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.
Wednesday, March 30, 2011
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.
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