historical and philosophical foundations in music...

MMED605MichelleFellaPrzybylowski musicharp4@gmail.comTheUniversityoftheArts320S.BroadStreetPhiladelphia,PA19102uarts.educs.uarts.edu/sms

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Historical and Philosophical Foundations in Music Education MMED 605 Summer2016

MichelleFellaPrzybylowskiContactPhone:[email protected]

Required Text: Mark, Michael L., and Patrice Madura. Contemporary Music Education. 4th ed. Boston: SCHIRMER, 2014.

*This text must be purchased by the student, it is not provided.

Program Objectives This is an intensive course of study of the historical and philosophical foundations of music education. This course will encapsulate both the history of music education beginning in 500 BC in Rome through the United Stated from the Colonial period to modern times, and a philosophical emphasis on twentieth and twenty-first century thought and movements in American music education. These movements and philosophies will be analyzed in terms of their impact and effectiveness and why some have succeeded where others failed. An analysis and synthesis of ideas and events will reveal historical cycles, socio-political ramifications, and periodic reintroduction/revision of previous approaches. Current trends in American music education will be analyzed from both historical and philosophical perspectives, while making evident to learners the connections of philosophical theories and theorists, and their significance through the history of music education.

Historical Foundations will be explored and discussed the first part of each day. Philosophical Foundations will be explored, experienced, and discussed the second part of each day.

Academic Program Historical and Philosophical Foundations in Music Education is a core component of the Masters of Teaching in Music Education degree program. Through the study of the history of American music education and the integration of this knowledge with the philosophical cornerstones of music education, students will acquire a base of fundamental teaching knowledge to prepare them for success in the classroom.

Student Learning Outcomes The objectives of this course are to: 1. Develop a basic understanding of the historical roots of music education in America, cultures and time periods, and to draw conclusions about various movements, philosophies and events that have made and impact upon music education. 2. Place current movements in music education within an historical context. 3. Identify common themes in music education to compare and contrast philosophical and musical theories and theorists.


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4. Recognize the basic schools and terminology of philosophy to critically think and discuss philosophical issues in music, education, and music education. 5. Identify historical and current trends in American music education, and to analyze these trends from a philosophical perspective. 6. Give the tools to learn research, evaluation, reporting/writing methods, and to synthesize and analyze knowledge gained about the history of music education and the philosophical/theoretical implications within the field of study. 7. Analyze and compare the four Major Music Philosophies and how they impact music education. 8. Explore the most current trends in Music Education and how they have evolved and the impact they create. The modes of instruction will be through lecture and hands-on experiential studies. Students will be assessed through study, research, writing, and also their ability to apply their learning through the application of the music philosophies/theories studied.

Assessment Assessment and evaluation in this course will consist of a research component, assigned reading and writing, discussion, presentations, and critique.

Assignments All written assignments must be submitted by through Google Classroom. Your work will be assessed using a point system. The points are calculated in the following manner; your total divided by the maximum points of the total assignments. • Readings/Reflective Writings/Prepared Documets/Final Projects, Presentation and Reflections: 25 points will be appointed to work of high quality for assignments, the final project, paper, and presentation are awarded higher points. See the final assignment at the end of the syllabus. Attendance: 25 points for each morning and afternoon class if you arrive on time and attend for the full scheduled time. Any changes will be communicated with each assignment posting. University Grading Policy can be found in the UArts Catalog

Absences Attendance at all classes is mandatory, unless a medical or family emergency arises. University Attendance Policy may be found in the UArts Catalog. Your attendance each class is 25 points when you arrive on time and are present for the entire morning and afternoon session. Each minute you are late you lose an attendance point.

Technology Technology will be utilized in the class most specifically for research, writing, and presentation development. Standard software such as Microsoft word and PowerPoint and or keynote, Google Drive, and Internet are required. University Policies on Technology can be found in the UArts Catalog.

Academic Integrity Policy A primary tenet of this course is to prepare students for future professional responsibilities as teachers. The timely arrival to class as well as the daily preparation of readings and


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completion of projects is essential. Students will have an awareness of the four domains of professional responsibility for certified teachers as outlined by the state of Pennsylvania: planning and preparation, classroom environment, instructional delivery, and professionalism. Awareness, modeling and incorporation of these components are paramount to the academic integrity of this course. The application of these domains in our course will positively impact student growth and prepare future teachers for success in the classroom, school, district, and state in which they teach.

University Policy on Academic Integrity may be found in the UArts Catalog

Class Format The format for this course will occur in varied modes: research, hands-on application of philosophies and theories, reading, lecture, discussion, inquiry, and presentation.

How to be Successful in this Class Success in this class is rooted in integrity. The effort and immersion that students put into this class will directly impact their output. Attendance at class and thoughtful preparation of daily reading, writing, and other assignments will lead to success.

University Policy on Academic Progress and Student Responsibility can be found in the UArts Catalog

Disability Services Any students eligible for and requesting academic accommodations due to a disability should provide an Accommodation Form and Disability Services within the first two weeks of class.

COURSE OUTLINE and ASSIGNMENTS:

Throughout the course you will have time to work in groups to collaborate and create your Historical Timeline of Music Education beginning from the 5th C.

TIMELINES:Groupsof5-willcreateatimelineasthecourseprogresses.Eachdayyouwillmeettogatherinformation:Includedatesandeventsofmusiceducationaswellaswhatisgoingonintheworldatthetime.Attheculminationofthecourseyourgroupwillpresenttheirtimeline.Therearevariousmeansofdepictingyourtimeline.Becreative–ifyoufindanothertool,youarewelcometoimplementit.

Hereareafewlinks:http://prezi.com/

http://www.timetoast.com/

http://www.officetimeline.com/download-officetimeline.aspx

http://www.dipity.com/


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Day 1: Introductions, course syllabus review. Introduction, opening activity Explore the Music History Timeline – taking a look at music through consort music. Exploring the terminology: Method, Approach, Theory Where we are today: The Common Core State Standards: MARK p. 89 ASSIGNMENT: Mark, Michael L., and Patrice Madura. Contemporary Music Education. 4th ed. Boston: SCHIRMER, 2014.

Read Chapter 1: Social and Intellectual Foundations of Contemporary Music Education.

Reflect on the following questions (25 points)

1.MusicEducationinEarlyTimesPleaseanswerthefollowingquestions:1.WhyhasmusiceducationbeenimportanttothevarioussocietiesithasservedthroughoutWesternHistory?2.InwhatwaysdidmusiceducationearlierinWesternHistoryinfluencemusiceducationintheNewWorld?3.WhatdidthePilgrimsandPuritanshavetoovercomebeforetheycouldgivemoreattentiontothemusicoftheirchurchesservice?4.WhydidtheRegularWayofsinginginthechurchserviceeventuallywinoutovertheOldWay?5.WhydidmusiceducationdevelopsodifferentlyintheNorthernandSouthernColonies?6.Whywerethesingingschoolssopopular?7.Discussthegradualextinctionofshapenotesandtheacceptanceoftraditionalmusicalnotation.8.Discussthereasonsforthedeclineofthesingingschools. AFTERNOON SESSION:

The Approach of Emile Jaques-Dalcroze REFERENCE: Mead,VirginiaHoge.DalcrozeEurhythmicsinToday'sMusicClassroom.NewYork:Schott,1994.Print. 1. The Educational Philosophy 2. Techniques of Eurhythmics: Creative Artistry Through Movement: DVD 3. Content of Eurhythmics 4. The Thirty-Four Elements of rhythm 5. Dalcroze contribution to rhythmic theory 6. Solfege-Solfege-Rythmique and improvisation 7. Musical Interperation 8. Improvisation

Video: Creative Artistry (made available for viewing during the course) ASSIGNMENT: Read p. 98: The Approach of Emile Jaques-Dalcroze – This book calls it a Method. We will be discussing the difference in the term. Answer the following: Do you use any Dalcroze Eurhythmics in your teaching? Do you find any of the Eurhythmics applicable to your teaching?


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As you explore each of the methods/theories/approaches you will be answering questions for you to reflect on the use of these in your teaching. You will be compiling your answers for your final presentation.

Day 2: READ: MARK: Chapter 2 - Pivotal Events of the Contemporary Era

Music: A Curricular Subject The following will be discussed Lowell Mason: p. 5 Pestalozzian Education Reform Movement Johann Heinrich Pestalozzi The fundamentals of Pestalozzian Education: p. 5 William Channing Woodbridge The Boston Academy of Music The Beginnings of Music in American Schools The Magna Charta of Music Education Music Education in an Era of Industrialization Horace Mann George Loomis The National Music Course The Normal Music Course Other Series in 1860 Twentieth Century Series Thaddeus P. Giddings William Hodgdon High School Music Teacher Training Summer Schools The New Education and Music – John Dewey ASSIGNMENT: Work in groups to collaborate on your answers 2.Music:ACurricularSubject

Answerthefollowingquestions:Submitadocumentwithyournameandthemembersinyourgroup.Fortimesakeyoumayeachtakeaquestionandthensharebydiscussingyouranswers.

1.InwhatwaysdidPestalozziinfluenceAmericaneducation?MusicEducation?2.WhatwerePestalozzi's7Principals?3.WilliamChanningWoodbridgewasnotamusiceducator,buthewasoneofthemostvocalsupportersofit.Why?4.Whatwasthehistoricimportanceofthenormalinstitutes?5.WhatdirectionsmightmusiceducationhavetakenifLowellMasonhadneverbecomeinvolvedinpromotingit?6.Whyweremusiceducatorscalledsupervisors?Whatwastheirroleintheclassroom?7.WhyisCincinnatisoimportant?8.Whywasthelaterpartofthenineteenthcenturyaperiodofmaturationforthemusiceducationprofession?


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You will be assigned and Organization from Assignment 3: You will be working in small groups to prepare your presentation.

3.Organizations/Publications/FoundationsYourgroupwillbeassignedanorganization(seeboldand*)andyourgroupwillpresentthedetailsoftheassignedorganization:ThefollowingwillbediscussedonDay2&3

TheDepartmentofMusicEducationTheTeachersNationalAssociationTheAmericanAssociationofSchoolAdministratorsAcodeOfEthicsTheNationalSocietyfortheStudyofEducationTheNationalAssociationofSchoolsofMusic(NASM)MusicEducatorsNationalConference(NAfME)TheCalltoKeokuk/TheKeokukMeetingMusicForEveryChild.EveryChildforMusicAStandardCourseofStudyTheStarSpanglesBannerTheMusicSupervisorsJournalMSNC-MusicSupervisorsNationalConference1940Yearbook-PublishedbyMENC

*ContemporaryMusicProject–CMP*TheYaleSeminaronMusicEducation*TheJulliardRepertoryProject*TheTanglewoodSymposiumGOProject-GoalsandObjectivesProject*NationalStandardsforArtsEducation*Vision2020:TheHousewrightSymposiumontheFutureofMusicEducation

Includethefollowinginyourpresentation:

1.Theyearandfoundersoftheorganizationsinception.2.Thepurpose/philosophyoftheOrganization3.Theimpacttheorganizationhashadonmusiceducation.4.Thepresentstatusoftheorganization,ifitexists.5.Whydidthisneworganizationform?6.Whatmotivatedcertainpeopletobecomeprofessionalleadersofthisorganization/publication?7.Whatarethemostimportantcontributions?8.Whateffectdidtheseorganizations/publicationshaveonmusiceducation?

Uponthecompletionofeachpresentationyouwillberequiredtoreflectandsubmit4facts.

Use the following suggestions as a means of media for your presentations - PowerPoint, Keynote, Prezi (http://prezi.com/) or in .doc format. You will be sharing in class. Be sure to bring your computer and adapter for presentation. AFTERNOON SESSION: ASSIGNMENT: p. 106-111 :The Kodaly Method

The Kodaly Method REFERENCE: Choksy,Lois,andZoltánKodály.TheKodályContext.EnglewoodCliffs,NJ:


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Prentice-Hall,1981.Print. 1. Objectives of Kodaly Musical Training 2. Child Development Approach 3. The tools 4. Sequencing for learning 5. Sequence of Melody, Rhythm, and Form. 6. Combining the elements.

ASSIGNMENT: Do you use Kodaly in your teaching? Do you find any of Kodaly applicable to your teaching

Day 3: Music in Early Times Music a Curricular Subject Competency II. G, 4, 5, 6, 7, 8: Special Education Focus: The History of Music Education –class discussion Professional Education Organizations: Presentations Competency II. A. 4, 5, IV. Special Education – focus on Literacy and Intervention IDEA, etc. Models and Strategies. ASSIGNMENT READ: MARK: Chapter 3: Intellectual Currents of the Contemporary Era ThePhilosophyofMusicEducation:Twolargegroupswillbeformedandexploretheassignedphilosophy.Eachgroupwillsharedetailsofeachphilosophy.

1.Whowasthefounderofthephilosophy?Whereisitonthetimeline?2.Whatisthefocusofthephilosophy?3.Howdiditimpactmusiceducation?

Afterthepresentations,pleasesubmittheanswerstothefollowingquestions:1.BennettReimer:APhilosophyofMusicEducation–describeaestheticeducation.2.MusicEducationPhilosophy:AnInternationalPursuit–howmanypeoplewereinvolvedinthispursuit?3.PraxialPhilosophy:Whowasthemostinfluentialofthisphilosophy?Whatwastheunderlyingmeaningofthisphilosophy?4.Willtherebeoneunifiedphilosophyofmusiceducation?

ASSIGNMENT: Technology and Music Education p 147. Include the use of Smartboard, SKYPE and other 21st century technology. Meet with your group and prepare a presentation of one aspect of the use of technology as a tool for teaching music. How do you use technology in your teaching? AFTERNOON SESSON ASSIGNMENT: MARK: Read p. 102-106: The Orff Approach www.aosa.org The Orff Approach REFERENCE: Warner,Brigitte.Orff-Schulwerk:ApplicationsfortheClassroom.


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EnglewoodCliffs,NJ:PrenticeHall,1991.Print. 1. The Origins of Schulwerk 2. The Orff Process IMITATE/EXPLORE/CREATE a. Exploration of Space b. Exploration of Sound c. Exploration of Form d. Imitation to Creation e. Individual to Ensemble f. Music Literacy 3. Orff Instruments: voice and body, instrumentarium: pitched and unpitched percussion 4. The Materials

REFLECTION: Do you use any Orff Schulwerk in your teaching? Do you find any of Orff Schulwerk applicable to your teaching?

Day 4: READ: MARK Chapter 4 – Advocacy: Connecting Public Policy and Arts Educations Competency II. A. 2,3. Focus on psychological, social, cognitive and behavioral aspects of learning. AFTERNOON SESSION: ASSIGNMENT: Access Website and research Music Learning Theory: Gordon Institute of Music. Read p. 123-127

Music Learning Theory: Gordon Reference:Gordon,Edwin.LearningSequencesinMusic:Skill,Content,andPatterns.Chicago:G.I.A.Publications,1980.Print.http://www.giml.org/mlt_about.php

About Music Learning Theory 1. Audiation 2. Music Aptitude, Measuring Music Aptitude, Developmental And Stabilized 3. Methodology, Sequence, The Whole/Part/Whole Curriculum Other Central 4. Principles, Learning Sequence Activities, Discrimination Learning, Aural/Oral, Verbal Association, Partial Synthesis, Symbolic Association, Composite,

5. Synthesis, Inference Learning, Generalization, Creativity/Improvisation, Theoretical Understanding, Teaching Procedures for Learning Sequence Activities, Characteristics, Teaching Modes, Pattern Delivery, Tonal Patterns, Rhythm Patterns, Tonal Content, Tonalities, Tonal Patterns, Tonal Solfege, Rhythm Content, Elements Of Rhythm, Meters, Rhythm Functions, Rhythm Solfege, Classroom Activities, Teaching A Rote Song, Coordinating Learning Sequence Activities And Classroom Activities, Using Tonal Patterns And Rhythm Patterns During Classroom Activities

REFLECTION: Do you use any MLT in your teaching? Do you find any of MLT applicable to your teaching?

Day 5: Historical: Music Education Expands: discussion Where are we in the 21st Century? Where are we going? Where are YOU going?


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Competency V, F, G, H, I Special Education focus on integration and immersion strategies. Students will discuss how to implement these strategies in the various methods, and approaches to teaching. ASSIGNMENT: MARK: Chapter 7 & 8 PRESENTATIONS:

ASSIGNMENTS:

Uponthediscretionoftheprofessor,thesyllabusissubjecttochange.

COURSESYLLABUSGUIDELINES

GradingCriteriaandAssessmentMethods TOTAL: 25 pts Basic:6(totalpoints) Average:6+12=18(total

points) Superior:6+12+7=25(totalpoints)

Content:CHAPTERQUESTIONS

CHAPTERQUESTIONS:Answersquestionswithoutresourcingthechaptermaterials.

CHAPTERQUESTIONS:Answersquestionswithsomedepthanddetail

CHAPTERQUESTIONS:Usesmaterialfromthechapter/textaswellasotherresourcestoanswerquestions.

Content:Presentations

Usesonesource,andlacksdepthofinformation.

Uses2ormoresourcesandhasthebasicinformation.

Usesmultipleresourcesandcreatesanengaginginteractivepresentation.

Language Failstousevocabularyaccurately.

Usestermsandmusicalvocabularyaccurately.

Utilizesabroadvarietyofmusicaltermsandvocabularytocreatedescriptiveandengagingpresentation.

Organization Doesnotshowpreparation:Presentationlacksstructure.

Presentationshowsstructureandorganization.

Presentationisfluidandengagingthroughout.Presentationisorganized,well-structuredandclear.

Thiscoursewillmeet5days.Plantoworkinclassandwithgroupsduringthescheduledclasstime.YouwillbegivenindependentworktimetodevelopyourunderstandingofHistoricalandPhilosophicalfoundationsthatwillrelatetoyourspecificteachingphilosophy.


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Historical&PhilosophicalFoundationsMUED605FinalProject:

I. PRESENTATION:(50points)Foreachofthefollowing:TheApproachofDalcrozeEurhythmicsTheKodalyMethodTheOrffApproachMusicLearningTheory

Compilealistoftheteachingcomponentsineachofthesemethods/approaches/theoriesthatyouseeapplicabletoyourteaching.Include:1.Yourpresentpositionandwhatgrade(s)andmusicconcentrationyouteach-instrument,general,vocal2.Detailsofyourschool3.Detailsofyourcurriculum4.Howyoufeelyoumightalreadyimplementanyofthemethods/theories/approaches.Whathasinfluencedyouaboutthesephilosophiesthatyouareinspiredtocoincideimplementinginyourprogram?5.YourphilosophyofMusicEducation–the“1minute”elevatorspeech.Thequestion:Whatdoyoudo?Answer:“I’mamusicteacher”-response“Nice”followedbysilence.

Insteadofyoustoppingwith“I’mamusicteacher..continuewithyourphilosophy..I’mamusicteacherthat...orIteachmusicto...THISISYOURMISSION!Educatetheworldontheimportanceofteachingmusicandhowitempowerstheuniverse!

II.Paper3-5pagesdouble-spaced12-pointTimes(50points)Yourpaperwillbeginwithyourphilosophy.Allthedetailsthatwillbeinyourpresentationaretobewrittenfromthelistabove.

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