Send the link below via email or IMCopy
Present to your audienceStart remote presentation
- Invited audience members will follow you as you navigate and present
- People invited to a presentation do not need a Prezi account
- This link expires 10 minutes after you close the presentation
- A maximum of 30 users can follow your presentation
- Learn more about this feature in our knowledge base article
Do you really want to delete this prezi?
Neither you, nor the coeditors you shared it with will be able to recover it again.
Make your likes visible on Facebook?
Connect your Facebook account to Prezi and let your likes appear on your timeline.
You can change this under Settings & Account at any time.
Intro to Music Education - Spring 2013
Transcript of Intro to Music Education - Spring 2013
Observation Lab 1
Where is music in your life?
Jan. 22 & 24
A chronicle of the first degrees
Dillon - Chapter 1 -
Designing and Managing the Cultural Lives of Children
- pp. 2-10. https://docs.google.com/file/d/0B193L9k1G7ICV3kxRU45YlUzQUU/edit
Where is music in the lives of youth?
Jan. 29 & 31
Feb. 5 & 12
CLASP & MEM
Weekly Reflections & Readings
Teaching Method Analyses
Online Teaching & Learning
Music Education &/in/for Lowell
Charles Neville - http://pinterest.com/charlesneville/where-is-music-in-my-life/
Eric Rosenbaum - Inventing Instruments
- MIT & JoyLabz -
Tony Beatrice - Interdisciplinary Engagement
- Lowell Public Schools -
Eric Haltmeier - Instrumental Improvisation
- Pingree School, Hamilton, MA -
Dillon Chapter 1 Wordle
Tobin Article Wordle
Readings - For February 12
Designing Meaningful and Engaging Environments
- Chapter 5 - pp. 71-87
The Parameters of Music Education
- Presented on Feb. 26
Music Lessons 2.0
The YouTube Effect
Wiggins' (2010) Musical Dimensions & Metadimensions
Where is music in the life of a
school and community?
Readings - Presented on Feb. 21
Music Making and Flow - Chapter 4
Feb. 21 & 26
LEARNING LAB 1 - Eric Rosenbaum
Feb. 20 @ 6:30pm
LEARNING LAB 2 - Tony Beatrice
Feb. 27 @ 6:30pm
Mar. 5 & 7
Methodology Project Presentations
Mar. 19 & 21
Mar. 26 & 28
Apr. 2 & 9
Apr. 11 & 16
Brian Harris on Music Therapy
Briana Manalo on JumpStart Early Childhood
Meaningful Engagement & Experience Design
Draft National Arts Standards
Experience Design Template & Rubric
Planning your microteaching experience
Readings - For April 9
Acts of Hospitality - Chapter 8
Who am I as a teacher?
Philosophy Essay Assessment Criteria
Apr. 23 & 25
Microteaching First Iteration & Reflections
May 6 - Class FINAL
Philosophy Essay Workshop
Microteaching Second Iteration
Reflection/Blog - Due February 24th at Midnight
Review two of the three videos & links below:
Observation Lab Debriefing
work with children in East Timor & refugees as a community musician & educator
Steve Dillon -
Maybe We Can Find Some Common Ground
Reimer's (2003) Balance of Curriculum
Dillon & Brown (2007) Meaningful Engagement Matrix
LEARNING LAB 3 - Eric Haltmeier
Mar. 6 @ 6:30pm
UTEC - United Teen Equality Center - Lowell
Musicians Without Borders
Download and fill out this form. Copy your
Massachusetts ID and use a Massachusetts
Turn this in to me in class no later than
Tuesday, February 5.
Contact Info for Lowell Teachers:
Lowell High School - Pat Fitzpatrick - email@example.com
Bartlett K-8 School - Rachel Crawford - firstname.lastname@example.org
Stoklosa Middle - Janet Koza - email@example.com
If you need directions, search the names of the schools on Google Maps.
John Adams' Harmonielehre in a Car Park
NO Class on Feb. 7 or 14
Prepare Methodology Projects
Keith Swanwick (1979) C.L.A.S.P. Model
Project 1 - Musical Construction Kit
In groups of 4
Musical Construction Kit, Instructable & Experience Design
Dr. Ruthmann will be at SMERS in Tampa Feb. 7
And at Texas MEA on Feb. 14 http://www.tmea.org/conventions/2013
New United Kingdom National Curriculum
Purpose of study
Music is a universal language and every pupil should have the opportunity to become fluent. A high-quality music education should provide all pupils with the opportunity to sing and to learn a musical instrument. Pupils should leave school with an appreciation of how music is composed and performed, allowing them to listen with discrimination and judgement to the best in the musical canon.
The National Curriculum for music aims to ensure that all pupils:
perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of great musicians and composers
learn to sing and to use their voices, to compose and make music with others, have the opportunity to learn a musical instrument, and have the opportunity to progress to the next level of musical excellence
understand musical notations and how music is constructed, produced and communicated through its inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture and structure.
By the end of each key stage, pupils are expected to know, apply and understand the matters, skills and processes specified in the relevant programme of study.
Key Stage 1
Pupils should be taught to:
use their voices expressively by singing songs and speaking chants and rhymes
play tuned and untuned instruments musically
listen with concentration and understanding to a range of high-quality live and recorded music
make and combine sounds using the inter-related dimensions of music.
Key Stage 2
Pupils should be taught to sing and play musically with increasing confidence and control. They should develop an understanding of musical composition, organising and manipulating ideas within musical structures and reproducing sounds as part of an aural memory.
Pupils should be taught to:
play and perform in solo and ensemble contexts, using their voice and playing musical instruments with increasing accuracy, control and expression
improvise and compose music using the inter-related dimensions of music separately and in combination
listen with attention to detail and recall sounds with increasing aural memory
use and understand the basics of staff and other musical notations
appreciate and understand a wide range of high-quality live and recorded music from different traditions and from great musicians and composers
develop an understanding of the history of music.
Key Stage 3
Pupils should build on their previous knowledge through performing, composing and listening. They should develop their vocal and/or instrumental fluency, accuracy and expressiveness; understand musical structures, styles, genres and traditions and identify the expressive use of musical elements. They should listen with increasing discrimination, and appreciate and understand a wide range of musical contexts and styles to inform judgements.
Pupils should be taught to:
play and perform confidently in solo or ensemble contexts using their voice and playing instruments musically and fluently with accuracy and expression
compose, extend and develop musical ideas by drawing on a range of musical structures, styles, genres and traditions
use staff and other relevant notations appropriately and accurately in a range of musical styles, genres and traditions
identify and use expressively the inter-related dimensions of music with increasing sophistication, including through extended use of tonalities, different types of scales and other musical devices
listen with increasing discrimination to a wide range of music from great composers
develop a deep understanding of the music that they perform and listen to, and its history.
Key Stage 4 - NONE
- Due Feb. 17 @ Midnight
Read the following book chapter, reflect, and answer the questions in the Google Form linked below:
Project 2 - Online Learning & Teaching
nalyze and critique 2 online teaching videos you find particularly effective. In pairs, design and record a short video lesson related to music building on the same best practices. Take another pair of your classmates’ videos and learn from them. Reflect on your experiences both teaching and learning via online video.
Pick 2 online music teaching videos you find particularly interesting/effective. Share them with your partner and discuss why you think they are good.
Watch Robin Giebelhausen's YouTube video and read the transcript of her presentation:
After watching Robin's video and reading the transcript, consider the following:
What makes a good online video for use in a classroom?
What makes a good online video when there is no formal classroom (i.e., people learning only online)?
Create a 3-5 minute instructional video working together in pairs.
Video equipment can be checked out from Media Services on the mezzanine of O'Leary or you can keep it more simple and use the webcams on the computers in Durgin 406 or your own laptop.
Upload your video to YouTube or Vimeo,
BUT make sure it is UNLISTED, but public to anyone who has a link.
Email the link to your video to Dr. Ruthmann - firstname.lastname@example.org - by Midnight on March 26.
Pick a video created by a pair of your classmates and learn from it.
Create a short (~2-3 minute) video response and
post it as a reply to their video on YouTube or Vimeo by the beginning of class on April 11
Online Learning/Teaching Project - Videos due March 26
Presentation due April 11
Major Projects: --->
Class Overviews: --->
Reflection Materials: --->
Supplemental Materials: --->
Robin Giebelhausen's Online Video Work
Written Transcript of Video:
Optional Readings & Viewings:
PBS.org Digital Nation Videos
Complete the Reflection via the following link:
Project 3 - Live Microteaching
Design, develop, prepare, and lead a 5-minute interactive musical experience of your choice following best practices covered throughout the class. You will present it once for peer-feedback and then repeat the experience again during the scheduled class final exam time. These will be presented in class and video-taped for your archive. The point of this assignment is for you to gain experience leading musical experiences, reflecting on them, revising them, and leading them again incorporating peer-feedback and your own reflective feedback.
This is an individual project and a chance to push yourself and try new things. Think about an interactive musical experience you could lead with our class. The experience should be active and engaging with less than 25% of your time spent lecturing. Remember, if you need to lecture, we could watch it in a video.
By April 2, submit an outline of your proposed experience as a proposal to Dr. Ruthmann via email.
After approval of your proposed experience outline, prepare and gather any supplemental materials you might need. If you need access to instruments, let Dr. Ruthmann know.
After designing your experience, write it up using the following Experience Design Plan Template & Rubric: https://docs.google.com/document/d/1Xy4XAOWwktsApZD4kR7wRiPjW_wx-oiwFY61H-ow1iU/edit
Feel free to submit your Plan to Dr. Ruthmann for comments and feedback in advance.
On April 23 you will lead a portion of our class in your experience.
This will be video-taped. Our class will split up into either 2 or 3 rooms. As such, plan on leading 6-8 of your peers in the experience. Bring a copy of your Experience Design Plan (or Share via Google Docs) to this class for Dr. Ruthmann.
Watch the video of your teaching (will be posted to Prezi) and note what you did well and what you could improve upon. Make revisions to your Experience and revise your Experience Design Plan accordingly.
On May 6, you will lead your revised experience again
as the class final.
Live Microteaching Project - Proposal Due April 2,
1st iteration due April 23; 2nd iteration May 6
Project 4 - Philosophy Essay
Several of the assigned readings this semester speak to various philosophical issues: Where is music in the lives of children? What is the role of the teacher/facilitator in various learning/teaching contexts? What is important to teach about and through music? How is music best taught and experienced for student learning? You will draft a 2000 word philosophy essay that addresses these, and other questions.
Think back through your experiences in this class to date. Consider especially the times when your preconceptions about music learning and teacher were both challenged and reinforced.
Consider the following questions:
Review the Rubric for assessing your Philosophy Essay here: https://docs.google.com/file/d/0B193L9k1G7ICUnBDY2RKaGJrLTQ/edit
Philosophy Essay - Due before class final on May 6
The Student as Maker
- Chapter 6 (pp. 88-104)
Reflection/Blog - Due March 10 at Midnight
Methodology project experience & presentations
Learning lab experiences
Reflection/Blog - Due March 24 at Midnight
Teaching for engagement, expression & learning
... the role of the conductor
Readings - For March 19:
The Teacher as Builder - Chapter 7
Meaningful Engagement with Music and Personal Meaning - Chapter 8
Readings - For March 21:
Social Meaning and Meaningful Engagement with Music - Chapter 9
Meaningful Engagement with Music and Cultural Meaning - Chapter 10
Meaningful Engagement with Music
The School as Village - Chapter 11
Meaningful Music Making for Life - Chapter 12
Cultural Democracy Revisited - Chapter 11
Reflection/Blog - Due April 28 at Midnight
Reflections on microteaching. what worked, what did not.
What will you improve
What surprised you?
Readings - For March 28
Crossfields - Chapter 7
Peterborough Community Samba Band - Chapter 4
Illustrations of Practice - Chapter 6
Reflection/Blog - Due April 21 at Midnight
Approaches to Practice - Chapter 9
Face-to-Face Encounters - Chapter 10
Link to Reflection form:
How do you know
when learning occurs?
Complete the reflection via the following link:
RESCHEDULED to March
Sugata Mitra - Self-Organizing Learning Environments (SOLE)
Special Guest Presenters - Mar. 5
Dr. Janice Sm
ith - City University of New York
Dr. Michele Kaschub - Univ. of Maine - Gorham
Slides from Dr. Kaschub & Dr. Smith's Talk: