Resources+in+Nontraditional+Music+Education

__Alternative Approaches in Music Education__ ed by Ann Clements (book)

The primary purpose of this book is to provide educators with examples (using case studies) of different creative approaches to teaching music that are already being used by teachers. These are approaches that are being actually being used in the classroom, using the personal experiences narrated by the partipants/designers of the program themselves. New practices that focus on popular and world musics are highlighted but the book also includes case studies that implement new approaches to music education in traditional settings. Recommended reading. Phill Martin, music educator in Litchfield, NH, will be skyping with us at the end of the day to talk about the music courses they offer at their high school. They have over 60% of students involved in music classes at the high school level. Courses and course descriptions can be found at [|http://wwhttp://www.campbellhs.org/index.php?option=com_content&view=article&id=93&Itemid=60w.campbellhs.org///] //Other interesting resources in nontraditional music education://

//Facebooking the Bard - http://www.neafoundation.org/pages/educators/grant-programs/grantees/spring-hill-high-school-2/ // //Project-Based Learning Made Easy - http://www.edutopia.org/blog/project-based-learning-made-easy-bob-lenz // //Auto Tune - [] //

//**Burton, L. (2001). Interdisciplinary curriculum: Retrospect and prospect. Music Educators Journal, 87(5), 17-21, 66. (INCLUDE) **//

//Focuses on some of the issues in interdisciplinary curriculum. For music teachers engaged in dialogue and planning with colleagues from other disciplines it provides a good outline of some of the issues that should be considered and offers some suggestions and approaches to help find a common ground for discussion of how relationships between different disciplines might be established, remembering one aim of interdisciplinary curriculum is to establish connections between the content of the disciplines. //

//The paper notes that while interdisciplinary curriculum is not a new concept what is meant by the term has changed. It is now generally viewed as a way to organize curriculum. 3 possible levels of integration are presented with a brief description of what the authors believe are the benefits of each one. //

//**Ellis, A. and Fouts, J. (2001). Interdisciplinary Curriculum: The Research Base. Music Educators Journal, Vol. 87, No. 5, Special Focus: Interdisciplinary Curriculum pp. 22-26+68. MENC: The National Association for Music Education. [] **//

// This paper raises the question does an interdisciplinary curriculum produce superior results and are the arguments it does based on solid research. //

// The decision to approach music curriculum from an interdisciplinary perspective should include a consideration of all possible benefits and drawbacks. //

// The author’s conclusion is that because the research (up to 2001) is limited it is difficult to find solid evidence that an integrated approach produces more solid results than a traditional approach. //

// The paper is a good “think piece” for educators as they make decisions about whether to approach music curriculum from an integrated perspective. Interdisciplinary curriculum may be effective but there is no strong empirical evidence that it is superior. It would be worthwhile to find out if more recent research is available. //

//This book is a compilation of the work of the Wisconsin Comprehensive Music Project. CMP attempts to point music educators toward creatively teaching all of the standards through performance in band, choir, and orchestra. Though this resource does not necessarily fit the topic of “nontraditional music education,” it is important to realize that many of our ensemble directors find themselves at the crossroads of truly teaching music and “preparing for the next concert.” // //**Orchestra Classroom. Music** Educators Journal, Vol. 95, No. 4, pp. 53-59. MENC: The National Association for Music Education. [] // //Abstract: Even the best conductor has days when students do not seem to be focused, but these can be minimized by drawing more participation from your orchestra players. Each learner brings his or her own knowledge and experiences to the classroom. Although this knowledge may need to be added to or revised, it serves as the basis for what will be constructed in the classroom. Ideas for getting more student input and therefore more student engagement in rehearsal include, among others, having smaller ensembles, encouraging students to listen critically, and creating opportunities for students to lead in musical capacities. // //Abstract: This study describes the role and importance of music education as intervention for at-risk urban adolescents through participation in performance groups while receiving mentoring. Students' self-perceptions over six domains, including musical competency, were measured by scales administered pretest and posttest. Opinions and attitudes of students were gathered in structured interviews and coded for themes. Results showed a significant increase in the students' self-perception of musical competence. A change from a moderate positive relationship to a low positive relationship between perceived musical competency and global self-worth indicated that musical participation in students' lives was domain-specific, related to global self-worth, but not synonymous with it. Students ranking music as important in their lives increased from 76% to 82% over the course of the study. Interviews resulting in 101 themes provided evidence of the importance and role of music, music! // //education, and the music teacher as mentor in the students' lives. // //The British National Curriculum for Music can be found at [] (the QCA is the Qualifications and Curriculum Authority). // //The testing authority is Edexcel [], and the music exam for secondary school students is called the GCSE Music, which can be found at []. //
 * //<span style="color: #1f497d; font-family: 'Arial','sans-serif'; margin-left: 0.5in; text-indent: -0.5in;">O'Toole, P. (2003). //Shaping sound musicians: An innovative approach to teaching comprehensive musicianship through performance//. Chicago, IL: GIA.//**
 * //<span style="font-family: 'Arial','sans-serif';">Scruggs, B. (2009). Constructivist Practices to Increase Student Engagement in the //**
 * <span style="font-family: 'Times New Roman','serif'; font-size: 16px; line-height: normal; margin-bottom: 0pt;">Shields, C. (2001 ). Music Education and Mentoring as Intervention for At-Risk**
 * <span style="font-family: 'Times New Roman','serif'; font-size: 16px;">Urban Adolescents: Their Self-Perceptions, Opinions, and Attitudes. Journal of Research in Music Education, Vol. 49, No. 3, pp. 273-286. MENC: The National Association for Music Education. http://www.jstor.org/stable/3345712 **
 * //<span style="font-family: 'Arial','sans-serif'; font-size: 15px; line-height: 115%;">Eisner, E. W. (2002). //The arts and the creation of mind//. New Haven, CT: Yale University Press.//**


 * //<span style="font-family: 'Arial','sans-serif'; margin-left: 0.5in; text-indent: -0.5in;">Stock, J. P. (2003). Music education: Perspectives from current ethnomusicology. //British Journal of Music Education, 20//(2), 135-145.//**
 * //<span style="font-family: 'Arial','sans-serif'; margin-bottom: 0pt;">Barrett, J. R. (2005). Planning for understanding: A reconceptualized view of the music curriculum. //Music Educators Journal, 91//(4), 21-25.//**
 * //<span style="color: #1f497d; font-family: 'Arial','sans-serif'; margin-left: 0.5in; text-indent: -0.5in;">Hanley, B. (2003). Navigating unpredictable possibilities in postmodern music education. //Journal of the Canadian Association for Curriculum Studies, 1//(2), 93-116.//**
 * //<span style="color: #1f497d; font-family: 'Arial','sans-serif'; font-size: 15px; line-height: 115%;">Westbury, I. (2002). Toward an understanding of the 'aims' of music education. In R. Colwell & C. Richardson (Eds.), //New handbook of research on music teaching and learning //(pp. 105-111). New York, NY: Oxford University Press.//**


 * //<span style="color: #00b050; font-family: 'Arial','sans-serif'; line-height: normal; margin-bottom: 0pt;">Richard Bell. (n.d.). Response to Cornelia Yarbrough's"What Should Be The Relationship Between Schools and Other Sources of Music Learning” [] rneliaYarbro.pdf //**


 * <span style="color: #00b050; font-family: 'Arial','sans-serif';">Yarbrough C. (n.d.) //<span style="color: #00b050; font-family: 'Arial','sans-serif';">What Should Be the Relationship between Schools and //**
 * //<span style="color: #00b050; font-family: 'Arial','sans-serif'; margin-left: 0.5in;">Other Sources of Music Learning? [] //**
 * //<span style="color: #1f497d; font-family: 'Arial','sans-serif'; margin-left: 0.5in; text-indent: -0.5in;">Stock, J. P. (2003). Music education: Perspectives from current ethnomusicology. //British Journal of Music Education, 20//(2), 135-145.**

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 90%;">**__How Popular Musicians Learn__** Lucy Green, Ashgate Publishing, 2002

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 70%;">In this book the author describes how popular musicians, learning in an informal environment, acquire their skills and knowledge. She then makes a comparison with how music is taught and learnt in the more formal environment of many classrooms. The case is then made that by incorporating some of these “informal” practices into the more “formal” environment as educators we will enable students to benefit from a music education that makes music not merely available but meaningful, worthwhile and participatory and that as a result, more students will continue to be musically active throughout their lives. The author makes some suggestions about how to incorporate some of these “informal” practices into the more “formal” environment.