had this because I have not had my first teaching position yet. I will have more experience once I begin my teaching career.
I believe this is a fantastic reference tool and I will definitely use this for reference when I enter the field in a few years to begin teaching.
Thursday, April 21, 2011
Bb Readings (Lemieux)
Pat Tregoning
MUS 23241
4-19-11
[Lemieux, Gary., April, 2007, What to do when they are smarter then you, WSM, pp.40-41]
In this article, Lemieux talks about what exactly to do with your students that could be classified as "gifted and talented" based on their test scores. He talks about ideas for handling these students like partnering with parents. He also suggests things like exploring an acceleration of learning for these students among other things. He takes these ideas he has and gives his explanations for each.
The closest I have come to this experience is through watching my Mom dealing with her students. Over her 35 years of teaching she has had many stories of her situations of working with students who were "labeled by the state as gifted and talented". She also would take the time to talk about the different ways she approached teaching her lessons to keep them interested and engaged.
I think this is a fantastic article. I agree with his philosophy and ideas that he suggests. I believe teachers now-a-days greatly struggle with keeping students who are labeled as gifted engaged in the lesson. I plan on using this article as a reference tool when I get into the profession.
MUS 23241
4-19-11
[Lemieux, Gary., April, 2007, What to do when they are smarter then you, WSM, pp.40-41]
In this article, Lemieux talks about what exactly to do with your students that could be classified as "gifted and talented" based on their test scores. He talks about ideas for handling these students like partnering with parents. He also suggests things like exploring an acceleration of learning for these students among other things. He takes these ideas he has and gives his explanations for each.
The closest I have come to this experience is through watching my Mom dealing with her students. Over her 35 years of teaching she has had many stories of her situations of working with students who were "labeled by the state as gifted and talented". She also would take the time to talk about the different ways she approached teaching her lessons to keep them interested and engaged.
I think this is a fantastic article. I agree with his philosophy and ideas that he suggests. I believe teachers now-a-days greatly struggle with keeping students who are labeled as gifted engaged in the lesson. I plan on using this article as a reference tool when I get into the profession.
Wednesday, April 6, 2011
Bb Readings (Howell)
Pat Tregoning
MUS 23241
4-5-11
[Howell, Allen C. March, 2009, Curricular pillars in the elementary general music classroom, MEJ, pp.37-41]
In this article, Howell talks about the idea of establishing "curricular pillars" within the average, everyday, elementary general music classroom. He talks about what these pillars necessarily are and the meaning of them. He also talks about what exactly the idea of curriculum building is. He also goes on to talk about the similarities and differences of building curriculum with pillars and with units too.
I have no personal connections to the work of planning a curriculum. I have not hit that point yet in my teaching career. I know that my Mom has done curriculum planning back when she was still teaching since she was the music department chair for the Kent School district. That role often involved her both editing and re-structuring the music curriculum for the school.
I personally am a person that doesn't like change. So I am more in favor of building curriculum through units. I do personally see where exactly Allen Howell is coming from and I think it is a good idea. I think it is a matter of who exactly you "talk to" on the topic.
MUS 23241
4-5-11
[Howell, Allen C. March, 2009, Curricular pillars in the elementary general music classroom, MEJ, pp.37-41]
In this article, Howell talks about the idea of establishing "curricular pillars" within the average, everyday, elementary general music classroom. He talks about what these pillars necessarily are and the meaning of them. He also talks about what exactly the idea of curriculum building is. He also goes on to talk about the similarities and differences of building curriculum with pillars and with units too.
I have no personal connections to the work of planning a curriculum. I have not hit that point yet in my teaching career. I know that my Mom has done curriculum planning back when she was still teaching since she was the music department chair for the Kent School district. That role often involved her both editing and re-structuring the music curriculum for the school.
I personally am a person that doesn't like change. So I am more in favor of building curriculum through units. I do personally see where exactly Allen Howell is coming from and I think it is a good idea. I think it is a matter of who exactly you "talk to" on the topic.
Wednesday, March 30, 2011
Bb Readings (Taggart)
Pat Tregoning
MUS 23241
3-29-11
[Taggart, Cynthia Crump., Meeting the musical needs of all students in elementary general music, pp.127-142]
In this article, Taggart's main summary is about what she believes is the proper thing(s) to do when it comes to handling their classes. She talks about how she believes you need to structure your lessons in order to keep all of your students maintained within the lesson and focused and interested. The students enjoyment of the class lessons will be better if you can design it to keep each student engaged and entertained.
I don't have any personal connection to teaching kids and keeping everyone engaged in lessons. I do not have the connections because I have yet to take a teaching position which would allow me to plan and write my own lessons on a daily basis and work on that. I need that opportunity to express myself and show my talents.
I believe in Taggart's philosophy. I personally believe that it is HIGHLY ESSENTIAL when you make lesson plans for your own class that you work tediously to engage each individual student to keep them interested and wanting to learn more. I don't believe that enough teachers are doing that today and it is taking a toll on our students in the classroom.
MUS 23241
3-29-11
[Taggart, Cynthia Crump., Meeting the musical needs of all students in elementary general music, pp.127-142]
In this article, Taggart's main summary is about what she believes is the proper thing(s) to do when it comes to handling their classes. She talks about how she believes you need to structure your lessons in order to keep all of your students maintained within the lesson and focused and interested. The students enjoyment of the class lessons will be better if you can design it to keep each student engaged and entertained.
I don't have any personal connection to teaching kids and keeping everyone engaged in lessons. I do not have the connections because I have yet to take a teaching position which would allow me to plan and write my own lessons on a daily basis and work on that. I need that opportunity to express myself and show my talents.
I believe in Taggart's philosophy. I personally believe that it is HIGHLY ESSENTIAL when you make lesson plans for your own class that you work tediously to engage each individual student to keep them interested and wanting to learn more. I don't believe that enough teachers are doing that today and it is taking a toll on our students in the classroom.
Bb Readings (Devany)
Pat Tregoning
MUS 23241
3-29-11
[Devany, Melinda. August, 2005, Why I organized learning centers in my classroom, Teaching Music, pp.44-47]
In this article, Devany talks about the process she did in her classrooms of organizing things called learning centers. Learning centers can give students different ways and methods to learn about things. Devany used learning centers in music when she mentioned the different "stations" the kids were doing like composing on the composer, rolling composer dice etc. This was an interesting method to learn about.
I don't have any personal connections to learning centers throughout my schooling with learning centers. The closest I have to anything close to learning centers was doing the stations/free time in kindergarden.
I personally agree with the idea of learning centers. I think it is a very new/interesting way to allow students the opportunity to learn. Some students understand lessons teachers try to teach and using learning centers could help the kids understand things through different teaching methods.
MUS 23241
3-29-11
[Devany, Melinda. August, 2005, Why I organized learning centers in my classroom, Teaching Music, pp.44-47]
In this article, Devany talks about the process she did in her classrooms of organizing things called learning centers. Learning centers can give students different ways and methods to learn about things. Devany used learning centers in music when she mentioned the different "stations" the kids were doing like composing on the composer, rolling composer dice etc. This was an interesting method to learn about.
I don't have any personal connections to learning centers throughout my schooling with learning centers. The closest I have to anything close to learning centers was doing the stations/free time in kindergarden.
I personally agree with the idea of learning centers. I think it is a very new/interesting way to allow students the opportunity to learn. Some students understand lessons teachers try to teach and using learning centers could help the kids understand things through different teaching methods.
Wednesday, March 16, 2011
Bb Readings (Shuler)
Pat Tregoning
MUS 23241
3-15-11
[Shuler, Scott., 1990, Making an arts education curricular, MENC, pp.1-14]
In this article, Shuler talks about establishing an arts education curriculum in the classroom. He suggests the ways that you can start that process. It also helps you out by outlining steps in what you should do to make the curriculum work well in the classroom.
I do not have any personal experience/connections to making curriculum because I have never had to do that yet in my career. I will probably do that when I get out into the teaching field.
I could definitely see myself using this article when I enter the field. When I enter the field, I will work on the idea of making a curriculum.
MUS 23241
3-15-11
[Shuler, Scott., 1990, Making an arts education curricular, MENC, pp.1-14]
In this article, Shuler talks about establishing an arts education curriculum in the classroom. He suggests the ways that you can start that process. It also helps you out by outlining steps in what you should do to make the curriculum work well in the classroom.
I do not have any personal experience/connections to making curriculum because I have never had to do that yet in my career. I will probably do that when I get out into the teaching field.
I could definitely see myself using this article when I enter the field. When I enter the field, I will work on the idea of making a curriculum.
Wednesday, March 9, 2011
Bb Readings (Whitcomb)
Pat Tregoning
MUS 23241
3-9-11
[Whitcomb, Rachel. May, 1999, Writing rubrics for music classrooms, MEJ, pp.26-32]
This article talks about the ideas that Whitcomb comes up with when it comes to writing rubrics for music classes. Whitcomb goes into detail about the pro's and con's of writing rubrics and why certain rubrics are better then others in classes. This was a very interesting article.
The one personal connection I have to writing rubrics is through writing rubrics for my TE's in Music Teaching as a Profession class. I never went into the great detail that people like Whitcomb or Byo or Hill go into with detail-oriented rubrics.
I could definitely go into better detail on my rubrics after seeing these rubrics from these blocks of readings that all tied in the ideas regarding rubrics. I will definitely refer back to these articles in the future when it comes to writing rubrics.
MUS 23241
3-9-11
[Whitcomb, Rachel. May, 1999, Writing rubrics for music classrooms, MEJ, pp.26-32]
This article talks about the ideas that Whitcomb comes up with when it comes to writing rubrics for music classes. Whitcomb goes into detail about the pro's and con's of writing rubrics and why certain rubrics are better then others in classes. This was a very interesting article.
The one personal connection I have to writing rubrics is through writing rubrics for my TE's in Music Teaching as a Profession class. I never went into the great detail that people like Whitcomb or Byo or Hill go into with detail-oriented rubrics.
I could definitely go into better detail on my rubrics after seeing these rubrics from these blocks of readings that all tied in the ideas regarding rubrics. I will definitely refer back to these articles in the future when it comes to writing rubrics.
Bb Readings (Byo)
Pat Tregoning
MUS 23241
3-9-11
[Byo, James L. September, 2001, Designing substantive playing tests, MEJ, pp.39-44]
In this article, Byo talks about ways that you can come up with good playing test "rubrics". Byo talks about how these rubrics will help the kids understand what exactly they need to do to get the most successful grade that they can. He also gives example rubrics for playing tests.
I have one personal connection to playing tests, that being coming up with rubrics for my TE's in my Music Teaching As a Profession class. I always assumed that rubrics could just be thrown together in pass-fail style.
I personally agree with what Byo talks about with the structuring of these rubrics and how they become very helpful in the progression of your students. I definitely plan to refer to this whenever I start to make a rubric.
MUS 23241
3-9-11
[Byo, James L. September, 2001, Designing substantive playing tests, MEJ, pp.39-44]
In this article, Byo talks about ways that you can come up with good playing test "rubrics". Byo talks about how these rubrics will help the kids understand what exactly they need to do to get the most successful grade that they can. He also gives example rubrics for playing tests.
I have one personal connection to playing tests, that being coming up with rubrics for my TE's in my Music Teaching As a Profession class. I always assumed that rubrics could just be thrown together in pass-fail style.
I personally agree with what Byo talks about with the structuring of these rubrics and how they become very helpful in the progression of your students. I definitely plan to refer to this whenever I start to make a rubric.
Bb Readings (Hill)
Pat Tregoning
MUS 23241
3-8-11
[Hill, Cheryl Frazes, September, 2008, A portfolio model for music educators, MEJ, pp. 61-72]
In this article, Hill gives a few examples of what a good portfolio model for music educators should look like. She also talks about what should be in it. She also gives some backgrounds into what portfolios are, what they are used for and what the different kinds of portfolios are.
I don't have any connections to portfolios because I personally have not had to get to that point yet in my career. I will be at that point once I start my teaching career.
I believe that there is not necessarily a "agree or disagree" point on this. I feel that this article is more of a "reference point" towards what a portfolio both is and should be.
MUS 23241
3-8-11
[Hill, Cheryl Frazes, September, 2008, A portfolio model for music educators, MEJ, pp. 61-72]
In this article, Hill gives a few examples of what a good portfolio model for music educators should look like. She also talks about what should be in it. She also gives some backgrounds into what portfolios are, what they are used for and what the different kinds of portfolios are.
I don't have any connections to portfolios because I personally have not had to get to that point yet in my career. I will be at that point once I start my teaching career.
I believe that there is not necessarily a "agree or disagree" point on this. I feel that this article is more of a "reference point" towards what a portfolio both is and should be.
Tuesday, March 1, 2011
Bb Readings (Burrack)
Pat Tregoning
MUS 23241
3-1-11
[Burrack, Frederick, May, 2002, Enhanced assessment in instrumental music programs, MEJ, pp. 27-32]
In this article, Burrack talks about "newer ways" to use assessment in instrumental music programs. One of the ways he discusses is through the idea of students "taping" themselves playing an excerpt, then checking for musical growth.
I have no prior connections to enhanced assessment because of all directors that I have played under, none have ever used the idea of an enhanced assessment.
I agree with the idea of enhanced assessments. Some of the ideas they mention are quite creative in my opinion.
MUS 23241
3-1-11
[Burrack, Frederick, May, 2002, Enhanced assessment in instrumental music programs, MEJ, pp. 27-32]
In this article, Burrack talks about "newer ways" to use assessment in instrumental music programs. One of the ways he discusses is through the idea of students "taping" themselves playing an excerpt, then checking for musical growth.
I have no prior connections to enhanced assessment because of all directors that I have played under, none have ever used the idea of an enhanced assessment.
I agree with the idea of enhanced assessments. Some of the ideas they mention are quite creative in my opinion.
Bb Readings (Bauer)
Pat Tregoning
MUS 23241
3-1-11
[Bauer, Dr. William, Authentic assessment in instrumental music education, pp.1-2]
This article by Dr. Bauer shows a good example of what a strong assessment in instrumental music education would be.
I don't have any personal connections to assessment's in instrumental music education to this "degree".
I could definitely see myself using this idea of an assessment when I enter the profession of Instrumental Music Education. It could be a very big help.
MUS 23241
3-1-11
[Bauer, Dr. William, Authentic assessment in instrumental music education, pp.1-2]
This article by Dr. Bauer shows a good example of what a strong assessment in instrumental music education would be.
I don't have any personal connections to assessment's in instrumental music education to this "degree".
I could definitely see myself using this idea of an assessment when I enter the profession of Instrumental Music Education. It could be a very big help.
Friday, February 25, 2011
Bb Readings (Lehman)
Pat Tregoning
MUS 23241
2-24-11
[Lehman, Paul, October 2004, Raising the bar, Teaching Music, pp.33-39]
In this article, Paul Lehman sat down for an interview 10 years after the formation of the national standards of music education. The purpose of the interview was asking his opinion on the effect the standards have had over the last 10 years in the classroom and also on what the standards could do to improve the school music programs around the nation as well.
I didn't see the need to find personal connections in this article, all the article really seemed like was a chance to gather one's opinion on the progress the standards have made.
I did not find any points to agree or disagree on in this article. I found it to be more of an "editorial" for Lehman, to allow him to express his joys and concerns regarding the standards.
MUS 23241
2-24-11
[Lehman, Paul, October 2004, Raising the bar, Teaching Music, pp.33-39]
In this article, Paul Lehman sat down for an interview 10 years after the formation of the national standards of music education. The purpose of the interview was asking his opinion on the effect the standards have had over the last 10 years in the classroom and also on what the standards could do to improve the school music programs around the nation as well.
I didn't see the need to find personal connections in this article, all the article really seemed like was a chance to gather one's opinion on the progress the standards have made.
I did not find any points to agree or disagree on in this article. I found it to be more of an "editorial" for Lehman, to allow him to express his joys and concerns regarding the standards.
Bb Readings (Reimer)
Pat Tregoning
MUS 23241
2-24-11
[Reimer, Bennett, 9/2004, Reconceiving the national standards and school music program, MEJ, pp.33-37]
In this article, Reimer talks about the idea of "re-formatting" the national standards and trying to lead reform in the change of school music programs. With regards to the standards "re-formatting", Reimer goes into detail and lists the pros and cons of the idea of re-doing the national standards and the format of it.
I have no personal connections to the standards except through my Mom using them to plan her lessons when she could teach.
I don't necessarily agree with Reimer's belief that re-formatting the national standards is the best idea, mainly because I do not like change. I think that it is easier just to leave it how it is.
MUS 23241
2-24-11
[Reimer, Bennett, 9/2004, Reconceiving the national standards and school music program, MEJ, pp.33-37]
In this article, Reimer talks about the idea of "re-formatting" the national standards and trying to lead reform in the change of school music programs. With regards to the standards "re-formatting", Reimer goes into detail and lists the pros and cons of the idea of re-doing the national standards and the format of it.
I have no personal connections to the standards except through my Mom using them to plan her lessons when she could teach.
I don't necessarily agree with Reimer's belief that re-formatting the national standards is the best idea, mainly because I do not like change. I think that it is easier just to leave it how it is.
Bb Readings (Lehman)
Pat Tregoning
MUS 23241
2-24-11
[Lehman, Paul R., The power of the national standards in music education, MENC, pp.3-9]
In this article, Lehman talks about the "pros" of the national standards here in music education. He also talks about each standard "in depth" and helps the "common day reader" understand each of the standards in case they become confused.
I personally have no connections to the standards except from my Mom planning her lessons around them back when she could teach.
I could definitely see myself using this article if I ever became a mentor for a first year teacher that didn't necessarily understand the national standards. I agree with his opinion of the national standards as well. He tends to share the same opinions I have.
MUS 23241
2-24-11
[Lehman, Paul R., The power of the national standards in music education, MENC, pp.3-9]
In this article, Lehman talks about the "pros" of the national standards here in music education. He also talks about each standard "in depth" and helps the "common day reader" understand each of the standards in case they become confused.
I personally have no connections to the standards except from my Mom planning her lessons around them back when she could teach.
I could definitely see myself using this article if I ever became a mentor for a first year teacher that didn't necessarily understand the national standards. I agree with his opinion of the national standards as well. He tends to share the same opinions I have.
Thursday, February 17, 2011
Text Readings (Campbell 4)
Pat Tregoning
MUS 23241
2-17-11
[Campbell, Patricia Sheehan, 2008, Systems and standards of music education, Musician & Teacher: An Orientation to Music Education, pp.60-85]
In this chapter, Campbell takes a look at a few different things. One of them is comparing the similarities and differences of logical and localized systems of standards. Campbell also takes a look at the use of curriculum planning of music education around the world. The countries she looks at include: Argentina, Australia, Brazil, China, France, Hungary, Japan, South Africa, The United Kingdom and North America (United States and Canada).
The only connections I have to curriculum planning is that watching my Mom plan lessons in her class. I have seen her refer to the National Standards of Music Education. I have seen education in my overseas travels as well.
I don't see any necessary agree or disagreeing point on the article. I could see myself in the future using this article as a reference tool if I go back to graduate school or something else.
MUS 23241
2-17-11
[Campbell, Patricia Sheehan, 2008, Systems and standards of music education, Musician & Teacher: An Orientation to Music Education, pp.60-85]
In this chapter, Campbell takes a look at a few different things. One of them is comparing the similarities and differences of logical and localized systems of standards. Campbell also takes a look at the use of curriculum planning of music education around the world. The countries she looks at include: Argentina, Australia, Brazil, China, France, Hungary, Japan, South Africa, The United Kingdom and North America (United States and Canada).
The only connections I have to curriculum planning is that watching my Mom plan lessons in her class. I have seen her refer to the National Standards of Music Education. I have seen education in my overseas travels as well.
I don't see any necessary agree or disagreeing point on the article. I could see myself in the future using this article as a reference tool if I go back to graduate school or something else.
Thursday, February 10, 2011
Bb Readings (Marzano)
Pat Tregoning
MUS 23241
2-10-11
[Marzano, Robert, Jana, 2003-2004, The key to classroom management, Educational Leadership, pp.2-7]
In this articles, the Marzanos talk about the keys to effective classroom management through research methods and other things like analyzing different types of special behavior children. They analyze the different behaviors, also look at things like establishing student-teacher relationships.
I do not have any relation to this topic because I have not underwent any experience in teaching in the classroom or working with students of different grade levels yet.
I did not see any neccessary agreement or disagreement with this article. I see myself as using this for research later on if I choose to research at risk behaviorial kids and also to better my skills at establishing classroom relationships.
MUS 23241
2-10-11
[Marzano, Robert, Jana, 2003-2004, The key to classroom management, Educational Leadership, pp.2-7]
In this articles, the Marzanos talk about the keys to effective classroom management through research methods and other things like analyzing different types of special behavior children. They analyze the different behaviors, also look at things like establishing student-teacher relationships.
I do not have any relation to this topic because I have not underwent any experience in teaching in the classroom or working with students of different grade levels yet.
I did not see any neccessary agreement or disagreement with this article. I see myself as using this for research later on if I choose to research at risk behaviorial kids and also to better my skills at establishing classroom relationships.
Bb Readings (Manfredo)
Pat Tregoning
MUS 23241
2-10-11
[Manfredo, Joseph., November 2006, Effective time management in ensemble rehearsals, Music Educators Journal pp.42-46]
In this article, Manfredo talks about ways that you can set your rehearsals up to effectively manage your time. He also mentions how key the importance of pacing is in your ensemble's daily rehearsal. He also talks about common problems in our schools that ensembles face, that which is a lack of rehearsal time. He describes the key for creating good pacing and timing is through the job of planning out approximate time needed for each section of rehearsal.
I have yet to have the opportunity to "run" a large ensemble rehearsal so I have yet to experience it through that point. I have however experienced it through my TE1 and 2 both last semester and vastly approaching it again this semester. I remember the pacing of the time in my lesson was the toughest factor to work with in my lessons.
I agree with some of the ideas Manfredo talks about as well as his belief on the importance of pacing out your rehearsals. I plan to use this article not only in my TE's but also in the future when I begin teaching.
MUS 23241
2-10-11
[Manfredo, Joseph., November 2006, Effective time management in ensemble rehearsals, Music Educators Journal pp.42-46]
In this article, Manfredo talks about ways that you can set your rehearsals up to effectively manage your time. He also mentions how key the importance of pacing is in your ensemble's daily rehearsal. He also talks about common problems in our schools that ensembles face, that which is a lack of rehearsal time. He describes the key for creating good pacing and timing is through the job of planning out approximate time needed for each section of rehearsal.
I have yet to have the opportunity to "run" a large ensemble rehearsal so I have yet to experience it through that point. I have however experienced it through my TE1 and 2 both last semester and vastly approaching it again this semester. I remember the pacing of the time in my lesson was the toughest factor to work with in my lessons.
I agree with some of the ideas Manfredo talks about as well as his belief on the importance of pacing out your rehearsals. I plan to use this article not only in my TE's but also in the future when I begin teaching.
Bb Readings (Bauer)
Pat Tregoning
MUS 23241
2-10-11
[Bauer, Dr. William, May 2001, Classroom Management of ensembles, Music Educators Journal, pp.27-32]
In this article, Dr. Bauer talks about (quite simply) ways to keep Classroom Management of ensembles and ways and means to help make these better. He gives ideas based off his own experience like becoming a proactive educator. He also gives other techniques to help institute good classroom management during rehearsals with your ensembles.
The closest I remember with these techniques he mentioned is from my experience in instrumental ensembles in both High School and here at Kent State. All my directors use at least a couple of these in their daily rehearsals. I am very familiar with these.
I personally agree with the techniques that he uses. I plan to use these techniques when I run ensembles later on when I begin teaching/when I run sectionals here at Kent State as well. I plan to hang on to this article for use later on.
MUS 23241
2-10-11
[Bauer, Dr. William, May 2001, Classroom Management of ensembles, Music Educators Journal, pp.27-32]
In this article, Dr. Bauer talks about (quite simply) ways to keep Classroom Management of ensembles and ways and means to help make these better. He gives ideas based off his own experience like becoming a proactive educator. He also gives other techniques to help institute good classroom management during rehearsals with your ensembles.
The closest I remember with these techniques he mentioned is from my experience in instrumental ensembles in both High School and here at Kent State. All my directors use at least a couple of these in their daily rehearsals. I am very familiar with these.
I personally agree with the techniques that he uses. I plan to use these techniques when I run ensembles later on when I begin teaching/when I run sectionals here at Kent State as well. I plan to hang on to this article for use later on.
Thursday, February 3, 2011
Bb Readings (Doty)
Pat Tregoning
MUS 23241
2-17-11
[Doty, Amy, November, 2004, Using the Ohio standards: Easier then you may think, TRIAD, pp.45-46]
This short article talked about the (at that time) recent release of the Ohio Academic Content Standards for K-12 Fine Arts. The article provides respective links to where the reader can print and/or download their own copy. Amy Doty also brings up how the "disciplines are unified through five common standards that express what students should know and be able to do in the arts as a result of comprehensive K-12 curriculum." The five are: Historical, cultural and social contexts. Creative expression and communication, analyzing and responding, valuing the arts/aesthetic reflection and finally Connections, relationships and applications. The author also goes into detail about each standard in this article.
I personally again as previously posted, have no prior experience with the standards, other then what I have seen occur with my mother when I have seen her flipping through pages and that she would constantly refer back to the standards both on the national and state level when she is working with her course of study for the arts in her school district that she works in.
I believe that there isn't really a necessary side to choose with this article (agree, disagree etc.) because I see this article as more of a helpful handout for both beginning teachers who don't know much about the standards as well as students who are pursuing the goal of becoming a music educator (Hey, that's me!) that the students can use this to help them better understand how the State of Ohio Fine Arts academic content standards actually work.
MUS 23241
2-17-11
[Doty, Amy, November, 2004, Using the Ohio standards: Easier then you may think, TRIAD, pp.45-46]
This short article talked about the (at that time) recent release of the Ohio Academic Content Standards for K-12 Fine Arts. The article provides respective links to where the reader can print and/or download their own copy. Amy Doty also brings up how the "disciplines are unified through five common standards that express what students should know and be able to do in the arts as a result of comprehensive K-12 curriculum." The five are: Historical, cultural and social contexts. Creative expression and communication, analyzing and responding, valuing the arts/aesthetic reflection and finally Connections, relationships and applications. The author also goes into detail about each standard in this article.
I personally again as previously posted, have no prior experience with the standards, other then what I have seen occur with my mother when I have seen her flipping through pages and that she would constantly refer back to the standards both on the national and state level when she is working with her course of study for the arts in her school district that she works in.
I believe that there isn't really a necessary side to choose with this article (agree, disagree etc.) because I see this article as more of a helpful handout for both beginning teachers who don't know much about the standards as well as students who are pursuing the goal of becoming a music educator (Hey, that's me!) that the students can use this to help them better understand how the State of Ohio Fine Arts academic content standards actually work.
Bb Reactions (Hayslett)
Pat Tregoning
MUS 23241
2-17-11
[Hayslett, Dennis J, n.d., Applying the National Standards in School Band Programs, pp.26]
In this article, Dr. Hayslett talked about the different ways the national standards for music education can be applied with in the school band program setting and he also goes on to provide extra detail with example lessons that he would consider using at times. A particular example he puts is regarding beginning/intermediate students for standard 5 (Reading and Notating Music) where the director claps but does not chant nor count the rhythm of a particular exercise. Then the students would count this rhythm back in turn to help establish solid ear-training ability.
I personally have not had any experience with planning lessons fitting into the national standards right now but I know I will eventually down the road when I start my teaching career in the field of music, whether it'd be instrumental, vocal or general music, who knows. I have seen some lessons that my Mom has taught to her elementary students where I could see the standards fitting in. I have also done field observations where I decided what standards that instructor used in their lesson to their kids.
I think this is a great article and I agree with it totally! This article is a good tool for teachers whether they be beginning teachers who are struggling with planning lessons and they are struggling with them fitting the standards or a mentor helping a younger teacher. I will definitely see myself using this article as a reference guide for myself when I enter the "profession" of being a music teacher.
MUS 23241
2-17-11
[Hayslett, Dennis J, n.d., Applying the National Standards in School Band Programs, pp.26]
In this article, Dr. Hayslett talked about the different ways the national standards for music education can be applied with in the school band program setting and he also goes on to provide extra detail with example lessons that he would consider using at times. A particular example he puts is regarding beginning/intermediate students for standard 5 (Reading and Notating Music) where the director claps but does not chant nor count the rhythm of a particular exercise. Then the students would count this rhythm back in turn to help establish solid ear-training ability.
I personally have not had any experience with planning lessons fitting into the national standards right now but I know I will eventually down the road when I start my teaching career in the field of music, whether it'd be instrumental, vocal or general music, who knows. I have seen some lessons that my Mom has taught to her elementary students where I could see the standards fitting in. I have also done field observations where I decided what standards that instructor used in their lesson to their kids.
I think this is a great article and I agree with it totally! This article is a good tool for teachers whether they be beginning teachers who are struggling with planning lessons and they are struggling with them fitting the standards or a mentor helping a younger teacher. I will definitely see myself using this article as a reference guide for myself when I enter the "profession" of being a music teacher.
Bb Readings (History of the National Standards)
Pat Tregoning
MUS 23241
2-17-11
[Unsure of how to properly citate this]
This article discussed the history of the national standards for arts education and other details regarding them such as project organization, format of document, consensus building as well as implementation of these standards. The article took each sub section and went into detail regarding exactly how each worked with the national standards.
I personally have no closely connected experiences with the national standards except I have witnessed my mother who is a music teacher scrambling through pages when outlining the course of study for the arts in her school district. I personally before this year have always been somewhat confused by the national standards and how they work/how they are applied, why some use them and some don't etc.
I don't think there is necessarily a certain way that I could either agree or disagree on this article. I saw this article as more of a handout. I think this article however can be used a reference guide I can keep regarding the National standards and it can be handy if I ever need to look back to it for any questions.
MUS 23241
2-17-11
[Unsure of how to properly citate this]
This article discussed the history of the national standards for arts education and other details regarding them such as project organization, format of document, consensus building as well as implementation of these standards. The article took each sub section and went into detail regarding exactly how each worked with the national standards.
I personally have no closely connected experiences with the national standards except I have witnessed my mother who is a music teacher scrambling through pages when outlining the course of study for the arts in her school district. I personally before this year have always been somewhat confused by the national standards and how they work/how they are applied, why some use them and some don't etc.
I don't think there is necessarily a certain way that I could either agree or disagree on this article. I saw this article as more of a handout. I think this article however can be used a reference guide I can keep regarding the National standards and it can be handy if I ever need to look back to it for any questions.
Bb Readings (Kantorski)
Pat Tregoning
MUS 23241
2-10-11
[Kantorski, Vincent, 2/12/2007,Becoming an effective classroom manager , TRIAD, pp.58-59]
This article by Dr. Kantorski, professor of music education at Bowling Green State Univ. talked about the different goals in his philosophy of ways of being an effective classroom manager. These 6 points included: "Impress students with your musicianship", "Make Students responsible for their behavior", "Maintain excellent instructional pacing", "Establish a routine in your music class or rehearsal", "As much as possible, give instructions one time only", and "Decide what to ignore". In each of the six sub-sections, he goes into detail that support his belief on how each of these points can help you become a effective and successful classroom manager.
I have often heard these points mentioned before from numerous educators such as my mother and even Mr. Lenzo, whom I observed at Tallmadge schools for middle school band. In particular, my mom has always credited her strong classroom management to doing some of these points such as deciding what to ignore and establishing a routine. I have noticed that all of the teachers I have observed in my field observations this year have all displayed strong skills of developing routines.
I agree with this article. I have noticed that teachers I observed that have good classroom management all focus on as many of these goals as they can. I think if I work towards getting a job and entering the profession, I will use these points to establish effective classroom management.
MUS 23241
2-10-11
[Kantorski, Vincent, 2/12/2007,Becoming an effective classroom manager , TRIAD, pp.58-59]
This article by Dr. Kantorski, professor of music education at Bowling Green State Univ. talked about the different goals in his philosophy of ways of being an effective classroom manager. These 6 points included: "Impress students with your musicianship", "Make Students responsible for their behavior", "Maintain excellent instructional pacing", "Establish a routine in your music class or rehearsal", "As much as possible, give instructions one time only", and "Decide what to ignore". In each of the six sub-sections, he goes into detail that support his belief on how each of these points can help you become a effective and successful classroom manager.
I have often heard these points mentioned before from numerous educators such as my mother and even Mr. Lenzo, whom I observed at Tallmadge schools for middle school band. In particular, my mom has always credited her strong classroom management to doing some of these points such as deciding what to ignore and establishing a routine. I have noticed that all of the teachers I have observed in my field observations this year have all displayed strong skills of developing routines.
I agree with this article. I have noticed that teachers I observed that have good classroom management all focus on as many of these goals as they can. I think if I work towards getting a job and entering the profession, I will use these points to establish effective classroom management.
Tuesday, February 1, 2011
Bb Readings (Adamson)
Pat Tregoning
MUS 23241
2-1-11
[Adamson, David N., December 2006, The business side of OMEA, TRIAD, pp.62-64]
Talking about Adamson again, this time in an article in TRIAD, he talks about a different side of the OMEA Conference. He talks about the business aspect of this conference. One point he makes is comparing the conference to "a circle of fifths" in the fact that the conference acts as an "inter-relationship" for the other educators. He also talks about things like the fact that make sure you visit the exhibit hall and exchange business cards often.
I have personal connections to the OMEA conference, like I said in my previous post. I have wondered before about the business aspects of what necessarily goes into the conference. I could use this a reference tool later on in my teaching career.
I only found one available point to agree on in this article, that being the "circle of fifths" comparison. I never looked at the conference in that perspective and I agree with it now that I think about it.
MUS 23241
2-1-11
[Adamson, David N., December 2006, The business side of OMEA, TRIAD, pp.62-64]
Talking about Adamson again, this time in an article in TRIAD, he talks about a different side of the OMEA Conference. He talks about the business aspect of this conference. One point he makes is comparing the conference to "a circle of fifths" in the fact that the conference acts as an "inter-relationship" for the other educators. He also talks about things like the fact that make sure you visit the exhibit hall and exchange business cards often.
I have personal connections to the OMEA conference, like I said in my previous post. I have wondered before about the business aspects of what necessarily goes into the conference. I could use this a reference tool later on in my teaching career.
I only found one available point to agree on in this article, that being the "circle of fifths" comparison. I never looked at the conference in that perspective and I agree with it now that I think about it.
Bb Readings (Adamson)
Pat Tregoning
MUS 23241
2-1-11
[Adamson, David N., Looking for the wow factor in the OMEA Conference Exhibit Hall, TRIAD, pp.28-29]
In this article, Adamson offers a list of "points which can be used to better utilize the offerings available to you at the exhibit hall." He gives hints like making sure you refer back to the issue of TRIAD that talks about the upcoming conference before going and consulting the conference program book for the schedule of Industry Showcases etc. He also talks about other tips when it comes to using your time in the exhibit hall to the best of your ability like planning ahead on what exactly you will need both at the present time and even into the future as well.
I have personal connections to what Adamson says from my past experience of being in attendance at OMEA Conference. I have made numerous trips in my memory to the exhibit hall but I never really took the ideas Adamson presented and used them to my advantage when I would be at the conference. I definitely plan on thinking about these ideas next time I go to the conference.
I agree with some of the ideas/tips Adamson offers the reader in this article. I personally will use these ideas he offers next time I attend the conference and I will recommend this article to any first time visitor to the OMEA Conference.
MUS 23241
2-1-11
[Adamson, David N., Looking for the wow factor in the OMEA Conference Exhibit Hall, TRIAD, pp.28-29]
In this article, Adamson offers a list of "points which can be used to better utilize the offerings available to you at the exhibit hall." He gives hints like making sure you refer back to the issue of TRIAD that talks about the upcoming conference before going and consulting the conference program book for the schedule of Industry Showcases etc. He also talks about other tips when it comes to using your time in the exhibit hall to the best of your ability like planning ahead on what exactly you will need both at the present time and even into the future as well.
I have personal connections to what Adamson says from my past experience of being in attendance at OMEA Conference. I have made numerous trips in my memory to the exhibit hall but I never really took the ideas Adamson presented and used them to my advantage when I would be at the conference. I definitely plan on thinking about these ideas next time I go to the conference.
I agree with some of the ideas/tips Adamson offers the reader in this article. I personally will use these ideas he offers next time I attend the conference and I will recommend this article to any first time visitor to the OMEA Conference.
Monday, January 31, 2011
Bb Readings (Barton)
Pat Tregoning
MUS 23241
2-1-11
[Barton, Gary, December, 2009, Getting the most out of going to convention, NBA Journal, pp.15-16]
This article by Barton talks about the ways to make your visit to the Ohio Music Education Association conference a successful one. He talks about the tips: "Make Your Schedule in Advance, There is No Concert that Has No Value, Attending as a Staff, Attending on School Time or School Money and Have Fun While You Learn".
I have personal connections to the article because I have attended conference multiple times as both a performer and a guest. The times I went with my mother, who is a fellow teacher, she has always went by these guidelines. I have used them in my philosophy of going to conference as well.
I greatly agree with the guidelines that Barton mentions in these articles. I go by the same ones myself, I also could see myself using this as a tool if I end up mentoring a new music educator later on in my career.
MUS 23241
2-1-11
[Barton, Gary, December, 2009, Getting the most out of going to convention, NBA Journal, pp.15-16]
This article by Barton talks about the ways to make your visit to the Ohio Music Education Association conference a successful one. He talks about the tips: "Make Your Schedule in Advance, There is No Concert that Has No Value, Attending as a Staff, Attending on School Time or School Money and Have Fun While You Learn".
I have personal connections to the article because I have attended conference multiple times as both a performer and a guest. The times I went with my mother, who is a fellow teacher, she has always went by these guidelines. I have used them in my philosophy of going to conference as well.
I greatly agree with the guidelines that Barton mentions in these articles. I go by the same ones myself, I also could see myself using this as a tool if I end up mentoring a new music educator later on in my career.
Sunday, January 30, 2011
Text Readings (Campbell 3)
Pat Tregoning
MUS 23241
2-1-11
[Campbell, Patricia Sheehan, 2008, Music learning by ear and by eye, Musician & Teacher: An Orientation to Music Education, pp.40-59]
This chapter talks about the different styles of learning that can be used by students in music (ex. picking up music by ear/by eye). This chapter also discusses how music is learned in different nations, in different time periods and and through different styles.
I have no personal experience with the overseas educational learning styles but I can relate to the first part of the summary. My parents have noticed that I have an uncanny knack of picking up music by ear as well as by reading a score. Both my parents and I are unsure of where exactly it came from.
I think that this is a good article to save in my files because it talks about multi-cultural education. I could definitely use this as a reference tool later on down the road to talk about or look back at multi-cultural education examples
MUS 23241
2-1-11
[Campbell, Patricia Sheehan, 2008, Music learning by ear and by eye, Musician & Teacher: An Orientation to Music Education, pp.40-59]
This chapter talks about the different styles of learning that can be used by students in music (ex. picking up music by ear/by eye). This chapter also discusses how music is learned in different nations, in different time periods and and through different styles.
I have no personal experience with the overseas educational learning styles but I can relate to the first part of the summary. My parents have noticed that I have an uncanny knack of picking up music by ear as well as by reading a score. Both my parents and I are unsure of where exactly it came from.
I think that this is a good article to save in my files because it talks about multi-cultural education. I could definitely use this as a reference tool later on down the road to talk about or look back at multi-cultural education examples
Bb Readings (Thompson)
Pat Tregoning
MUS 23241
2-1-11
[Thompson, John , April, 2010, What we have learned along the way, The Instrumentalist, pp.26-30,54-56]
In this article, Thompson and numerous "veteran teachers" are asked to talk about what they wish they had known earlier in their careers and how it has helped improved them. Thomson interviewed Ray Holder, Charles Menghini, Anthony Gibson, Joe Manfredo, Scott Casagrande and Anthony Pursell, these gentlemen are all very distinguished veteran teachers in the business. When reading what each of these guys had to say, they all had tied in two noticeable realizations. The first realization is that it is extremely vital to establish good working relationships with people such as fellow colleagues and administrators, support staff (boosters, parent volunteers etc). The other realization I took away from this was that always to remember that there is not a single good deed that doesn't go unnoticed.
I have had personal connections with both of the realizations I listed in the previous category. I have many experiences with the first realization of establishing relationships with the people you often work with. I hold two jobs, one on and one off campus and both in very opposite ends of the job spectrum. One is in fast food service and the other is in the survey lab giving surveys over the phone. Both jobs are similar because I try to focus on establishing a good work relationship with my superiors to show that I am a good, hard worker and that I am always willing to help out the group if it means the group will improve. I have had experience with my other realization through my time in Cub Scouts growing up. My scout leaders always told me that when performing duties of service and stuff to remember that every good deed will never go unnoticed.
I agree with the things shared by these gentlemen. I think this could be a good tool to remember for when I begin my career I can remember these things mentioned so I don't have to sit down later in my teaching career and ask myself the question of "what do I wish I had known earlier and how has it made me better?".
MUS 23241
2-1-11
[Thompson, John , April, 2010, What we have learned along the way, The Instrumentalist, pp.26-30,54-56]
In this article, Thompson and numerous "veteran teachers" are asked to talk about what they wish they had known earlier in their careers and how it has helped improved them. Thomson interviewed Ray Holder, Charles Menghini, Anthony Gibson, Joe Manfredo, Scott Casagrande and Anthony Pursell, these gentlemen are all very distinguished veteran teachers in the business. When reading what each of these guys had to say, they all had tied in two noticeable realizations. The first realization is that it is extremely vital to establish good working relationships with people such as fellow colleagues and administrators, support staff (boosters, parent volunteers etc). The other realization I took away from this was that always to remember that there is not a single good deed that doesn't go unnoticed.
I have had personal connections with both of the realizations I listed in the previous category. I have many experiences with the first realization of establishing relationships with the people you often work with. I hold two jobs, one on and one off campus and both in very opposite ends of the job spectrum. One is in fast food service and the other is in the survey lab giving surveys over the phone. Both jobs are similar because I try to focus on establishing a good work relationship with my superiors to show that I am a good, hard worker and that I am always willing to help out the group if it means the group will improve. I have had experience with my other realization through my time in Cub Scouts growing up. My scout leaders always told me that when performing duties of service and stuff to remember that every good deed will never go unnoticed.
I agree with the things shared by these gentlemen. I think this could be a good tool to remember for when I begin my career I can remember these things mentioned so I don't have to sit down later in my teaching career and ask myself the question of "what do I wish I had known earlier and how has it made me better?".
Monday, January 24, 2011
Bb Readings (Eisner)
Pat Tregoning
MUS 23241
1-25-11
[Eisner, Elliot W., December 2003/January 2004, Preparing for today and tomorrow, Educational Leadership, pp.6-10]
In this article, Eisner talks about what schools should teach in the future like judgement, critical thinking and other things. Eisner also talks about what schools must become in order to adapt to the changes that the education world will undergo over time.
I do not have any personal connections to this because I do not know the author. I have the lone connection of reading this for MTAP class.
I didn't see any point in the article to agree or disagree on. I believe this could be used as a "directional guide" for helping me to establish my personal philosophy on education.
MUS 23241
1-25-11
[Eisner, Elliot W., December 2003/January 2004, Preparing for today and tomorrow, Educational Leadership, pp.6-10]
In this article, Eisner talks about what schools should teach in the future like judgement, critical thinking and other things. Eisner also talks about what schools must become in order to adapt to the changes that the education world will undergo over time.
I do not have any personal connections to this because I do not know the author. I have the lone connection of reading this for MTAP class.
I didn't see any point in the article to agree or disagree on. I believe this could be used as a "directional guide" for helping me to establish my personal philosophy on education.
Bb Readings (Kantorski)
Pat Tregoning
MUS 23241
1-25-11
[Kantorski, Vincent J., Some characteristics of excellent teachers, TRIAD, pp.40-42]
In this article, Kantorski who is a faculty member at Bowling Green State University talks in this issue of TRIAD about what he believes are some personal characteristics certain teachers should have to make them "Excellent Teachers". Some of these qualities he talks about are: "Exhibits a through knowledge of the subject matter", "..enthusiastic about teaching", "maintains good eye contact", "listens carefully to students", "challenges students to excel", "uses his/her sense of humor appropriately", "is very well organized" and "asks questions requiring higher level thinking skills". Kantorski takes each of these sections and goes into details about what makes these important qualities.
I don't have personal connections to this article because I have never met Kantorski himself. The closest connection I have to this article is reading it for this class.
I agree with some of the points Kantorski made in this article. Some of the comments he made about the qualities of maintaining good eye contact, being enthusiastic about teaching, challenges students are all qualities I personally would like to carry into my teaching experience. I will use this article to better my teaching skills as I progress through my collegiate experience at Kent State.
MUS 23241
1-25-11
[Kantorski, Vincent J., Some characteristics of excellent teachers, TRIAD, pp.40-42]
In this article, Kantorski who is a faculty member at Bowling Green State University talks in this issue of TRIAD about what he believes are some personal characteristics certain teachers should have to make them "Excellent Teachers". Some of these qualities he talks about are: "Exhibits a through knowledge of the subject matter", "..enthusiastic about teaching", "maintains good eye contact", "listens carefully to students", "challenges students to excel", "uses his/her sense of humor appropriately", "is very well organized" and "asks questions requiring higher level thinking skills". Kantorski takes each of these sections and goes into details about what makes these important qualities.
I don't have personal connections to this article because I have never met Kantorski himself. The closest connection I have to this article is reading it for this class.
I agree with some of the points Kantorski made in this article. Some of the comments he made about the qualities of maintaining good eye contact, being enthusiastic about teaching, challenges students are all qualities I personally would like to carry into my teaching experience. I will use this article to better my teaching skills as I progress through my collegiate experience at Kent State.
Bb Readings (Ervin)
Pat Tregoning
MUS 23241
1-25-11
[Ervin, Max T., May 1979, Personal qualities of successful music teachers, The Instrumentalist, pp.30-31]
The first reading I chose to respond to was the reading entitled "Personal Qualities of Successful Music Teachers" by Ervin. The general summary of this article is that Mr. Ervin goes on to talk about the qualities successful music teachers often possess to become successful teachers. These qualities include things such as "a love for young people" or "a love to teach" even the quality of being a sincere person. The article later goes into detail about not only qualities of good teachers but also how "great teachers" can develop their craft into a truly good skill and allow these teachers to excel at what they do. He later concludes that "great teaching is a great art; it demands a sensitivity of emotions and intellect like few other human pursuits". He takes this article hoping teachers in the field that could potentially be struggling a chance to read this and self evaluate themselves and help them identify where their own strengths or weaknesses could be.
I share personal experience with (in my opinion) all music education related things through my mother who has been teaching for 35 years in music. She always has talked about the qualities of being a good successful music teacher including some of the qualities listed in this article like having "a love to help young people" and having "a love to teach" just to name a few. I definitely consider her a role model in my life.
I throughly agree with Max Ervin's approach to this article. This can really be an inspirational tool to a struggling teacher who might be struggling in the field. I always enjoy reading inspirational tools that can even help "light a fire" to help someone get the motivation in them to do well. I could definitely see myself referring back to this article in the future when I enter the field.
MUS 23241
1-25-11
[Ervin, Max T., May 1979, Personal qualities of successful music teachers, The Instrumentalist, pp.30-31]
The first reading I chose to respond to was the reading entitled "Personal Qualities of Successful Music Teachers" by Ervin. The general summary of this article is that Mr. Ervin goes on to talk about the qualities successful music teachers often possess to become successful teachers. These qualities include things such as "a love for young people" or "a love to teach" even the quality of being a sincere person. The article later goes into detail about not only qualities of good teachers but also how "great teachers" can develop their craft into a truly good skill and allow these teachers to excel at what they do. He later concludes that "great teaching is a great art; it demands a sensitivity of emotions and intellect like few other human pursuits". He takes this article hoping teachers in the field that could potentially be struggling a chance to read this and self evaluate themselves and help them identify where their own strengths or weaknesses could be.
I share personal experience with (in my opinion) all music education related things through my mother who has been teaching for 35 years in music. She always has talked about the qualities of being a good successful music teacher including some of the qualities listed in this article like having "a love to help young people" and having "a love to teach" just to name a few. I definitely consider her a role model in my life.
I throughly agree with Max Ervin's approach to this article. This can really be an inspirational tool to a struggling teacher who might be struggling in the field. I always enjoy reading inspirational tools that can even help "light a fire" to help someone get the motivation in them to do well. I could definitely see myself referring back to this article in the future when I enter the field.
Bb Readings (Leonard)
Pat Tregoning
MUS 23241
1-25-11
[Leonard, Mark, August 2004, The qualities that make directors outstanding, The Instrumentalist, pp.13-15]
The general summary of the article by Mr.Leonard is highlighting the six points of a leader and goes into detail about each of these "bullet points". The six points are "Setting Limits, Getting to know your students, delegating authority, dealing with parents, preparation and creating a plan." He also takes the time to talk about other characteristics of being a leader such as patience and also "asking others for help" and he reminds the reader that "Very few of us, maybe ten percent, have enough leadership ability. The rest of us have to learn." Leonard reminds readers that being a good teacher is "a life-long process..You can always be better. You don't get to your tenth year and say, I've finally arrived".
I spoke with my mother who like I mentioned in an earlier post has been in "the business" for 35 years teaching anything from band to general music and she has often referred to those points as critical points any new teacher (most recently to my sister who just acquired her elementary teaching license). I have also noticed my mother using these points in her everyday teaching and I could definitely say they are strengths of hers.
I definitely agree with this article and EVERYTHING about it. In fact, I printed out this article and kept it in a safe place so I can take it out again when I prepare to enter the teaching business. When I think of points to become a successful teacher I think of points mentioned in this article. I would definitely agree with Leonard because these points (according to my personal beliefs) are points I think could be used to become a successful teacher. I will refer to this article in the future.
MUS 23241
1-25-11
[Leonard, Mark, August 2004, The qualities that make directors outstanding, The Instrumentalist, pp.13-15]
The general summary of the article by Mr.Leonard is highlighting the six points of a leader and goes into detail about each of these "bullet points". The six points are "Setting Limits, Getting to know your students, delegating authority, dealing with parents, preparation and creating a plan." He also takes the time to talk about other characteristics of being a leader such as patience and also "asking others for help" and he reminds the reader that "Very few of us, maybe ten percent, have enough leadership ability. The rest of us have to learn." Leonard reminds readers that being a good teacher is "a life-long process..You can always be better. You don't get to your tenth year and say, I've finally arrived".
I spoke with my mother who like I mentioned in an earlier post has been in "the business" for 35 years teaching anything from band to general music and she has often referred to those points as critical points any new teacher (most recently to my sister who just acquired her elementary teaching license). I have also noticed my mother using these points in her everyday teaching and I could definitely say they are strengths of hers.
I definitely agree with this article and EVERYTHING about it. In fact, I printed out this article and kept it in a safe place so I can take it out again when I prepare to enter the teaching business. When I think of points to become a successful teacher I think of points mentioned in this article. I would definitely agree with Leonard because these points (according to my personal beliefs) are points I think could be used to become a successful teacher. I will refer to this article in the future.
Monday, January 17, 2011
Bb Readings (Sanders)
Pat Tregoning
MUS 23241
1-18-11
[Sanders, Paul D., 2001, Important influences on the introduction of music education in the state of ohio, TRIAD, pp.28-30]
In this article, Paul Sanders talks about the famous "pioneers of music education" in the state of Ohio and what they did to help it. He talked about Timothy Mason, Calvin Stowe among other things.
I personally have no immediate, close connections to this article except for our discussions in Music Teaching as a Profession.
I liked this article because it talked about the different leaders in the early days of Music Education in Ohio and what they did to help improve it in schools. I could see myself using this as a reference tool if I wanted to make a lesson when I start teaching music as a profession.
MUS 23241
1-18-11
[Sanders, Paul D., 2001, Important influences on the introduction of music education in the state of ohio, TRIAD, pp.28-30]
In this article, Paul Sanders talks about the famous "pioneers of music education" in the state of Ohio and what they did to help it. He talked about Timothy Mason, Calvin Stowe among other things.
I personally have no immediate, close connections to this article except for our discussions in Music Teaching as a Profession.
I liked this article because it talked about the different leaders in the early days of Music Education in Ohio and what they did to help improve it in schools. I could see myself using this as a reference tool if I wanted to make a lesson when I start teaching music as a profession.
Bb Readings (Sanders)
Pat Tregoning
MUS 23241
1-18-11
[Sanders, Paul D., 1995, Early public school music in the state of ohio, TRIAD, pp.37-39]
In this article, Sanders talks about the beginning "roots of music" in select school districts in Ohio. He looks at music in school districts of Akron, Chillicothe, Cincinnati, Cleveland, Columbus, Dayton, Defiance, Dover, Marietta , Massillon, New Philadelphia, Newark, Oberlin, Ripley, Sandusky, Toledo, Zanesville and talks about what each school did during the school day.
Once again, I personally do not have any personal connections to this because I was not alive when these programs were started. The closest connections I have were discussions I have had about this in Music Teaching class.
I could use this article in the future as a reference tool or potentially for a lesson if I became a professor or teacher in music education. I did not see this article as a necessarily agree/disagree article.
MUS 23241
1-18-11
[Sanders, Paul D., 1995, Early public school music in the state of ohio, TRIAD, pp.37-39]
In this article, Sanders talks about the beginning "roots of music" in select school districts in Ohio. He looks at music in school districts of Akron, Chillicothe, Cincinnati, Cleveland, Columbus, Dayton, Defiance, Dover, Marietta , Massillon, New Philadelphia, Newark, Oberlin, Ripley, Sandusky, Toledo, Zanesville and talks about what each school did during the school day.
Once again, I personally do not have any personal connections to this because I was not alive when these programs were started. The closest connections I have were discussions I have had about this in Music Teaching class.
I could use this article in the future as a reference tool or potentially for a lesson if I became a professor or teacher in music education. I did not see this article as a necessarily agree/disagree article.
Bb Readings (Bianco)
Pat Tregoning
MUS 23241
1-18-11
[Bianco, Robert S., 1974, Ohio's first school band contest, TRIAD, pp.17-20]
In this article, Dr. Bianco talks about the history of the first Band Contest in the state of Ohio. He talks about the schools competing, the format of the competition, prizes, even about the other events surrounding the competition (parades etc.) among other things.
I don't necessarily have personal connections or relations to this event. I would mainly attribute that to the fact that I was not alive then. I can't really explain personal connections to that contest when it occurred.
I found that this was not a more or less "agree or disagree" article. I found this as a future reference tool that I could use, even in a lesson that I could use with my future students when I enter the teaching profession.
MUS 23241
1-18-11
[Bianco, Robert S., 1974, Ohio's first school band contest, TRIAD, pp.17-20]
In this article, Dr. Bianco talks about the history of the first Band Contest in the state of Ohio. He talks about the schools competing, the format of the competition, prizes, even about the other events surrounding the competition (parades etc.) among other things.
I don't necessarily have personal connections or relations to this event. I would mainly attribute that to the fact that I was not alive then. I can't really explain personal connections to that contest when it occurred.
I found that this was not a more or less "agree or disagree" article. I found this as a future reference tool that I could use, even in a lesson that I could use with my future students when I enter the teaching profession.
Thursday, January 13, 2011
Text Readings (Campbell 2)
Pat Tregoning
MUS 23241
1-18-11
[Campbell, Patricia Sheehan, 2008, Great minds on music in education, Musician & Teacher: An Orientation to Music Education, pp.16-39]
This chapter in Campbell's book was very interesting as it approached different angles to get opinions from "Great minds" on music. She took a look at 3 different "mindsets on music". First being "Ancient Minds on Music", then "Later Minds on Music", "Musician's mind on music". Campbell also talks about the "Precious Presence" that music has in life.
I don't really have personal connections to what Campbell has talked about. The closest I have came is through Mr.Neiman's MTAP class where we talked about the colonial start in music. I personally found that discussion to be interesting.
I didn't really consider it to be a necessary agree or disagree type of article. I found this article to be more of a historical informational article. I would definitely consider using this article later on for referral for making a presentation or to use it an a lesson with my students in the future.
MUS 23241
1-18-11
[Campbell, Patricia Sheehan, 2008, Great minds on music in education, Musician & Teacher: An Orientation to Music Education, pp.16-39]
This chapter in Campbell's book was very interesting as it approached different angles to get opinions from "Great minds" on music. She took a look at 3 different "mindsets on music". First being "Ancient Minds on Music", then "Later Minds on Music", "Musician's mind on music". Campbell also talks about the "Precious Presence" that music has in life.
I don't really have personal connections to what Campbell has talked about. The closest I have came is through Mr.Neiman's MTAP class where we talked about the colonial start in music. I personally found that discussion to be interesting.
I didn't really consider it to be a necessary agree or disagree type of article. I found this article to be more of a historical informational article. I would definitely consider using this article later on for referral for making a presentation or to use it an a lesson with my students in the future.
Text Reactions (Campbell 1)
Pat Tregoning
MUS 23241
1-18-11
[Campbell, Patricia Sheehan, 2008, A musician's life in teaching, Musician & Teacher: An Orientation to Music Education, pp.1-16]
In this chapter, Campbell talks about things that pertain to what makes a music teacher. In this chapter, Campbell uses different scenarios to show different people's realization about wanting to become a music educator. Other sub-sections of this chapter talk about things like what makes a music teacher, it's ability to be a "life's calling" for people and other things like what it takes to be a music teacher (training and experience according to the book).
I personally have some connections to different points in this chapter. The section talking about this being "a life's calling" because it always has been for me. I have been exposed to music as long as I can remember. It has always been a strong point in my life and I hope entering the field will make it a bigger part of my life then what it already is.
I agree with this chapter for numerous reasons. I agree with the author's point that this needs to be a "life's calling". At least with me, this has been the biggest calling in my life and I am glad I am pursuing it. I also agreed in Campbell's beliefs of "what makes a music teacher" as well because I agree on some of those points as well. I felt that Campbell also was correct in the ideas of what it takes to be a music teacher as well. It was good to read this because I can collect another professional's opinion on what they believe makes a music teacher.
MUS 23241
1-18-11
[Campbell, Patricia Sheehan, 2008, A musician's life in teaching, Musician & Teacher: An Orientation to Music Education, pp.1-16]
In this chapter, Campbell talks about things that pertain to what makes a music teacher. In this chapter, Campbell uses different scenarios to show different people's realization about wanting to become a music educator. Other sub-sections of this chapter talk about things like what makes a music teacher, it's ability to be a "life's calling" for people and other things like what it takes to be a music teacher (training and experience according to the book).
I personally have some connections to different points in this chapter. The section talking about this being "a life's calling" because it always has been for me. I have been exposed to music as long as I can remember. It has always been a strong point in my life and I hope entering the field will make it a bigger part of my life then what it already is.
I agree with this chapter for numerous reasons. I agree with the author's point that this needs to be a "life's calling". At least with me, this has been the biggest calling in my life and I am glad I am pursuing it. I also agreed in Campbell's beliefs of "what makes a music teacher" as well because I agree on some of those points as well. I felt that Campbell also was correct in the ideas of what it takes to be a music teacher as well. It was good to read this because I can collect another professional's opinion on what they believe makes a music teacher.
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