a review of beginning band method books … review of beginning band method books for inclusion of...
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A REVIEW OF BEGINNING BAND METHOD BOOKS FOR INCLUSION OF COMPREHENSIVE MUSICIANSHIP AND ADHERENCE TO THE
NATIONAL STANDARDS FOR MUSIC EDUCATION
Shannon S. Paschall
A Thesis
Submitted to the Graduate College of Bowling Green State University in partial fulfillment of
the requirements for the degree of
MASTER OF MUSIC
August 2006
Committee:
Kenneth Thompson, Advisor
Kevin Schempf, Advisor
Elaine Colprit
Andrew Pelletier
© 2006
Shannon Paschall
All Rights Reserved
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ABSTRACT
Kenneth Thompson and Kevin Schempf, Advisors
Research has shown that providing students with a comprehensive music education
produces knowledgeable musicians who perform as well, or better, than students taught only
performance skills (Austin, 1998; Whitener, 1981). The National Standards for Music Education
are a “repackaging” of the ideas of comprehensive musicianship that have been emphasized
since the 1960s (Austin, 1998). Some music educators are required to fulfill the goals of the
National Standards (Hoffer, 2001), and many cite a lack of time and materials necessary to
achieve these goals (Austin, 1998; Byo, 1999). This task could be simplified for beginning band
teachers with the use of a band method that already integrates these concepts.
The purpose of this study was to review five beginning band methods for inclusion of
comprehensive musicianship and adherence to the National Standards for Music Education.
Band Expressions (Smith & Smith, 2003), Essential Elements 2000 Plus DVD (Lautzenheiser et.
al., 2004), Standard of Excellence: Enhanced Comprehensive Band Method (Pearson, 2004), The
Yamaha Advantage: Musicianship from Day One (Clark & Feldstein, 2001), and Accent on
Achievement (O’Reilly & Williams, 1997) were reviewed for inclusion of items, topics, and
musical skills that each should address according to the National Standards for Music Education
as well as books, articles, and studies on comprehensive musicianship. The number of times each
band method addresses a topic cited as a standard in the National Standards and/or included in
comprehensive musicianship was charted. While all five band methods assist directors in
providing comprehensive instruction and adhering to the National Standards, only Band
Expressions integrates all of the topics reviewed in this thesis into the band method.
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Colossians 3:17
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ACKNOWLEDGMENTS
I sincerely appreciate the time, energy, and enthusiasm given by my advisor, Dr. Ken
Thompson, during the past few months. His advice and encouragement have been invaluable. I
am especially grateful to Mr. Kevin Schempf for helping me grow as a musician and for his extra
efforts in serving as co-chair of the thesis committee. I would also like to thank Dr. Elaine
Colprit and Dr. Andrew Pelletier for serving on the thesis committee and sharing their time and
talents. Special thanks to Carl Fischer, Hal Leonard, Alfred, Neil A. Kjos, and Warner Bros.
Publication Companies, the publishers of the band methods reviewed in this thesis, for their
donations of materials. Sample student method books are available by contacting these
publishers. Thanks to my family and friends for their prayers and support throughout all my
academic and musical endeavors.
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TABLE OF CONTENTS
Page
CHAPTER I. INTRODUCTION.......................................................................................... 1
Statement of the Problem........................................................................................... 1
Need for the Study ..................................................................................................... 2
Purpose of the Study .................................................................................................. 2
CHAPTER II. REVIEW OF LITERATURE ....................................................................... 4
MENC National Standards for Music Education....................................................... 4
Comprehensive Musicianship.................................................................................... 8
Existing Reviews of Band Methods........................................................................... 15
Summary of Review of Literature ............................................................................. 18
CHAPTER III. METHODOLOGY ...................................................................................... 21
Selection of Band Methods........................................................................................ 21
Selection of Topics for Consideration ....................................................................... 22
CHAPTER IV. RESULTS.................................................................................................... 25
Comparative Review of Band Methods..................................................................... 25
Structural Methodology ................................................................................. 25
Pedagogical Methodology ............................................................................. 31
Adherence to the National Standards and Inclusion of Comprehensive
Musicianship .............................................................................................................. 40
CHAPTER V. DISCUSSION............................................................................................... 55
Conclusions and Recommendations .......................................................................... 55
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Summary .................................................................................................................... 77
Suggestions for Further Research .............................................................................. 81
REFERENCES ...................................................................................................................... 83
BIBLIOGRAPHY.................................................................................................................. 87
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LIST OF TABLES
Table Page
1 Topics Included in the National Standards and Comprehensive Musicianship......... 23
2 Structural Methodology: Accent on Achievement...................................................... 26
3 Structural Methodology: Band Expressions .............................................................. 27
4 Structural Methodology: Essential Elements 2000.................................................... 28
5 Structural Methodology: Standard of Excellence ...................................................... 29
6 Structural Methodology: Yamaha Advantage ............................................................ 30
7 Pedagogical Methodology: Accent on Achievement .................................................. 33
8 Pedagogical Methodology: Band Expressions .......................................................... 35
9 Pedagogical Methodology: Essential Elements 2000 ................................................ 36
10 Pedagogical Methodology: Standard of Excellence .................................................. 37
11 Pedagogical Methodology: Yamaha Advantage ........................................................ 39
12 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Accent on Achievement .............................................................................................. 41
13 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Band Expressions....................................................................................................... 43
14 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Essential Elements 2000 ............................................................................................ 47
15 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Standard of Excellence .............................................................................................. 50
16 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Yamaha Advantage .................................................................................................... 52
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17 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Singing ....................................................................................................................... 55
18 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Solos/Duets ................................................................................................................ 56
19 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Varied Repertoire....................................................................................................... 57
20 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Posture ....................................................................................................................... 58
21 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Playing Position ......................................................................................................... 59
22 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Breathing.................................................................................................................... 60
23 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Expression.................................................................................................................. 61
24 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Play by Ear................................................................................................................. 62
25 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Improvisation ............................................................................................................. 63
26 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Composition............................................................................................................... 64
27 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Arranging ................................................................................................................... 65
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28 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Reading ...................................................................................................................... 66
29 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Notating...................................................................................................................... 67
30 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Listening .................................................................................................................... 68
31 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Form........................................................................................................................... 69
32 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Theory ........................................................................................................................ 70
33 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Evaluating .................................................................................................................. 72
34 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Other Arts................................................................................................................... 73
35 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
History ....................................................................................................................... 74
36 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Multicultural .............................................................................................................. 75
37 Adherence to National Standards and Inclusion of Comprehensive Musicianship:
Conducting................................................................................................................. 76
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CHAPTER I
INTRODUCTION
Statement of the Problem
In his introduction to the 1976 publication, Blueprint for Band, Garofalo makes a
statement about the condition of band programs in America.
There are few carefully planned courses of study designed to teach students the
fundamentals of music theory, introduce them systematically to the great composers, or
assist them in comprehending the fascinating metamorphosis of musical form and style
through the broad sweep of man’s history. Instead, our students concentrate on acquiring
the technical competence necessary to play the scores which we decide will make an
interesting program for our next audience or will please our colleagues who will be
judging the next contest (1976, vii).
While most band programs train students to be performers, not all programs provide the
information and knowledge students need to become musically educated adults. Band programs
that aid students in the development of musicality, analysis skills, and aesthetic understanding
should produce adults who are able to make value judgments about music (Culbert, 1974, p. 5).
Garofalo, like Culbert and many other music educators, believes band students should
have a comprehensive music education, which is defined as instruction in performance skills
combined with the acquisition of musical knowledge. Students become musicians through
performing, composing, improvising, arranging, and conducting. Through implementation of a
comprehensive musicianship curriculum, an idea that has been in existence for several decades,
music educators may be able to fulfill the goals of the National Standards for Music Education
published in 1994 by the Music Educators National Conference. The standards specify what
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musical techniques and knowledge every student should possess at the end of grades 4, 8, and
12; the standards apply to all students through grade 8 and to every student enrolled in required
or elective music courses beyond grade 8.
While a comprehensive music education, one that adheres to the National Standards for
Music Education, should begin as soon as students select an instrument, many music teachers
have limited amounts of planning and rehearsal time (Austin, 1998, p. 30; Byo, 1999, p. 112).
Consequently, it would seem logical and efficient for beginning band directors to use a band
method that already integrates the concepts of comprehensive musicianship to aid in fulfilling
the goals of the National Standards. Research on which current band methods meet the
requirements set forth in the National Standards would aid band directors in the task of selecting
an appropriate band method.
Need for the Study
Several studies provide suggestions for selecting an appropriate beginning band method
while others review existing band methods. While these studies are useful and remain relevant,
several new band methods and revised editions of existing band methods have been published;
therefore, several band methods currently in use have yet to be reviewed. In addition, many
current music teachers are required to achieve the goals of the National Standards for Music
Education (Hoffer, 2001, p. 52), and none of these previous studies focus on this concern. For
these reasons, this study is needed to review current band methods for inclusion of
comprehensive musicianship and adherence to the National Standards for Music Education.
Purpose of the Study
The purpose of this study is to review beginning band methods in consideration of their
inclusion of comprehensive musicianship and adherence to the National Standards for Music
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Education. This study is intended to serve as a resource for pre-service teachers and current
music educators by providing a review of five band methods currently in use. If directors were
able to gain insight into new and updated publications and grasp how well new band methods
adhere to the National Standards, promoting comprehensive musical instruction, then band
directors could more easily investigate these methods for themselves in order to enhance music
instruction for their students. This study should be useful to all band directors, especially
beginning teachers who have a limited knowledge of current band methods.
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CHAPTER II
REVIEW OF LITERATURE
MENC National Standards for Music Education
The Yale Seminar on Music Education was held at Yale University from June 17-28,
1963 in order to identify and discuss problems currently facing music education. The participants
examined the K-12 curriculum and questioned why school music programs had not yet been able
to produce a musically literate public (Mark, 1996, p. 34). The Yale Seminar found that while
school instrumental music programs produced competent performers, “superficial showmanship
and mass activity” did little to “increase the musicality and musical appreciation of individual
musicians” (p. 36). Participants agreed that music programs trained students to be performers
rather than knowledgeable musicians. Unfortunately, the Yale Seminar participants were
primarily university faculty and professional musicians who had little direct involvement with K-
12 music education in the public schools. With little representation from music educators or the
Music Educators National Conference: the National Association for Music Education (MENC),
the seminar could not implement any ideas, but instead created an atmosphere that was
conducive to change, in which the music education profession could seriously consider new
methods and materials (p. 37). The Yale Seminar determined that school music programs needed
to teach more than performance skills, but only music educators would eventually be able to alter
the K-12 music curriculum.
To address the problems identified by the Yale Seminar, music education leaders held
their own conference from July 23-August 2, 1967, in Tanglewood, Massachusetts. MENC was
the primary sponsor of the symposium created to “discuss and define the role of music education
in contemporary American society at a time when it was faced with rapid social, economic, and
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cultural change” (Mark, 1996, p. 39). Music educators at Tanglewood agreed that all musical
styles and forms as well as music from diverse cultures and historical periods belong in the
curriculum. They decided music instruction should be available for all age groups and that high
school students needed instruction in the arts. Technology should be applied to music instruction,
and teacher education programs should be expanded and improved. The Tanglewood
Symposium culminated with the writing of The Tanglewood Declaration, a document that
contained a recommendation that music be placed in the core academic curriculum (p. 44).
In 1969, MENC began to implement the suggestions of the Tanglewood Symposium
through the Goals and Objectives (GO) Project. Thirty-five goals and objectives were identified
for MENC to focus on in order to improve music education in America. MENC established the
National Commission on Instruction to implement these goals and objectives. In 1974, the
commission published The School Music Program: Description and Standards. This document
describes an ideal school music program through presentation of standards for instructors,
curriculum, facilities, and equipment, providing teachers with a model for comparison with the
aim that more programs would eventually emulate this model (Mark, 1996, p. 48).
A second edition of The School Music Program: Description and Standards was
published in 1986, presenting specific curriculum goals to be achieved. By 1990, every student
in grades K-12 would have access to music instruction and every high school, college, and
university would require at least one credit in the arts for graduation. The standards published in
both editions of The School Music Program represent the response of the music education
profession to the national movement for increased quality in education, even though the arts
were not considered an essential academic subject at this time (p. 49). While music educators
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were not required to make improvements in the music curriculum, they sought to improve K-12
music education with the belief that music would someday become a core academic subject.
On March 31, 1994, Goals 2000: Educate America Act (PL 103-227) was signed into law
(Mark, 1996, p. 104). This federal law validated and enforced the national movement demanding
increased quality in education by requiring identification of standards and achievement levels in
all core subject areas: English, mathematics, science, foreign languages, civics and government,
economics, arts, history, and geography (p. 106). Identifying the arts as a core subject area
indicated that the arts are as significant as other academic subjects, so identification of standards
and achievement levels were now required for all arts disciplines, and the National Standards for
Arts Education were written in response (p. 107). The National Standards for Arts Education
contain content standards, statements of what students should know and be able to do in each
discipline—dance, music, theater, and visual arts. Each content standard is coupled with an
achievement standard, providing a description of how students are to demonstrate mastery of
each specific content standard (p. 49).
The National Standards for Music Education, as part of the National Standards for Arts
Education, were published in 1994 by the Music Educators National Conference. Developed
under the guidance of the National Committee for Standards in the Arts, they were designed to
represent the views of “educators, parents, artists, professional associations in education and in
the arts, public and private education institutions, philanthropic organizations, and leaders from
government, business, and labor.” The standards specify what musical techniques and knowledge
every student should possess at the end of grades 4, 8, and 12, define music education as a
balanced, complete, and sequential music curriculum, and provide assistance in improving the
school music program. The standards apply to all students through grade 8 and to every student
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enrolled in music beyond grade 8 (Lehman, 2000, p. 2). Students in grades 5-8 use the band
methods reviewed in this thesis, so the music content standards for grades 5-8 are as follows:
1. Singing, alone and with others, a varied repertoire of music
2. Performing on instruments, alone and with others, a varied repertoire of music
3. Improvising melodies, variations, and accompaniments
4. Composing and arranging music within specified guidelines
5. Reading and notating music
6. Listening to, analyzing, and describing music
7. Evaluating music and music performances
8. Understanding relationships between music, the other arts, and disciplines outside the
arts
9. Understanding music in relation to history and culture (MENC, 2005).
These standards provide high expectations to ensure that the music curriculum in every
school provides an optimal learning environment for all students. These are the best practices
currently found in American schools (Lehman, 2000, p. 2). Many states and school districts have
adopted the National Standards, and while some require teaching to fulfill the goals of the
Standards, others simply recommend it (Hoffer, 2001, p. 52). “The Standards do not mean that
every lesson or rehearsal must contain elements of all nine standards, or that every course should
contain equal portions of each standard,” but the topics included in the Standards should not be
omitted in band and choir rehearsals (p. 53). Fulfilling the goals of the National Standards would
be especially important if a student’s only musical experience was participation in a performing
ensemble.
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Comprehensive Musicianship
In Teaching Music through Performance in Beginning Band, Pearson states, “The
National Standards for Arts Education has . . . identified what all American students ‘should
know and be able to do in the arts.’ In many ways, the Standards have structured what music
educators have for some time called comprehensive musicianship” (2001, p. 58). Many leading
music philosophers and researchers agree that ensemble directors should maximize student
learning through comprehensive musicianship, thus validating music as part of the educational
curriculum by integrating theoretical, historical, analytical, and stylistic aspects of music into the
performance repertoire (Grashel, 1993, p. 38).
Comprehensive musicianship found its roots in the Young Composer’s Project, which
began in 1959. Norman Dello Joio, a prominent composer and pedagogue interested in music
education, suggested an arrangement between composers and public school music programs.
Composers-in-residence, funded by the Ford Foundation, were placed throughout the United
States to write original, contemporary music for public school ensembles (Mark, 1996, p. 29).
The barrier between composers and performers was removed, and students benefited from the
interaction with composers because a great deal of new literature was written for school
performance groups. The project was successful, but composers soon discovered that music
teachers did not have a conceptual understanding of contemporary music techniques and could
not teach these techniques to their students (Bauer, 1987, p. 15).
Given this evident lack of knowledge, the Contemporary Music Project was organized in
1963 to sponsor seminars for music educators to bridge the gap between composers and teachers
(p. 16). This was a time when many musicians, not just music educators, were interested in what
was being taught in public school music programs. There was a shift in focus from what students
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were learning in middle and high school band classes to what future music educators were
learning when preparing to teach (Thomson, 1990, p. 21). The leaders of the Contemporary
Music Project concluded “college music curricula needed to do more to prepare all music
students to deal with contemporary musical literature, indeed a wide variety of literature, and to
bring students from all the music disciplines into a more common frame of reference to facilitate
communication and understanding. Thus, the need emerged for a more comprehensive music
education” (Willoughby, 1990, p. 39).
Participants in the Yale Seminar, also in 1963, concluded that school instrumental music
programs produced competent performers, but the strong emphasis on performance in the K-12
music curriculum did not create knowledgeable musicians with a life-long appreciation for music
(Mark, 1996, p. 36). Music educators responded to the Yale Seminar with the Tanglewood
Symposium, and MENC’s GO Project was initiated to implement the recommendations of this
group. One of the GO Project’s thirty-five objectives states that MENC will “lead in efforts to
ensure that every school system allocates sufficient staff, time, and funds to support a
comprehensive and excellent music program” (p. 47). MENC and leaders in the music education
profession have been advocates for a comprehensive music education since this time.
Comprehensive musicianship is a pedagogical approach that provides a rationale for
performance based ensemble courses to be included as part of the core academic curriculum.
Teaching comprehensively requires directors to teach more than performance skills through
instruction in music history, music theory, analysis, and listening skills. Many ensemble directors
neglect this responsibility because of the inherent pressure of preparing public performances,
lack of planning or rehearsal time, or fear of high attrition rates if ensembles are viewed as
traditional academic classes (Austin, 1998, p. 30; Byo, 1999, p. 112). If teachers select repertoire
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for its potential to provide opportunity for diverse instruction, students can gain both technical
and conceptual knowledge while learning new music (Grashel, 1993, p. 38).
According to Elliott, comprehensive musicianship is a combination of performance skills
and formal (history, theory, form) and informal (musicality, phrasing) musical knowledge. He
advocates teaching both types of musical knowledge through performing, composing,
improvising, arranging, and conducting. Elliott writes that music educators should teach informal
musical skills and then worry about formal musical knowledge, because if students acquire
musicianship skills, then they have the knowledge required to understand and enjoy music for
life. (1995, p. 32).
Comprehensive musicianship is simply “performance with understanding” (Austin, 1998,
p. 25). Willoughby describes comprehensive musicianship as the “integration of content and
musical experiences,” the teaching of musical skills through performance (1990, p. 39).
“Comprehensive musicianship encompasses all the activities that a musician engages in—
performing, creating, evaluating, listening, conducting, analyzing, and communicating. It is a
method of instruction in which a student functions as a musician in the broadest sense” (Texter,
1979, p. 5).
While the National Standards for Music Education state what students should know and
be able to do, they do not specify how teachers are to meet these objectives with their students
(MENC, n.d., p. 2). Through implementation of a comprehensive musicianship curriculum, an
idea that has been in existence for half a century, music educators will be able to realize the goals
of the 1994 National Standards for Music Education. “The comprehensive musicianship
approach to training instrumentalists has had a positive effect since its development in the 1960s.
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It centers on choosing quality music for performance and integrating knowledge about the music
within group rehearsals” (Schleuter, 1997, p.11).
William Whitener, in his comparison of two approaches to teaching beginning band,
examined the effects of providing a comprehensive music education for beginning band students.
He studied two beginning bands, one given a comprehensive music education, and one taught
only technical skills necessary for performance. The comprehensive group spent less time
performing due to increased instructional time, but at the end of the study, there was no
significant difference in the performance levels of the two groups as measured by a performance
test score (Whitener, 1981, p. 61). Students taught comprehensively showed significant
differences in scores in the areas of interval (p < .01) and meter discrimination (p < .05) due to
instruction on intervals and meters included in the comprehensive approach. Students in the
comprehensive group were also more sensitive to changes between major and minor modalities
(p < .01). This is the result of an instructional emphasis on the difference between major and
minor sonorities. Students in the comprehensive group also scored higher on an auditory-visual
discrimination test (p < .01) because of instruction in composition (p. 62). In addition, 63% of
the comprehensive group was able to improvise Twinkle, Twinkle Little Star. None of the
performance group subjects could complete this improvisatory task (p. 64).
Austin discovered that the goals outlined in the National Standards “closely resemble
ideas previously developed, implemented, and tested by comprehensive musicianship.” He found
that previous comprehensive musicianship models required a focus on:
1. perception or conception of the “common elements”
2. interdisciplinary study of music theory, history, and performance
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3. involvement of students in the musician’s varied roles as performer, composer,
conductor, listener, and analyst
4. study as well as performance of quality music literature representing diverse genres,
cultures, and historical periods
5. ensemble classes that function as both learning laboratories and rehearsal settings
Only Standard 8, understanding relationships among music, the other arts, and disciplines
outside the arts, has no direct correlation in any comprehensive musicianship model (1998, p.
25).
Austin provides a review and synthesis of several previous studies on the effects of
comprehensive musicianship in public school ensembles. He found that research studies on
comprehensive musicianship have ranged from two weeks to two years in length, and the amount
of time devoted to comprehensive instruction during these studies ranged from a few minutes of
every third rehearsal to half of every rehearsal. Results were positive regardless of how or how
long this approach was implemented (1998, p. 28).
Music achievement scores (reflecting basic knowledge, conceptual understanding, aural
perception, or analytical listening skills) were consistently higher for students taught
using a comprehensive approach and/or also improved significantly over time (Boyle &
Radocy, 1973; Carlson, 1993; Culbert, 1974; Garofalo & Whaley, 1979; Gebhardt, 1974;
Grashel, 1978; Linton, 1967; Sherburn, 1984; Swearingen, 1993; Wentworth, 1978;
Whitener, 1983; Whitlock, 1982).
Specifically, Boyle and Radocy developed and administered tests to students in twelve
different music classes, including band, orchestra, and general music, at the elementary, middle,
and high school levels. Students showed gains in scores in many areas after one year of
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instruction from teachers devoted to the comprehensive musicianship practice. For example,
scores for identifying musical form improved from 30% to 80%, ability to notate scales
increased from 3% to 60%, and rhythmic error detection scores moved from 33% to 83% after
one year of instruction based on comprehensive musicianship (1973, p. 16).
Culbert found that students taught using a comprehensive teaching method performed as
well as students trained through a performance-based approach (1974, p. 74). In addition, the
students in the comprehensive group showed a significant difference in scores on a Music
Achievement Test (p < .05) in the areas of tonal memory, musical style, auditory-visual
discrimination, and melody, pitch, instrument, and chord recognition (p. 73). Devoting 25% of
the rehearsal time to teaching skills in describing music helped students in the comprehensive
group achieve higher scores (p. 74).
Garofalo and Whaley compared the comprehensive unit study and traditional
performance approaches for teaching music to high school band students. Garofalo’s Unit Study
Composition curriculum model provided a “systematic introduction to basic music concepts
related to the structural elements of music and historical styles” for students in the experimental
group (1979, p. 137). One high school band was taught using this method, and another high
school band, taught using a traditional performance approach, served as the control group. After
five weeks of instruction, the students in the experimental group scored significantly higher (p <
.01) on a conceptual knowledge and aural identification test than students in the control group.
The experimental group’s performance ratings were also higher than those of the control group,
and a test given to the experimental group six weeks after the study revealed that these students
had retained the comprehensive knowledge (p. 141).
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Grashel developed and evaluated instructional strategies for teaching musical form to
intermediate band students from four schools. Students received instruction in musical form
either in class, outside of class through the use of supplementary materials, or in class combined
with supplementary materials for use outside of class; one band served as the control group. A
35-question multiple-choice test on musical form was administered at the conclusion of the
study. All three experimental groups scored significantly higher (p < .001) than the control
group, and the knowledge they gained was transferable to unfamiliar band literature (1978, p.
190).
Parker studied two middle school bands, one taught using a comprehensive musicianship
approach, and one taught only performance skills. He found no significant difference (.05 level)
between the scores of the two groups on the Test of Musical Performance Skills. Parker also
found no significant difference (.05 level) in students’ evaluations of the band program based on
the method of instruction (1975, p. 130). Swearingen (1993) and Whitlock (1982), as cited by
Austin, found that students and parents have a positive response to the comprehensive
musicianship approach (1998, p. 28).
Garofalo (1976), Grashel (1993), and Pearson (2001) agree that teaching comprehensive
musicianship requires extra planning time, but they all stress that the extra preparation is worth
the effort. It is critical that a comprehensive music education, one that adheres to the National
Standards for Music Education, begins as soon as students select an instrument, but many band
directors have limited amounts of planning and rehearsal time to find and use alternate materials
to teach composition, improvisation, conducting, etc. (Austin, 1998, p. 31). Consequently, it
would seem logical and efficient to use a beginning band method that already integrates these
concepts.
15
Existing Reviews of Band Methods
Numerous authors (Birdwhistell, 1998; Heavner, 1995; Hock, 1991; Hoffer, 2001;
Kinyon, 1982; Kuhn, 1970; Schleuter, 1997) provide extensive lists of criteria for selecting a
beginning band method. Some of these criteria include music of superior quality, instructions on
playing position and care of the instrument, a simple fingering chart, a glossary, and a consistent
and logical introduction of new notes, rhythms, and musical terms. A method should also contain
instruction on playing musically and expressively as well as reading notation. Specifically, the
studies of Birdwhistell (1998), Heavner (1995), and Hock (1991), which will be discussed later,
review the content, instructional sequence, and inclusion of comprehensive musicianship in
beginning band methods. The following is a more extensive discussion of the ideas of the seven
authors listed above.
Schleuter provides an overview of the pedagogical organization of current band methods.
He believes that instrumental methods are organized by the introduction of rhythmic notation.
Most authors organize rhythmic material according to note values beginning with whole notes
and rests, then progressing through half, quarter, and sixteenth notes and rests. Mathematical and
visual relationships of note values are stressed. Band methods tend to differ in the speed of
introduction of new notes and note values and the amount of material presented that emphasizes
each note value. Notation and counting systems (most often 1-e-and-a) are introduced
simultaneously. Nearly all melodies are in the major mode and limited to a few keys (most often
Bb, Eb, and F), which indirectly facilitate the development of a sense of tonality (1997, p. 8).
Most band methods emphasize “1) the primary association of fingerings with notation rather than
sound; 2) the mathematics of proportional note values; 3) note naming; and 4) a mixture of
technical and melodic material” (p. 9).
16
In his 2001 edition of Teaching Music in the Secondary Schools, Hoffer lists several
criteria to consider when selecting a beginning band method. He insists that a method should
contain instructions on instrument care, illustrations of posture, position, and embouchure, and
“interesting and worthwhile” music. Hoffer states that directions should be clear and simple and
“playing problems introduced in a logical order.” Ensemble music and suggestions on
embouchure, breath support, and counting should be included in the student book, and a
teacher’s edition must be available. Recordings are also essential to provide a good aural model
for students (p. 87).
Kuhn provides criteria for selecting a beginning band method by listing questions to ask
when searching for the appropriate method. He insists that methods should contain music of
superior quality and advises the reader to look for instructions on the care and use of the
instrument, correct illustrations of posture, hand positions, and embouchure, and a fingering
chart. Directions should be clear and concise, musical content should include a variety of styles
and genres, and technical issues should be introduced logically. Ensemble arrangements and a
list of musical terms are essential, the appearance and structure of the book should be pleasing,
and a score or teacher edition must be provided (1970, p. 30).
Kinyon states “great care should be taken in choosing the band method” and it should be
“selected only after a comparative study has been made among several class method books.”
While all band methods intended for class instruction have similar pedagogical sequences, each
method has specific strengths and weaknesses, so it is the band director’s responsibility to select
the method that is best suited for his or her situation. Points of consideration include first note
values because whole notes assist in setting embouchures and quarter notes aid in establishing
rhythm. Students with previous musical experience might begin with whole notes to develop a
17
proper embouchure, while students with no musical background could begin with quarter notes
to focus on music literacy. Range of pitches and introductions of rhythms need to occur in a
practical sequence, and new problems should be isolated and presented in a clear and logical
manner. Pages should be uncluttered, and pictures, a fingering chart, full score, and recordings
allow for ease of use. Number of pages, instruction in musicianship, and a variety of musical
pieces are other items to consider (1982, p. 63).
Birdwhistell’s study is an analysis of five beginning band methods for content,
instructional sequence, and inclusion of comprehensive musicianship methodology. The author
reviewed Essential Elements: A Comprehensive Band Method, Sounds Spectacular, Standard of
Excellence Comprehensive Band Method, Now Go Home and Practice: An Interactive Band
Method for Students, and Belwin 21st Century Band Method. Categories used to analyze the band
methods included: instrumentation, content of introductory material, number of pages, pitches
introduced, writing exercises, enrichment (theory and history), and test materials. She also
reviewed the fingering charts, glossary, supplemental materials, and the teacher edition included
with each method. Results are displayed in tables so readers can easily compare the qualities of
each band method (1998).
Heavner also analyzed current beginning band methods for the previously cited principles
of comprehensive musicianship. He reviewed Standard of Excellence Comprehensive Band
Method, Essential Elements: A Comprehensive Band Method, Mastery Learning, Sounds
Spectacular, Now Go Home and Practice, and Rhythm Master. Heavner compared the structures
of the methods and reviewed each method according to a comprehensive musicianship model.
His model included five categories: content, instructional literature, activities, concepts, and
evaluation. Experienced instrumental music educators completed a survey on how well they
18
thought current band methods covered the principles of comprehensive musicianship. A Chi-
Square Goodness-of-Fit Test was used to determine the difference between what Heavner found
using his comprehensive musicianship model and the ratings of experienced music teachers.
While band methods published prior to the mid-1970s did not integrate the principles of
comprehensive musicianship, results from the test and the author’s analysis indicated that current
beginning band methods provide a comprehensive musicianship curriculum (1995).
Hock’s thesis is intended as a guide for instructing instrumental music educators on
which criteria to consider when selecting a beginning band method. Hock defines these criteria
as full score availability, introductory material, order of presentation, inclusion of a fingering
chart, musicianship instruction, range considerations, warm-ups, intonation exercises, percussion
concepts, and supplementary materials. She used these criteria to evaluate Best in Class by Bruce
Pearson and Band Plus by James Swearingen and Barbara Buehlman. Hock recommends that
music educators base their choice of band method on the criteria presented in the study and on
how well it fits his/her instructional needs (1991).
Summary of Review of Literature
Several authors agree that comprehensive musicianship is the integration of musical
knowledge and skills into performance instruction (Austin, 1998; Elliott, 1995; Garofalo, 1976;
Grashel, 1993; Schleuter, 1997; Texter, 1979; Whitener, 1981; Willoughby, 1990). Austin
(1998) and Pearson (2001) go further, agreeing that the National Standards for Music Education,
published in 1994 by the Music Educators National Conference, are simply a restructuring of the
topics emphasized since the 1960s as comprehensive musicianship. Other authors (Austin, 1998;
Boyle & Radocy, 1973; Culbert, 1974; Garofalo & Whaley, 1979; Grashel, 1978; Parker, 1975;
Whitener, 1981) cite the benefits of providing comprehensive musical instruction, and three
19
authors agree that this takes extra planning time (Garofalo, 1976; Grashel, 1993; Pearson, 2001).
If beginning band directors wish to provide students with comprehensive musical instruction and
fulfill the goals of the National Standards, it would seem logical and efficient to use a band
method that already integrates these topics.
Kinyon states that a band method should be “selected only after a comparative study has
been made among several class method books” (1982, p. 63). If directors need to fulfill the goals
of the National Standards (Hoffer, 2001, p. 52), then topics included in the National Standards
should be considered when comparing band methods. Despite its absence in the National
Standards, a review of the topics included in comprehensive musicianship adds conducting to the
list of topics to consider (Elliott, 1995). Elements of band method structure—number of pages
(Birdwhistell, 1998; Kinyon, 1982), appeal of layout and pages (Kinyon, 1982; Kuhn, 1970), and
inclusion of a fingering chart and glossary (Birdwhistell, 1998; Kuhn, 1970)—are deemed
important. Pedagogical elements such as first note values (Kinyon, 1982), range of pitches
introduced (Birdwhistell, 1998; Hock, 1991; Kinyon, 1982), and method of introduction of new
notes, rhythms, and musical terms should be considered (Hock, 1991; Hoffer, 2001; Kinyon,
1982). Assembly and maintenance instructions (Birdwhistell, 1998; Hock 1991; Hoffer, 2001;
Kuhn, 1970), band arrangements (Hoffer, 2001; Kuhn, 1970), and supplementary exercises or
recordings (Birdwhistell, 1998; Hock, 1991; Hoffer, 2001; Kinyon, 1982) should also be
included. Authors also recommend that the student book contain pictures displaying proper
posture and playing position (Birdwhistell, 1998; Hock, 1991; Hoffer, 2001), a varied repertoire
representing music from many cultures (Hoffer, 2001; Kinyon; 1982; Kuhn 1970), and
instruction in music history and theory (Birdwhistell, 1998).
20
The studies of Birdwhistell (1998), Heavner (1995), and Hock (1991) are similar to this
study because they provide suggestions for selecting an appropriate method while reviewing
several band methods. While these studies remain relevant, several new band methods and
revised editions of existing band methods have been published; therefore, several band methods
currently in use have yet to be reviewed. In addition, many music educators are required to
achieve the goals of the National Standards for Music Education (Hoffer, 2001, p. 52), and none
of these studies focus on this concern. For these reasons, this study will review five band
methods currently in use for inclusion of comprehensive musicianship and adherence to the
National Standards for Music Education.
21
CHAPTER III
METHODOLOGY
Selection of Band Methods
Five beginning band methods that have not been reviewed in previous theses or
dissertations were reviewed in this study: Band Expressions (Smith & Smith, 2003), Essential
Elements 2000 Plus DVD (Lautzenheiser et. al., 2004), Standard of Excellence: Enhanced
Comprehensive Band Method (Pearson, 2004), The Yamaha Advantage: Musicianship from Day
One (Clark & Feldstein, 2001), and Accent on Achievement (O’Reilly & Williams, 1997). Band
Expressions and The Yamaha Advantage are new publications while Essential Elements 2000
and Standard of Excellence are new editions. Accent on Achievement is not a recent publication
but has been included in this thesis because it has not been reviewed in a previous study.
Student books, instead of the teacher editions, were used for the review because a
teacher’s knowledge and materials “have an impact only if they are used in the classroom, and
the impact they have depends on how they are used” (Jackson, 2004, p. 13). If topics are
included in the student book, then topics are made available to students even if instruction does
not occur on a specific topic. In some instances, a teacher could follow the suggestions provided
in the teacher edition to provide instruction on a topic that is not listed in the student book. If this
is a possibility, it will be noted in Chapters 4 and 5. The student clarinet book, specifically, was
used only to determine the range of pitches introduced, the range of the fingering chart, and
assembly and maintenance instructions. This was necessary because clarinet students are
required to learn a greater range of pitches than other beginning students, and the clarinet
fingering chart has the widest range as well as the most variance in fingerings. In addition, the
22
assembly and maintenance instructions in the clarinet book were more detailed than the
instructions for other instruments due to more complex assembly and maintenance processes.
Selection of Topics for Consideration
Review of the band methods began with a comparison of the structural methodology,
defined as the organization and design of the band method, including number of pages, total
number of instructional pieces, instructional pieces per page, appeal/layout of pages, and
inclusion of a fingering chart, practice record, and glossary or index. The pedagogical
methodology of each method was also reviewed. Pedagogical elements consist of the
introductory pitches, first note values, range of notes, key signatures, time signatures, and the
most complex rhythm as well as the method of presentation. Other pedagogical elements include
the method for introduction of new notes, rhythms, and musical terms, and an explanation of
instrument assembly and maintenance. The number of band arrangements included in the method
(Kuhn, 1970), content of supplemental exercises (Hock, 1991), and material included on a CD or
DVD (Hoffer, 2001; Kinyon, 1982) may also enhance instruction; therefore, these items were
included as portions of the pedagogical elements.
The five band methods were reviewed for inclusion of items, topics, and musical skills
that each should cover according to the National Standards for Music Education as well as
previously cited books, articles, and studies on comprehensive musicianship. The number of
times each band method addresses a topic cited as a standard in the National Standards and/or
included in comprehensive musicianship was charted. As displayed in Table 1, many of the
topics presented as comprehensive musicianship are included in the National Standards, so
several of the topics overlap.
23
Table 1
Topics Included in the National Standards and Comprehensive Musicianship Topic National Standards Comprehensive Musicianship Singing (1) Singing alone and with others Performance alone and with
others a varied repertoire Solos/Duets (2) Performing on instruments alone and Performance alone and with Varied Repertoire with others a varied repertoire others a varied repertoire
Posture good posture
Playing Position proper playing position
Breathing breath support
Expression expression Playing musically
Play by Ear playing by ear
Improvisation (3) Improvising melodies, variations, and Improvising accompaniments
Composition (4) Composing and arranging music Composing
Arranging Arranging Reading (5) Reading and notating music Reading music
Notating Notating music
Listening (6) Listening, analyzing, and describing Listening
Form form Form
Theory theory Theory
Evaluating (7) Evaluating music and performances Evaluating music and performances
Other Arts (8) Understanding relationships between music and other arts
24
Topic National Standards Comprehensive Musicianship History (9) Understanding music in relation to Understanding music history Multicultural history/cultures and cultures
Conducting Conducting
Note. (#) = the number of the National Standard.
The results of the study are organized into charts for easy comparison between methods.
The charts display the amount of material each student book provides when addressing a topic in
the National Standards or comprehensive musicianship.
25
CHAPTER IV
RESULTS
Comparative Review of Band Methods
This review of five band methods resulted in three sets of charts: Structural Methodology,
Pedagogical Methodology, and Adherence to National Standards and Inclusion of
Comprehensive Musicianship. One chart for each band method is presented under each of the
three titles.
Structural Methodology
Comparison of the organization and design of the band methods is displayed in Tables 2,
3, 4, 5, and 6 and begins with the number of pages and instructional pieces. Band Expressions
contains 57 pages while the other books all have 48 pages. Band Expressions contains more
pages because the book includes a greater number of instructional pieces than the other band
methods. The number of instructional pieces ranges from 134 in Accent on Achievement to 209
in Band Expressions. The number of instructional pieces per page varies due to the amount of
instructional text on the page and the length of the pieces. Appeal and layout of the pages in the
student book is also described.
Inclusion of a fingering chart, practice record, and glossary or index is also displayed in
Tables 2, 3, 4, 5, and 6. The five band methods contain fingering charts that provide additional,
alternate, fingerings when a note may be played in multiple ways, and as illustrated in Tables 5
and 6, Standard of Excellence and Yamaha Advantage label these fingerings as “alternate.” As
displayed in Table 4, Essential Elements 2000 provides the fingering chart with the greatest
range of pitches. These band methods provide clarinet players with instruction in the largest
26
number of notes as well as the greatest range of pitches, so only the range of the clarinet
fingering chart is listed.
Four of the methods include practice records with space for daily records spanning 36
weeks. Band Expressions does not include a practice record in the student book, but there is a
reproducible weekly practice planner in the teacher resource guide. While Accent on
Achievement and Yamaha Advantage include a glossary but no index, Essential Elements 2000
includes an index but no glossary. Band Expressions contains an index and glossary defining 85
musical terms. Standard of Excellence contains an index and a glossary that identifies or defines
82 composers and musical terms.
Table 2 Structural Methodology
Accent on Achievement
Number of pages
48
Number of instructional pieces 134
Instructional pieces per page Between 4 and 7
Appeal/Layout of pages Pages are colorful with illustrations on most pages. New notes
are introduced in yellow, rhythms in blue, key signatures and
time signatures in green, and musical terms in red or purple.
Pages are full but not cluttered.
Fingering chart Clarinet from D3 to C6, provides more than one fingering
when possible but does not label fingerings as “alternate”
Practice record On page 48, space for daily records for 36 weeks
Glossary/Index Glossary: Page 45; definitions for 69 musical terms
27
Table 3 Structural Methodology
Band Expressions
Number of pages
57
Number of instructional pieces 209
Instructional pieces per page Between 2 and 7
Appeal/Layout of pages Pages are colorful and contain real pictures of composers.
Pages are appealing but very full.
Fingering chart Clarinet from D3 to Eb6, sometimes provides more than one
fingering when possible but does not label fingerings as
“alternate”
Practice record Not included in student book; reproducible weekly practice
planner (7 day/one week) included in teacher resource guide
Glossary/ Index Glossary/ Index: Pages 56-57; definitions for 85 musical terms
28
Table 4 Structural Methodology
Essential Elements 2000
Number of pages
48
Number of instructional pieces 187
Instructional pieces per page Between 2 and 7
Appeal/Layout of pages There is a lack of color in the book. All new notes, rhythms,
and musical terms are highlighted in gold boxes. Pages are
full, and there is very little space between instructional pieces.
Fingering chart Clarinet from D3 to F6, provides more than one fingering
when possible but does not label fingerings as “alternate”
Practice record Inside front cover, space for daily records for 36 weeks
Glossary/ Index Index: Page 48; lists page numbers for definitions of musical
terms, instructional pieces by specific composers, and
appearance of world music
29
Table 5 Structural Methodology
Standard of Excellence Number of pages
48
Number of instructional pieces 155
Instructional pieces per page Between 3 and 8
Appeal/Layout of pages New notes, rhythms, and musical terms are highlighted in a
gold box, and instrument specific exercises are highlighted in
green. More color would make the book more visually
appealing. Pages are not cluttered, but there is little space
between instructional pieces.
Fingering chart Clarinet from D3 to C6, provides more than one fingering
when possible and labels additional fingerings as “alternate”
Practice record Inside front cover, space for daily records for 36 weeks
Glossary/Index Glossary/Index: Page 46; definitions and identifications for 82
composers and musical terms
30
Table 6 Structural Methodology
Yamaha Advantage
Number of pages
48
Number of instructional pieces 168
Instructional pieces per page Between 5 and 7
Appeal/Layout of pages Instruction is provided in color-coordinated boxes at the top of
the page: new notes in red, theory related terms in blue, new
rhythms in yellow, and musicianship skills in purple. The
pages are uncluttered and there is ample space between pieces.
Fingering chart Clarinet from D3 to Eb6, provides more than one fingering
when possible and labels additional fingerings as “alternate” in
a different color
Practice record Inside front cover, space for daily records for 36 weeks
Glossary/Index Glossary: Page 45; definitions for 70 musical terms
31
Pedagogical Methodology
Pedagogical elements consist of the notes, rhythms, musical terms, and skills that are
included in the band method as well as how they are presented. The pedagogical elements listed
in the following tables are the instructional fundamentals of each band method. These topics are
not directly related to the National Standards or comprehensive musicianship, but according to
previously cited studies (Hoffer, 2001; Kinyon, 1982; Schleuter, 1997), consideration of these
pedagogical elements aids in determining a suitable band method for a particular class.
Tables 7, 8, 9, and 11 illustrate that four band methods teach D, Eb, and F concert as first
notes, but the order of introduction varies by method. Standard of Excellence, as illustrated in
Table 10, begins instruction with D, C, and Bb concert. It is interesting that Standard of
Excellence begins with pitches lower than those introduced in the other four band methods.
Perhaps the authors believe it is easier for brass players to produce low notes before learning to
tighten the embouchure in order to play higher notes. When beginning with D, C, and Bb concert,
saxophone parts avoid alternation between C and D, and clarinet players may learn proper hand
position quickly because “open G” is not the first note.
Band Expressions, as displayed in Table 8, begins rhythmic instruction with quarter notes
while the other four methods begin with whole notes. Beginning with quarter notes may help
establish rhythm while starting with whole notes may aid in setting a proper embouchure
(Kinyon, 1982). All five methods instruct students in the same range of notes. Clarinet students
learn the greatest range of notes, so the range for clarinet is listed in the tables below.
All of the methods use instructional pieces in the keys of Bb, F, and Eb, but Accent on
Achievement also uses the key of Ab while Band Expressions adds the key of C. These band
methods use 4/4, 2/4, and 3/4 time signatures in the instructional pieces, and all but Band
32
Expressions introduce common time (C) as well. An eighth note is the smallest rhythmic value
introduced in the beginning band methods, and the most complex rhythm in each book contains
an eighth note. The tables below display the most difficult note combinations that each method
contains.
It is necessary to consider how each band method introduces new notes, rhythms, and
musical terms (Birdwhistell, 1998; Kinyon, 1982). Three of the methods introduce an item at the
top of the page and highlight it when it first occurs in an instructional piece. Standard of
Excellence introduces items at the top of the page only and introduces notes to the left of the
instructional piece in which they first appear. Essential Elements 2000 introduces an item in a
gold box above the piece in which the item first occurs and highlights new notes when they first
appear in a piece. Even when items are introduced, defined, or explained at the top of the page,
highlighting these new notes, rhythms, and musical terms when they appear in an instructional
piece may aid in practicing these items while playing an instrument.
While it is the band director’s responsibility to teach students proper assembly and
maintenance of instruments, it is advantageous to include these instructions in a band method to
remind students of proper procedures (Hoffer, 2001; Kuhn, 1970). The assembly and
maintenance instructions in the clarinet book were more detailed than the directions supplied for
other beginning band instruments, so the clarinet book was used to review these topics. While
the five methods contain assembly and maintenance instructions, Band Expressions, as displayed
in Table 8, provides seven steps on instrument assembly and five on disassembly.
Inclusion of band arrangements (Kuhn, 1970), content of supplemental exercises (Hock,
1991), and recordings (Hoffer, 2001; Kinyon, 1982) may also enhance instruction; these items
were also reviewed as part of the pedagogical methodology. All of these methods contain half-
33
page and/or full-page band arrangements. Accent on Achievement contains five full-page
arrangements, and Band Expressions contains six half-page arrangements while the other
methods contain a combination of full and half-page ensemble pieces.
The methods also contain various supplemental exercises not included as instructional
pieces reviewed elsewhere. These supplemental exercises consist of solos with piano
accompaniment, scale sheets, rhythm studies, etc. The tables below list the specific exercises
included in each band method. These band methods also contain a CD with recordings of some
or all of the instructional pieces included in the books. Essential Elements 2000, as illustrated in
Table 9, contains a CD as well as a DVD with an introductory video, play along tracks for all
instructional pieces, Tempo Adjustment (adjustable tempos for tracks when using CD-ROM),
SmartMusic (accompaniment), and Finale NotePad (notation) software, duets and trios, and a
listening library.
Table 7 Pedagogical Methodology
Accent on Achievement
First notes
D, Eb, and F concert on page 6
First note values Whole notes
Range of notes Clarinet from D3 to F6
Key signatures Bb, F, Eb, Ab
Time signatures 4/4, 2/4, 3/4, Common time
Rhythmic complexity Eighth-quarter-eighth
34
Accent on Achievement Introduction of new
notes, rhythms, and
musical terms
Each item is introduced at the top of the page and highlighted when it
first appears in an instructional piece
Assembly 5 step assembly instructions
Maintenance 4 tips on instrument care
Band arrangements Full page arrangements: pages 11, 17, 23, 29, and 36
Supplemental exercises Pages 34-35: solo with piano accompaniment; Page 36: band
arrangement; Page 37: Accent on Scales-concert Bb, F, Eb, and Ab
scales and scales in thirds plus chromatic scale; Pages 38-39: Accent
on Rhythm-20 rhythm exercises, Pages 40-41: Accent on Rests-10
instructional pieces with multiple rests; Pages 42-43: Accent on
Clarinet, etc.-10 instructional pieces designed for each instrument;
Page 44: Accent on Chorales-4 chorales
CD/DVD 2 in 1 CD: audio CD for instructional pieces 1-42 and 5 band
arrangements; interactive CD-Rom provides MIDI accompaniments
for all instructional pieces included in book
35
Table 8 Pedagogical Methodology
Band Expressions
First notes
F concert on p.5; D and Eb concert on page 7
First note values Quarter notes
Range of notes Clarinet from D3 to F6
Key signatures Bb, Eb, F
Time signatures 4/4, 3/4, 2/4, Common time
Rhythmic complexity Eighth-quarter-eighth
Introduction of new
notes, rhythms, and
musical terms
Each item is introduced at the top of the page and highlighted when it
first appears in an instructional piece
Assembly 7 step assembly instructions and 5 step disassembly instructions
Maintenance 6 tips on instrument care
Band arrangements Half page arrangements: #s 85, 87, 205, 206, 207, 209
Supplemental exercises Pages 50-51: 2 solos and one duet; Page 52: Rhythmic Rest Patterns;
Page 53: Treasury of Scales-Bb, Eb, F, C scales and chords; homework
assignments listed at the bottom of every other page
CD/DVD 1 CD with 96 accompaniment tracks of various instructional pieces (96
of 209)
36
Table 9 Pedagogical Methodology
Essential Elements 2000
First notes
F, Eb, and D concert on page 4
First note values Whole notes
Key signatures Bb, Eb, F
Range of notes Clarinet from D3 to F6
Time signatures 4/4, 3/4, 2/4, Common time
Rhythmic complexity Quarter-eighth rest-eighth note
Introduction of new
notes, rhythms, and
musical terms
Each item is introduced in a gold box above the piece in which the
item first appears; new notes are highlighted when they first appear in
an instructional piece
Assembly 5 step assembly instructions
Maintenance 8 tips on instrument care
Band arrangements Half page arrangements: #s 53, 55, 152, 153, 182, 183; Full page
arrangements: page 184
Supplemental exercises Pages 40-41: Rubank® Scale and Arpeggio Studies-keys of Bb, Eb, F,
and Ab with 4 instructional pieces in each key; Pages 42-43: Rhythm
Studies-72 measures of rhythms; Page 44: Creating Music-4
composition exercises and one improvisational exercise
37
Essential Elements 2000 CD/DVD
CD contains soloist and accompaniment tracks for instructional pieces
1-58 and Tempo Adjustment, SmartMusic, and Finale NotePad
software; DVD contains start-up video, play-along tracks for all
instructional pieces, Tempo Adjustment, SmartMusic, and Finale
NotePad software, duets and trios, and a listening library
Table 10 Pedagogical Methodology
Standard of Excellence
First notes
D, C, and Bb concert on page 4
First note values Whole notes
Range of notes Clarinet from D3 to F6
Key signatures Bb, Eb, F
Time signatures 4/4, Common time, 2/4, 3/4
Rhythmic complexity Dotted quarter-eighth
Introduction of new
notes, rhythms, and
musical terms
Each item is introduced at the top of the page only; notes are
introduced to the left of the instructional piece in which they first
appear
Assembly 5 step assembly instructions
Maintenance 3 tips on instrument care
38
Standard of Excellence Band arrangements
Half page arrangements: page 12, page 21-2 band arrangements; Full
page arrangements: pages 30, 38
Supplemental exercises Pages 36-37: solo with piano accompaniment; Page 38: band
arrangement; Pages 39-41: Excellerators-25 exercises written
specifically for each instrument, Page 42: Scale Studies-scales,
arpeggios, and scales in thirds in keys of Bb, Eb, F, and Ab plus
chromatic scale; Pages 43-45: Rhythm Studies-60 rhythm exercises;
Page 47: checklist of skills to master for various instructional pieces;
Page 48: History of the Instrument
CD/DVD 2 CDs with accompaniment recordings for all 155 instructional pieces;
includes Interactive Pyware Assessment Software (iPAS)
39
Table 11 Pedagogical Methodology
Yamaha Advantage
First notes
D and Eb concert on page 4; F concert on page 5
First note values Whole notes
Range of notes Clarinet from D3 to F6
Key signatures Bb, F, Eb
Time signatures 4/4, 2/4, 3/4, Common time
Rhythmic complexity Dotted quarter-eighth
Introduction of new
notes, rhythms, and
musical terms
Each item is introduced at the top of the page and highlighted when it
first appears in an instructional piece
Assembly 3 step assembly instructions, 3 steps for putting reed on mouthpiece
Maintenance 5 tips on instrument care
Band arrangements Half page arrangements: pages 11, 19, 27, (2 arrangements on each
page); Full page arrangements: page 39
Supplemental exercises Pages 36-38: solo with piano accompaniment; Page 39: band
arrangement; Pages 40-41: 18 rhythm exercises; Pages 42-43: 13
exercises written specifically for each instrument; Page 44: 8 theory
review exercises; Page 48: achievement certificate
CD/DVD 1 CD with accompaniment tracks; supplemental online community at
www.yamahaadvantage.com with play along tracks and assessment
exercises
40
Adherence to National Standards and Inclusion of Comprehensive Musicianship
Tables 12, 13, 14, 15, and 16 are the results of the review for inclusion of topics that each
band method should contain in order to adhere to the National Standards for Music Education
and the ideas of comprehensive musicianship. The number of times each band method addresses
a topic cited as a standard in the National Standards and/or included in comprehensive
musicianship is listed in the tables below.
As displayed in Table 12, Accent on Achievement does not mention singing, evaluating,
other arts, or conducting in the student book. The teacher edition provides some assistance in
teaching singing and evaluation. Page 10 in the teacher edition instructs directors to have
students sing “occasionally” during band class in order to fulfill the first National Standard. It is
also indicated in the teacher edition that students should sing instructional pieces on pages 55,
92, and 110. Eight questions appear in the teacher edition that may be used to encourage students
to evaluate their performances. Reproducible worksheets appear in the Teacher’s Resource Kit
(sold separately from teacher edition) that may help students relate music to other arts and other
disciplines. Conducting is not mentioned in the teacher edition. While it does not address all of
the National Standards or ideas of comprehensive musicianship in the student book, Accent on
Achievement provides a varied repertoire with music from many cultures and supplies instruction
for an extensive list of theory related topics.
41
Table 12
Adherence to National Standards and Inclusion of Comprehensive Musicianship
Topic
Accent on Achievement Singing
Not mentioned in student book
Solos/Duets Solos: p.34; Duets: #s 11, 16, 28, 39, 45, 50, 68, 79, 82, 93, 111, 113,
117, 120, 127
Varied Repertoire Music from various countries (see Multicultural) and uses of
contrasting genres (folk songs, traditional, Classical, march, Romantic,
blues, Baroque)
Posture Description and picture on page 3
Playing Position Description and picture on page 3
Breathing Explanation on page 4
Expression Breath mark, tie, tempo markings, slur, dynamic markings, ritardando,
fermata, accent, staccato, crescendo, diminuendo
Play by Ear #20
Improvisation #85, 102
Composition #119
Arranging #36, 69
Reading Music reading emphasized throughout the book, new notes and
rhythms introduced at the top of the page and are highlighted when
they first appear in the music
Notating #s 20, 119
Listening #7
42
Topic
Accent on Achievement
Form
Round, variation, 1st and 2nd endings, D.S. al Fine, D.C. al Fine
Theory (instruction not
directly related to
playing)
Staff, treble clef, bar lines, measure, double bar, time signature, ledger
lines, solo, duet, repeat sign, key signature, internal repeat, divisi,
sharp sign, pick-up notes, flat sign, natural, orchestration, multiple
measure rest, syncopation, common time
Evaluating Not mentioned in student book
Other Arts Not mentioned in student book
History Composer dates are listed under the composer’s name
Multicultural England, France, USA, Jamaica, Germany, Czechoslovakia, Mexico,
Italy, Ireland, Hawaii, Ukraine, China, Australia, Israel, Norway,
Canada, Japan, Korea, Russia, Africa, Finland, Scotland
Conducting Not mentioned in student book
43
Band Expressions, as displayed in Table 13, includes instruction related to each of the
National Standards as well as all of the ideas of comprehensive musicianship in the student book.
The teacher edition provides plans for each lesson to aid in fulfilling the goals of the National
Standards. Reminders to have students sing as well as questions to aid students in evaluating
their performances are given throughout the teacher edition. The student book includes an
assignment that requires singing, mentions other arts, and thoroughly covers the majority of
topics displayed below.
Table 13 Adherence to National Standards and Inclusion of Comprehensive Musicianship
Topic
Band Expressions
Singing
Page 4 assignment (lesson 3, activity 2)
Solos/Duets
Solos: #15, p.25 (2 solos), #s 154, 182, p.51 (1 solo);
Duets: #s 24, 27, 28, 29, 30, 38, 40, 137, 160, p. 51 (1 duet)
Varied Repertoire
Music from various countries (see Multicultural) and use of
contrasting genres (traditional, Classical, Romantic, Baroque,
folk songs, popular, jazz, swing, world, musicals, marches, rock)
Posture Description and pictures on page 3
Playing Position Description and pictures on page 3
Breathing Teacher presents breathing; practice exercises on pages 4 and 5
Expression
Breath mark dynamics, legato, staccato, tenuto, crescendo,
decrescendo, tempo markings, accent, ritardando, #s 42, 47, 99,
110, 124, 146, 155, and 183—composition through expression
44
Topic
Band Expressions Play by Ear
Page 15: assignment 2.4, #58, p.21: assignment 2.2, p.39:
assignment 1.2 Improvisation
Pages 40, 41 plus definition
Composition
#s 11, 42, 47, 99, 110, 124, 146, 183
Arranging #s 16, 155
Reading
Music reading emphasized throughout the book, new notes and
rhythms introduced at the top of the page and are highlighted
when they first appear in the music; sight-reading, subdivide, and
rehearsal numbers defined; sight-reading procedure map
presented on page 22
Notating Page 9, #155; exercises listed under composition and arranging
require notation
Listening Intonation, balance
Form
Canon, chorale, phrase, melody, anacrusis, march, ostinato, 1st
and 2nd endings, Da Capo, Dal Segno, Fine, introduction
45
Topic
Band Expressions Theory (instruction not
directly related to playing)
Bar line, fermata, final bar line, flat sign, clef, grand staff,
interval, ledger lines, measure, musical alphabet, rhythm, sharp
sign, time signature, rest, soli, tutti, solo, duet, harmony, key, key
signature, musical line, unison, tempo, chord, accidental, concert
pitch, natural, multiple measure rest, measure repeat sign,,
syncopation, half step, scale, whole step, transposition chart on
page 20
Evaluating Critique, style, p.25: Unit 13 assignment 2.3, p.51: assignment 4
Other Arts
Painting to represent graphic notation (p.5), Korean painting,
African painting
History
John Williams, Percy Grainger, Gustav Holst, Aaron Copland,
mariachi, George Gershwin, drum circle, Duke Ellington, John
Philip Sousa, Johann Sebastian Bach
Multicultural
USA, Germany, England, Wales, Latin America, Africa, Spain,
France, Ecuador, Holland, Czechoslovakia, Scotland, Israel,
Jamaica, Norway, Mexico, Chile, Austria, Russia, Japan, Korea,
China, Puerto Rico, Ghana, Liberia, South Africa, Brazil,
Australia, Italy
Conducting Pages 5, 18, 30 (4/4, 3/4, 2/4)
46
Table 14 illustrates that singing, playing by ear, and other arts are the topics not covered
in the Essential Elements 2000 student book. The teacher edition provides teaching tips above
most instructional pieces, but it provides no additional information to address singing, playing by
ear, or other arts. While the student book provides some instruction in arranging, evaluating, and
playing with a correct posture, Essential Elements 2000 supplies definitions for an extensive list
of theory related terms, provides examples of conducting patterns (2/4, 3/4, and 4/4), and
includes many facts about various composers and musical genres while making connections to
other cultures and historical events.
47
Table 14 Adherence to National Standards and Inclusion of Comprehensive Musicianship
Topic
Essential Elements 2000 Plus DVD Singing
Not mentioned in student book
Solos/Duets Solos: #s 118, 185; Duets: #s 22, 30, 53, 79, 103, 109, 131(trio),
177, 186, 187
Varied Repertoire Music from various countries (see Multicultural) and use of
contrasting genres (folk songs, traditional, Classical, marches,
blues, Romantic, Baroque, spirituals, world, jazz)
Posture “Spine straight and tall, Shoulders back and relaxed, Feet flat on
the floor” (Page 2)
Playing Position Description and 2 drawings on page 3
Breathing Breathing process explained on page 2
Expression Breath mark, dynamics, tempo markings, crescendo,
decrescendo, accent, slur, tie, phrase
Play by Ear Not mentioned in student book
Improvisation #85, 1 exercise on page 44 plus definition
Composition #72, 4 exercises on page 44
Arranging #137
Reading Music reading is emphasized throughout the book, new notes and
rhythms are introduced prior to the first appearance in the music
and new notes are highlighted when they first appear in the music
48
Topic
Essential Elements 2000 Plus DVD Notating
#19; exercises listed under composition and arranging require
notation
Listening #s 104, 148, 153
Form 1st and 2nd endings, theme and variations, D.C. al Fine
Theory (instruction not
directly related to playing)
Music staff, ledger lines, measure, bar lines, beat, rest, double
bar, repeat sign, treble clef, time signature, sharp sign, flat sign,
natural, duet, key signature, fermata, harmony, pick-up notes,
accidental, multiple measure rest, interval, solo, duet, trio, repeat
signs, common time, scale, soli, enharmonics, chromatic scale
Evaluating #104
Other Arts Not mentioned in student book
History History of the instrument on page 1, paragraph history on:
Mozart, Rossini, Stephen Collins Foster, Edvard Grieg, Bach,
Franz Schubert, Haydn, Saint Saens, Beethoven, Tchaikovsky,
Latin American music, Japanese folk music, African American
spirituals, Ragtime, Boogie-woogie, blues, “Hatikvah,” Canadian
National Anthem
Multicultural USA, France, England, Italy, Germany, Canada, Latin America,
Japan, Caribbean, Africa, Norway, Scotland, Czechoslovakia,
Austria, Australia, Finland, Israel, Russia, China, Mexico
Conducting Pages 11, 15, and 26 (2/4, 3/4, 4/4)
49
As displayed in Table 15, Standard of Excellence does not mention singing,
improvisation, arranging, listening, other arts, or conducting in the student book, but the teacher
edition provides additional assistance in teaching these topics. The director is instructed to have
students sing many of the instructional pieces before attempting to play them. The teacher
edition also supplies questions to ask students in order to help them develop listening skills.
Suggestions are made to find recordings of professional musicians on each instrument as well as
recordings of professional ensembles playing “real versions” of instructional pieces. For
example, the teacher could play a recording of the William Tell Overture after students learn to
play Go Tell Bill. This might provide students with a model for proper tone and musical style as
well as an opportunity to hear the piece in its entirety.
Directors are also encouraged to teach students about other arts. When students are
learning music from various musical time periods, directors are encouraged to “compare and
contrast compositions and visual works of art” from that period (p. 168). The author also
suggests teaching conducting patterns to the students, and a reproducible page of conducting
patterns (2/4, 3/4, and 4/4) is included on page 529 of the teacher edition. Pearson describes
improvisation in an appendix section of the teacher edition as a worthwhile addition to the
curriculum (p. 569), but arranging is not mentioned in the teacher edition. While these are
helpful ideas for enhancing instruction, it would take extra time to locate the materials necessary
to integrate these concepts. Standard of Excellence defines only a small number of theory related
terms and contains no instructional pieces related to improvisation; however, this method
provides questions for evaluation under some instructional pieces and supplies many
opportunities for solo performance in the student book.
50
Table 15 Adherence to National Standards and Inclusion of Comprehensive Musicianship
Topic
Standard of Excellence Singing
Not mentioned in student book
Solos/Duets Solos: #s 26, 27, 38, 42, 51, 75, p.20, #97, p.36; Duets: #s 13, 24,
32, 77, 119, 121, 135, 138, 144
Varied Repertoire Music from various countries (see Multicultural) and use of
contrasting genres (folk songs, traditional, Classical, Romantic,
Baroque, spirituals, world, marches)
Posture 5 step process listed with a drawing on page 3
Playing Position 5 step process listed with a drawing of a proper embouchure on
page 3
Breathing “Take a full breath of air.” (page 3)
Expression
Breath mark, phrase, slur, dynamics, accent, tempo markings,
crescendo, decrescendo, ritardando, tie
Play by Ear #60
Improvisation Not mentioned in student book
Composition #s 90, 110, 137, 150
Arranging Not mentioned in student book
51
Topic
Standard of Excellence Reading
Music reading is emphasized throughout the book, new rhythms
are introduced at the top of the page, and new notes are
introduced at the beginning of the line and labeled when they first
appear in the music
Notating #60; composition exercises require notation
Listening Not mentioned in student book
Form 1st and 2nd endings, D.C. al Fine,
Theory (instruction not
directly related to playing)
Treble clef, time signature, ledger line, bar lines, staff, measures,
solo, soli, tutti, fermata, common time, repeat sign, key signature,
divisi, unison, pick-up note, flat sign, natural, one measure repeat
sign, long rest, sharp sign
Evaluating Assessment questions under some exercises such as “Are you
playing with a good embouchure and hand position?”
Other Arts Not mentioned in student book
History History of the instrument on page 48
Multicultural Wales, England, France, USA, Norway, Mexico, West Indies,
Italy, Germany, Latin America, Australia, Czechoslovakia,
China, Russia, Canada, Japan, Scotland
Conducting Not mentioned in student book
52
As displayed in Table 16, Yamaha Advantage provides no instruction in singing,
arranging, other arts, or conducting in the student book. These topics could be integrated into the
curriculum, but the teacher edition provides limited assistance. Teaching tips provided on pages
60 and 66 in the teacher edition recommend having students sing in order to develop pitch
accuracy and proper tone quality. Page 136 suggests having students arrange their compositions
for other instruments. The authors also propose working with other teachers to “expand cross-
curricular efforts” (p. 239). Conducting is not mentioned in the teacher edition. The student
method provides a short explanation for breathing and refers to evaluation only once, but
Yamaha Advantage provides four opportunities for playing by ear and includes 16 duets.
Table 16 Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Topic
The Yamaha Advantage
Singing
Not mentioned in student book
Solos/Duets Solos: #s 40, 47, 67, 80, p.36 (1 solo), p.38 (1 solo); Duets: #s 13,
20, 26, 31, 37, 43, 49, 61, 85, 93, 105, 118, 124, 131, 144, 151
Varied Repertoire Music from various countries (see Multicultural) and use of
contrasting genres (traditional, folk songs, Classical, Romantic,
Baroque, world, marches, rock)
Posture Description and picture on page 3
Playing Position Description and picture on page 3
53
Topic
The Yamaha Advantage Breathing
“Take a full breath.” (page 3)
Expression Tempo markings, breath mark, dynamics, crescendo, accent,
staccato, decrescendo, ritardando, legato, tenuto, reminders to
play with dynamics, etc. are given under a few exercises
Play by Ear #s 19, 42, 92, 162
Improvisation #s 104, 137, 156
Composition #s 66, 104, 137, 156
Arranging Not mentioned in student book
Reading Music reading is emphasized throughout the book, new notes and
rhythms are introduced at the top of the page and are highlighted
when they first appear in the music
Notating Composition exercises require notation
Listening Listening warm-up (#80)
Form Introduction, 1st and 2nd endings, round, theme and variations,
phrase, 12 bar blues, Da Capo, Fine, Dal Segno
Theory (instruction not
directly related to playing)
Time signature, treble clef, ledger line, double bar, bar lines,
measure, repeat sign, duet, multiple measure rest, key signature,
concert key of Bb, scale, solo, soli, tutti, divisi, unison, flat sign,
sharp sign, natural sign, concert key of F, fermata, concert key of
Eb, chord progression, common time, pick-up notes
Evaluating Comparison of performances (#98)
54
Topic
The Yamaha Advantage Other Arts
Not mentioned in student book
History Composer dates are listed under the composer’s name
Multicultural USA, England, Germany, Jamaica, Korea, France, Mexico, Italy,
Israel, Native American, Australia, Russia, Wales, Hungary,
China, Japan, Netherlands, India, Scotland
Conducting Not mentioned in student book
55
CHAPTER V
DISCUSSION
Conclusions and Recommendations
Singing is recognized in the first of the nine National Standards for Music Education and
is considered part of a comprehensive music education. Singing helps students develop pitch
accuracy and proper tone quality (Clark & Feldstein, 2001, p. 60). As displayed in Table 17,
Band Expressions is the only band method reviewed in this study to include singing; however,
Band Expressions requires students to sing in only one assignment. No matter what method used,
fulfilling the requirements of the first National Standard is the teacher’s responsibility. This
could easily be achieved by singing during warm-ups, or as suggested by the authors of Accent
on Achievement, Band Expressions, Standard of Excellence, and Yamaha Advantage, singing
instructional pieces before sight-reading and/or during the learning process.
Table 17
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Singing Accent on Achievement
Not mentioned in student book
Band Expressions Page 4 assignment (lesson 3, activity 2)
Essential Elements 2000 Not mentioned in student book
Standard of Excellence Not mentioned in student book
Yamaha Advantage Not mentioned in student book
56
“Performing on instruments, alone and with others, a varied repertoire of music” is the
second National Standard and a fundamental requirement of comprehensive musicianship. All
band methods focus on performance, but the number of solo and duet examples varies greatly
among methods. Table 18 illustrates that Standard of Excellence provides the most opportunities
for solo performance while Yamaha Advantage contains the largest number of duets.
Table 18 Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Solos/Duets
Accent on Achievement
Solos: p.34; Duets: #s 11, 16, 28, 39, 45, 50, 68, 79, 82, 93, 111, 113, 117, 120, 127
Band Expressions Solos: #15, p.25 (2 solos), #s 154, 182, p.51 (1 solo); Duets: #s 24, 27, 28, 29, 30, 38, 40, 137, 160, p.51 (1 duet)
Essential Elements 2000 Solos: #s 118, 185; Duets: #s 22, 30, 53, 79, 103, 109, 131 (trio),
177, 186, 187
Standard of Excellence Solos: #s 26, 27, 38, 42, 51, 75, p.20, #97, p.36; Duets: #s 13, 24,
32, 77, 119, 121, 135, 138, 144
Yamaha Advantage Solos: #s 40, 47, 67, 80, p.36 (1 solo), p.38 (1 solo); Duets: #s 13,
20, 26, 31, 37, 43, 49, 61, 85, 93, 105, 118, 124, 131, 144, 151
57
The second standard also requires use of a varied repertoire. As displayed in Tables 19
and 36, all five methods contain music from contrasting genres, but Band Expressions utilizes
music from the greatest number of cultures.
Table 19
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Varied Repertoire Accent on Achievement
Music from various countries (see Multicultural) and uses of
contrasting genres (folk songs, traditional, Classical, march,
Romantic, blues, Baroque)
Band Expressions Music from various countries (see Multicultural) and use of
contrasting genres (traditional, Classical, Romantic, Baroque, folk
songs, popular, jazz, swing, world, musicals, marches, rock)
Essential Elements 2000 Music from various cultures (see Multicultural) and use of
contrasting genres (folk songs, traditional, Classical, marches, blues,
Romantic, Baroque, spirituals, world, jazz)
Standard of Excellence Music from various countries (see Multicultural) and use of
contrasting genres (folk songs, traditional, Classical, Romantic,
Baroque, spirituals, world, marches)
Yamaha Advantage Music from various countries (see Multicultural) and use of
contrasting genres (traditional, folk songs, Classical, Romantic,
Baroque, world, marches, rock)
58
The following five tables display achievement standards listed as demonstration of
fulfilling the goal of “performing on instruments.” Good posture, proper playing position, breath
support, expression, and playing by ear all help demonstrate the achievement of the second
standard. Essential Elements 2000 provides a limited description of posture (Table 20); the other
methods provide a more detailed description as well as a picture or drawing.
Table 20
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Posture Accent on Achievement
Description and picture on page 3
Band Expressions Description and pictures on page 3
Essential Elements 2000 “Spine straight and tall, Shoulders back and relaxed, Feet flat on the
floor” (page 2)
Standard of Excellence 5 step process listed with a drawing on page 3
Yamaha Advantage Description and picture on page 3
59
Each method provides at least one picture or drawing of a proper playing position, but
with five pictures of real students, including a close-up embouchure picture, Band Expressions,
as illustrated in Table 21, best displays proper playing position.
Table 21
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Playing Position Accent on Achievement
Description and picture on page 3
Band Expressions Description and pictures on page 3
Essential Elements 2000 Description and 2 drawings on page 3
Standard of Excellence 5 step process listed with a drawing of a proper embouchure on
page 3
Yamaha Advantage Description and picture on page 3
60
Table 22 displays each method’s explanation of breathing. Essential Elements 2000
provides a list of steps that logically leads students through the breathing process. Band
Expressions provides practice exercises for breathing, but the teacher must provide the
explanation.
Table 22
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Breathing Accent on Achievement
Explanation on page 4
Band Expressions Teacher presents breathing; practice exercises on pages 4 and 5
Essential Elements 2000 Breathing process explained on page 2
Standard of Excellence “Take a full breath of air.” (page 3)
Yamaha Advantage “Take a full breath.” (page 3)
61
While all five methods present musical terms that aid in expression, Band Expressions, as
illustrated in Table 23, provides eight “Composition through Expression” exercises that require
students to experiment with various expressive musical markings.
Table 23
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Expression Accent on Achievement
Breath mark, tie, tempo markings, slur, dynamic markings,
ritardando, fermata, accent, staccato, crescendo, diminuendo
Band Expressions Breath mark, dynamics, legato, staccato, tenuto, crescendo,
decrescendo, tempo markings, accent, ritardando, #s 42, 47, 99,
110, 124, 146, 155, and 183—“Composition through Expression”
Essential Elements 2000 Breath mark, dynamics, tempo markings, crescendo, decrescendo,
accent, slur, tie, phrase
Standard of Excellence Breath mark, phrase, slur, dynamics, accent, tempo markings,
crescendo, decrescendo, ritardando, tie
Yamaha Advantage Tempo markings, breath mark, dynamics, crescendo, accent,
staccato, decrescendo, ritardando, legato, tenuto, reminders to play
with dynamics, etc. are given under a few exercises
62
As displayed in Table 24, Band Expressions and Yamaha Advantage provide four
opportunities for students to play by ear.
Table 24
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Play by Ear Accent on Achievement
#20
Band Expressions Page 15: assignment 2.4, #58, p.21: assignment 2.2, p.39:
assignment 1.2
Essential Elements 2000 Not mentioned in student book
Standard of Excellence #60
Yamaha Advantage #s 19, 42, 92, 162
63
Both the third National Standard and comprehensive musicianship mandate that band
students be able to improvise. Standard of Excellence is the only band method that does not
include instructional pieces related to improvisation in the student book. The other four band
methods provide a comparable number of instructional pieces on improvisation, but, as
illustrated in Table 25, only Band Expressions and Essential Elements 2000 define the term.
Table 25
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Improvisation Accent on Achievement
# 85, 102
Band Expressions Pages 40, 41 plus definition
Essential Elements 2000 #85, 1 exercise on page 44 plus definition
Standard of Excellence Not mentioned in student book
Yamaha Advantage #s 104, 137, 156
64
Composition and arranging are significant parts of comprehensive musicianship and
listed as National Standard 4. These band methods contain at least one instructional piece that
focuses on composition, but Band Expressions, as displayed in Table 26, provides the greatest
number of opportunities for student composition.
Table 26
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Composition Accent on Achievement
#119
Band Expressions #s 11, 42, 47, 99, 110, 124, 146, 183
Essential Elements 2000 #72, 4 exercises on page 44
Standard of Excellence #s 90, 110, 137, 150
Yamaha Advantage #s 66, 104, 137, 156
65
Table 27 displays the number of times three of the methods ask students to arrange.
Standard of Excellence and Yamaha Advantage include no instructional pieces on arranging. It is
suggested once in the teacher edition of Yamaha Advantage.
Table 27
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Arranging Accent on Achievement
#36, 69
Band Expressions #s 16, 155
Essential Elements 2000 #137
Standard of Excellence Not mentioned in student book
Yamaha Advantage Not mentioned in student book
66
Standard five, as well as comprehensive musicianship, requires that students know how
to read and notate music. As written in Table 28, music reading is emphasized in each band
method and new notes and rhythms are introduced and reinforced in a similar manner.
Table 28
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Reading Accent on Achievement
Music reading emphasized throughout the book, new notes and
rhythms introduced at the top of the page and are highlighted when
they first appear in the music
Band Expressions Music reading emphasized throughout the book, new notes and
rhythms introduced at the top of the page and are highlighted when
they first appear in the music; sight-reading, subdivide, and
rehearsal numbers defined; sight-reading procedure map on page 22
Essential Elements 2000 Music reading is emphasized throughout the book, new notes and
rhythms are introduced prior to the first appearance in the music and
new notes are highlighted when they first appear in the music
Standard of Excellence Music reading is emphasized throughout the book, new rhythms are
introduced at the top of the page, and new notes are introduced at the
beginning of the line and labeled when they first appear in the music
Yamaha Advantage Music reading is emphasized throughout the book, new notes and
rhythms are introduced at the top of the page and are highlighted
when they first appear in the music
67
All five methods provide students with an opportunity to notate music, but as displayed
in Table 29, Band Expressions contains more instructional pieces that deal with notation.
Table 29
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Notating Accent on Achievement
#s 20, 119
Band Expressions Page 9, #155; exercises listed under composition and arranging
require notation
Essential Elements 2000 #19; exercises listed under composition and arranging require
notation
Standard of Excellence #60; composition exercises require notation
Yamaha Advantage Composition exercises require notation
68
Standard six requires students to listen to, analyze, and describe music. Listening while
performing and studying musical form and theory are important ways to achieve the goals of this
standard. As illustrated in Table 30, Band Expressions explains intonation and balance while
Essential Elements 2000 contains three instructional pieces that ask students to listen for musical
details while playing. While listening is not mentioned in the Standard of Excellence student
book, many questions are listed in the teacher edition to promote development of listening skills.
Table 30
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Listening Accent on Achievement
#7
Band Expressions Intonation, balance
Essential Elements 2000 #s 104, 148, 153
Standard of Excellence Not mentioned in student book
Yamaha Advantage Listening warm-up (#80)
69
Each band method defines musical terms related to form. Table 31 displays the terms that
each band method defines. Band Expressions provides more definitions than the other band
methods.
Table 31
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Form Accent on Achievement
Round, variation, 1st and 2nd endings, D. S. al Fine, D. C. al Fine
Band Expressions Canon, chorale, phrase, melody, anacrusis, march, ostinato, 1st and
2nd endings, Da Capo, Dal Segno, Fine, introduction
Essential Elements 2000 1st and 2nd endings, theme and variations, D.C. al Fine
Standard of Excellence 1st and 2nd endings, D.C. al Fine
Yamaha Advantage Introduction, 1st and 2nd endings, round, theme and variations,
phrase, 12 bar blues, Da Capo, Fine, Dal Segno
Band methods provide instruction in music theory by defining several musical terms
(listed in Table 32) and providing corollary exercises. Band Expressions defines the greatest
number of theory related terms while Standard of Excellence defines the fewest.
70
Table 32
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Theory (instruction not directly related to playing) Accent on Achievement
Staff, treble clef, bar lines, measure, double bar, time signature, ledger lines, solo, duet, repeat sign, key signature, internal repeat, divisi, sharp sign, pick-up notes, flat sign, natural, orchestration, multiple measure rest, syncopation, common time
Band Expressions Bar line, fermata, final bar line, flat sign, clef, grand staff, interval,
ledger lines, measure, musical alphabet, rhythm, sharp sign, time
signature, rest, soli, tutti, solo, duet, harmony, key, key signature,
musical line, unison, tempo, chord, accidental, concert pitch, natural,
multiple measure rest, measure repeat sign, syncopation, half step,
scale, whole step; transposition chart on page 20
Essential Elements 2000 Music staff, ledger lines, measure, bar lines, beat, rest, double bar,
repeat sign, treble clef, time signature, sharp sign, flat sign, natural,
duet, key signature, fermata, harmony, pick-up notes, accidental,
multiple measure rest, interval, solo, duet, trio, repeat signs,
common time, scale, soli, enharmonics, chromatic scale
Standard of Excellence Treble clef, time signature, ledger lines, bar lines, staff, measures,
solo, soli, tutti, fermata, common time, repeat sign, key signature,
divisi, unison, pick-up note, flat sign, natural, one measure repeat
sign, long rest, sharp sign
71
Band Method
Theory (instruction not directly related to playing) Yamaha Advantage
Time signature, treble clef, ledger line, double bar, bar lines,
measure, repeat sign, duet, multiple measure rest, key signature,
concert key of Bb, scale, solo, soli, tutti, divisi, unison, flat sign,
sharp sign, natural sign, concert key of F, fermata, concert key of Eb,
chord progression, common time, pick-up notes
72
Comprehensive musicianship and the seventh standard require students to evaluate music
and music performances. As shown in Table 33, Accent on Achievement does not include
evaluation, and Essential Elements 2000 and Yamaha Advantage refer to it only once. Questions
for evaluation are included in the teacher editions of these methods. Standard of Excellence asks
students to evaluate their performances in some exercises, and Band Expressions gives students
evaluation assignments.
Table 33
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Evaluating Accent on Achievement
Not mentioned in student book
Band Expressions Critique, style, p.25: Unit 13 assignment 2.3, p.51: assignment 4
Essential Elements 2000 #104
Standard of Excellence Assessment questions under some exercises such as “Are you
playing with a good embouchure and hand position?”
Yamaha Advantage Comparison of performances (#98)
73
The eighth standard insists that students demonstrate an understanding of the
relationships between music, the other arts, and disciplines outside the arts. Inclusion of music
from a variety of cultures and historical facts about composers and their works helps students
using these band methods make connections to other subjects (e.g. social studies or history), but
most band methods lack information about other arts. As displayed in Table 34, Band
Expressions is the only method to include any other arts in the student book. The teacher editions
for Accent on Achievement and Yamaha Advantage recommend integrating other arts, and the
Standard of Excellence teacher’s book provides several suggestions for achieving this goal.
Table 34
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Other Arts Accent on Achievement
Not mentioned in student book
Band Expressions Painting to represent graphic notation (p.5), Korean painting,
African painting
Essential Elements 2000 Not mentioned in student book
Standard of Excellence Not mentioned in student book
Yamaha Advantage Not mentioned in student book
74
The final standard calls for students to understand music in relation to history and culture.
Table 35 displays how each method provides instruction on music in relation to history.
Essential Elements 2000 provides a history of the instrument and a paragraph on several
composers and musical cultures.
Table 35
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
History Accent on Achievement
Composer dates are listed under the composer’s name
Band Expressions John Williams, Percy Grainger, Gustav Holst, Aaron Copland,
mariachi, George Gershwin, drum circle, Duke Ellington, John
Philip Sousa, Johann Sebastian Bach
Essential Elements 2000 History of the instrument on page 1, paragraph history on: Mozart,
Rossini, Stephen Collins Foster, Edvard Grieg, Bach, Franz
Schubert, Haydn, Saint Saens, Beethoven, Tchaikovsky, Latin
American music, Japanese folk music, African American spirituals,
Ragtime, Boogie-woogie, blues, “Hatikvah,” Canadian National
Anthem
Standard of Excellence History of the instrument on page 48
Yamaha Advantage Composer dates are listed under the composer’s name
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Music from various countries is included in each band method. Table 36 illustrates that
Band Expressions includes music from the largest number of cultures.
Table 36
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Multicultural Accent on Achievement
England, France, USA, Jamaica, Germany, Czechoslovakia,
Mexico, Italy, Ireland, Hawaii, Ukraine, China, Australia, Israel,
Norway, Canada, Japan, Korea, Russia, Africa, Finland, Scotland
Band Expressions USA, Germany, England, Wales, Latin America, Africa, Spain,
France, Ecuador, Holland, Czechoslovakia, Scotland, Israel,
Jamaica, Norway, Mexico, Chile, Austria, Russia, Japan, Korea,
China, Puerto Rico, Ghana, Liberia, South Africa, Brazil, Australia,
Italy
Essential Elements 2000 USA, France, England, Italy, Germany, Canada, Latin America,
Japan, Caribbean, Africa, Norway, Scotland, Czechoslovakia,
Austria, Australia, Finland, Israel, Russia, China, Mexico
Standard of Excellence Wales, England, France, USA, Norway, Mexico, West Indies, Italy,
Germany, Latin America, Australia, Czechoslovakia, China, Russia,
Canada, Japan, Scotland
Yamaha Advantage USA, England, Germany, Jamaica, Korea, France, Mexico, Italy,
Israel, Native American, Australia, Russia, Wales, Hungary, China,
Japan, Netherlands, India, Scotland
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While conducting is not included in the National Standards, it is a significant requirement
of a comprehensive music education. As Table 37 displays, only Band Expressions and Essential
Elements 2000 provide instruction in conducting. The Standard of Excellence teacher edition
recommends teaching conducting patterns to the students. While teaching conducting may
reinforce meter and help students understand the conductor’s patterns, the authors of the other
methods may consider it a skill that beginning band students will never use and therefore provide
no instruction on the topic.
Table 37
Adherence to the National Standards and Inclusion of Comprehensive Musicianship
Band Method
Conducting Accent on Achievement
Not mentioned in student book
Band Expressions Pages 5, 18, 30 (4/4, 3/4, 2/4)
Essential Elements 2000 Pages 11, 15, and 26 (2/4, 3/4, 4/4)
Standard of Excellence Not mentioned in student book
Yamaha Advantage Not mentioned in student book
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Summary
Research has shown that providing students with a comprehensive music education
produces musicians who are knowledgeable about music history, theory, and musical style, and
who perform as well, or better, than students taught only performance skills (Austin, 1998;
Culbert, 1974; Whitener, 1981). The National Standards for Music Education, published in 1994
by the Music Educators National Conference, are simply a “repackaging” of the ideas of
comprehensive musicianship that have been emphasized since the 1960s (Austin, 1998; Pearson,
2001). Some current music educators are required to fulfill the goals of the National Standards
(Hoffer, 2001, p. 52), but not many actually do. Cargill found that 24% of high school band
directors had access to comprehensive materials, but of that group, only 8% actually used them
in teaching (1987, p. 128). Moreover, while 30% of the directors thought they were teaching
comprehensively, only 15% demonstrated evidence of comprehensive musicianship in their
teaching (p. 129). Band directors cite a lack of planning and rehearsal time as well as a lack of
suitable materials as reasons for not teaching comprehensively (Austin, 1998, p. 30; Byo, 1999,
p. 112), yet this task could be simplified for beginning band teachers with the use of a band
method that already integrates these concepts.
The authors of the five band methods reviewed in this thesis claim to adhere to the
National Standards. While Standard of Excellence, Accent on Achievement, Yamaha Advantage,
and Essential Elements 2000 assist band directors in providing comprehensive instruction and
adhering to the National Standards, each of these methods requires use of supplementary
materials in order to address all of the topics reviewed in this thesis. If a lack of time and
materials inhibits teachers from providing comprehensive instruction and adhering to the
78
National Standards (Austin, 1998, p. 30; Byo, 1999, p. 112), then directors need a band method
that integrates all of these concepts into the student book.
Band Expressions is the only band method reviewed that contains material related to all
21 topics reviewed in this thesis. The authors assert that the “National Standards are the
foundation for every lesson,” and their prescribed curriculum validates this claim. The back
cover of the student book provides the following instructions to students, explaining what they
will be doing as they study an instrument using Band Expressions:
o Play great songs such as “The Hey Song,” “Wipe Out,” and “Celebrate.”
o Listen to and play a variety of styles of music including popular, traditional, classical,
folk, and patriotic.
o Become a well-rounded percussionist by learning to play more than 25 different
instruments.
o Read and write music; compose and arrange music.
o Perform in a concert and play for your family and friends.
o Be a conductor of the band.
o Learn about composers such as John Williams, Percy Grainger, Gustav Holst, Aaron
Copland, George Gershwin, Duke Ellington, and John Philip Sousa.
o Discover how music and art are related.
o Learn about concert bands, marching bands, jazz ensembles, and small ensembles.
o Improvise and play jazz.
o Play music from all around the world, including North America, Europe, Latin
America, Asia, and Africa.
o Play along with professional musicians on the enclosed CD at home and in class.
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The authors insist that Band Expressions aids teachers in fulfilling the goals of the National
Standards, and the findings of this study agree with the authors’ claims.
Band Expressions contains music from the greatest number of cultures and is the only
band method reviewed that includes singing or other arts in the student book. Band Expressions
contains five pictures of real students displaying the proper playing position that assist students
in learning to hold the instrument properly. This band method requires the use of expression
through composition, introduces conducting patterns, and provides opportunities for arranging
music and evaluating performances. Information about eight composers, as well as pictures of
these musicians is included throughout the student book. Band Expressions also provides
opportunities for students to play by ear and includes information and instructional pieces related
to jazz and improvisation. This band method defines more terms related to formal design,
contains more theory related items, and supplies more opportunities for composition and notation
than the other methods reviewed. The amount of material and number of instructional pieces
related to each topic indicates Band Expressions adheres to the National Standards and helps
provide a comprehensive music education.
While Standard of Excellence claims to be an “enhanced comprehensive band method,”
the student book omits six of the 21 topics relating to the National Standards and comprehensive
musicianship. If directors take time to find supplementary materials in order to implement the
ideas in the teacher edition, however, this method includes all topics except arranging. While this
book provides the most opportunities for solo performance, it contains the fewest number of
theory related terms and is the only method reviewed that does not provide instructional pieces
related to improvisation.
80
Accent on Achievement and Yamaha Advantage each omit four of 21 topics in the student
book. Accent on Achievement contains no instructional pieces related to singing, evaluating,
other arts, or conducting, but by implementing additional materials cited in the teacher edition,
only conducting is omitted. This method includes limited opportunities for student
improvisation, composition, and arranging, but it does contain numerous duets and music from
many cultures. Yamaha Advantage does not consider singing, arranging, other arts, or conducting
in the student book. Employing ideas from the teacher’s book would result in instruction in all
topics except conducting. Yamaha Advantage provides poor instructions for breathing, (“Take a
full breath.”), but this method supplies the largest number of duets and provides four
opportunities for playing by ear.
Essential Elements 2000 omits instructional pieces on only three topics: singing, playing
by ear, and other arts, but the teacher edition provides no assistance in implementing instruction
in these topics. This method provides only one opportunity for arranging music but supplies a
clear and concise explanation of breathing. While the book does not ask students to play by ear,
it contains an extensive list of theory related terms, provides numerous musical facts in relation
to history and other cultures, and displays conducting patterns.
This study reviewed five beginning band methods for inclusion of comprehensive
musicianship principles and adherence to the National Standards for Music Education. The
number of times each band method addresses a National Standard or principle of comprehensive
musicianship was charted. The findings displayed in tables throughout this chapter illustrate that
Band Expressions is the only method reviewed that includes all of the topics related to the
National Standards and comprehensive musicianship. If a lack of time and materials prevents
teachers from providing comprehensive instruction and adhering to the National Standards
81
(Austin, 1998, p. 30; Byo, 1999, p. 112), the solution would be to use a band method that already
integrates all of these concepts. While band directors can achieve the goals of the National
Standards and comprehensive musicianship by combining their musical knowledge and talents
with any beginning band method, the results of this study show that Band Expressions could
simplify this task.
Suggestions for Further Research
The topics reviewed in this thesis are items band directors should consider when
determining the appropriate band method for a specific class. Although it was beyond the scope
of this project, researchers might also be interested in comparing how various methods provide
instruction for uncommon or more difficult beginner instruments. It is difficult for young
students to begin with oboe because producing accurate pitches with an appropriate sound is a
challenge. Beginning bassoonists have the difficult task of learning awkward fingerings while
beginning horn players are challenged by the note range required to play in unison with the band.
Beginning percussionists are confronted with the challenge of gaining proficiency on more than
one instrument. A future study might review the various methods of instruction for oboe,
bassoon, horn, or percussion to determine which methods allow for the greatest success for these
beginning students. It might be beneficial to compare instruction in the band methods to
instruction provided in instrument specific methods used for private instruction.
It is crucial that band directors approve of the method used to teach their students, but if
students enjoy using the band method required for their class, they might be more motivated to
practice and succeed. Studies on band methods are generally concerned with helping teachers
determine if they would like to use a specific method, but it would be worthwhile to consider the
opinions of beginning band students when determining which book to use. A future study might
82
review how well students learn certain concepts when a specific band method is used for
instruction. A study might also allow students an opportunity to share opinions on how they use
and why they like or dislike a certain method and its supplementary materials.
In 1973, Texter conducted a review of all known beginning band methods published in
the United States. She found that band methods published before 1973 did not facilitate
comprehensive teaching (1975, p. 191). Twenty years later, Heavner’s (1995) review of
beginning band methods found that a comprehensive musicianship curriculum was evident in
band methods in use at that time. The promotion of the idea of comprehensive musicianship
seems to have prompted a change in the content of beginning band methods. A future study
might compare band methods in use before the publication of the National Standards with those
currently in use. An examination of these band methods might reveal whether the National
Standards provoked a change in content and structure.
83
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