kutztown university of pennsylvaniafaculty.kutztown.edu/trolling/8_27_complete_final.pdf · 2007....

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Kutztown University of Pennsylvania Department of Music Fall Semester 2007

MUU 100

Overture to Musician Education T-TH, OM 159, 8-9:20 AM

Dr. V. Trollinger, professor ([email protected]) I. Course Description

This course serves as an introduction to the foundations of music education. Topics include history of music education in the United States, philosophical underpinnings of what we do as musician educators and why we do it, on becoming a musician teacher, fundamental psychology of learning and teaching, developing tools for teaching, early childhood music, elementary and secondary classroom music, instrumental music, choral music, multicultural music education, diverse learners, and developing instruction. To accomplish this, we move from an exploration of theoretical, historical, psychological and scientific knowledge in music, to practical applications of teaching, and then finally to a stage of reflection. Special emphasis is placed on helping the music education student in developing one’s own philosophy of music and music education, and how being a music teacher requires one to be both a fine musician and a fine teacher. It is hoped that this foundation will help the music educator grow and develop into a fledgling professional by the end of the four year process. Prerequisites: None Course Credit: 3 Clock Hours, 3 Semester Hours Course Rationale

The purpose of this course is to provide freshman music education students with fundamental and current knowledge of music education philosophy, psychology, history, and curriculum. This knowledge will form the basis for their continued participation in music education courses, the culminating Clinical Experience, and their career as musician educators. Course Objectives In this course, students will:

• Prepare for class discussion by reading the required materials and answering questions in the weekly advanced organizer.

• Discuss their responses and present their own ideas on the class topics in class.

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• Write reflection essays (1½ -2 pages double-spaced, 12-point font, Times or Palatino) on the class topics.

• Complete class reflections on Blackboard weekly. • Prepare and teach mini-lessons on a skill and music topic that is assigned. • Observe and critique teachers in the field using the provided Observation

Form. • Prepare an advanced organizer for each class meeting. • Compile reflection essays and observations into an Electronic Portfolio. • Critique and reflect upon the teaching and communication process. • Apply new knowledge of how music is learned into the teaching process. • Apply reflection to one’s own teaching and scholarly work, aiming

towards the teacher as scholar model. • Be able to write clearly and effectively, in a scholarly style. • Participate in classroom presentations. • Work in a cooperative learning situation.

Course Outline

MUU 100: Course Schedule: (Fall, 2007) Subject to change at the discretion of the instructor

Readings, forms, and other materials are in your course pack

Date (Week of unless specified

date)

Topic Assigned Reading/Activity Assignment DUE

8/27 Introduction to class, outlines of areas of inquiry for the course, Why be a teacher? Interviewing and observing, legal forms for observations

Part 1: Theoretical, Scientific, historical and psychological foundations.

8/30 Historical Foundations

Colwell, Chapter 1, Smith & Labuta Historical perspectives

Advanced organizer, reflection essay

9/6 Philosophical foundations

McCarthy Article, Philosopher List (in course pack)

Advanced organizer, developing your own philosophy of music education.

9/11 Psychology for Music Teachers: Psychological- brain,

Hodges, Flohr, Fox and Demorest Articles (MEJ)

Advanced organizer/,

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physiological development

9/13 Lerning theories and development

Rideout in BB, Flohr, Chaps 3 and 4, Gardner, Websearch for Theories ( in pack)

Advanced organizer, reflection entry First Article reflection due!

9/18 Learning Styles and Individual differences

HEFT, MBTI, Directions in pack

9/20 Sociological, interaction of teaching and learning as social phenomenon, ways of knowing.

Froelich, Ch 4 and 5 Advanced organizer,

9/25 Sociological, Teacher-Musician Identity. What is a good teacher? What is a bad teacher?

Froelich, Ch. 1-3, and Colwell Ch 5 Advanced Organizer Good/Bad teacher form (in course pack).

9/27-10/2-MOVIE and reflection

Sociological, Teacher-Musician Identity. What is a good teacher? What is a bad teacher? Music of the Heart

Advanced Organizer Work on Interviews!

10/4 Special needs learners and inclusion

Damer & Zdzindski, Adamek (MEJ) Shehan-Campbell MIDTERM HANDED OUT, due October 16th

Advanced Organizer Interviews due

10/9 Performing Arts Medicine issues

Trollinger, MEJ article; Hodges, Circle, et al: Report to NASM (BB)

Advanced organizer, student-led class

10/11 NO class meeting, work on MidTerm Part 2: Practical Applications to Teaching

10/16-10/18 Planning and teaching a lesson, basic assessment of learning and teaching, preparation of teaching, basic lesson plan format, behavioral objectives

Rubrics (in your course pack and online), http://rubistar.4teachers.org/index.php

Advanced Organizer Rubric /Lesson plan on a hobby to teach, reflection essay, Georgia O’Keefe drawing assignment (in course-pack)

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Midterm due during class time

10/23-10/30 Peer Teaching 1 (10 minutes on presenting a hobby,

Reflection essay (guidelines given) on teaching via video, reflection rubric Interviews due

11/1 Designing a music lesson—listening: how differs from first lesson.

Readings TBA, Advanced Rubric writing, Lesson Plans for music

Advanced Organizer Second article reflection due!

11/6-11/13 Peer Teaching #2—listening.

Advanced Organizer Lesson plan on teaching a skill.

11/15 Multicultural considerations

Articles in course pack Shehan-Campbell article, Webquest

Advanced Organizer

11/20 Advocacy and Issues, Justifying what you do

Colwell, Chapter 2, Music “Critical Links” from AEP. Colwell, Chapters 3 and 4, Eisner Article (in Resources), PA Music curriculum & National Standards

Advanced organizer

11/22 NO class, TDAY 11/27 Exploration of

Kodaly, Orff, Dalcroze, and other curriculum models

Advanced organizer/ Final day to turn in observations

11/29 Intro to Orff 12/4 Observation

Day/ePortfolio work

Make appointment with me this week to review penultimate version of ePortfolio

12/6 OBSERVATION DAY or work on ePortfolio

Make appointment with me this week to review penultimate version of ePortfolio

FINAL EXAM

Date from the Final Exam Schedule

FINAL ePortfolio is DUE!!!

Assessment Assessment of each student’s level of accomplishment with reference to the course objectives will be based upon the following: 1. Attendance to and participation in class (4 Points for each class). You are allowed 2 unexcused absences only. For all classes not attended, two points will be automatically subtracted for non-participation.

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3. Reflection Essay prep check dates: must be submitted electronically after every class topic (usually two a week, but will be less for some others. I will let you know). 5 points each submission. 4. Preparation (10 points) Teaching (10 points) and Reflection (10 points) of a 5-10-minute lesson. 5. Four interviews (10 points each, 40 points total) 6. Two article reviews from the Music Educators Journal, not assigned in class. (10 points each) 7. Final Project –Eportfolio (final point total will depend upon content list) 8. Completion of 10 hours of observation out in the public schools (this is required by PA State Law!) 50 points for completing those on time. Required Texts and Materials

• Colwell, R. & Wing, E. (2004) An Orientation to Music Education: Structural Knowledge for Music Teaching. Upper Saddle River, NJ: Prentice Hall.

• Flohr, J. (2004). The musical lives of young children. Upper Saddle River, NJ: Prentice Hall.

• Froelich, H. ( 2006). Sociology for music teachers. Upper Saddle River, NJ: Prentice Hall.

• Readings provided in Blackboard and Course pack • Writing Rubric (provided) • Access to the Music Educators Journal (available via electronic database in

Rohrbach Library). • A computer with internet access. • A CD burner, blank CD’s, and Netscape Navigator® ( free web-authoring

program. Do NOT use FrontPage® or PageMill® or any web-authoring program from Microsoft for this particular project. Dreamweaver® is OK.)

• A printer that works. • Colored Magic Markers

Strongly suggested to have: Strunk & White, The Elements of Style. Instructional Resources (Brief List) Colwell, R. & Wing, L. (2002). The Handbook of Research in Music Teaching and Learning (2nd ed). Deasy, R. (2002). Critical Links: Learning in the Arts and Student Academic and Social Development. Washington, DC: Arts Education Partnership.

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Elliot, D. (1995). Music Matters. New York, NY: Oxford University Press. Elliot, D. (2005). Praxial Music Education: Reflections and Dialogues. new York: Oxford University Press. Erwin, J., Edwards, K., Kerchner, J, & Knight, J. (2001). Prelude to Music Education. Upper Saddle River, NJ: Prentice Hall. Flohr, J. (2004) The Musical Lives of Young Children. Upper Saddle River, NJ: Prentice Hall Music Educator’s Journal. Reston, VA: Music Educator’s National Conference The Philosophy of Music Education Review. Bloomington, IN: Indiana University Press. Hodges, D. (1996). Handbook of Psychology of Music. San Antonio, TX: IMR Press. Jorgensen, E. ( 2003). Transforming Music Education. Bloomington, IN: Indiana University Press. Journal of Music Teacher Education. Reston, VA: MENC Labuta, J. & Smith, D. (1997). Music education: Historical Contexts and Perspectives. Upper Saddle River, NJ: Prentice Hall Mark, M., Ed. ( 2002). Music Education : Source Readings from Ancient Greece to Today. New York, NY: Routledge. National Standards for Arts Education (1993). Reston VA: MENC. Reimer, B. (2003). A Philosophy of Music Education: Advancing the Vision. Upper Saddle River, NJ: Prentice Hall. Woodford, P; (2005). Democracy and Music Education. Bloomington, IN: Indiana University Press.

Class Honor Code: Students are expected to adhere to the academic

honor code. Students with documented special needs: Please see me to

arrange accommodations.

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Field Experience and Observation LEGAL Information

You are required by law to complete 30 observation hours before you take your methods courses, and 40 field experience hours while you are in your methods courses. If you do

not do this, you will not get a license or an education degree.

Before you go to a school: 1. You must have THREE background checks completed. These are required by law (as of April, 2007). This is required for anyone who will be around children in an educational situation, which includes Field experience as well as observation. You will not be permitted into a school without the documentation. The three checks are: a. FBI criminal history (this requires fingerprinting). b. State Police Criminal Report c. Pennsylvania Child Abuse Report 2. To start your fingerprinting/FBI check process: a. go to: http://www.teaching.state.pa.us/teaching/cwp/view.asp?a=13&q=125828 to get started. You need to log in to the PA Cogent systems to get yourself set up for fingerprinting. 3. For your State Police Criminal Report (aka Act 34 report) a. go to: http://www.psp.state.pa.us/psp/cwp/browse.asp?A=15&BMDRN=2000&BCOB=0&C=70427 and select the link for “Non-registered users” in the Patch system. You can do this check electronically for $10.00. 4. For your PA Child Abuse Report: a. These need to be submitted by mail, it’s not available electronically yet. To get the form, go to: http://www.dpw.state.pa.us/general/formspub/003671038.htm and download the form CY-113. These checks will get you through your 4 years here (unless law or policy changes, which can happen) but before you are hired for a teaching job you may need to do all three again, especially the last two. These MUST be done, that’s the law. Due to processing, you will need to get these going right away.

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If you have more questions, the PA Dept Website has a lot of information for you. Go to http://www.pde.state.pa.us/ and click on the link for ACT 114 ( on the right side of the page) to get started. After you have received all of your clearances, then you are ready to go into the schools. Teacher Observation Guidelines MUU100 Observations of Teachers A part of your teacher education, the State of Pennsylvania requires that you do 30 hours of straight observation prior to your acceptance into the College of Education and subsequently taking your methods courses in Music Education. This is the law, it is not negotiable. If you do not complete these you will not be able to student teach or receive teacher licensure. These hours must be documented PRIOR to your enrollment in your music education methods courses. These hours need to include observations at all levels ( elementary, middle school, high school), in the various disciplines ( choral, general music, instrumental—band and orchestra) and in three settings ( rural, suburban, urban). The Music Department office has a list of teachers and schools that have agreed to have you come and observe. It is YOUR responsibility to contact the teacher you wish to see via e-mail -- preferred by most teachers) and to set up the observation. If for some reason you cannot make the scheduled observation, then you MUST contact the teacher directly and let him or her know. This is simply good manners and good professional behavior. If you simply do not show up, then you jeopardize your chances of ever going to that school again, either as an observer, field experience teacher, student teacher, or on an interview. Teachers remember. It is required that you complete at least 10 of those hours during this semester while enrolled in this class. I will try to give you some flex time to do this if possible, but otherwise you are on your own. You need to return your observation report and teacher sign-off sheet to me by the end of this semester so I can put it in your file as documented. It is also recommended that you keep copies of all of these. Please note: in your methods classes, your professors may require you to do one or two observations. These would be observations that are more specific than general, and all methods classes require this at some point. These observations do NOT count towards these 30 hours. You will also be required to complete 10 hours of Field Experience during your 4 methods classes, which are not counted as observations. When you prepare for your observation, please do so carefully and respectfully, as you will be a guest in that classroom. Dress professionally, and bring a clip-board or a Palm with a keyboard to take notes on your observation. Stay quiet and out of the way, and watch, listen and learn. Be there early, before class starts, and leave after the class is done, not during.

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Please address the following areas in your computer processed observation report: 1. Describe the students and the program to the best of your ability, for example, does the teacher work from a district curriculum or basically do his or her own thing? What is the purpose of this particular lesson? 2. Describe the classroom set-up. 3. Describe the process of the lesson with as much detail as possible. 4. What aspects of this teacher’s teaching did you particularly like and think you would like to adapt in your own teaching? 5. Did teaching this particular grade level appeal to you? How and why? This observation is to be word processed and turned in as a hard copy ( electronic versions will not be accepted) with the following Teacher Sign-off Sheet.

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Teacher Observation Sign-off Sheet

Name of student____________________

Date________________

My signature on this sheet verifies that the following Kutztown University student,

__________________________________________ observed my class on

___________________________________.

Teacher’s signature: ______________________________

School and School District: ______________________________

(Return this original form in with your observation).

Article Critiques: You are responsible for two (2) articles of your own choosing from the Music Educator's Journal, available in Rohrbach Library or better, on-line via the Journal database. Criteria for these article papers are thus:

• two pages maximum, double-spaced in Times New Roman font. • Spelling and grammar DO count. • do not summarize the article. Instead, reflect on the implications as

they might affect you as a classroom teacher, answering the following: --what did I learn? --what did I agree/disagree with? --how might this article inform my own teaching or knowledge about music learning and children? * staple a copy (photo-copy or printout) of the article with your report * articles are to address any area of music education, depending upon your interest (eg, general classroom, instrumental, orchestral, vocal, elementary and secondary). * INCLUDE A FINAL COPY OF YOUR REVIEW IN THE APPROPRIATE SECTION OF YOUR EPORTFOLIO! The article reviews are worth 10 points each. Please see the syllabus for the due dates.

Teacher Observation Guidelines MUU291 Observations of Teachers A part of your teacher education, the State of Pennsylvania requires that you do 30 hours of straight observation prior to your acceptance into the College of Education and subsequently taking your methods courses in Music Education. This is the law, it is not negotiable. You will not be graded on this, however, if you do not complete these you will not be able to student teach or receive teacher licensure. These hours must be documented PRIOR to your enrollment in your music education methods courses. These hours need to include observations at all levels ( elementary, middle school, high school), in the various disciplines ( choral, general music, instrumental—band and orchestra) and in three settings ( rural, suburban, urban). The Music Department office has a list of teachers and schools that have agreed to have you come and observe. It is YOUR responsibility to contact the teacher you wish to see via e-mail preferred by most teachers) and to set up the observation. If for some reason you cannot make the scheduled observation, then you MUST contact the teacher directly and let him or her know. This is simply good manners and good professional behavior. If you simply do not show up, then you jeopardize your chances of ever going to that school again, either as an observer, field experience teacher, student teacher, or on an interview. It is suggested that you complete at least 10 of those hours during this semester while enrolled in this class. I will try to give you some flex time to do this if possible, but otherwise you are on your own. You need to return your observation report and teacher sign-off sheet to me by the end of this semester so I can put it in your file as documented. It is also recommended that you keep copies of all of these. Please note: in your methods classes, your professors may require you to do one or two observations. These would be observations that are more specific than general, and all methods classes require this at some point. These observations do NOT count towards these 30 hours. You will also be required to complete 10 hours of Field Experience during your methods classes, which are not observations. When you prepare for your observation, please do so carefully and respectfully, as you will be a guest in that classroom. Dress professionally, and bring a clip-board or a Palm with a keyboard to take notes on your observation. Stay quiet and out of the way, and watch, listen and learn. Be there early, before class starts, and leave after the class is done, not during.

Please address the following areas in your computer processed observation report: 1. Describe the students and the program to the best of your ability, for example, does the teacher work from a district curriculum or basically do his or her own thing? What is the purpose of this particular lesson? 2. Describe the classroom set-up. 3. Describe the process of the lesson with as much detail as possible. 4. What aspects of this teacher’s teaching did you particularly like and think you would like to adapt in your own teaching? 5. Did teaching this particular grade level appeal to you? How and why? This observation is to be word processed and turned in as a hard copy ( electronic versions will not be accepted) with the following Teacher Sign-off Sheet.

Teacher Observation Sign-off Sheet

Name of student____________________

Date________________

My signature on this sheet verifies that the following Kutztown University student,

__________________________________________ observed my class on

___________________________________.

Teacher’s signature: ______________________________

School and School District: ______________________________

(Return this original form in with your observation).

Suggested Interview Questions For Interviews Child (young) 1. age and gender of child 2. Do you like music? 3. What kinds of music do you like? 4. Do you like music class in school? Why? Do you sing very much? 5. Do you play an instrument? Why do you like that instrument? Older Child 1. age and gender 2. Tell me about music class at school 3. how important is music to you in your life? 4. Is your family involved in music? How? 5. Are you in any ensembles? Why? Do you enjoy Band/Orchestra/chorus/other Parent/Adult 1. Did you like music classes when you were a child? 2. Did you play or sing in any ensembles? 3. Are you still involved in music? 4. How do you think music helped you? 5. How important do you believe music education is in the schools? 6. do you think music education aids academic progress? Why? For a Music Teacher 1. How long have you taught music? 2. what grades/levels types of music classes have you taught? (Band, chorus, general, etc..) 3. Why did you go into music education? 4. Are you an active performer-composer-conductor outside of the school setting? Why or why not? 5. What do you know now about music teaching that you wish you had known when you were just starting out? 6. What advice would you give to students going into music education? 7. What do you see as the future of music education (generally speaking). **You are not limited to these questions--ask some of you own as well! Also, a tape recorder will help you tremendously! Tape your interviews, then reflect on them afterwards.

MUU291: Select Topics in Music Education Overture to Musician Education Interviews of Children, Teachers, and Parents Introduction: Understanding the role music plays in people’s lives will help you better understand your position as a music teacher. For this activity, you need to conduct 4 brief interviews, and they need to be completed by 3/26/07. Each interview is worth 20 points. Assignment: Interview the following (1) a small child, (2) an older child, (3) an adult and (4) a music teacher. Suggested questions are on the next page. To turn in: Your word-processed interview, 12-point font, double-spaced, including questions and responses. At the end, please summarize what you got as the gist of the person’s beliefs about music and music education and how that informed you as a future teacher. Your interview should be no more than 3 pages. Spelling and grammar do count. Total Points: 80 possible

Guidelines on Writing Topic Reflective Papers (Remember, this will be included in your electronic portfolio)

1. Keep your total pages for each essay to 2-3, double-spaced, black ink, using Times New Roman or Palatino fonts. 2. You are welcome to send me a working copy of your paper before you transfer it to your e-portfolio, however, I will have a deadline of 1 ½ weeks ( November 30 will be the last available day) prior to the end of classes for you to do this. Allowing me to see them as you work on them will work to your advantage when it comes down to the final reading of your e-portfolios. 3. This is what your reflective essay should address:

• A brief outline of what was covered. • What you learned (at least 3 fairly large pieces of information) that

surprised you the most, and why they surprised you or why you found them particularly interesting.

• How you think that what you learned will inform you as a teacher (meaning, how will it affect your teaching, curriculum design, working within the system, etc.).

++++Please note that when you transfer your essay into the HTML format it won’t

double-space. That’s OK.+++++

Student: Professor:

Your draft’s main strength is . . . Your draft needs improvement in . . .

Writing Grading Rubric Trait

A B C D F

Claim/Theme claim is scholarly, compelling, genuinely debatable, focused, and specific. Your argument is well-supported and clear.

claim is clear and debatable, but may move away from the main point and wander.

claim is intermittently unclear or debatable, and intermittently shifts in focus. You don’t stay on track.

claim is vague or common, raises little debate, and lacks focus.

claim is limited, unclear, trite, inconsistent or absent, and lacks focus or valud.

Logic & Organization

develops ideas cogently, organizes them logically within paragraphs, connects them with effective transitions; clear and logically consistent organization relating all ideas together.

develops unified and coherent ideas within paragraphs with generally adequate transitions; clear overall organization relating most ideas together

develops and organizes ideas in paragraphs that are not necessarily connected with transitions; some overall organization, but some ideas may seem illogical and/or unrelated

does not develop ideas cogently, organize them logically within paragraphs or connect them with clear transitions; uneven or ineffective overall organization

does not develop ideas cogently, organize them logically within paragraphs and connect them with clear transitions; uneven and ineffective overall organization

Audience/ Readers

clearly addresses claim, structure, and evidence to paper’s intended audience

claim, structure, and evidence fir the paper’s clearly attempt to address audience needs

claim, structure and evidence chosen with some limited attention to the paper’s audience

claim, structure or evidence not suited to the paper’s audience

little or no attempt to consider audience in its choice of claim, structure or evidence

Evidence that supports your

theme or claim

ample, relevant, concrete evidence and persuasive support for every debatable assertion; uses multiple, reliable sources which are assessed critically; maintains own voice

relevant, concrete evidence and persuasive support for most debatable assertions; uses multiple or reliable sources which are not always assessed critically

merely adequate evidence and support for most assertions; uses single or multiple sources, which may be unreliable and used uncritically

weak evidence and persuasive support; uses limited source(s), and/or relies predominantly on sweeping generalizations, narration, description, or summary

little or no evidence or support connected to essay’s topic or claim, relies solely on author’s experiences, questionable sources; outside the genre of academic prose

Citations researched support quoted, paraphrased, and cited, and well-integrated into prose

researched support correctly quoted, cited, and paraphrased

researched support adequately quoted, cited, and paraphrased

researched support incorrectly quoted, cited, and paraphrased

researched support incorrectly quoted, cited, and paraphrased

Control of Language

exact control of language, including effective word choice and sentence variety; superior facility with the conventions of standard written English

clear and effective control of language, including word choice and sentence variety; competence with the conventions of standard written English

intermittent control of language, including word choice and sentence variety; minor errors in standard written English

intermittent control of language, including word choice and sentence variety; major errors in standard written English impeding understanding

poor control of language, includes problems with word choice and sentence structure; frequent errors in standard written English

APA Citation Style Publication Manual of

the American Psychological

Association, 5th edition (from U of LI)

Please Refer to this guide when citing articles for your papers. Journal or Magazine Article (use for journals that start each issue with page one)

Wilcox, R. V. (1991). Shifting roles and synthetic women in Star trek: The next generation. Studies in Popular Culture, 13(2), 53-65. Journal or Magazine Article (use for journals where the page numbering continues from issue to issue)

Dubeck, L. (1990). Science fiction aids science teaching. Physics Teacher, 28, 316-318. Newspaper Article

Di Rado, A. (1995, March 15). Trekking through college: Classes explore modern society using the world of Star trek. Los Angeles Times, p. A3. Article from an Internet Database (for more details, see the American Psychological Association's

official site)

Mershon, D. H. (1998, November-December). Star trek on the brain: Alien minds, human minds. American Scientist, 86, 585. Retrieved July 29, 1999, from Expanded Academic ASAP database.

Books

Okuda, M., & Okuda, D. (1993). Star trek chronology: The history of the future. New York: Pocket Books. Book Article or Chapter

James, N. E. (1988). Two sides of paradise: The Eden myth according to Kirk and Spock. In D. Palumbo (Ed.), Spectrum of the fantastic (pp. 219-223). Westport, CT: Greenwood.

Encyclopedia Article

Sturgeon, T. (1995). Science fiction. In The encyclopedia Americana (Vol. 24, pp. 390-392). Danbury, CT: Grolier. ERIC Documents

Fuss-Reineck, M. (1993). Sibling communication in Star trek: The next generation: Conflicts between brothers. Miami, FL: Annual Meeting of the Speech Communication Association. (ERIC Document Reproduction Service No. ED 364932) Website (for more details, see the American Psychological Association's official site)

Lynch, T. (1996). DS9 trials and tribble-ations review. Retrieved October 8, 1997, from Psi Phi: Bradley's Science Fiction Club Web site: http://www.bradley.edu/campusorg/psiphi/DS9/ep/ 503r.html

Discussions regarding the importance of starting young children in a music education program evoked many important questions. It has been

established that children can assimilate knowledge very quickly and the importance of repetition when teaching children in the classroom was discussed.

While I completely agree that repetition is critical to ensure learning, it is also important that children are challenged, derive enjoyment from the

learning process, and do not become bored during repeated exercises. In my brief observations in elementary school, it was very obvious that activities

requiring motor movement elicited exciting reactions from the children. They were elated when they had the opportunity to play instruments, and were

very excited and happy when moving to music. Some research on teaching young children yielded intriguing ideas on musical play in the classroom.

Piaget’s theory of cognitive learning resulted in the development of four categories of musical play:“Functional playactivity in which children use their bodies to run, jump, or repetitively manipulate objects in order to learn about the world around them; Constructive playactivity in which children use objects to create structures or forms (e.g., they paint. . .)Dramatic playactivity in which children engage in roleplaying or the transformation of objects (e.g., a child may. . ."become" a microphone); and Games with rules activities in which children make and/or use rules to establish how the play will proceed.” (Taranowski ¶13)

Littleton describes musical play as “activities that allow children to explore, improvise, and create with sound.” and offers some suggestions of

functional musical play such as vocalizations, “such as children using a sirenlike glissando”. . . “rhythmic body or object motion, playing instruments,

rhythmic speech.” “Children's songs may be chants (e.g., sung on solmilasolmi in a longshortshortlonglong pattern), original songs (which may use text

or nonsense syllables and may be either very like or very unlike standard songs of a culture), or standard songs or song fragments. Song productions are

part of both the language development and the musical development of the child. Movement is often a child's first response to heard music, but movement

also occurs in conjunction with the child's generation of his or her own music. Children will walk, run, rock, or twist as they sing or speak in rhythm.

Children may also rhythmically manipulate objects.” . . . “Movement, or gestural representation, is also a part of instrument exploration. Repeating and

stabilizing patterns of movement are as much a part of instrument playing as creating and recognizing melodic and rhythmic patterns.” Littleton defines

constructive musical play “as an extension of functional play as the sound explorations begin to exhibit a sense of structure through patterns of rhythm,

melody, tempo, dynamics, or tone color.” She defines dramatic musical play as “. . .the use of songs or instruments within a musical or nonmusical play

theme.” (¶14 & 15)

Sandra Stone supports the value of musical play, citing its many advantages: it facilitates children’s social development (children learn how to play

together, be patient, take turns, and cooperate.); and emotional development by allowing children to express feelings and cope with them; is intrinsically

motivating; encourages risk taking; enhances physical development by improving motor and eye hand coordination skills, enhances language development,

problem solving and creativity. (¶17 )

While igniting many areas of their brain, musical play also makes repetition in learning more enjoyable for children, and easier to grasp. It also

represents interactive learning--both teacher and students take part in the learning process, as opposed to the “banking” method of teaching. To teach note

values merely by reciting the definitions and perhaps tapping the beat cannot have nearly the impact that instructing children to play sticks or chimes, or

sing nonsense words can have on their ability to connect definitions with actual experience.

Some of the interesting strategies I observed in visiting schools were:

The teacher would play a song for the class, instructing them to “tap the beat” on their leg. Teaching the difference between quarter, eighth and

sixteenth notes were accomplished by having children play chimes, or sticks. These exercises definitely kept them focused on listening--thus sharpening

listening skills and coordination, which are functions of the basal ganglia and cerebellum!

In a lesson on texture, or layers of sound, the class received various instruments. Each group was assigned the same group of notes to learn and

play. Once learned, they played sequentially, producing a wonderful combination of sounds. The auditory cortex, temporal lobe, and cerebellum are some

of the parts of the brain that were used. Social and emotional development (limbic brain) was enhanced by learning to perform together as a group. The

lesson improved motor and eye hand coordination skills ( using the midbrain, cerebellum, prefrontal cortex, to name a few!) . Finally, the teacher played

a song for the class. To our excitement, we had all learned the beginning to a popular rock song, from the beginning cowbell to the low bass in the

keyboard! It was a wonderful method of achieving total class participation, learning how to play different instruments, playing in a group, and connecting

it with a popular song that the class knew. I’m positive the class left with a full lasting knowledge of what “texture” meant..

In teaching first grade a four- line song, I would chant a phrase, then sing a phrase, then play the phrase, with the class singing or chanting each

phrase after me. They were also instructed to tap the beat of the song. They learned the song very quickly, and one of the most memorable moments for

me was when I was visiting the school one day. I passed one of my first graders in the hall. She smiled at me and I stopped to say hello. She leaned in

and whispered conspiringly, “I still remember “Apple Tree.” These are the moments every student teacher cherish.

If we want to push our young students’ intellects to its fullest potential, we must learn how to hold their attention--as easy as their minds can

absorb information--just as easily can their minds wander!

.

Tarnowski, S. Musical play and young children. Music Educators Journal; Jul99, Vol. 86 Issue 1, p26, 4p, Item: 1970254. Retrieved September 23,

2005 from Academic Search Premier

United We Stand, Divided Over…Music?

During contemporary issues first discussion, the class reviewed terms from the

Labuta Smith reading. The authors tied in a great understanding of music education and

how it related to history. Different influences, and different influential people were

discussed and many ideas that were presented through out history seemed to be reflective

of the changing world around the United States in its short carrier as a country. One of

the most interesting concepts was that of the division of the country when it came to

music and how it should be taught. State groups such as New England and Mid-Atlantic,

South, and Mid-West were all part of the same country but historically in more than just

music, divided and grew in different ways.

The New England States influence was very European, even geographically it

made sense that this part of the country still had very close ties with the “old” world. The

setting of this part of the country was more urban compared to the south and Mid-West

creating a different atmosphere that would allow a different approach toward education

and life in general. Religion was a huge factor in education “Education was most valued

in northern communities, however, because Puritans believed eternal salvation depended

on it.”1 Puritan values would continue to be present in this region through out the history

of the country. Mid-Atlantic States had an almost similar approach to education as well.

The Southern States are somewhat of a different story. The un-urbanized section

of the country populated by many un-educated farmers would view music education in a

different way. “There was no systematic music instruction in the south, although some

1 Labuta Smith, A History of Public School Music in America

colonists played instruments and were musically literate.” 2 There was really no

foundation in the south for Music education besides through religious services. The lack

of structured education led way to a very different out look on music in this region of the

country. Geographically structured education was hard to come by. Many of the children

who lived and worked on farms were far from others and schools were not very large.

Many children would be working on the farms helping out their parents instead of going

to school. Until national standards were set this was probably the trend in the rural parts

of the country.

The Mid-West has a different history all together. This is the place where national

organization of music came into being. Kansas was a huge factor in the developing music

education field, hosting the first national convention of music educators (MENC). The

Mid-West is the place were progressive ideas for music education would eventually pour

out from into the US. Due to the Mid-West’s highly Scandinavian population many of

those ideas, e.g. St. Olaf for choir direction and sound, was a practice that funneled out of

a Scandinavian idea and started to take root all through out the country, of course not

completely.

Each part of the country still to this day has a different outlook on music

education and what should be incorporated into the teachings. The debate of rote vs.

written, should music be a competitive sport (marching band competitions) or an art. My

belief is that music should be considered an art first and a competitive sport last. I am not

saying that competitions are bad but music to me is an internal battle for beauty with

personal goals. When I was taking piano lessons I was taught to challenge myself to

become a better player. Music was personal to me like drawing would be to an artist. I 2 Ibid p6

would use music to express my feelings and at the same time learn a discipline. If

competition would have been the drive for my music education I would have dropped

music a long time ago. Music is beautiful and natural in my opinion and should in the

early stages of learning be very competitive. An option should be given to students

whether in private lessons or school related operations to be in a competitive or non-

competitive organization. This would give a nice balance for the students who feel they

would like to be in that type of environment and it would not turn off the other students

who wish to learn for personal goals and reasons.

Out of all the parts of the country today it seemed like the Mid-Atlantic States

such as New York, New Jersey, Eastern Pennsylvania, and Delaware have this type of

option at least from my personal experience and feed back from other peers. I believe in

my classroom I would try to model a similar idea to encourage all types of passions to be

included in music education with out the fear of loosing the art or the sport of music.

NATURE VS. NURTURE

The big debate of nature vs. nurture has been an issue in teaching and

understanding human development. Are we born knowing procedures and ideas or are we

empty glasses that must be filled with knowledge? My stance on nature vs. nurture is a

combination of the two. I like to compare this debate to technology and computers.

Nature is creates a variable from person to person. No two people have been

proven to have the same capacity or ability because no one really knows what the limits

of the brain are. Think of the brain as the hardware to a computer. It has all the

capabilities of functioning, assuming all the parts are in working order. The difference

between a computer and a brain is the fact that we know how much capacity it can hold

and how fast it can work. The brain or hardware of the computer would be the variable in

learning. A person may have the capability to process at a Pentium 2 speed or say a

Pentium 4 speed still being able to handle the same problem but at different speeds.

Teachers and life experiences are the programmers of the software that the

computer uses to accomplish goals and complete tasks. The programmers, in this case the

teachers, must be able to trouble shoot different programming methods so that the

computer (student) can accomplish the goals the teacher (programmer) is trying to

convey. Every time a program is completed and successfully understood by the computer

it is comparable to when a student understands a concept. Humans however, unlike

computers have the ability to apply concepts abstractly. This example is the basic idea of

my opinion on nurture vs. nature.

In some instances human brains can be heaver to one side of the debate than the

other. A student who is very self reliant and has the ability to teach themselves could be

perceived as a case where nature is the winner, possibly a Field Independent (FI) learner.

A student who is more reliant on others to understand ideas and concepts could be looked

at as a case of nurture, an example would be a Field Dependent (FD) learner.

When it comes to music, it is my feeling that a student’s musical aptitude can be

progressed if the right teaching methods are taken. I believe I fall under the category of

nurture in music education. I was not born with the ability to understand many concepts

of music. Understanding how music worked and being able to perform was something

that took a lot of nurturing. Understanding color, phrasing, and tone quality all came at

different parts of my life. I was not born with the ability to understand these concepts. To

others these concepts could be so obvious that they themselves can understand them with

out being shown by a teacher.

In music like in any subject, an understanding of a topic can be conveyed to

anyone. The amount of time it takes may vary greatly but eventually the idea will get

across. I stick to this belief because my personal feeling is that anyone can be taught

anything, if the proper teaching method is used.

When I learned that the dropout rate in music is enormous, I was surprised, but I

was even more shocked to discover that the belief in a lack of talent played a major

role! (Weinberger 2)

Most suburban households in the 1950's boasted of a piano, used either as a

decorative piece of furniture, or as the recipient of children’s piano lessons. Scales could

be heard floating from windows of many homes up and down our peaceful street. I recall

with pride that after just 2 school years of taking piano lessons, my piano teacher

informed my parents that I was as advanced as her students who had taken lessons for six

years! My parents were convinced I had “talent,” and of course, my mother often

boasted that my talent could be traced back to my father’s talent -- he sang on the radio

and played the trumpet. My confidence as an individual possessing this special talent

quickly disintegrated when I entered college. Nearly 30 years had passed between my

piano lessons in 1965 and the resumption of lessons in 1992! My memory was not as

sharp as it was in my teens, or perhaps the responsibilities of juggling a demanding full

time job, family, a home, and a daily practice schedule, occupied more space in my

formerly uncluttered adolescent mind? My fingers weren’t as quick over the keys--

actually a few of them were quite stiff-- making arpeggios a chore rather than a thrilling

experience. Where had my talent gone?

For centuries, the belief that select people such as Einstein and Mozart, possessed

“talent” was a powerful force. This belief is now being challenged by scientists, in favor

of the “nurture” theory. This challenge may open the door for many potential musicians

who otherwise may not have pursued music, either as a career, or for the aesthetic value

derived from performing an instrument.

Random House College Dictionary defines talent as “a special natural ability.”

“Folk Psychology,” (a term, according to Weinberger, which refers to some of the

concepts instilled in us from prior generations, combined with our experiences and

beliefs) believes that talent (1) is present at birth (nature) ; (2) manifests itself in various

fields; (2) appears early in life; (3) is possessed by a minority of people--most are born

with no special talents; and (4) is exhibited in varying degrees, and is not something that

is either existent or nonexistent. (1,2)

The ability of Rajan Mahadevan to recall the first 31,811 digits of pi from

memory would have been attributed to a talent of memorization matched by few.

However, these types of accomplishments can be attained through significant amounts of

practice. (Shanks 1 ) “ Rajan's extraordinary feat was based on storage in longterm

memory, relying very heavily on mnemonic strategies that he has practiced extensively.

Thus memory feats such as those demonstrated by Rajan are enormously dependent on

practice. Finally, and most importantly, when tested on other forms of material such as

prose passages or complex geometrical shapes, Rajan's memory turns out to be distinctly

average.” (2)

In a study conducted of young pianists and violinists at the Music Academy of

West Berlin, Germany, music professors selected the musicians whom they viewed as (1)

having the potential for careers as international soloists, (2) less accomplished; (3) those

most likely to become music teachers. The results of the study surprisingly demonstrated

that Group 1 had practiced more throughout their lifetimes (approximately 10,000 hours

total) than Group 2 who had practiced (approximately 8000 hours), more than Group 3

(approximately 5000 hours). Another study revealed that gifted children required 971

hours of practice to reach Grade 4, while the less gifted children required 656 hours!

(Shanks 6)

“Mozart is often regarded as the quintessential child prodigy, whose achievements

are attributable to natural giftedness, yet his early environment was hardly normal. His

father was himself an outstanding musician and exerted great pressure on the young

Wolfgang to develop his musical abilities.” (4)

It is interesting to ponder if Mozart would have achieved the same level of

greatness if he had not been raised in such a musical family, subjected to such intense

pressure to excel, and had not devoted so much time to practice.

Richard Howe, Jane Davidson and John Sloboda (referred to hereinafter as

HDS), postulate that much of the information available regarding prodigies has no

“objective documentation, but rather comes as anecdotal information or unreliable recall

from adult musicians. . .” (Weinberger 3)

HDS disputes the argument that possession of “perfect pitch” requires talent.

HDS claims perfect pitch is not inborn, but is the result of children who have had

extensive music training, and that perfect pitch can be acquired. Various studies of

prolific musicians have revealed no evidence of early “talent.” HDS agues that the

evidence against the theory of talent is stronger than the evidence in its favor.

(Weinberger 3) These arguments have dissipated the argument of talent over and above

practice.

“. . .the auditory part of the left hemisphere is larger in musicians with perfect

pitch than in musicians without perfect pitch and nonmusicians”. HDS disputes this

“nature” argument since experiences increase areas of the brain, thus, “increased size of a

brain structure could have been caused by musical experience and practice, rather than

being the cause of musical achievement.”

(Weinberger 3)

Psychologist Howard Gardner's theory of multiple intelligence includes music

intelligence. Gardner believed that music might be a special intelligence which should be

viewed differently from other intelligences, and that it probably carries more emotional,

spiritual and cultural weight than the other intelligences.

Additionally, studies of infants have proven that all human are born with musical

capabilities--some infant perception is even more refined than adults. We are all born

with a predisposition to be musically proficient.

Therefore, it would appear that musical potential is a combination of our inborn

musical intelligence and the manner in which it is nurtured, particularly in our earliest

years. Musicians labeled “talented,” who were destined for a performance profession,

still required more hours of practice. This contradicts the theory of talent--that a special

unique gift is bestowed wherein proficiency just comes naturally and those born with

“talent” would not have to practice!

Is it any coincidence that, after learning that the belief in talent has undergone

significant challenge, and that significant hours of practice can produce the same results

in professional and nonprofessional musicians, my practicing has undergone some

seriously noticeable changes? I feel more connected to the instrument, more hopeful that

there is a chance I can accomplish some of my goals, and even more interesting, my

playing has improved!

KU OME & Student Teacher ePortfolio Directions

1

Overture to Musician Education & Student Teachers Directions for working with electronic templates

READ THIS COMPLETELY BEFORE YOU START (Yes, it will confuse you at first but do it anyway—it will get easier)

Make sure you have downloaded Netscape Navigator. You will need this FREE program to work with these templates.

Congratulations! You have successfully downloaded the templates for the ePortfolio. Please follow the directions carefully as you work with them. Because you are working with a set of templates, everything has been pre-programmed (pre-linked), and if you inadvertently change the name of a file, your ePortfolio will not function correctly. So, know that: 1. You do not need to deal with any coding issues. All the coding and navigation has been pre-programmed. However, within the documents you can add external links of your own, say for PDF files. Information on how the templates have been pre-programmed will follow. 2. The only insertions can happen where it is stated on the templates. Do NOT touch the navigational menu to the left, or the headings across the top. To do so will mess up the templates and they won’t work. Getting Started (Please note all screen shots were on my Mac, so if you are on a PC things may look slightly different) 1. after you have downloaded and expanded your file ( they were compressed using Stuffit), you will have the following appear on your computer desktop ( or wherever you asked it to download):

2. Click on the folder above to open the set of files. 3. The following should open on your desktop:


2

(Please note: this may also look like a bunch of files, if you have your folders set to open

that way)

These are the files you will use—do NOT change their names or the ePortfolio won’t work.: 1. addmat.html is the “Additional Materials” html document. Here you can put your résumé, for example. 2. artsmed.html is the “Performing Arts Medicine” html document 3. curr.html is the “Curriculum” document. 4.eport_start.html is the master template that any user of this ePortfolio will click on to start viewing the ePortfolio. You do not need to write anything here (you will see why shortly). 5. eport2.html, eport3.html, and eport4.html are additional templates/frames, again, they are needed for functionality but you do not need to write anything on these. They are just part of the program and need to be there. 6.exp.html is your “Teaching Experience” area. Here you can put lesson plans, video clips of your teaching, and teaching reflections, for example. 7. hist.html is your “History of Music Education” reflection essay document. 8. intro.html is your “Introduction” document. This is extra, in case you wish to share this ePortfolio with an interviewer, your parents, etc. It’s a good idea to have something here, even just a simple “click on the links to the left to see my portfolio.” 9. multi.html is the “Multicultural Issues in Music Education” html document.


3

10. phil.html is the “Philosophy of Music Education” html document. 11. psych.html is the “Psychology of Music Education” html document. 12. soc.html is the “Sociology of Music Education html document. Here is where you can put your reflective essay on Learning Styles, Preferences, etc. 13. spec.html is the “Special Education/Inclusion” html document. 14. the “gifs” and “jpgs” you see are there because they have to be. Don’t remove them from this file. 15. teched.html is your “Technology in Music Education” html document. **** At this point, you need to move your PDF documents (your course readings that you downloaded) into this folder, too. Everything has to be together in one folder –do not put other folders inside this one—think of it as one big room with an extended family.**** To start formatting your html documents: What you are simply going to do is cut and paste from your word-processed document to the electronic document. That’s really all. I will provide you some extra information a bit later in this document if you wish to include PDF files that will open in a different window. 1. Make sure you have the Microsoft Word or Word Perfect document open (for example, your philosophy reflection essay), then go and open Netscape (at least 7.0 is what you need to work with these templates.).If you don’t have Netscape go to http://www.netscape.com and download it for free. However PLEASE NOTE that Netscape was not included in earlier versions of version 8, but it looks like it has not been added back in . If you find that you do not have it anyway, let me know ASAP. These templates will also work in Dreamweaver (http://www.macromedia.com) that you can get as a free demo—limited time, however.

DO NOT under any circumstances work on this with a Microsoft program—it will repeatedly try to change your coding and can really mess up

your ePortfolio. If you want to use a MS application, then make sure you keep a separate set of the templates as is available if things go wrong.

2. Once you have Netscape open, then go to the top file menu and find “Window < Composer” When Composer opens, go to “File<Open File” and select “phil.html” from the menu that shows up. The following should open:


4

A Guide to the Tool Bars (at the top of the screen) a) There are a number of tools that you need to get acquainted with : the Composition Toolbar ( some of these may be missing with the new version


5

The Composition Toolbar allows you to (from left to right) create, open, save web pages, upload your pages to Maggie, view your website, perform standard Microsoft editing tasks, create links and targets ( part of links), insert images, add a horizontal line, add a table, and also check your spelling. If you press each button you will see dialogue boxes: take a moment to become familiar with these buttons by placing your mouse cursor over each one.

This is the Formatting Toolbar: (again, it may look a bit different on your

computer).

The Formatting Toolbar lets you apply standard word-processing tasks such as formatting the style, specify sizes of your fonts, select your fonts, add color to your text, and deal with kinds of fonts (bold, italic, etc), adding numbers and bullets, indenting, and aligning (left, center, and right). Again, take a few minutes to get acquainted with these buttons as well. Just hold your mouse cursor over each button and you will see what each one is to do.

The Menubar at the top of the screen is also important: make sure you explore it as well.

Putting in your text 1. At this point, go back to your Word or Word Perfect document and Select all the text in the essay, and make sure you copy it. 2. Go back to your Netscape Composer window. From there you can go to the “Edit <Paste option, just like you would in a word processing document. You should see your text appear. You may also wish to get rid of the “ Cut and Paste starting here”—just highlight and cut. 3. You will notice that your text does not look as nicely formatted in html as it does in your word processing program. You are limited to how you can format this text, because although Composer wants you to think it is a word processing program, it really isn’t. Trying to format the same way you do with Word or Word Perfect will not work here. This is what you CAN do:

a. If everything is showing up single spaced, then let it be. You can add


6

spaces between the title and the body of text, or between paragraphs, if the program cooperates with you. You may also bold your title. Do NOT under any circumstances try to center your text by using the SPACE or the TAB keys. These will totally mess up your document. To center text, use the “Center” option on your Formatting toolbar. Notice that you cannot indent paragraphs—that’s fine if everything aligns to the left. b. If everything shows up double-spaced, that’s fine too. Notice that you cannot indent paragraphs—that’s fine if everything aligns to the left.

4. Repeat this process into each one of your topic areas. About Saving! Very important!!! Composer will ask you if you want to save the document if you close it. Make sure that you save the document WITH THE ORIGINAL NAME ( intro.html, addmat.html, etc). Do not allow your computer to try to give it a new path (which it will do). These documents are set up to work as relative documents, meaning that they will all reside in a particular folder and it doesn’t matter where that folder is placed. If you allow your computer to save the files automatically, or click “yes” when it asks you, it will likely change the path and make it work only on your computer. Generally, if will put the files outside of the home file. This means that when you do burn it onto your CD, it will work on YOUR computer, but it won’t work on anyone else’s. Keep the file names as they are programmed. The best way to do this is save as you work on the document. If you try to close the document and Composer asks you if you want to save the changes, click on “Cancel” then go back and save it manually from the file menu. Then close it. It shouldn’t ask you again. Inserting PDF files PDF files are documents that can be viewed on any computer. A number of your class readings have already been converted to PDF format and all you need to do is select specific documents to drag to your “KU_eportfolio_final” folder, and then you will link to those documents in your ePortfolio (the documents have to be in the same folder). Since we made a course pack for OME, then extracting these may difficult. Instead, you could include your entire electronic version of the course pack on the CD. To insert each PDF file, you will need to do the following: 1. Move the PDF files to your “KU_eportfolio_final” folder. Then….


7

2. In Netscape: Go to “Insert< Link” the following box should come up (the top space will come up empty, but I just typed in the name of the Webster_Hickey creativity article to show you):

In the “Link Text” area, type the name of the document ( as you see I did. The best thing is to not use any spaces between words, which is why you see those lines). In the “Link Location” click on the “Choose File…” button. Select the PDF document you want from the “KU_eportfolio_final” folder (remember, you have to move all of the PDF files there first). Make sure you check the box that says “URL is relative to page location.” If you do not do this, then your ePortfolio will not work on any other computers.

When you are ready, click <OK> You should see the link and text appear in your document. To check if it works, first SAVE your html document in Navigator, then go to the “Preview” button at the bottom of the Composer screen so you can test your page as if it were on the web/CD. If you don’t save it, it won’t load correctly. You may also need to hit the “refresh” button on your internet browser if the new version does not come up immediately.


8

Previewing your ePortfolio This can be done by using the Preview tab at the bottom of your Composer screen. This will allow you to see the portfolio as it will function and to make sure that it works properly before you burn the CD. Make sure all files are in your “KU_eportfolio_final” folder. To see your portfolio in action with all the links and frames loaded (which is how I programmed this), then click on “eport_start.html” file directly, and it will open in your preferred Internet browser. the frames are pre-programmed, so you need not do anything with them. Before you burn your disk(s): Please send your files to me electronically, in one folder (KU_eportfolio_final). This way I can check to make sure they work properly. You can also test your files by downloading them onto another computer and using Netscape, Explorer, Foxfire or Safari to see if they function properly. But either way, let me check them first to make sure they are coded correctly—that something wasn’t put in there by your computer to confuse it, and then we can burn them. Questions? E-mail me at [email protected] Good luck and have fun!


9

REMINDER SHEET! HAVE THIS NEXT TO YOUR COMPUTER AS YOU WORK!

1. DO NOT USE THE TAB OR SPACE BAR TO CENTER OR ALIGN YOUR TEXT. USE THE “ALIGN” BUTTON ON YOUR FORMATTING TOOLBAR. 2 You need to open “Composer” in Netscape Navigator first before you try to insert text. If you just click on the file it will open in the “view” area of Navigator, and you won’t be able to paste anything. 3. Move all your PDF files into your “KU_eportfolio_final” folder. Do NOT add any subfolders of any sort. 4. Keep all your links to your PDF files RELATIVE when you insert them. 5. SAVE often: initiate it on your own. DO NOT LET THE COMPUTER ASK YOU IF YOU WANT TO SAVE SOMETHING! IF IT ASKS YOU, SAY NO AND THEN SAVE IT YOURSELF. If you allow the computer to save it on its own, it will insert extra coding that will mess up your ePortfolio. 6. DO NOT USE MICROSOFT FRONTPAGE UNLESS YOU KNOW HOW TO FIX THE PROBLEMS IT WILL ADD! 7. Do NOT change the names of any of the preformatted files (which is everything you see that I already put in the folder).

OME e-Portfolio Check off list This is only to help you double check that you haven’t forgotten anything. _________ePortfolio templates ________CD ________ Table of contents (goes in your introduction page) ________ Essays on the following topics: a. History b. Philosophy c. The brain d. musical development e. learning styles f. sociology of teaching g. Special needs learners h. Multicultural music education i. Performing arts medicine j. Curriculum k. Advocacy in music education ________ The following projects: a. Lesson plans from BOTH peer teachings b. Reflections from BOTH peer teachings c. Both MEJ article reflections ______List of Philosophers ______List of Historical People _______ Additional “README FIRST” PDF document. Just drag it into your folder. This will give directions on how to open the ePortfolio. I will provide this for you in BB.

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Multimedia Project : Final ePortfolio Overture to Musician Education

Teacher Name: Dr. Trollinger

Student Name: ________________________________________

CATEGORY 4 3 2 1Organization,Evidence &Content

develops ideascogently, organizesthem logically within ¶’s, connects themwith effectivetransitions; clearand logicallyconsistentorganization relatingall ideas together

develops unifiedand coherent ideaswithin paragraphswith generallyadequatetransitions; clearoverall organizationrelating most ideastogether

develops andorganizes ideas inparagraphs that arenot necessarilyconnected withtransitions; someoverall organization,but some ideas mayseem illogical and/orunrelated

There was no clearor logicalorganizationalstructure, just lots offacts.does notdevelop ideascogently, organizethem logically withinparagraphs orconnect them withclear transitions;uneven or ineffectiveoverall organization

Citations andReferences

researched supportquoted,paraphrased, andcited, and well-integrated into prose

researched supportcorrectly quoted,cited, andparaphrased

researched supportadequately quoted,cited, andparaphrased

researched supportincorrectly quoted,cited, andparaphrased

Control ofLanguage

exact control oflanguage, includingeffective wordchoice and sentencevariety; superiorfacility with theconventions ofstandard writtenEnglish

clear and effectivecontrol of language,including wordchoice and sentencevariety; competencewith the conventionsof standard writtenEnglish

intermittent controlof language,including wordchoice and sentencevariety; minor errorsin standard writtenEnglish

intermittent controlof language,including wordchoice and sentencevariety; major errorsin standard writtenEnglish impedingunderstanding poorcontrol of language,includes problemswith word choiceand sentencestructure; frequenterrors in standardwritten English

VisualConsiderations

Makes excellent useof font, color,graphics, effects,etc. to enhance thepresentation.

Makes good use offont, color, graphics,effects, etc. toenhance topresentation.

Makes use of font,color, graphics,effects, etc. butoccasionally thesedetract from thepresentation

Use of font, color,graphics, effects etc.but these oftendistract from thepresenation content.

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content.

Requirements All requirements aremet and exceeded,project turned in ontime.

All requirements aremet, project turnedin on time.

One requirementwas not completelymet, project mayhave been turned inlate.

More than onerequirement was notcompletely met,project turned inlate.

Navigation All links workproperly.

There are one ortwo links that do notwork properly.

Professor needs tore-code to make thelinks work, severalare missing.

Links are a mess ornon-existent.

Copyright © 2006, 2005, 2004, 2003, 2002, 2001 Advanced Learning Technologies in Education Consortia ALTEC

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