MUED 419 Syllabus

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Sample Lesson Plan for Band Rehearsal: http://geocites.com/mued419/bandlesson.doc

Course Title MUED 41900 Field Experience in Secondary Music Education

Course Description: This course orients students to secondary music programs in public schools through supervised observations. This course is co-requisite to MUED418.

FEDERAL CRIMINAL HISTORY BACKGROUND CHECKS

NASM Standards:

Students must acquire:

· The prospective music teacher must be a competent conductor, able to create accurate and musically expressive performances with various types of performing groups and in general classroom situations. Instruction in conducting includes score reading and the integration of analysis, style, performance practices, instrumentation, and baton techniques. Laboratory experiences that give the student opportunities to apply rehearsal techniques and procedures are essential. Prospective teachers in programs with less focus on the preparation of ensemble conductors must acquire conducting and musical leadership skills sufficient to teach effectively in their area(s) of specialization.

· Laboratory and field experiences in teaching general music.

· Laboratory experience in teaching beginning vocal techniques individually, in small groups, and in larger classes.

· Laboratory experience in teaching beginning instrumental students individually, in small groups, and in larger classes.

· Knowledge and skills sufficient to work as a leader and in collaboration on matters of musical interpretation. Rehearsal and conducting skills are required as appropriate to the particular music concentration.

· Keyboard competency. Experiences in secondary performance areas are recommended.

· An understanding of the common elements and organizational patterns of music and their interaction, and the ability to employ this understanding in aural, verbal, and visual analyses.

· Sufficient understanding of musical forms, processes, and structures to use this knowledge in compositional, performance, scholarly, pedagogical, and historical contexts, according to the requisites of their specializations.

· The ability to place music in historical, cultural, and stylistic contexts.

· Rudimentary capacity to create derivative or original music both extemporaneously and in written form.

· The ability to compose, improvise, or both at a basic level in one or more musical languages, for example, the imitation of various musical styles, improvisation on pre-existing materials, the creation of original compositions, experimentation with various sound sources, and manipulating the common elements in non-traditional ways.

· A basic overview understanding of how technology serves the field of music as a whole.

· Working knowledge of the technological developments applicable to their area of specialization.

Students should be:

· Working independently on a variety of musical problems by combining their capabilities in performance; aural, verbal and visual analysis; composition and improvisation; and history and repertory.

· Forming and defending value judgments about music.

· Acquiring the tools to work with a comprehensive repertory, including music from various cultures of the world and music of their own time.

· Understanding basic interrelationships and interdependencies among the various professions and activities that constitute the musical enterprise.

The prospective music teacher must be able to arrange and adapt music from a variety of sources to meet the needs and ability levels of individuals, school performing groups, and in classroom situations.
In addition to the skills required for all musicians, functional performance abilities in keyboard and the voice are essential. Functional performance abilities in instruments appropriate to the student’s teaching specialization are also essential.
The prospective music teacher should be able to apply analytical and historical knowledge to curriculum development, lesson planning, and daily classroom and performance activities. Teachers should be prepared to relate their understanding of music with respect to styles, literature, multiple cultural sources, and historical development, both in general and as related to their area(s) of specialization.
Musicianship, vocal, and pedagogical skills sufficient to teach general music.
Knowledge of content, methodologies, philosophies, materials, technologies, and curriculum development for general music.
The ability to lead performance-based instruction.
Vocal and pedagogical skill sufficient to teach effective use of the voice.
Knowledge of content, methodologies, philosophies, materials, technologies, and curriculum development for vocal/choral music.
Experience in solo vocal performance and choral ensemble.
Performance ability sufficient to use at least one instrument as a teaching tool and to provide, transpose, and improvise accompaniments.
Laboratory experience in teaching beginning vocal techniques individually, in small groups, and in larger classes.
Ability to teach music at various levels to different age groups and in a variety of classroom and ensemble settings in ways that develop knowledge of how music works syntactically as a communication medium and developmentally as an agent of civilization. This set of abilities includes effective classroom and rehearsal management.
An understanding of child growth and development and an understanding of principles of learning as they relate to music.
The ability to assess aptitudes, experiential backgrounds, orientations of individuals and groups of students, and the nature of subject matter, and to plan educational programs to meet assessed needs.
Knowledge of current methods, materials, and repertories available in various fields and levels of music education appropriate to the teaching specialization.
The ability to accept, amend, or reject methods and materials based on personal assessment of specific teaching situations.
An understanding of evaluative techniques and ability to apply them in assessing both the musical progress of students and the objectives and procedures of the curriculum.

Dr. Allen Howell, MH 115, Telephone 2507, e-mail: [email protected]. Office Hours: MWF 9:00, Th 1-2/3-4, and by appointment.

Course Objectives

1. Observe music teachers and their students in instructional settings.

2. Describe verbally and in writing the observed practices and outcomes.

3. If possible, teach segments of music classes.

4. Effectively use instructional methods which fit the situation.

Course Outline

1. Students must observe a minimum of 30 clock hours of instruction in elementary music programs in selected schools. Three of these hours must be spent in the Trinity Center in Erie (http://www.bethesda-home.org/programs/trinity.htm). See http://www.geocities.com/mued418/TrinityInterns.htm for details. 10 of these hours must be spent observing/working directly with SPED and ELL students. To log these hours, use this form: http://geocities.com/mued217/MUSELLSPEDLog.doc. To verify these hours with a University Supervisor, Cooperating Teacher, Instructional Support Teacher, or ESL Specialist, use this form: http://geocities.com/mued217/MUSELLSPEDEval.doc.

2. The observations made in this course serve as an extension of the requirements for MUED418.

3. Students will provide written (journal entries) accounts of their experiences and oral evaluations for class discussion (in MUED 418). Journal--For each journal entry include (a) the date, (b) class periods (include beginning and ending times), (c) subject for each class (concert band, choir, etc.), (d) total number of hours of each visit, and (e) a description of the events you observe and/or teach. If you are asked to teach or assist with teaching, please take advantage of every opportunity. Your enthusiasm will be noted by your cooperating teacher and will not only help you get a better grade, but may help you get hired in the future. If you are asked for written plans, feel free to ask me for help and refer to http://geocities.com/mued419/419FieldManual.doc

4. Students will refer their cooperating teachers to http://geocities.com/mued419/419FieldManual.doc and/or print it out for them and will refer to it for their own use. Please also print out the following form for your final evaluation: http://geocities.com/mued419/419fieldeval.doc and print out http://geocities.com/mued419/419teachsegeval.doc if you are asking your co-op to evaluate a teaching segment for MUED 418 (in the event that I am unable to observe your teaching segment myself).

Grading

Your grade will be based on:

1. Completion of 20 clock hours.	A	B	C	D	F
2. Punctuality	A	B	C	D	F	N/A
3. Planning	A	B	C	D	F	N/A
4. Knowledge of subject	A	B	C	D	F	N/A
5. Management techniques	A	B	C	D	F	N/A
6. Professionalism	A	B	C	D	F
7. Preparation	A	B	C	D	F	N/A

NOTE: If you need special accommodation, please contact the instructor during the first week of classes to file a written request for a reasonable accommodation plan. Course requirements will not be waived but accommodations may be made to assist you to meet the requirements, provided you are timely in working with the instructor to develop a reasonable accommodation plan.

NOTE: If you need special accommodation regarding the observance of a religious holiday or holidays, please contact the instructor during the first week of classes to file a written request for a reasonable accommodation plan. Course requirements will not be waived but accommodations may be made to assist you to meet the requirements, provided you are timely in working with the instructor to develop a reasonable accommodation plan.

NOTE: Cheating is prohibited. Any acts of cheating or plagiarism will result in failure of the course. The disruption or prevention of the peaceful and orderly conduct of classes, lectures, and other University functions is prohibited. Disruptive students will be requested to leave class and will be counted absent. Please refer to the University Policy Manual at http://www.edinboro.edu/cwis/studaff/judicial/code_conduct.htm

NOTE: Only work that has been evaluated by me will be used in grade calculation.

CAVEAT: The above procedures are subject to change in the event of extenuating circumstances.

BIBLIOGRAPHY

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Hoffer, C. R. (1989). Teaching music in the secondary schools (4th ed.). Belmont, CA: Wadsworth.

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Mark, M. L., & Gary, C. L. (1998). A history of American music education (2nd ed.). Reston, VA: Music Educators National Conference.

Mark, M. L. (1996). Contemporary music education (3rd ed.). New York: Schirmer Books.

Music Educators National Conference. (1991). Growing up complete: The imperative for music education. Reston, VA: Author.

Peters, G. D., & Miller, R. F. (1982). Music teaching and learning. New York: Longman.

Rainbow, E. L., & Froehlich, H. C. (1987). Research in music education: An introduction to systematic inquiry. New York: Schirmer.

Reimer, B. S. (1989). (A philosophy of music education (2nd ed.). Englewood Cliffs, NJ: Prentice-Hall.

Smith, P. (1996). The history of American art education: Learning about art in American schools. Westport, CT: Greenwood Press.

Spring, J. (1997). The American school 1642-1996 (4th ed.). New York: McGraw-Hill.

Stake, R. E. (1975). To evaluate an arts program. In R. Stake (Ed.), Evaluating the arts in education: A responsive approach (pp. 13-31). Columbus, OH: Charles E. Merrill.

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Wilson, B. & Hoffa, H. (Eds.). (1985). The history of art education: Proceedings from the Penn State Conference. The Pennsylvania State University College of the Arts and Architecture School of Visual Arts.