mue 610 the orff approach (3) summer, 2009 m-r 8-10, tfab ... · text: orff, carl, keetman, g.,...

MUE 610 The Orff Approach (3) Summer, 2009 M-R 8-10, TFAB 226/203

Dr. Mark Hugh Malone, Office: Thomas Fine Arts Building Professor of Music Phone: (601) 318-6177 Email: [email protected] TEXT: Orff, Carl, Keetman, G., Music for Children, Vol. I. London: Schott & Co., Ltd. MUE 610 is designed as a one-semester course at the graduate level in the rhythmic, melodic, and physical movement approach of composer Carl Orff and his assistant Gunild Keetman, for use in building musicianship in children. The Orff (barred) instruments, the Baroque recorder, a variety of percussion instruments, as well as movement will be used to encourage improvisation and creativity. Student performance in the course will be graded in the following areas: 1. Eight Assignments 35% Rhyme Assignment Patschen Assignment Ostinato Accompaniment Assignment Pentatonic Melody Assignment 1 Recorder Assignment 1 Melody/Orchestration Assignment 2 Recorder/Hand drum Assignment 2 2. Story/Teaching Assignment 40% 3. Final 25% MUE 610 COURSE OBJECTIVES 1-Students will demonstrate understanding of the inculcation of a steady beat by creating patsch patterns to accompany original and borrowed poetry, rhymes, and prose. 2-Students will demonstrate understanding of polyrhythms/layering of rhythms by creating ostinato melodic accompaniment to poetry and prose. 3-Students will demonstrate understanding of pentatonic scale by using 3, 4, or 5 notes to compose melodies for texts that are derived from speech play. 4-Through the use of Kodaly (Curwen) handsigns, students will demonstrate the ability to teach melodic movement.

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5-Students will demonstrate understanding of the value of patschen by decoding written ostinati and creating patsch patterns to be transferred to barred instruments. 6-Students will demonstrate the ability to play the Baroque recorder with correct (pleasant) tone in the Keys C, D, F, and G, with corresponding scales. 7-Through the development of a short teaching lesson, students will demonstrate understanding of the Orff Approach by including rhythmic, melodic, and movement activities in a cogent lesson plan. Grading Scale: 92-100 A 85-91 B 77-84 C Catalog Description: The rhythmic, melodic, and physical movement approach of composer Carl Orff is studied for use in building musicianship in children.

WILLIAM CAREY UNIVERSITY

Disaster Plan Statement In the event of closure or cancellations due to natural disaster or other emergency causes, general information will be forwarded to local media, posted on the WCU website http://wmcarey.edu, and sent via automated process to your WCU student e-mail address. Specific information regarding the continuation of coursework will be posted on the university’s course management system at https://elearning.wmcarey.edu. For up-to-the-minute alerts regarding emergency situations, sign up to receive notifications through Sader Watch, the WCU emergency text message service. Sign up instructions can be found under current students on the WCU homepage.

Academic Integrity William Carey University seeks to create an environment that encourages continued growth of moral and ethical values, which include personal honesty and mutual trust. The College places the highest value on academic integrity and regards any act of academic dishonesty as a serious offense. Academic dishonesty is considered unethical and in violation of William Carey College’s academic standards and Christian commitment. If such an incident occurs, students, faculty, and/or staff are obligated to initiate appropriate action. Depending upon the seriousness of the offense, sanctions could include failure of the assignment, failure of the course, and could lead to suspension or dismissal from the College. A full explanation of the procedures for responding to instances of academic dishonesty is contained in the College’s Policies and Procedures manual and in the student handbook, The Lance.

Americans with Disabilities Act

Students with disabilities who are protected by the Americans with Disabilities Act of 1990 and require special accommodations should contact Ms. Brenda Waldrip at 601-318-6188. Mrs. Waldrip is located in the Student Services Office in Lawrence Hall.

MUE 612 Choral Literature Summer, 2008 Monday-Thursday, 8:00-10:00 AM

Dr. Mark Hugh Malone, Office: Thomas Fine Arts Building Associate Professor of Music Phone: 601-318-6177 Email: [email protected] MUE 612 provides an in-depth historical, cultural, and musical study of the gamut of choral literature from the Renaissance to the 21st century. Text: Ulrich, Homer. A Survey of Choral Music. New York:Harcourt, Brace, Jovanovich, Inc., 2006. Assignments A ten-fifteen minute power-point presentation on the following topics:

1. Medieval/Gothic/Early Renaissance composer with a representative choral piece

2. Renaissance composer of a secular and protestant church music with a representative choral piece for each genre 3. Early or Late Baroque composer and a representative choral piece 4. Little known Classical composer and a representative choral piece 5. Early/Late Romantic composer and a representative choral piece 6. Twentieth-Century composer and a representative choral piece 7. Popular music composer and a representative choral piece 8. Spiritual/Gospel song composer/arranger and a representative choral piece Grading Scale A = 92-100 B = 85-92 C = 75-84 D = 68-74 F = 0-67 Course Calendar May 27 Introduction, Medieval, Gothic, Machaut, Dufay, Dunstable, Binchois May 28 Early Renaissance, Ockeghem, Obrecht, Josquin, Pierre de la Rue, Gombert, Clemens non Papa May 29 Catholic Church Music and motets, Morales, Palestrina, Victoria, Orlando di Lasso, Gabrieli, Tallis, Byrd, Hassler June 2 Students present composers/piece

June 3 Protestant Church Music and Secular Music in Renaissance: Chorale, anthem, chanson, madrigal June 4 Students present a secular music and protestant church music June 5 Early Baroque: Hassler, Monteverdi, Schutz, Lully, Te Deum, Stabat Mater, Magnificat, Oratorio, Passion June 9 Late Baroque: Buxtehude, Bach, Purcell, Handel, Telemann June 10 Students present Early/Late Baroque composer/piece June 11 Classical: Haydn, Mozart, Beethoven June 12 Students present little known Classical composers June 16 Early Romantic: Schubert, Schumann, Berlioz, Mendelssohn June 17 Late Romantic: Bruckner, Verdi, Faure, Brahms, Gounod June 18 Students present early and late Romantic composer/piece June 19 Twentieth Century: Vaughan Williams, Poulenc, Kodaly, Stravinsky, Britten, Persichetti June 23 Bartok, Orff, Prokofiev, Barber, Milhaud, Thompson June 24 Student presentation of twentieth century composer/piece June 25 Student presentation of popular pieces June 26 Student presentation of gospel/spirituals Catalog Description: MUE 612 Choral Literature (3) An in-depth historical, cultural, and musical study of the gamut of choral music from renaissance to the 21st century is encompassed in this course.

Statement on Academic Integrity William Carey College seeks to create an environment that encourages continued growth of moral and ethical values, which include personal honesty and mutual trust. The College places the highest value on academic integrity and regards any act of academic dishonesty as a serious offense. Academic dishonesty is considered unethical and in violation of William Carey College’s academic standards and Christian commitment. If such an incident occurs, students, faculty, and/or staff are obligated to initiate appropriate action. Depending upon the seriousness of the offense, sanctions could include failure of the assignment, failure of the course, and could lead to suspension or dismissal from the College. A full explanation of the procedures for responding to instances of academic dishonesty is contained in the College’s Policies and Procedures manual and in the student handbook, The Lance.

Americans with Disabilities Act Students with disabilities who are protected by the Americans with Disabilities Act of 1990 and require special accommodations should contact Student Support Services on the Hattiesburg campus, Student Services on the Gulfport campus, and the Director of Pre-Nursing on the New Orleans campus.

William Carey University The Winters School of Music

DISASTER PLAN

1- Students are to contact the William Carey University School of Music hotline (601-318-6175) as soon as possible following the disaster for information concerning the resumption of classes. Students will also receive e-mail updates from the School of Music, as soon as power and the server are restored. 2-If there is tremendous damage to the Thomas Fine Arts Building, classes would be held at Temple Baptist Church-East Campus, 1508 Hardy Street, Hattiesburg, MS, 39401; utilizing the sanctuary, music suite, and Sunday School rooms for private lessons, ensembles, and classes. If the east side of Hattiesburg is affected, an alternative site would be the West Campus of Temple Baptist Church, 5220 Old Highway 11, Hattiesburg, MS 39402, across from Oak Grove High School. In the event of a total disaster in Hattiesburg, an agreement with the two Baptist colleges in the state, Mississippi College and Blue Mountain College, would be honored allowing WCU students to enroll and complete coursework. 3-Once classes resume, a formula will be devised to complete lost class hours by one or a combination of the following: a. eliminate some or all holidays or trimester break days b. add minutes to each class; thereby lengthening the school day c. add Saturday classes

d. extend the trimester and school year Americans with Disabilities Act

Students with disabilities who are protected by the Americans with Disabilities Act of 1990 and require special accommodations should contact Ms. Brenda Waldrip at 601-318-6188. Ms. Waldrip is located in the Student Services Office in Lawrence Hall.

Choral Literature Summer, 2008

May 27 Introduction, Medieval, Gothic, Machaut, Dufay, Dunstable, Binchois May 28 Early Renaissance, Ockeghem, Obrecht, Josquin, Pierre de la Rue, Gombert, Clemens non Papa May 29 Catholic Church Music and motets, Morales, Palestrina, Victoria, Orlando di Lasso, Gabrieli, Tallis, Byrd, Hassler June 2 Students present composers/piece June 3 Protestant Church Music and Secular Music in Renaissance: Chorale, anthem, chanson, madrigal June 4 Students present a secular music and protestant church music June 5 Early Baroque: Hassler, Monteverdi, Schutz, Lully, Te Deum, Stabat Mater, Magnificat, Oratorio, Passion June 9 Late Baroque: Buxtehude, Bach, Purcell, Handel, Telemann June 10 Students present Early/Late Baroque composer/piece June 11 Classical: Haydn, Mozart, Beethoven June 12 Students present little known Classical composers: CPE Bach and brothers, Salieri, Gluck, etc. June 16 Early Romantic: Schubert, Schumann, Berlioz, Mendelssohn June 17 Late Romantic: Bruckner, Verdi, Faure, Brahms, Gounod June 18 Students present early and late Romantic composer/piece June 19 Twentieth Century: Vaughan Williams, Poulenc, Kodaly, Stravinsky, Britten, Persichetti June 23 Bartok, Orff, Prokofiev, Barber, Milhaud, Thompson June 24 Student presentation of twentieth century composer/piece

June 25 Student presentation of popular pieces June 26 Student presentation of gospel/spirituals

MUE 616 SHOWCHOIR (1) Summer,2009 M-R, 10:15-12:15 226/203

Dr. Mark Hugh Malone, Office: Thomas Fine Arts Building Professor of Music Phone: 601-318-6177 Email: [email protected] Course Description MUE 616 is designed as an introductory course in establishing a showchoir in public/private school choral music programs. Topics to be explored include the history of the showchoir movement, vocalization, show design, literature, attire, choreography, props, accompaniment, amplification (sound), and adjudicated contests/festivals. Experts in the field of choreography, attire, and sound engineering will serve as guest lecturers. Student Performance in the course will be assessed with the following project: Showchoir Project Each student will create a “show” that includes: -a show design -literature - vocal warm-ups to facilitate singing the literature selected - appropriate attire to reflect show design -choreography ideas to enhance the lyrics -accompaniment requirements MUE 616 Course Objectives 1-Students will demonstrate understanding of effective appropriate vocalises by prescribing six vocalizations to facilitate singing selected showchoir literature in a warm-up lesson plan 2-Students will demonstrate understanding of show design by organizing a “show”that specifically places literature in an effective order 3-Students will demonstrate understanding of appropriate attire by prescribing costumes that reflect the show design 4-Students will demonstrate understanding of accompaniment by prescribing instruments to enhance the selected literature 5-Students will demonstrate understanding of sound amplification by assembling microphones, cords, speakers, monitors, and making adjustments to a sound board that reflect quality enhanced sound


Course Calendar Monday Introduction, History, Vocals, Show Design Tuesday Literature Wednesday Attire: Gail McInnis, Guest Lecturer Gail McInnis Productions Thursday Choreography Session: Jonathan McKenzie, Guest Lecturer Monday Choreography, Props, Accompaniment, Sound Tuesday Sound Amplification: Archie Rawls, Guest Lecturer Wednesday Projects Evaluation Scale A 92-100 B 84-91 C 75-83 D 68-74 F 0-67 Catalog Description Techniques involved in establishing a showchoir from the ground up are taught with emphasis placed on vocals, literature, costuming, and accompaniment. Concurrent enrollment in music technology is highly recommended.

MUE 622 Choral Conducting (2) Summer, 2008 Monday-Thursday 10:15-12:15, TFAB 203

Dr. Mark Hugh Malone, Office: Thomas Fine Arts Building Associate Professor of Music Phone: 601-318-6177 Email: [email protected] MUE 622 is designed as a one semester graduate course in advanced techniques in choral conducting. Video-taped analysis of individual style, interpretation, and nuance is emphasized throughout the course. Assigned readings will be made from the following texts, which are on reserve in the Smith-Rouse Library: Green, Elizabeth. The Modern Conductor. Upper Saddle River, NJ: Pearson- Prentice Hall, 2004. Roe, Paul F. Choral Music Education. Prospect Heights, IL: Waveland Press, Inc., 1994. Brinson, Barbara A. Choral Music: Methods and Materials. Belmont, CA: Schirmer Thomson Learning, 1996. Garretson, Robert L. Conducting Choral Music. Boston: Allyn and Bacon, Inc., 1974. Decker, Harold A., and Herford, Julius. Choral Conducting: A Symposium. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1973. Student performance in the course will be assessed in the following areas: Student performance in class 10% Conducting a Rehearsal Project 40% Final Conducting Exam 50% Attendance University policy states that students must attend 75% of classes to receive credit for the course. Students who are absent for more than three classes will not be eligible for course credit. Grading Scale A 92-100 B 85-91 C 75-84 D 68-74 F 0-67


Course Calendar May 27 Syllabus, Introduction, Five Basic Conducting Concepts, Laban: Eight Energy Efforts

Reading Assignments: The Art of Conducting and Credo

May 28 Components of Technique, Planes of Activity, Conducting Pattern Basics May 29 Conducting in Duple, Triple, Quadruple meter June 2 Conducting in Five, Six, and Seven meter June 3 Conducting in 9 and 12 meter and mixed-meter

Reading Assignments: Green, Chapter 3 and pp. 206-207 June 4 Sharing the Gesture with the Choir, The Baton, The Metronome Reading Assignments: Green, Chapter 13, Brinson, Chapter 7, Decker/Herford, Chapter 2 June 5 Score Study, Conducting a Rehearsal, Preparation for The Final Exam June 9 -12 Conducting a Rehearsal and Video Review June 16 Conducting Through the Ages, Sight-Reading Examples From Florida, Alabama, and Mississippi June 17-19 Conducting Final Exam and Video Review Catalog Description: MUE 622 Choral Conducting (2) Advanced techniques in choral conducting, as well as video-taped analysis on individual style and interpretation are emphasized.

MUE 650

MUE 650 Research in Music Education

Winter, 2008-2009 Dr. Mark Hugh Malone, Office: Thomas Fine Arts BuildingProfessor of Music Phone: 601-318-6177 Email: [email protected] Required Text: Phillips, Kenneth H. Research in Music Education and Music Therapy. New York: Oxford University Press, 2008. MUE 650 is designed as an introductory course in reading, understanding, and applying research to the music education classroom. Student Performance in the course will be assessed in the following areas: 1-Discussion Questions 25% 2-Preparation for Final Project 35%3-Final Project 40% 1-Discussion Questions will be posted for all 16 chapters at the beginning of the term. Questions for each week’s assignment must be answered by 11 PM, Central Time, on the tenth day in order to receive credit for the work (see deadline dates listed in Weekly Reading Assignments). Answers should completely cover the questions and must contain a minimum of 100 words. Responses to two other student’s answers are required for each discussion question to stimulate class discussion. Responses should consist of several sentences in reaction to another student’s answer. Responses to other student answers may begin with, “I agree…” but must continue with statements demonstrating common understanding in order to receive credit for the response. Grading: Answers and responses to discussion questions in each chapter will equal 100 points. 2-Preparation for the Final Project will include two documents that should be woven into the Final project: The Introduction Paper and the Annotated Bibliography.

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MUE 650

The Introduction Paper will consist of a statement of the problem to be explored, the importance of the study, the need for the study, and the chosen method of research. The paper must include a cover page indicating the title of the study, name of the researcher, prefix and title of the course, and date. Formal writing is expected. Due by the end of Week Three. The Annotated Bibliography will investigate previous research on the topic in the form of articles, dissertation abstracts, and books. A succinct, yet full description of ten research experiments with references should be presented in this paper. Due by the end of Week Six. 3-The Final Project should consist of: A. A complete Action Research experiment or B. Setting up a research project that could be implemented, using the Historical, Philosophical, Behavioral/Empirical, Quantitative or Qualitative research method. The final project should include an introduction explaining the problem to be investigated, the need for the study, the importance of the study, and the chosen method of research. A review of related literature should include information gleaned from the annotated bibliography (in Action Research, this is the first segment: Plan). With an action research experiment, Action, Observation, and Reflection sections should follow. With other research methods, succeeding sections should be reflected by the prescription of the research design (see text) and should be set-up as if the experiment were to be implemented. Dependent and Independent variables should be indicated, possible means for statistical analysis should be predicted, as well as expected/imagined outcomes of the study. Final Projects will be presented in class February 9th at 6 PM. Learning Outcomes:1-The Student Will (TSW) demonstrate understanding of historical, philosophical, behavioral/empirical, quantitative, qualitative, mixed methods, and action research by defining/explaining terms, components, designs in written form. 2-TSW demonstrate understanding of research in music education by selecting and


MUE 650

formally defining a problem in current music classrooms to be investigated in written form. 3-TSW demonstrate understanding of a review of related literature by compiling an annotated bibliography of previous research surrounding a chosen problem in current music classrooms in written form. 4-TSW demonstrate understanding of research by either conducting an action research experiment with written documentation or setting up all sections of a historical, philosophical, behavioral/empirical, qualitative or quantitative research experiment in written form. Weekly Reading Assignments Week One November 10 Chapters 1 and 2 Assignments due: Nov. 19 * Note: After reading chapter one, choose a research design for your final project and skip ahead to read that chapter. Week Two November 17 Chapters 3 and 4 Assignments due: November 26 Week Three December 1 Chapters 5 and 6 Assignments due: Dec. 10 ***Introduction Paper Due at end of Week Three Week Four December 8 Chapters 7 and 8 Assignments due: December 17 Week Five December 15 Chapters 9 and 10 Assignments due: December 28 Week Six January 12 Chapters 11 and 12 Assignments due: January 21


MUE 650

***Annotated Bibliography Due at the end of Week Six Week Seven January 19 Chapters 13 and 14 Assignments due: January 28 Week Eight January 26 Chapters 15 and 16 Assignments due: February 4 Week Nine February 2 Final Project Draft Due Week Ten February 9 Final Project Presentations In-class @ 6 PM, Rm. 203 Catalog DescriptionMUE 650 Research in Music Education (3 hours)Methods, resources, and techniques needed for successful and meaningful exploration in music education. Academic IntegrityWilliam Carey University seeks to create an environment that encourages continued growth of moral and ethical values, which include personal honesty and mutual trust. The college places the highest value on academic integrity and regards any act of academic dishonesty as a serious offense. Academic dishonesty is considered unethical and in violation of William Carey University’s academic standards and Christian commitment. If such an incident occurs, students, faculty, and/orstaff are obligated to initiate appropriate action. Depending upon the seriousness of the offense, sanctions could include failure of the assignment, failure of the course, and could lead to suspension or dismissal from the college. A full explanation of the procedures for responding to instances of academic dishonesty is contained in the university’s Policies and Procedures manual and in the student handbook, The Lance. Americans with DisabilitiesStudents with disabilities, who are protected by the Americans with Disabilities Act of 1990 and require special accommodations, should contact Mrs. Brenda Waldrip in Lawrence Hall or call 601-318-6188. Disaster Plan Statement


MUE 650

In the event of closure or cancellations due to natural disaster or other emergency causes, general information will be forwarded to local media, posted on the WCU website http://wmcarey.edu and sent via automated process to your WCU student e-mail address. Specific information regarding the continuation of coursework will be posted on the university’s course management system at http://elearning.wmcarey.edu. For up-o-the-minute alerts regarding emergency situations, sign up to receive notifications through Sader Watch, the WCU emergency text message service. Sign up instructions can be found under current students on the WCU homepage.


http://wmcarey.edu/

http://elearning.wmcarey.edu/

MUE 652 Foundations and Principles of Music Education

Fall, 2009

Dr. Mark Hugh Malone, Office: Thomas Fine Arts Building Professor of Music Phone: 601-318-6177 Email: [email protected] Required Texts: Elliott, David J. Music Matters. New York: Oxford University Press, 1995. ISBN: 978-0-19-509171-7 Mark, Michael L. Contemporary Music Education. Belmont, CA: Wadsworth Thomson Learning, 1996. ISBN: 0-02-871915-8 MUE 652 is designed as a historical survey of the methods and materials of teaching music that transcends current trends and includes prescriptions for the future. This course also investigates the philosophy of music education and affords each student the opportunity to forge a personal philosophy for career direction and a focus for daily instruction. Student performance in the course will be assessed in the following areas: 1-Discussion Questions 25% 2-Final Project 35% (with in-class power-point presentation) 3-Personal Philosophy of Music Education 40% 1-Discussion Questions will be posted each Monday with seven (7) days allotted to complete the work and deposit in the drop-box. Students will not be allowed to submit work past 11 PM, Central Time on the specified day. Answers to questions require a minimum of 100 words and must completely answer all questions posed. In addition, students must “click on” two responses of peers and make thoughtful comments regarding the content of the answers. 2-Final Project Select one of the following Music Methods/Topics for investigation and presentation: Arts in Education: The Whole Schools Initiative Dalcroze Method Kodaly Concept Orff Approach Suzuki Talent Education Manhattanville Music Curriculum Project Hawaii Music Curriculum Project


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Edwin Gordon: Music Learning Theory Vocal Jazz/Showchoir Music Multicultural Music Technology in Music Education Music in Special Education Music in Urban Education 1. Investigation should transcend the textbooks for this course and should include a minimum of 10 sources (Wikipedia will not be accepted as a source) 2. A very brief introduction should include minimal background/ historical information 3. Emphasis should be placed on a concise description of the method, approach or area of music education 4. Presentations should include teaching a sample lesson with appropriate instruments and materials 5. Power-point presentations are expected 6. A written copy of the power-point presentation should be submitted immediately following the in-class presentation 7. Length of each presentation should be a minimum of 12.5 minutes and a maximum of 15 minutes (points are subtracted for presentations that end prior to 12.5 minutes, and/or for presentations that omit criteria indicated above) 8. Students are encouraged to practice presentations for efficient, clear speech devoid of “Uh, um, ok?, or other distracting mannerisms 9. Topics are offered on a first-come, first-served basis 10. Projects are to be presented Monday, October 26, 2009, beginning at 6 PM in Room 203 of Thomas Fine Arts Building. 3-Personal Philosophy of Music Education The culmination of assigned readings, critical thinking, teaching experience, and professional growth should result in clarification of each student’s personal philosophy of Music Education. Written expression of this philosophy will constitute the final third of assessment of learning in the course. The parameters for writing and submission of this paper are as follows: 1-Papers must be typed, double-spaced, font size of 12 2-Papers must be a minimum of five pages in length 3-Papers must include responses to: -what is music? -what is listening? -what are musical works? -what is creativity? -what is music education? -what is the value of music education in the school curriculum? -what should be the focus of music education in the schools?

4-A printed copy of the paper is due Monday, October 26, 2009 at 6 PM A rough-draft of the paper may be submitted in the drop-box on or before 12, noon, October 16, 2009, for comments/suggestions by the professor. Learning Outcomes: 1-The Student Will (TSW) demonstrate understanding of the history of music education by defining/explaining the following concepts, trends/movements, programs in concise sophisticated academic written and verbal forms with 90% accuracy utilizing precise grammar: Music Dalcroze Method Music Education Orff Approach Philosophy of Music Education Kodaly Concept First Inclusion of music in schools Suzuki Talent Education Historical problems of American Music Education Hawaii Music Project National Reports on American Education MMCP Contemporary Music Project Learning Theory Yale Seminar on Music Education Popular Music Julliard Repertory Project Multicultural Music Tanglewood Symposium Technology in Music Ed. Goals and Objectives Project Music in Special Ed. Professional Standards Development Music in Urban Ed. National Standards for Arts Education Competency-Based The theory of Multiple Intelligences Tchr. Education Arts Propel Music Ed. Research Cognitive Psychology Advocacy for Arts Education Goals 2000: Educate America Act Competency-Based Teacher Education Music Education Research 2-TSW demonstrate understanding of the following approaches to music teaching with a 15-minute power-point presentation elucidating the components of one of the following approaches and concluding with the introduction of a piece of music utilizing the assigned teaching process with 90% accuracy: Arts in Education: The Whole Schools Initiative Dalcroze Method Kodaly Concept Orff Approach Suzuki Talent Education Manhattanville Music Curriculum Project Hawaii Music Curriculum Project

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Edwin Gordon: Music Learning Theory Vocal Jazz/Showchoir Music Multicultural Music Technology in Music Education Music in Special Education Music in Urban Education 3-TSW demonstrate understanding of current and past philosophies of music education by synthesizing ideas/concepts in a written statement/explanation of a personal philosophy of music education. Weekly Reading Assignments: Contemporary Music Education = CME, Music Matters = MM Week One August 24 CME Chapters 1 & 2, Hattiesburg American Article; All postings due August 30 at 11 PM Week Two August 31 CME Chapter 3, MM Chapter 1 All postings due September 6 at 11 PM Week Three September 7 MM Chapters 2 & 3 All postings due September 13 at 11 PM Week Four September 14 CME Chapter 4, MM Chapter 4 All postings due September 20 at 11 PM Week Five September 21 CME Chapters 5, 6, & 7 All postings due September 27 at 11 PM Week Six September 28 MM Chapters 5 & 6 All postings due October 4 at 11 PM Week Seven October 5 CME Chapter 8, MM Chapter 7 All postings due October 11 at 11 PM Week Eight October 12 CME Chapters 9 & 10, MM Chapter 8 All postings due October 18 at 11 PM Week Nine October 19 MM Chapter 9 All postings due October 25 at 11 PM Week Ten October 26 Class on-campus @ 6 PM, Room 203, TFAB

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MUE 654 Curriculum Development

Spring, 2009 Dr. Mark Hugh Malone, Office: Thomas Fine Arts Building Professor of Music Phone: 601-318-6177 Email: [email protected] Required Text: Elliott, David J. Music Matters. New York: Oxford University Press, 1995. Recommended/Optional Text: MENC. What Every Young American Should Know and Be Able to Do in the Arts: National Standards for Arts Education. Reston, VA: MENC, 1994. MUE 654 is designed as a course in the structure of curriculum offerings in school settings, including scope and sequence. The current praxial philosophy of music education is applied to the development of school music curriculua. Student performance in the course will be assessed in the following areas: 1-Discussion Questions 25% 2-Project One 40% 3-Project Two 35% Grading Scale: 92-100 A 84-91 B 75-83 C 68-74 D 0-67 F 1-Discussion Questions will be posted for all chapters at the beginning of the term. Questions for each week’s assignment must be answered by 11 PM, Central Time, on the tenth day in order to receive credit for the work (see deadline dates listed in the Weekly Reading Assignments). Answers should completely answer the questions and must contain a minimum of 100 words. Responses to two other students’ answers are required for each discussion question to stimulate class discussion. Responses should consist of several sentences in reaction to another student’s answer. Responses to other student answers may begin with, “I agree…” but must continue with statement demonstrating common understanding in order to receive credit for the response.


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Grading: Answers and responses to discussion questions in each chapter will equal 100 points. Project One Write a paper entitled, Music Education Curriculum. Combine the ideas of David Elliott, in his book, Music Matters, with personal convictions to address the following questions in your own words: -What are the goals and aims of music education? -What is a curriculum? -What is a traditional curriculum? -Of what should a music education curriculum consist and how should it be organized? -Include your convictions about goals/objectives, musicianship, musical challenges, strategies, sequencing, and assessment -How should the curriculum be evaluated? -What role does multicultural studies have in the curriculum? -Include information about education vs. schooling and what can be done to encourage more of an emphasis on “education” Project Two Write a paper that outlines the current choral curriculum in your school and demonstrates opportunities for students to achieve mastery of the content standards contained in the National Standards for Arts Education. Measure the course offerings by adherence to a curriculum that reflects a praxial philosophy of music education identifying/prescribing areas for increased or limited focus. Note: Writing is expected to be in a formal style that eliminates personal pronouns/colloquial words and combines thoughts for sophisticated rhetoric. Drafts of work may be submitted via email attachment on or before midnight, April 27, 2009 for critique. All work is due May 4, 2009 and must be defended in a private oral examination with the professor no later than May 7, 2009 at 5 PM. Learning Outcomes: 1-The student will (TSW) demonstrate understanding of curriculum development within the context of a praxial philosophy of music education by defining/explaining curriculum, traditional curriculum, goals/objectives, musicianship, musical challenges, teaching strategies, sequencing, assessment, multicultural studies, and education vs. schooling in written form. 2-TSW demonstrate understanding of a praxial-based curriculum in music education by analyzing the choral curriculum in Mississippi school districts with comparisons to the National Standards for Arts Education and prescriptions for areas of increased or limited focus.

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Weekly Reading Assignments Week One February 23 Chapter 10, pp. 241-253 Assignments due: March 4 Week Two March 2 Chapter 10, pp. 253-267 Assignments due: March 11 Week Three March 9 Chapter 11, pp. 269-285 Assignments due: March 18 Week Four March 23 Chapter 11, pp. 285-293 Assignments due: April 1 Week Five March 30 Chapter 12 Assignments due: April 8 Weeks Six-Nine April 6-May 1 Projects One and Two Week Ten May 4-7 Oral Defense of Projects Catalog Description MUE 654 Curriculum Development (3 hours) The structure of curriculum offerings in school settings, including scope and sequence, is investigated and solidified. Academic Integrity William Carey University seeks to create an environment that encourages continued growth of moral and ethical values, which include personal honesty and mutual trust. The college places the highest value on academic integrity and regards any act of academic dishonesty as a serious offense. Academic dishonesty is considered unethical and in violation of William Carey University’s academic standards and Christian commitment. If such an incident occurs, students, faculty, and/orstaff are obligated to initiate appropriate action. Depending upon the seriousness of the offense, sanctions could include failure of the assignment, failure of the course, and could lead to suspension or dismissal from the college. A full explanation of the procedures for responding to instances of academic dishonesty is contained in the university’s Policies and Procedures manual and in the student handbook, The Lance. Americans with Disabilities Students with disabilities, who are protected by the Americans with Disabilities Act of 1990 and require special accommodations, should contact Mrs. Brenda Waldrip in Lawrence Hall or call 601-318-6188.

DCALDWEL

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Disaster Plan Statement In the event of closure or cancellations due to natural disaster or other emergency causes, general information will be forwarded to local media, posted on the WCU website http://wmcarey.edu and sent via automated process to your WCU student e-mail address. Specific information regarding the continuation of coursework will be posted on the university’s course management system at http://elearning.wmcarey.edu. For up-o-the-minute alerts regarding emergency situations, sign up to receive notifications through Sader Watch, the WCU emergency text message service. Sign up instructions can be found under current students on the WCU homepage.

http://wmcarey.edu/

http://elearning.wmcarey.edu/

mue 610 the orff approach (3) summer, 2009 m-r 8-10, tfab ... · text: orff, carl, keetman, g.,...

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