Teaching of Instrumental Music / Edition 4

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Overview

This book introduces music education majors to basic instrumental pedagogy for the instruments and ensembles most commonly found in the elementary and secondary curricula. This text focuses on the core competencies required for teacher certification in instrumental music. The first section of the book focuses on essential issues for a successful instrumental program: objectives, assessment and evaluation, motivation, administrative tasks, and recruiting and scheduling (including block scheduling). The second section devotes a chapter to each wind instrument plus percussion and strings, and includes troubleshooting checklists for each instrument. The third section focuses on rehearsal techniques from the first day through high school.
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Product Details

  • ISBN-13: 9780205660179
  • Publisher: Pearson
  • Publication date: 1/29/2010
  • Series: MySearchLab Series for Music Series
  • Edition description: New Edition
  • Edition number: 4
  • Pages: 456
  • Sales rank: 602,054
  • Product dimensions: 8.40 (w) x 10.70 (h) x 0.80 (d)

Meet the Author

Richard J. Colwell is Professor Emeritus of Music Education at the University of Illinois and the New England Conservatory of Music. He is the founding editor of the Bulletin of the Council for Research in Music Education and the Quarterly Journal of Music Teaching and Learning . He is also a Guggenheim scholar and a member of MENC's Hall of Fame.

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Read an Excerpt

We have been students of public and private school bands and orchestras for our entire professional careers, both of us having begun as teachers of these groups. We are impressed with the continual improvement of these ensembles, and the inspired teaching and commitment to music education that brought about the improvement. We hope that the first two editions of this text have contributed in a small way to the growth of instrumental music.

The basic thrust of the first edition has been retained in this expanded third edition. Good instrumental music teaching has not changed significantly, although today's teachers have more responsibilities. Teachers, whether in private or public schools, must inspire students, establish clear standards and insist that they be met, and most importantly provide students with accurate information that enables them to develop the musical skills, insights, understandings, and the sense of responsibility to themselves and others that make group performance both fun and satisfying.

Schools have changed considerably since the first edition of this book was published in 1969 with more required subjects, new ways of scheduling instruction, graduation standards, the availability of technology, and the unfortunate too-frequent need for teachers to secure the resources that enable today's musical outcomes. Colleges have modified teacher education to meet new teacher certification requirements, often resulting in less time for the pedagogy of instrumental music. Thus, books such as this one have become more valuable not only as a text but as a reference for teachers in the field. This third edition reflects these changes in expanded coverage of issues such as formulating objectives, evaluating, motivating, and recruiting students, as well as administering a program that depends upon its own unique philosophical justification. Secondary school ensembles no longer emulate college organizations; they have their own literature and rationales for existing.

We continue to emphasize a "centrist" approach to each of the instruments, we do not advocate a particular teaching approach by a master teacher. Students are individuals, each with strengths, weaknesses, and potential, requiring that the teacher approach each teaching venture with a flexibility that can best facilitate the student's musical growth. Thus, we have resisted providing examples of the teaching techniques of the master teachers of any instruments. The critics and reviewers of this edition have been public school teachers and excellent music educators at the college level. The credits for careful reviews from the first and second editions remain applicable; we are indebted to them. String pedagogues Bret Smith of the University of Maryland, Joanne Irwin of Oberlin College, Pat D'Ercole of the University of Wisconsin-Stevens Point, as well as brass expert Eric Ledebuhr provided us with important suggestions.

In an attempt to reduce the length of the Second Edition, we omitted the section on string instruments. This was clearly a mistake, as the continued growth of orchestras depends on the willingness of all instrumental teachers to provide both band and orchestra experience for their students. The many stunning all-city youth orchestras should inspire all students to have an orchestral experience. In this Third Edition, the addition of five string chapters plus an enlarged coverage of various additional responsibilities of the instrumental music teacher has resulted in a lengthy book which still cannot address all of today's educational issues that the instrumental teacher must confront and solve. Appropriate sections of the book have been successfully used as a text; other sections such as the trouble-shooting charts serve as a reference for the prospective teacher during his or her field experience; the book as a whole offers information that the authors hope will continue to be relevant to the instrumental teacher throughout his or her career.

We have attempted to improve the reference section by indicating which references are "out of print" at the time of publication of this book, but are texts that remain in circulation due to their availability in a large number of college and university libraries. Out-of-print books, no matter how excellent but not generally owned by these libraries, have been dropped. Most troublesome was providing accurate information about the important references still in print but not available from the original publisher. We believed it necessary to accurately identify our source and have done so, but many texts are now distributed by other publishers or music houses that purchased the remaining stock of the original publisher, or in some cases are reprinting the original text with a new copyright date.

Two individuals deserve special recognition. Joanne Riker of East End Publishing Services, Inc. designed the new format and supervised each step of the production process. Dr. Ruth Colwell, an impeccable editor who is fluent in many disciplines, music and English being two that were of inestimable value to us.

Richard J. Colwell Thomas Goolsby

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Table of Contents

Preface
1 History of Instrumental Music 1
2 Objectives 13
3 Evaluation 29
4 Motivation 45
5 Administration 58
6 Recruiting and Scheduling 73
7 Principles of Winds and Acoustics of Strings 86
8 The Flute 102
9 The Oboe 119
10 The Clarinet 138
11 The Bassoon 162
12 The Saxophone 181
13 Principles for Brass 201
14 The Trumpet and Cornet 224
15 The Horn 238
16 The Trombone and Baritone/Euphonium 254
17 The Tuba 274
18 Percussion Instruments 287
19 Principles for Strings 330
20 The Violin 353
21 The Viola 367
22 The Cello 376
23 The Double Bass 390
24 Rehearsal Routines 400
25 Rehearsing Concert Literature 421
Index 457
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Preface

We have been students of public and private school bands and orchestras for our entire professional careers, both of us having begun as teachers of these groups. We are impressed with the continual improvement of these ensembles, and the inspired teaching and commitment to music education that brought about the improvement. We hope that the first two editions of this text have contributed in a small way to the growth of instrumental music.

The basic thrust of the first edition has been retained in this expanded third edition. Good instrumental music teaching has not changed significantly, although today's teachers have more responsibilities. Teachers, whether in private or public schools, must inspire students, establish clear standards and insist that they be met, and most importantly provide students with accurate information that enables them to develop the musical skills, insights, understandings, and the sense of responsibility to themselves and others that make group performance both fun and satisfying.

Schools have changed considerably since the first edition of this book was published in 1969 with more required subjects, new ways of scheduling instruction, graduation standards, the availability of technology, and the unfortunate too-frequent need for teachers to secure the resources that enable today's musical outcomes. Colleges have modified teacher education to meet new teacher certification requirements, often resulting in less time for the pedagogy of instrumental music. Thus, books such as this one have become more valuable not only as a text but as a reference for teachers in the field. This third edition reflects these changes in expanded coverage of issuessuch as formulating objectives, evaluating, motivating, and recruiting students, as well as administering a program that depends upon its own unique philosophical justification. Secondary school ensembles no longer emulate college organizations; they have their own literature and rationales for existing.

We continue to emphasize a "centrist" approach to each of the instruments, we do not advocate a particular teaching approach by a master teacher. Students are individuals, each with strengths, weaknesses, and potential, requiring that the teacher approach each teaching venture with a flexibility that can best facilitate the student's musical growth. Thus, we have resisted providing examples of the teaching techniques of the master teachers of any instruments. The critics and reviewers of this edition have been public school teachers and excellent music educators at the college level. The credits for careful reviews from the first and second editions remain applicable; we are indebted to them. String pedagogues Bret Smith of the University of Maryland, Joanne Irwin of Oberlin College, Pat D'Ercole of the University of Wisconsin-Stevens Point, as well as brass expert Eric Ledebuhr provided us with important suggestions.

In an attempt to reduce the length of the Second Edition, we omitted the section on string instruments. This was clearly a mistake, as the continued growth of orchestras depends on the willingness of all instrumental teachers to provide both band and orchestra experience for their students. The many stunning all-city youth orchestras should inspire all students to have an orchestral experience. In this Third Edition, the addition of five string chapters plus an enlarged coverage of various additional responsibilities of the instrumental music teacher has resulted in a lengthy book which still cannot address all of today's educational issues that the instrumental teacher must confront and solve. Appropriate sections of the book have been successfully used as a text; other sections such as the trouble-shooting charts serve as a reference for the prospective teacher during his or her field experience; the book as a whole offers information that the authors hope will continue to be relevant to the instrumental teacher throughout his or her career.

We have attempted to improve the reference section by indicating which references are "out of print" at the time of publication of this book, but are texts that remain in circulation due to their availability in a large number of college and university libraries. Out-of-print books, no matter how excellent but not generally owned by these libraries, have been dropped. Most troublesome was providing accurate information about the important references still in print but not available from the original publisher. We believed it necessary to accurately identify our source and have done so, but many texts are now distributed by other publishers or music houses that purchased the remaining stock of the original publisher, or in some cases are reprinting the original text with a new copyright date.

Two individuals deserve special recognition. Joanne Riker of East End Publishing Services, Inc. designed the new format and supervised each step of the production process. Dr. Ruth Colwell, an impeccable editor who is fluent in many disciplines, music and English being two that were of inestimable value to us.

Richard J. Colwell
Thomas Goolsby

Read More Show Less

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