MUSI 3204 - Music Methods for Children :: The University of Texas of the Permian Basin

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MUSI 3204 - Music Methods for Children

MUSI 3204 – Music Methods for Children
Credit Hours: 2
Fall Semester 2006
Website: www.utpb.edu/music/index.html

Prerequisites: none
Location of class: MB 4147
Time: Monday & Wednesday at 2pm to 2:50pm
Instructor: Dr. Dan Keast
MB 4146 Office phone: 552-4292; FAX: 552-3280
E-mail (most effective): keast_d@utpb.edu
Office Hours: Monday & Wednesday 11am-1pm, Friday 10am to 12pm or by appointment.

Course Description: Course addresses the basic approaches to teaching music in the elementary classroom. It includes methods of instruction for the elementary and secondary classes specifically dedicated to music. Music is addressed as both a content area and also a component of an integrated approach to arts in education. A survey of curriculum materials and the development of age-appropriate lessons is included.

Text and Required Materials:
Choksy, L., Abramson, R. M., Gillespie, A. E., Woods, D., & York, F. (2001). Teaching music in the twenty-first century (2nd ed.). Upper Saddle River, NJ: Prentice Hall.
Baroque Soprano Recorder (usually $3.50 at a local music store)
Packet of materials to be distributed at 1st class session.
-Recorder

Strongly Recommended Materials:
Stauffer, S. L. & Davidson, J. (eds.) (1996). Strategies for teaching K-4 general music. Reston, VA: MENC. ISBN: 1565450817
Membership in MENC – includes subscriptions to Teaching Music, Music Educators Journal, and other publications available on www.menc.org
Membership in TMEA – includes subscription to Southwestern Musician and free admission to TMEA convention in February at the Henry B. Gonzales convention center in San Antonio. (See www.tmea.org for more details)

Specific Course Objectives:
As the student, you will demonstrate knowledge of

Singing, moving, listening, creating, describing, playing instruments, and analyzing in the elementary classroom
The child’s voice and how to select appropriate music for children
The needs of exceptional students in music activities
Planning music activities for all children including children with special needs
Child development, learning theory, learning modalities, and metacognition when planning music activities
Materials that may be used in planning music activities include textbooks, children's literature, singing games, folk songs, recordings, technology
Methodologies used in schools such as Kodaly, Orff, Dalcroze, Gordon, Suzuki, and Comprehensive Musicianship
Music and its relation to the other arts and disciplines outside the arts
Music and its relation to history and culture
The National Standards for music education

Skills: As the student, you will demonstrate skills in
Leading classroom singing with or without accompaniment
Playing the recorder and Orff instruments
Devising and leading children in guided listening lessons
Leading children in movement activities such as expressive movement, patterned movement, action songs, and singing games
Writing an Orff-style setting of a folk song
Encouraging children’s creativity
Teaching music reading based on child-developmental theories
Writing, teaching form, and evaluation lesson plans based on the lesson model presented in class and based on the National Standards for Music Education and the Texas Essential Knowledge and Skills

Values: As the student, you will gain an awareness of
- The importance of music for all children
- Your own musical growth
Alan Greene 1976 The New Voice Chappell & Co
4 forms and a no. 2 pencil for review charts, midterm and final exams

Evaluation of Learning:

Philosophy of Music Education: throughout the semester, compile your observations, ideas, and expectations concerning music education. These will become your basis for an essay regarding your philosophy of music education. This paper should be a synthesis of topics we discussed in class – current methods and techniques, the child's voice, curriculum design, etc. – as well as a discussion on the value of music education and justification for music in the schools. Your paper should be 5-8 pages in length and should include citation references according to the APA or MLA handbook. (5%)

Teaching Episodes: during the semester you will present 5 lessons in class as a micro-teaching episode. Each episode is described in depth below. However, each episode will be graded on the following: lesson presentation, printed lesson plan distributed to your peers, and reflective self-evaluation. Do not teach with your lesson plan in hand. On the day of your peer-teaching, arrive early to locate and organize all of the materials required for your lesson so that we may begin class promptly.

Teaching Episode #1 – teach an unfamiliar, unaccompanied song in 18-22 minutes. Give pitch and tempo. Model appropriate vocal quality for children. Rote or note approach. Provide your peers with the printed lesson plan detailing intended grade level, lesson materials, assumptions about student knowledge and skills, and procedures detailing instruction, body, and closure of the lesson. Use the Kolay teaching method. (5%)

Teaching Episode #2 – teach an original song (an "Orff-istration") in 18-22 minutes including at least 4 parts using the following instruments: autoharp, bass xylophone, metallophone or other Orff instruments discussed in class. As above, provide your peers with a detailed, printed lesson plan. Use the Orff teaching method. (5%)

Teaching Episode #3 – teach an 18-22 minute lesson focused on the concepts of your choice. Include at least two musical activities (singing, moving, playing instruments, creating, listening). As before, provide your peers with a detailed, printed lesson plan. Use the Comprehensive Musicianship teaching method. (5%)

Teaching Episode #4 – tag-team teaching. In pairs, present a 20 minute lesson with both teachers active and sharing leadership of the lesson. As normal, provide your peers with a detailed, printed lesson plan. Use the Comprehensive Musicianship teaching method. (5%)

Teaching Episode #5 – present a 20 minute guided listening lesson focusing on National Standard #6 (analyzing and describing) using visual and aural aids. As normal, provide your peers with a detailed, printed lesson plan. (5%)

Quizzes: Unannounced quizzes on assigned daily readings. (5 quizzes at 1% each = 5%)

The Child's Voice: Satisfactory completion of the posttest on pages 40-43 of the programmed text packet. (5%)

3 page ESSAY: What is elementary music? (written and pictorial): what do you currently think should happen in an elementary music room? Who, what, when (how often), where (size of room), why, and how? (2.5%)

3 page ESSAY: addressing at least the following 4 areas: 1) why you want to teach, 2) your strengths and weaknesses as you see them, 3) description of the type of teacher you hope to become, and 4) what you want to accomplish with your future students. (2.5%)

Classroom Management Profile: describe your future elementary general music classroom. Include your room setup (physical environment), the expectations you have of your students regarding overall general behavior, classroom management issues you will be facing (rules, consequences, procedures, etc.), and how you will deal with possible disruptions during a lesson/class. (10%)

Curriculum: listing/description/chart of concepts and behaviors to be learned at each grade level from K-6. (10%)

Resume and Letter of Application: this will probably take a few drafts to accomplish! (2.5%)

3 page ESSAY: Reflective paper on your individual development and what you have learned about teaching music. (2.5%)

3 page ESSAY: Self assessment of your vocal, instrumental, and communication skills. (2.5%)

3 page ESSAY: What is elementary general music? (2.5%)

3 page ESSAY: Are you ready – why or why not? (2.5%)

2-5 page REFLECTION: Interview your field teacher in a casual manner. Get to know her/him: where did they go to school, how long have they been teaching, what are some of their favorite teaching moments, what are some of their most disastrous/embarrassing teaching moments, what is the most rewarding aspect of the job, what is the most frustrating part of the job, what do they wish they had done differently when preparing to teach, what advice do they have for you as a pre-service music educator, etc.? (2.5%)

Field Experience/Practicums: This course includes 15 field experience visits (1 each week) to local elementary school music programs. A one page synopsis/write-up for each observation is expected within one week of the visit. (10%)

Attendance: If you must be absent from any of your school visitations due to illness or emergency, you must inform the people affected by your absence (i.e.: placement teacher). You are expected to reschedule missed visitations with your placement teacher.

Privacy issues: We need to be cognizant of the importance of respecting the privacy of the children observed. Do not discuss classroom scenarios that might be embarrassing to teachers, parents, or children, or that might include sensitive information about a child or family. During class discussions, use pseudonyms. Use professional judgment when discussing students, situations, etc. at your field experience site.

Deportment: You will be viewed and judged as an adult by students, parents, and teachers. Dress appropriately. Do not wear jeans or hats. Do not chew gum. Be polite and considerate to everyone you encounter including the principal, secretaries, custodians, teacher assistants, parents, etc. Arrive a few minutes prior to your scheduled visitation. Please continue the tradition of representing yourself and UTPB in a professional manner.

Recorder proficiency test: at the end of the recorder unit, you will schedule a time to meet with Dr. Keast outside of class and complete a practical examination by performing selected repertoire, scales, and sightreading on your Baroque Soprano recorder. (5%)

Opening games/activities: each class session will begin with activities or games lead by individual students. The hope is that you will develop an notebook of these activities for use in your classrooms. You will present 4 different times as described in the course calendar. (2.5%)

Format for Papers:
14 point Times New Roman font
Double-spaced
1 inch margins (top, bottom, and sides)
APA or MLA Styles are acceptable
Please proofread your papers
Book and CD titles should be underlined or italicized
Chapters from books or newspaper articles and song titles should be in quotes
University Writing Center (552-2302, Mesa Building 201): FREE service for brainstorming, organizing your paper, proofreading, citing resources, and APA or MLA style guidelines.
All student work is graded on individual merit and completion of assignment's objective as per the standards set forth in the grading rubric distributed prior to the assignment's due date. Graded work will be returned to students as quickly as possible with feedback to support the grade earned.

Policy on Late Work:
All work is due the date set below or as announced by Dr. Keast. Late work is deducted 5% per day the assignment is late. "Late" is defined as beginning an hour after class is dismissed the day the assignment was due. If an absence is eminent, please advise Dr. Keast (keast_d@utpb.edu) well in advance with a brief email stating the date and reason for the absence. Any work or exam scheduled for that day should be completed before the absence.
Calendar
Week 1: Syllabus, course outline and structure, set up field experiences, copyright laws
READ: Copyright packet
DUE: 3 page ESSAY: What is elementary music?
FIELD: nothing
OPENING: Dr. Keast
Week 2: The Child's Voice
READ: The Child's Voice programmed text with audio tape
DUE: Posttest of The Child's Voice, 3 page ESSAY: address at least 4 areas
FIELD: observation report #1 (1 page)
OPENING: Story/Poem with sounds/instruments
Week 3: Recorders
READ: Packet on recorders
DUE: 3 page ESSAY: self-assessment of your vocal, instrumental, and communication skills
FIELD: observation report #2 (1 page)
OPENING: Story/poem with sounds/instruments
Week 4: The National Standards for Music Education and the Texas Essential Knowledge and Skills
READ: Standards article
TEKS article
DUE: interview of field teacher (2-5 pages)
DUE: recorder practical exam
FIELD: observation report #3 (1 page)
OPENING: Story/poem with movement
Week 5: Methods & approaches to music education
READ: Chapters 1 and 2
FIELD: observation report #4 (1 page)
OPENING: Story/poem with movement
Week 6: Orff approach
READ: Chapter 6
FIELD: observation report #5 (1 page)
OPENING: Story/poem with composition/improvisation
Week 7: Kodaly approach
READ: Chapter 5
FIELD: observation report #6 (1 page)
OPENING: Story/poem with composition/improvisation
Week 8: Dalcroze approach
READ: Chapter 4
DUE: Teaching Episode #1 (Kodaly influenced)
FIELD: observation report #7 (1 page)
OPENING: Transitional songs (to help clean up, get ready for naps, etc.)
Week 9: Suzuki approach
READ: Suzuki article
DUE: Teaching Episode #2 (Orff influenced)
FIELD: observation report #8 (1 page)
OPENING: Transitional songs (to help clean up, get ready for naps, etc.)
Week 10: Comprehensive musicianship (CM) approach
READ: Chapter 7
O’Toole chapter
DUE: Teaching Episode #3 (CM influenced)
FIELD: observation report #9 (1 page)
OPENING: Dance lesson (teach a folk dance to a specific folk song)
Week 11: Classroom management
READ: articles on classroom management
DUE: Philosophy of Music Education – DRAFT appt. in Writing Center
FIELD: observation report #10 (1 page)
OPENING: Dance lesson (teach a folk dance to a specific folk song)
Week 12: Curriculum design
READ: articles on curriculum design
DUE: Classroom management profile
FIELD: observation report #11 (1 page)
OPENING: Music game
Week 13: Curriculum design (cont.)
READ: Indiana Fine Arts Proficiency Guide and 2 these 2 websites: http://www.tennessee.gov/education/ci/standards/music/genmusick.shtml http://www.dmps.k12.ia.us/programs/5curriculum.htm DUE: Philosophy of Music Education (8-10 pages – final draft)
DUE: Teaching Episode #4 (CM influenced)
FIELD: observation report #12 (1 page)
OPENING: Music game
Week 14: DUE: 3 page ESSAY: Reflective paper on your individual development and what you have learned about teaching music.
DUE: Teaching Episode #5 (Guided listening)
REVIEW: Music series in MB 4147 cabinet (far right cabinet)
FIELD: observation report #13 (1 page)
OPENING: Improvisation/composition with instruments
Week 15: Technology
READ: Chapter 3 of Choksy
DUE: 1 page resume and 1 page sample cover letter
DUE: 3 page ESSAY: Are you ready? Why or why not?
FIELD: observation report #14 (1 page)
OPENING: Improvisation/composition with instruments
Final Exam time: Monday, December 4th at 2:45pm until 4:45pm in MB 4147
DUE: 3 page ESSAY: What is elementary general music?
FIELD: observation report #15 (1 page)

Grading:
99-100% A+ 77-79% C+
92- 98% A 72-76% C
90- 91% A- 70-71% C-
87- 89% B+ 60-69% D
82- 86% B below 60% F
80- 81% B- Incompletes are highly discouraged and rare.

Dr. Keast's Philosophy of College Teaching and Learning:
Music classes should encourage students to employ and develop their problem-solving and higher-order thinking in the form of musical decision-making, self- and peer-evaluation, and other activities involving increased student responsibility. The music curriculum emphasizes the interdisciplinary potential of the skills and knowledge being taught; that is, facets of musical understanding can be applied to other areas of the fine arts, as well as to social studies, language arts, and other fields of study.

I believe students who regularly attend class, participate in classroom discussions and activities, complete assigned readings, and thoughtfully finish assignments should arrive at a mastery of the course material. The purpose of learning in college is to master course skills. When a student does not achieve the objectives of a course, then the student has not learned the material and should initiate ½ credit corrections to exams or quizzes in order to learn from their mistakes. Exams and quizzes are not the end of learning, but rather a measure of student learning. The students' mastery of the material is my teaching goal. I hope that learning the material is every student's learning goal.

Class Attendance: You are allowed three sick days during the semester. For each sick day taken in excess of three, your pay (grade) will be lowered by one grade increment (i.e.: A to A-). Documentation may be required for absences. Any sick day left at the end of the semester may be turned in and applied for 5% added to any assignment grade. Class will begin and end on time. As are all good students, you should plan to arrive to class early.

Civility Statement: Because this class needs to be a participatory community, if students are to fulfill their potential for learning, people who disrupt the community by their words or actions (rude, sarcastic, obscene, disrespectful speech, or disruptive behavior) will be removed from the class. In order to achieve our educational goals and to encourage the expression, understanding, and creation of a variety of ideas and opinions, respect must be shown to everyone. In order to protect the listening environment, please do not use cellular phones in the classroom. Simply turn them off to eliminate the distraction.

Food and Beverage Policy: Please feel free to bring beverages to class. Any sealable container is welcome to contain soda, water, juice, etc. Unacceptable containers include soda cans, cups, and McDonalds drink cups. The suggested container is a contour Coke bottle with screw top caps. I do ask that food be kept to a minimum. I suggest chips, crackers, trail mix, and smaller snacks that are less prone to mess. This is a beautiful facility, our goal is to keep it that way.

Web Enhanced Expectations: this course is registered with WebCT. Assignments, discussion questions, and other intercommunication from the instructor will be regularly posted on the site. Students are expected to locate a computer at home or on campus that provides reliable access to WebCT and check for announcements regularly.

Students should demonstrate professionalism when using WebCT and all e-mail. The following are considered as violations of that professionalism:
-intentionally damaging or destroying electronic information or resources
-intentionally invading the privacy of or disrespecting individuals or groups
-plagiarizing or violating copyright restrictions
-harassing others

All course documents, such as assignments, supplementary readings, syllabus, course calendar, due dates, student grades, and external links needed may be found within WebCT. The address for WebCT is: http://www.utpb.edu/reach/index.htm. Some of the supplementary readings are found within WebCT.

Class Netiquette: Dr. Keast and your fellow students wish to foster a safe on-line learning environment. All opinions and experiences, no matter how different or controversial they may be perceived, must be respected in the tolerant spirit of academic discourse. You are encouraged to comment, question, or critique an idea but you are not to attack an individual.

Our differences, some of which are outlined in the University's nondiscrimination statement, will add richness to this learning experience. Please consider that sarcasm and humor can be misconstrued in online interactions and generate unintended disruptions. Working as a community of learners, we can build a polite and respectful course ambience.

Academic honesty is fundamental to the activities and principles of a university. The academic community regards academic dishonesty as an extremely serious matter, with serious consequences. Any effort to gain an advantage not given to all students is dishonest whether or not the effort is successful. Any suspicion of academic dishonesty will be reported and investigated. A student who engages in scholastic dishonesty that includes, but is not limited to cheating, plagiarism, and collusion will receive an “F” for the course. All persons involved in academic dishonesty will be disciplined in accordance with University regulations and procedures. For complete information on UTPB student conduct and discipline procedures consult the university’s handbook at: http://www.utpb.edu/utpb_student/students/studentguide/sg3_index_frame.htm#StudentWelfareandDiscipline. When in doubt about plagiarism, paraphrasing, quoting, collaboration, or Internet applications, consult Dr. Keast. Assignments generated by downloading or printing from the Internet are considered under the auspices of academic dishonesty. Academic dishonesty will not be tolerated in this course.

Americans with Disabilities Act: Students with disabilities that are admitted to The University of Texas of the Permian Basin may request reasonable accommodations and classroom modifications as addressed under Section 504/ADA regulations. Students needing assistance because of a disability must contact Dr. Efren D. Castro, Director, Programs Assisting Student Study (PASS) Office, 552-2630, no later than 30 days prior to the start of the semester.

The definition of a disability for purposes of ADA is that she or he (1) has a physical or mental impairment that substantively limits a major life activity, (2) has a record of such an impairment or, (3) is regarded as having such an impairment.

Students who have provided all documentation and are eligible for services will be advised of their rights regarding academic accommodations and responsibilities. The University is not obligated to pay for diagnosis or evaluations nor is it obligated to pay for personal services or auxiliary aids.

If you need accommodations because of a disability, if you have emergency medical information to share with the instructor, or if you need special arrangements in the case the building must be evacuated, please inform Dr. Keast immediately. It is best to contact Dr. Keast after class.

Let this syllabus serve as an outline to the objectives and materials that we will cover.
This syllabus is subject to revision at the discretion of Dr. Keast.