Designing An Ensemble Curriculum

Brewer, Chris Boyd. "Johns Hopkins University School of Education Music and Learning: Integrating Music in the Classroom." Johns Hopkins University School of Education Music and Learning: Integrating Music in the Classroom. N.p., 1995. Web. 06 Nov. 2013.

East Carolina’s Concert band and Symphonic band performed on Tuesday, February 16, at seven thirty in the evening in Wright Auditorium. Being a duel performance it included over a hundred of my talented East Carolina peers led by outstanding band Directors Dr. Juchniewicz and Dr. Staub. Along with great students and Directors, the show incorporated a beautiful trombone solo performed by a fellow colleague. Although I have never attended a concert where such style of music was being performed, I did enjoy the music being played and most of them sounded as if I heard them before. The professionalism the students portrayed and maintain to the audience was breathtaking and made me honored to be their peers.

The programs offered here, specifically the musical groups (whether student-run or school-run) bring students and faculty together. There are a number of faculty ensembles, student ensembles, and even mixed ensembles, both instrumental and choral, that strengthen the community of the school. The interest of the students is in the school’s best interests; there are jazz bands, classical bands, orchestras, choral groups, acapella groups, and even theatre. These ensembles are a great way to make friends, pursue your dreams and give something more to a college education here at the University of

Across the United States many elementary school music classrooms are filled with simple and popular tunes such as Hot Cross Buns and The Ode to Joy, played on the recorder, while high school students may be playing collegiate or professional pieces of music such as Armenian Dances and Carmen Suites. I have been very fortunate to have gone on the journey of progressing through different music education programs within Fairfax County Public Schools. If I was never exposed to music while in elementary school I might not have ever found one of my greatest passions or been able to create such fond and unforgettable memories. While music education programs across the country appear large and strong, many schools are beginning to experience budget reductions. As a result, music is often the very first component of a school 's curriculum or programs to be cut or significantly reduced, but I believe this is not the right course of action. It is important to preserve and promote music education in public schools because of the proven cognitive, character,and academic benefits for students.

After evaluating student’s responses, it is important to recognize that teachers and directors have different perspectives and views. Mrs. Grizzle, the director here at VCMS, and three students were asked a series of questions regarding how music can help them and other students. Furthermore, Mrs. Grizzle has said, “ I hope that I impact students to have confidence in themselves, constantly work for improvement, and accept everyone.” This shows us just how much

Some things that are known as “common” such as, fair share, instrument rental, and even proper class scheduling don’t exist “commonly”. With the instrumental rental, most students aren’t able to afford it, which in all honesty isn’t the biggest problem. I have convinced the administration to provide instruments for all of our students. Great! One problem solved, now we should truly be able to develop our students musically. NO! I have band classes full of students in which the majority of them could really care less about being there. Why? You may ask. The answer is because the students who truly have a desire to be there and learn all musical aspects toward developing are not in the class. Where might they be? You may ask. The majority of those students are in intensive reading, writing and intensive math classes. They have very low academic achievement. Many of which who have struggles in reading and comprehending. And I am quite sure that you can guess that these students are all a part of the low socioeconomic status class. I don’t see any of my full ensembles (marching band and concert band) until after school. Which causes me to put in many extra hours to develop untrained, and inexperienced musicians. Not to mention not having a

Being a student who came from playing in a middle and high school music program, I believe that non-music majors and minors should be able to join the music ensembles that we have here and take classes on instrumentation. Learning how to play an instrument has been given the stereotype to help with schoolwork and can be beneficial to child development but during my objective essay, I saw how the music department involves children by teaching children how to play stringed instruments such as violin, viola, and double bass. While bringing in children is beneficial to their grow creatively, being able to do the same things as a college student can be calming and help students cope with the stress of school. While I looked for colleges that were

As a student who makes it their goal to involve himself in every musical activity, I have had the privilege to play music in large groups like a marching band, big band, and orchestra, in addition to small groups like a jam band and a traditional gypsy jazz band. I’ve participated in competitions at tens of schools, auditioned into region bands, and played big band charts on the steps of the Navy Memorial. With that being considered the group that had the most profound effect on me is a student-run Jazz combo, a small group of around eight high school musicians who played jazz standards at smaller high-class events. My four years in this group contain some of my most significant experiences of my high-school career. These experiences were what changed a nervous and absent minded freshman into the confident student leader that I act as today.

This ensemble is comprised of an auditioned group of 7th and 8th graders who have had at least one complete year of musical instruction. In this ensemble, the students will be exposed to different styles of the American musical art form of jazz which would include but not be limited to: swing, bebop, ballads, Latin/Afro-Cuban, and Commercial (Rock). The big band will rehearse and perform pieces and arrangements of the preceding styles as well as work on introductory jazz improvisatory skills (language, chord relationships, scale relationships, etc.). Along with being within a big band setting, the students will have the opportunity to perform in combo settings to help refine their growing improvisation skills as well as nurture critical listening skills. The course will also be supplemented with lectures on the history and development of jazz and commercial music as well as listening sessions to place musical styles in appropriate contexts.

To begin, the amount of music education a student has is proven to be an indicator of potential for academic excellence. For example, statistics from the College Board indicate that in 2015, students who studied music

Music programs throughout the United States are making quite the hurrah, and yet seem to never be heard by the classmates and staff that walk the same halls as them. The lack of appreciation of the music and arts programs throughout America is astonishing, and heartbreaking to many of the students, parents, and staff that are involved with them. There are more than a few causes that can be held responsible, however the main three are a lack of funding, lack of support from administration and staff, and the lack of equal support amongst students involved in different activities, such as sports, clubs, and music programs, all of which have led to a decrease in student participation in music. However, there may be a solution in sight, with the help of some creative thinking on the part of the administration, the support of the staff members, and the acknowledgment of the student body.

This study took place in the Chicago Public Schools (CPS). The observation portion of the study took place at four different schools in the CPS. Two of the schools had thriving instrumental music programs and two had struggling instrumental music programs.

Listening during a rehearsal to detect errors and interpret musical details is an essential skill when teaching instrumental music. Conductors must correct note and rhythmic errors while also making artistic decisions about dynamics, style, articulations, and other musical elements. Teaching students to create characteristic tone quality, balance, and blend adds to the complexity of these musical elements. Score study is one way directors establish an internal aural image, later attempting to recreate this picture in rehearsal and performance. Ideally, score study helps create a mental sound image or “musical landscape” (Battisti & Garofalo 1990, p. 3). Directors may often find that teaching students to evaluate mistakes and self-correct is a difficult task.

Many people believe that the arts, specifically music programs, hold no beneficial value to students other than for an extracurricular activity. Others believe that having these programs within our schools, only takes away from instructional time. However, research has shown that music education, and exposure to music in general, provides great benefits and values to the adolescents that are involved in said programs (“Music Matters”). Participation in music programs promotes the advancement of academic scores and sets students on the path to success later in life. Furthermore, these programs, be it instrumental or vocal, provide an outlet for adolescents to express themselves and have truly lasting implications on their global development. Notwithstanding all of the pleasure and self-confidence gained through participation in music programs, music education may provide important benefits towards students’ academics by improving their concentration levels and cultivating higher order thinking skills that may increase academic achievement.

Throughout the beginning of music education, there has been a divide. A separation between the lands of vocalists and instrumentalists existed and still exists today. While it isn’t a conscience happening at all times, it can divide a music program into two separate entities. Figuring out how the two areas can coincide will ultimately get music educators on the right tracks for building an excelling program. When students feel that they can be in both and feel wanted in each area and not feel tension between the directors and the music choices, they can thrive. Removing the gap between vocal and instrumental instruction can be done by researching alike techniques and implementing the coinciding department into either program.