Just Good Teaching: Comprehensive Musicianship Through Performance in Theory and Practice

Overview

Student learning in school music ensembles is often focused on technical skill development. Give your students broader experience involving multiple music learnings, technical proficiency, cognition, and personal meaning. The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. With model teaching plans and questions for discussion, this book can...
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Just Good Teaching: Comprehensive Musicianship through Performance in Theory and Practice

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Overview

Student learning in school music ensembles is often focused on technical skill development. Give your students broader experience involving multiple music learnings, technical proficiency, cognition, and personal meaning. The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. With model teaching plans and questions for discussion, this book can give you richer, more meaningful challenges and help you provide your students with deeper musical experiences. Sindberg combines the theoretical foundations of CMP with practical applications in a book that’s useful for practicing teacher-conductors, scholars, and teacher educators alike.
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Editorial Reviews

Craig Kirchhoff
Laura Sindberg has been an important voice in instrumental music education for over three decades, a gifted musician, conductor, and teacher now devoting her life’s work to teaching others how to teach. Just Good Teaching: Comprehensive Musicianship Through Performance in Theory and Practice is an insightful and compelling overview of a philosophy of teaching that enhances student learning in the rehearsal hall, and engages and inspires the creativity and the musicianship of conductors of all types of ensembles. This is a must-read for every music undergraduate music education major and for every veteran music educator. Enjoy the journey!
Molly A. Weaver
Just Good Teaching: Comprehensive Musicianship through Performance (CMP) in Theory and Practice is a uniquely valuable contribution to music teacher education. Laura Sindberg situates CMP realistically in lived experiences to facilitate music teachers in applying comprehensive musicianship methodology. A major distinction of this work is that it provides not only models of CMP but also multiple perspectives of CMP from music teachers in various phases of their teaching life. This is a text that challenges teachers at all levels of experience to learn as well as teach in ways that will transform ensemble rehearsals and performances with enhanced musical understandings.
Jody L. Kerchner
Laura Sindberg takes her many years of teaching in the Wisconsin public schools, her years in higher education,and her direct involvement in the Wisconsin CMP project and gives the music education profession a much needed reminder—leading students toward becoming comprehensive ensemble musicians is just good teaching. This book takes a look at CMP's historical roots and projects possibilities for CMP teaching and learning experiences in current-day practice.Sindberg provides model plans that encourage teachers and students not only to focus on note-learning and technique, but also engage in rehearsal discussions and other experiences that lead to informed music-making.
Maud Hickey
The music education profession has been waiting for a long time for a book like this that will guide band, choir and orchestra teachers to teach in a comprehensive way. Nearly 30 years ago Robert Garofalo published Blueprint for Band, followed 10 years later by his Instructional Designs for band. Sindberg's book, Just Good Teaching, not only follows up with these initial texts of teaching comprehensively in an ensemble setting, but the ideas she offers come from a proven "system" (the Wisconsin CMP project) that has been working successfully for years. A highlight of the book is the offering of real anecdotes and practical suggestions within a solid philosophical foundation. This book is a must read for band, choir and orchestra teachers who want to teach in more meaningful and educational ways. It will also be valuable in our collegiate pre-service methods classes.
Music Educators Journal (MENC)
Just Good Teaching serves as a concise description of Comprehensive Musicianship through Performance (CMP) and its application to an ensemble setting. The book is grounded in pedagogical and theoretical aspects of CMP, as well as in research on best practices in music education. The author builds a strong case for the use of CMP by drawing on her own experience in the classroom, her expertise as a leading researcher in this field, and the many experiences of teachers who use the framework of CMP within their classrooms. ... This book is an excellent read for music educators.
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Product Details

  • ISBN-13: 9781610483391
  • Publisher: Rowman & Littlefield Publishers, Inc.
  • Publication date: 3/21/2012
  • Pages: 122
  • Product dimensions: 8.80 (w) x 11.30 (h) x 0.70 (d)

Meet the Author

Laura Sindberg is assistant professor of music education at the University of Minnesota, where she teaches undergraduate and graduate courses in music education. Prior to earning her doctorate at Northwestern University, Dr. Sindberg taught public school music for 17 years, during which time she became heavily involved in Comprehensive Musicianship through Performance—also the topic of her dissertation research. Dr. Sindberg continues to be actively involved with CMP in all facets of her teaching and has written and presented extensively on the topic.
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Table of Contents

Foreward 13
Janet R. Barrett
Preface 17
Acknowledgements 21
Chapter 1—Looking in a CMP Classroom 1
Class Begins 23
Day One—Introducing Battalia 24
Day Two—Sounds Different 26
Day Three—Going Deeper 27
Day Four—A Letter Home 29
Day Five—Biber and the Baroque 31
Day Six—Battalia as Satire? 32
Reflecting on the Rehearsal Vignettes 33
Overview of the Book 35
Going Further—Questions for Discussion 36
Chapter 2—The CMP Model 37
Introduction 37
Music Selection 37
Analysis 40
Outcomes 43
Long-term Outcomes 45
Transfer 46
Strategies 47
Assessment 50
Music Selection, Revisited 53
The CMP Teaching Plan 54
Conclusion 55
Going Further—Questions for Discussion 55
Chapter 3—Looking at Shenandoah from a Choral and an Instrumental Perspective 57
Why Shenandoah? One Piece, Two Classrooms, and Three Outcomes 57
Shenandoah CMP Teaching Plan 36
Background 58
Analysis 59
Melody 60
Harmony 60
Form 62
Rhythm 64
Timbre 65
Texture 66
Expression 67
The Heart of Shenandoah 68
Outcomes 69
Strategies 69
Assessment 71
Music Selection 72
Conclusion 73
Going Further—Questions for Discussion 74

Chapter 4—CMP and Teachers 75
From the Teacher’s Point of View 75
Teacher Knowledge—An Overview 76
CMP Viewed Through a Lens of Teacher Knowledge 78
Repertoire Matters 78
Contextual Matters 79
A Fluid Model 81
A Dynamic Model 83
The Different Phases of a Teaching Life and CMP—Stories from the Field 84
CMP and Preservice Music Educators 84
CMP and Novice Music Educators 86
CMP and Veteran Music Educators 87
CMP as a Model for Professional Development 88
Intention 90
Conclusion 91
Going Further—Questions for Discussion 92
Chapter 5—Enacting the Teaching Plan 93
Taking Shenandoah into the Classroom 93
Introducing the Piece 93
Infusing the Teaching Plan into the Rehearsal—From Planning to Implementation 95
Connecting Warm-ups to the Repertoire 96
The Rehearsal 96
Contingencies 97
Towards Musical Understanding 98
CMP and Concert Programming 99
Excellence in Performance and Musical Understanding 100
The Students’ Experience as CMP is Implemented 102
Intersections of the Points of the CMP Model—A Function of Enactment 105
Transfer Revisited 106
Conclusion 108
Going Further—Questions for Discussion 109
Chapter 6—CMP and the Music Curriculum 110
Beyond the Classroom 110
CMP as Philosophy 111
CMP as Approach 112
CMP as a Process 112
The CMP Practice 113
Considering the Affective Dimension 115
CMP and the Music Curriculum 117
Long-term Outcomes 117
Standards and Standards-based Curriculum 119
State and Local Curricula 121
Curriculum and Music Selection 122
CMP and Reform-minded Music Teaching 125
Conclusion 128
Going Further—Questions for Discussion 129
Chapter 7—The Evolution of CMP 130
The Need for Comprehensive Musicianship 130
Significant Events that Informed the CMP Project 131
Contemporary Music Project 132
Manhattanville Music Curriculum Project 133
Yale Seminar and Tanglewood Symposium 133
A Vision Takes Shape 135
The First Summer Institute and Development of a Two-year Pilot Project 137
Outcome of the 1977 Institute: The CMP Model 139
Conclusion 141
Bibliography 144
Appendices 152
Appendix A: Battalia for Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik
A.1 Movement 1 152
A.2 Movements 2, 3, 4 153
A.3 Movements 5, 6, 7 154
A.4 Movement 8 155
Appendix B: CMP Teaching Plan Worksheets 156
Appendix C: CMP Teaching Plan, Battalia 163
Appendix D: CMP Teaching Plan, Orpheus With His Lute 170
Appendix E: CMP Teaching Plan, Jody 182
Appendix F: CMP Teaching Plan, Rhosymedre 191
Appendix G: Original CMP Proposal 194

Index

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