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instructor |
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Jerry Kerlin, PhD |
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office hours |
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Tuesday, 12:30–2:00 PM |
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course location |
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Music Building, Room
7 |
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prerequisites |
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Completion of all education courses, PSY 2001 and 2002, and approval by the Office of Field Placement, Certification, and Community Outreach. |
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course |
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EDU 3387.01 and EDU 5408.01: Student Teaching and Seminar: Music Education* (12 credits) Full semester (15 weeks) of the guided teaching and learning of music in a classroom setting divided between an elementary placement (grades preschool through upper elementary) and a secondary placement (middle school or high school). Designed for both precertified music education majors (student teachers working with an on-site cooperating musician-educator) and newly appointed musician-educators (supervised teachers teaching with other on-site music-education faculty and supervised by a music education professor from Manhattanville College). One placement in an urban setting and the other in a suburban setting. Placements in general music, choral music, and instrumental music to fit the direction of the educator-in-training. Seminar discussion of philosophy, praxis (pedagogy and process), performance as process, the music class as performance, repertory, classroom management, ideology of the profession, and the student teaching experience as a passage from the academy to the field. Sharing from the field of the teaching of activities followed by group critique—singing games, dances, instrumental pieces and accompaniment, reading and writing lessons, etc. Curriculum development based on sequenced elements and units of study. Discussion of successes and problems of the field, including student behavior, achieving artistry through the classroom as a reflective practicum, etc. Reflection on national and New York State standards. Preparation and review of Manhattanville College School of Education student/supervised teacher log, lesson plans, rubrics, etc. Prerequisite: MUE 3054.01/5054.01 and MUE 3057.01/5057.01. (Fall) (Spring) (*not liberal arts) |
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required text |
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No required text. |
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course objective |
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The Student Teaching Seminar serves to augment the field experience—a passage from the academy to the world of public and private classroom music teaching. Through discussion of curriculum design and delivery, student teachers gain confidence as transmitters, facilitators, and creators of community context in music making with children, adolescents, and young adults. Student teachers begin to master skills as professionals, including the negotiation with administrators, staff, classroom teachers, and parents of music being a core domain of learning. Music is seen as a worthy subject in and of itself, not just as an adjunct to other subject areas. |
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course content |
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1. Student Teaching “Kick-Off”: lecture by a “teacher of the year”. Orientation meeting. Recorder selection and purchase. 2. Scheduling of field visit 1. Curriculum design: The Beginning Point. The Kodály-based curriculum model in North America for musical understanding in the elementary school. “How to Write a Daily Lesson Plan”. Voice pedagogy for preschool and kindergarten. Experiencing macrobeat through pictures and movement. The soprano (descant) recorder, the alto (treble) recorder, and the chest of recorders. First three pitches. 3. Curriculum design: The Song or Materials List. Three parameters of the child’s singing voice: register, range, and tessitura. Kenneth Phillips Level 1 voice pedagogy. Two models for teaching a song: holistic and phrase-echo. Recorder: right hand pitches. 4. Curriculum design: The Yearly Flow Chart. A process for the teaching and learning of music: prepare, make conscious, reinforce, assess. The inductive-deductive cycle of the levels of discourse in teaching and learning. Kenneth Phillips Level 1 voice pedagogy (continued). Field visit 1 (first placement). A process for teaching canon. Recorder: beginning to use the left hand. 5. Curriculum design: The Daily Lesson Plan. The Daily Lesson Plan as a natural outcome of long-range planning. Individual consultations and completion of competencies. The domains of a philosophy of music education: ontology, epistemology, axiology. Kenneth Phillips Level 2 voice pedagogy. Scheduling of field visit 2. Recorder: continuing to use the left hand. 6. Curriculum design: The Activity Plan (Strategy). The Kodály philosophy as a foundation for a personal philosophy of music education. The make conscious experience. Kenneth Phillips Level 2 voice pedagogy (continued). Recorder: first “black key” fingerings. 7. Field visit 2 (first placement). The Orff Philosophy as a guide for creation of a personal philosophy of music education. Kenneth Phillips Level 3 voice pedagogy. Recorder: pieces with extended range. 8. Individual consultations and completion of competencies. The Dalcroze philosophy as a consideration for a personal philosophy of music education. Kenneth Phillips Level 3 voice pedagogy (continued). Scheduling of field visit 3. Recorder: pieces with extended range. 9. Kenneth Phillips Level 4 voice pedagogy. The Suzuki philosophy as a guide to a personal philosophy of music education. Recorder: pieces with extended range. 10. Kenneth Phillips Level 4 voice pedagogy (continued). The place of music in the school curriculum. Recorder: the upper octave first pitch; crossing “the break” in wind instruments. 11. Field visit 3 (second placement). Kenneth Phillips Level 5 voice pedagogy. Recorder: the upper octave extended. 12. Individual consultations and completion of competencies. Kenneth Phillips Level 5 voice pedagogy (continued). Scheduling of field visit 4. Recorder: the upper octave extended. 13. Kenneth Phillips Level 6 voice pedagogy. Recorder: ensemble pieces for full recorder range. 14. Kenneth Phillips Level 6 voice pedagogy. Recorder: ensemble pieces for full recorder range. Kenneth Phillips level 6 voice pedagogy (continued). Field visit 4 (second placement). Recorder: ensemble pieces for full recorder range. 15. Individual consultations and completion of competencies. Recorder: ensemble pieces for full recorder range. Ongoing discussion throughout the seminar: • classroom management skills • curriculum design and delivery • development of teaching repertory • student assessment using New York State and National Standards • recruitment, planning, rehearsal, and performance management of children’s choruses • mastery of educator professionalism • advocacy for music as a core subject in learning |
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course activities and assignments |
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• discussion of current discourse in the philosophical perspectives of the teaching and learning of music: the poetics and politics of transmission • discussion of classroom management, including creation of a safe learning environment and negotiation of learning and behavioral problems • discussion of assessment of student work • discussion of professionalism as an educator (dress, punctuality, working cooperatively with colleagues and administrators, etc.) • discussion of reserve readings of published music curricula from North American school systems • discussion of preparation of lessons and rehearsals, both daily and long-range • preparation of visuals and handouts • discussion of teaching artistically toward student artistry and the class as a performance • observation and evaluation of other student music teachers and the instructor |
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assessment |
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20% • regular, on-time attendance and discussion of the student teaching experience as a teaching professional 20% • daily and long-range curriculum planning 20% • discussion: readings on the philosophy of music transmission, observations, lessons and materials 20% • working through teaching process 10% • observation and discussion of lessons and materials No written examinations will be given. |
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supplementary |
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• Elliott, David. 1995. Music Matters: A New Philosophy of Music Education. New York: Oxford University Press. • McCarthy, Kevin F., Elizabeth F. Ondaatje, Laura Zakaras, and Arthur Brooks. 2004. Gifts of the Muse: Reframing the Debate About the Benefits of the Arts. Santa Monica, CA: Rand Corporation. • National Standards for Arts Education: What Every Young American Should Know and Be Able to Do in the Arts. 1994. A book containing content and achievement standards for music, dance, theater, and visual arts for grades K–12. Developed by the Consortium of National Arts Education Associations (American Alliance for Theatre and Education, Music Educators National Conference, National Arts Education Association, and National Dance Association) under the guidance of the National Committee for Standards in the Arts. Lanham, MD: Rowman and Littlefield, Copublished with Music Educators National Conference: The National Association for Music Education. • New York State Standards in the Arts: http://www.emsc.nysed.gov/ciai/arts/artls.html • New York States Standards in the Arts Publications: http://www.emsc.nysed.gov/ciai/pub/pubart.html • Thomas, Ronald B., Americole Biasini, Lenore Pogonowski, et al. 1970. Manhattanville Music Curriculum Program: MMCP Synthesis—1970: A Structure for Music Education. Purchase, NY: Manhattanville College. |
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journals for |
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British
Journal of Music Education Bulletin
of the Council for Research in Music Education Canadian
Music Educator, Journal of the Canadian Music Educators’
Association Ethnomusicology,
Journal of the Society for Ethnomusicology International
Journal of Community Music 2007– David J. Elliott, Lee Higgins, Editors. Bristol, UK: Intellect. International
Journal of Music Education Journal
of Research in Music Education, Research Journal of the Music
Educators National Conference (USA) Music
Educators Journal, Journal of the Music Educators National Conference
(USA) |
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websites as supplementary resources |
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International
Society for Music Education MayDay
Group: Action for Change in Music Education Music
Education Resource Base (MERB) • Including the Canadian Music Index Music
Educators National Conference Dalcroze
Society of America International
Kodály Society Organization
of American Kodály Educators Kodály
Society of Canada The
Kodály Organization of New York American
Orff-Schulwerk Association The
American Folk Song Collection at Holy Names University Project
Zero at the Harvard Graduate School of Education |