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Syllabus for Practicum in School Music Experiences: MUED 102

Instructor: Dr. Jody L. Kerchner
Office Hours: Robertson 115, Check office door for weekly hours or call for an appointment
Office Phone: x8267
E-Mail: jody.kerchner@oberlin.edu

Catalog Description:
An introduction to the teacher’s role in instructional settings. Includes non-music observations in public schools and a music project in which students observe and participate as instructional aides. Class sessions focus on techniques for observing and recording classroom behavior, relationships between the teaching of reading and the teaching of music, and planning music instruction. Three hours plus travel time in one, two, or three segments must be free during school hours each week. Prerequisites: MUED 101 /MUED 100 and consent of instructor.

Objectives:
The primary aim of this course, in compliance with the Music Education Division mission within the Conservatory, is to prepare students for the art of teaching music by developing musicianship, pedagogy, and scholarship. This course will enable the student

• to observe and record classroom behavior in music and non-music instructional settings
• to identify and develop professional traits and competencies necessary for teaching music
• to design instructional objectives and activities toward conceptual development in music
• to examine possible relationships between the teaching of reading and the teaching of music
• to begin to develop a personal rationale for teaching music
• to assist in the instructional process in a music education setting.

Requirements:

1. Punctual attendance and active participation are required. “Attendance” refers to regular classes, any observations, special rehearsals, and special presentations by guests. “Participation” means willingness to answer/ask questions both in and out of class, a demonstration of preparedness, and an active role in discussion.
   Absence does not excuse you from meeting the due date for assignments and presentations. If you are unable to attend class, you are expected to notify the instructor. Each absence (more than two times) will lower your final grade by one letter grade on the 11-point scale.
2. All written assignments (See Assignments) must be word-processed, double-spaced, and well-written (correct grammar, spelling, syntax). Due dates are fixed. Written assignments are due at the time of the class meeting on the date they are due. All written assignments should have the proper identifying headings: Name, Assignment Title (Observation Report), Date, Course Name and Number, Instructor, and Institution. The Honor Code is in effect for all assignments and must be written at the bottom of all written assignments.
3. Observation reports of instruction at various age levels.
4. Field Experience Assignment (10 wk) as teacher assistant in a music instructional setting.
5. Field Experience Journal of observations of and reflections on the instructional setting.
6. Readings/Written summative reflections from selected resources (See Assignments and Resources).
7. Mini-teaching segment for in-class support, feedback, and assistance
8. A Notebook to serve as a portfolio of all class content and coursework. See Assignments for description of the organization.

Assignment evaluations will be rated according to an 11-point grade scale:

Score	Description
11-10=A/A-	Excellent work.  Illustrates clear, complete, consistent, and thorough treatment of every aspect of the assignment.  Also reflects extra effort in making connections, considering implications, and synthesizing content of the assignment.
9-8=B+/B	Very good work.  Illustrates overall clarity, completeness, and thoroughness, but may lack consistency.  Also reflects inconsistent effort in making connections, considering implications, and synthesizing content of the assignment.
7-6=B-/C+	Good work.  Illustrates uneven clarity, completeness, and thoroughness.  Indicates moderate evidence of making connections, considering implications, and synthesizing content of the assignment.
5-4=C/C-	Adequate work.  May include some of the criteria for good or very good work, but generally lacks consistent quality.
3-2-1=D+/D/F	Very weak work.  Generally includes none of the criteria for excellent work.

Required Materials:         

Notebook:  2 inch, 3-ring binder

DVC Tapes on which only Practicum teaching segments will be recorded

Assignments (All assignments MUST be completed in order to pass this class):

• My Music History:  In a 2-3 page essay, describe your history as a musician and what prompted your desire to teach music. It is acceptable to use first person in this assignment.

• Notebook:  Each underlined word or phrase below should be the name of the divider that sections your notebook.

• Begin your notebook with a Cover Page that includes your name, the course, the semester, the instructor

• Syllabus: syllabus, calendar, and general course requirements and information

• Class notes: include date and notes for each class discussion/presentation. Be sure that your chronological notes are clear and informative.  Keep a record of each class’ content, even if you think you will remember everything later on in your music education journey!

• Handouts: all handouts in chronological order

• Written assignments: any papers that you have turned in as written assignments (music history, observations, mini-lesson plans)

• Readings: responses to Study Guide questions for articles in chronological order

• Field Journal (maintained in your MUED 102 notebook; not necessarily a separate notebook): 1. your attendance log and 2. dated, weekly journal entries for your observations/reflections of your practicum school assignment. To your weekly entries, add comments, questions, and/or connections that correlate with topics we have covered in class discussions/presentations.

• Teaching Opportunities: 1. lesson plans, evaluations, conference notes, and any paperwork connected with your field assignment and 2. peer teaching plans and feedback

• Observation Reports

• Read Field Observation Procedures handout for specific expectations and behaviors.

• Arrive a bit early. As a visitor, you are expected to stop at the office and register.

• You might have the opportunity to interact with the students. Practice your pedagogical skills by being curious, asking questions, listening to responses, and making helpful suggestions (should they ask for assistance).

• Save any questions you might have for the teacher until after the lesson is completed.

• As you observe, ask yourself the questions below and look for evidence to support your opinions and observations. Provide both opinions and evidence in your report.

1. Setting:  briefly identify and describe the setting for your observation with such details as the date, location, name of the teacher, number of students, ages, and a brief description of the room.

2. Lesson:  briefly identify and describe the pieces, activities, and studies covered in the lesson.  Note also, the teacher behaviors and learner behaviors during the lesson activities.  Quotes are excellent conveyers of specific teacher behaviors.

3. Teacher:  summarize teaching behaviors such as instructions, feedback, use of questions, information given, verbal/nonverbal behaviors, and rapport with learners.

4.  Students: summarize learning behaviors as responses to instructions such as the relative ease or difficulty with which students are able to meet musical/academic/verbal expectations, social responsiveness, and general engagement level during lesson.

5.  Reaction:  record your overall reaction to the observation with comments such as what you learned, what you thought, and what you wondered about.  Also, add any connections to classroom discussions and/or text readings.

• Readings:  Articles are on reserve on E-Res. Be sure to include: (1) complete bibliographical information (as listed below in APA format) at the top of your paper with (2)the Study Guide question written, followed by (3)your responses to the Study Guide questions listed below.  Reading responses with an asterisk (*) should be typed and submitted for a grade.  Others should  be handwritten or typed, used for class discussion, and maintained in your notebook.

*Abraham, F. (Sept. 2005).  Transforming classroom music instruction with ideas from critical pedagogy.  Music Educators Journal, 92(1), 62-67.

• Who “authored” critical pedagogy and what are its five principles?
• How do the lesson plan goals differ from your own music learning experiences?
• What idea had the most meaning for you from this reading?

Bartholomew, D. (Nov 1993). Effective strategies for praising students. Music Educators Journal, 80(3), 40-43.

• What are some reasons for praising students?
• What are some cautions in praising students?
• What suggestions are made for acknowledging and encouraging students in the classroom?
• What idea had the most meaning for you from this reading?

Buck, G. (Nov 1992). Classroom management and the disadvantaged child. Music Educators Journal, 79(3), 36-42.

• What are some of the reasons for misbehavior?
• What three strategies for dealing with misbehavior had the most meaning for you?
• With each suggestion for intervention with discipline problems, Buck also lists a related caution. What might you conclude from the fact that each recommendation warranted a caution?
• What idea had the most meaning for you from this reading?

Elbow, P. (Oct. 2004).  Writing first! Putting writing before reading is an effective approach to teaching and learning.  Educational Leadership, 62(2), 9-13.

• In what ways does Elbow make the case for writing before reading?
• How does one’s view of children influence valuing reading as a dominant skill?
• What idea had the most meaning for you from this reading?

*Eisner, E. W. (Feb1993). Why standards may not improve schools. Educational Leadership , 59(5), 22-23.

• What are some of the varieties of meanings for the term “standards?”
• What are some of the problems inherent in using standards to evaluate student learning, according to Eisner? What does he propose as a substitute way to achievement/learning?
• What is Eisner worried about with the national emphasis on standards?
• What idea had the most meaning for you from this reading?

Fowler, C.  (Nov. 1994).  Strong arts, strong schools.  Educational Leadership, 4-9.

• What are three of the most compelling arguments Fowler made for arts education?
• Why does Fowler say that the arts provide a more humanistic curriculum?
• What idea had the most meaning for you from this reading?

*Hodges, D. (Sept. 2000). Implications of music and brain research.  Music Educators Journal, 87(2), 17-22.

• What implications for music education are suggested by the statement “all human beings are musical?”
• What are some ways in which musical training helps the brain organize?
• What idea had the most meaning for you from this reading?

*Kassner, K. (Jan 1998). Would better questions enhance music learning? Music Educators Journal, 84(4) 29-36.

• What are key facets that a teacher must consider as she/he develops questions for students in performance and non-performance classes?
• What are observable student/group responses that suggest that students are “answering” a question in a music class (think beyond verbal)?
• When a student responds to a question, what are types of teacher responses to his/her “answer?” Which of these responses are appropriate for when a student responds incorrectly to a question that a teacher poses?
• What idea had the most meaning for you from this reading?

McDaniel, T. (Sep 1986). A primer on classroom discipline: Principles old and new. Phi DeltaKappan, 58(1), 63-67.

• Which three of the ten principles for classroom discipline had the most meaning for you?
• Were there any principles that you question or are not certain about, in terms of effectiveness?
• What are your biggest concerns when considering how you will discipline your students?
• What idea had the most meaning for you from this reading?

Schlacks, W. F. (Apr 1992). Teaching from the podium. Triad , 59(5), 43-44.

• How would you describe Schlacks’ idea of a mini-lesson within a rehearsal?
• What changes did the author make in the way he referred to pieces with his students? Why?
• What suggestions do you have for emphasizing musical terms with your ensemble students?
• What idea had the most meaning for you from this reading?

Sinor, J. (Sum 1999). Who is a good music teacher? Kodaly Envoy, 5-8.

• What are the major recommendations Sinor makes about living life?
• What was the most meaningful point to you?
• How do you think Sinor would answer the question that titles her article? Do you agree?
• What idea had the most meaning for you from this reading?

Sylwester, R. (Nov. 1998).  Art fro the brain’s sake.  Educational Leadership, 56(3), 31-35.

• What are the dangers of confusing “correlation with “cause and effect” when reporting the values of studying music with regard to other academic areas?
• What are some of the music advocacy ideas that are embedded in this article?
• What idea had the most meaning for you from this reading?

*Taeble, D. (Nov. 1998).  Is evaluation fair to music educators?  Music Educators Journal, 76(6), 50-54. 

• What are some competencies on which music teachers tended to score poorly?
• What are some competencies that may be an important part of music class, but may be relatively unimportant as a competency in a non-music class?
• What could be some detrimental effects of inappropriate evaluations of music teachers?
• What are some actions that music teachers can take to be proactive and/or constructive about their evaluation process?
• What idea had the most meaning for you from this reading?

Teaching  Strategies…..series.  Reston, VA: Music Educators National Conference.

            [Choose one book in your area of interest/primary study]

• What part of the rationale for the National Standards for Arts Education do you find most meaningful?
• How might the content standards and achievement standards be helpful to you?
• What idea had the most meaning for you from this reading?

Webster, P. & Richardson, C. (Jan./Feb. 1993).  Asking children to think about music.  Arts and Education Policy Review, 94(3), 7-11.

• Why do the authors consider “creativity” as a much-abused word in music education?
• What are some ways you would describe musical thinking?
• What idea had the most meaning for you from this reading?

5.   Mini-Lesson: Plan to be your most engaging, well-prepared self as you teach us a 10-minute segment on some musical topic of your choice. Bring to class a DVC and your lesson plan to turn in. Plan in detail

• What questions will you ask that cause us to think, imagine, or speculate
• How you will engage us in the doing of your lesson?
• What kind of feedback you will give us?
• How you will end your teaching segment?
• How will you make your plan fun for you and us?

• Case Study: As you begin your Practicum Field Assignment, watch for a student who could be considered a “discipline challenge.”  Identifying this student early will allow you to take notes, discreetly observe, and reflect on the behaviors of this selected student. Your report will then take the following form:


1. Use a cover page that includes your name, course number, semester, and instructor. Place your name on the cover page only, please. The title should be A Case Study: One Student’s Behaviors
2. Report your observations of the student (please use a fictitious name).
3. In your observations, note
• the behaviors you observed in the selected student
• any intervention/ interaction you saw from/with teachers or other students
• any responsiveness you observed from the student to the teacher or other students
• any reflections/connections you made regarding the student’s behavior/attitude and what you know or think about young people and behavior management.
4. As a conclusion to your report, describe and explain what you have learned, what you have pondered, what you have felt, and what you have questioned as a result of your observing and reflecting on this student’s behavior.

• Principles of Teaching Statement: Use a cover page with pertinent course information and double-space your paper. Using both musical and extra-musical rationale, offer a 3- page explanation of 5-10 principles of teaching. These principles might be similar to ones about which you wrote in your MUED 101 paper.  It is your job, then, to expand, clarify, and/or amend these principles, given your teaching and academic experiences in this course this semester. Changing/adding new principles is also an option.   Be sure to include something about the role of music in society and/or the importance of music to human life, the function of the school with respect to those roles/values, and what the nature of music instruction should be: by whom, of what (content, performance and/or non-performance classes), to whom, and so on.

Be certain that for every statement in your philosophy you provide justification. Comments without supporting rationale and evidence make for a weak philosophical statement. Your paper should reflect your thinking as a teacher and your experience providing music instruction. It should not represent a student perspective (when I was in high school….). Draw from concrete and current experiences, as well as Practicum class discussions and readings to support your statements. Submit two copies, each stapled separately.

TENTATIVE COURSE CALENDAR

Field-based observation procedures

Teachers who agree to the presence of student observers or participants in their classrooms do so because of a belief in the importance of such experiences in the education of future teachers.  The primary responsibility of these master teachers, however, is to their own students.  Any visitor who disrupts regular instruction must be asked not to return.  Oberlin music education students are invited into local schools as guests and are expected to comply with individual building policies regarding visitors, but the following general principles apply to all school visits.

1. Dress professionally.  You are visiting the school as a preprofessional and will be viewed as a teacher by young students.  Jeans, tee shirts, mid-drift shirts, sneakers, and other very casual wear are not appropriate.

2.  Go first to the school office and sign in.  Never proceed to a classroom without having reported to the office.  You may also be asked to sign out. 

3.  Arrive EARLY—never late.  Allow time to locate the classroom and to permit the teacher time to explain to you any important aspects about the upcoming class.

4.  Enter and leave the classroom as unobtrusively as possible.  Remain silent during your observation unless more active participation is invited.

5.  Save any questions you may have until the class is completed.  If the question is of general interest, you might save it for your class on campus.

6.  Ask at the least hectic moment for the teacher's signature verifying the amount of time you spent visiting.

7.  Be discreet about information you glean from private conversations or conferences, both on campus and in the schools.  Sensitive discussions should remain confidential. 

8.  Keep every appointment made with the school.  If illness or emergency should prevent you from making a scheduled visit, notify the school in the morning, preferably during the 30 minutes before classes begin in that building.  If for some reason you will be late arriving to a school, call and leave a message at the school.  Also, call Dr.. Kerchner (775-8267).  On days that you are to be observed and are ill, please contact the observer directly (Dr. Kerchner=x58267; Dr. Erwin=x58208; Dr. Knight=x58270; Dr. Bennett=x58249; Mr. Heron=775-7174).  

9.  Using a college car is a privilege.  It is to be picked up and returned at the indicated times.  Abuse of this policy will result in the revocation of this privilege.  If you need to leave campus before 8am, pick up the car keys at the Service Building the day before prior to 4pm.  Car is to be returned in clean condition.   If for some reason you need to cancel your transportation for a day, you are responsible for contacting Ms. Ashby in the Transportation Office (x58432).

1. Bring a DVC videotape and lesson plan each time you are observed.

MUSIC EDUCATION DIVISION

The Practicum Experience

Practicum in School Music Experiences is designed to

• provide first-year music education students with an early field experience, and
• enable them to begin to view educational settings from a teacher's point of view.

The course has several components

• an academic class that meets once weekly, 
• a field experience which comprises some non-music observation, and 
• a music "project" in one instructional setting.

For the class itself, students

• complete reading and written assignments, and 
• participate in class discussions dealing with the course content.

Course content includes

• observation techniques, observing without evaluating,

• teacher competencies, planning for instruction, classroom management--styles and techniques,
• reading education including approaches to developmental reading, reading comprehension, and reading in the content area, and
• a philosophical bases for music education.

• Care is taken to provide appropriate confidentiality and respectfulness when discussing field experiences in the academic class.

The field component includes

• non-music class observation,
• music projects that begin shortly after the non-music observations,

The nature of each project depends upon the setting and the interaction between a student and his/her cooperating teacher, but it is different from the student teaching experience that comes later. 

• Typically, a Practicum student will function as a tutor, an aide, a sectional leader, a teacher or coach of individuals or small groups, etc. 
• Because Practicum is an early experience in the music education program, students have not yet had conducting or methods/techniques courses.
• Students will spend approximately 20 hours engaged in the music project component of Practicum, and punctuality and regularity of attendance are required.  (Holidays and inclement weather may interfere with normal scheduling, and students are not penalized if they have made reasonable efforts with their cooperating teachers to make up missed hours.) 

Evaluation of students' work is based upon

• fulfillment of class requirements,
• completion of a log recording their field-based experiences, and
• cooperating teachers' responses on an evaluation form sent near the end of the semester.

We appreciate greatly teachers' willingness to participate in our Practicum program and hope that the experience is a rewarding one for all involved.

OBERLIN COLLEGE CONSERVATORY OF MUSIC

MUSIC EDUCATION DIVISION

EXPECTATIONS OF MUSIC EDUCATION PRACTICUM STUDENTS

Students engaging in the field experience project associated with ME 102--Practicum in School Music Experiences are second- or third-semester music education students, typically students whose methods and conducting courses are still ahead of them.  Although these students are not prepared to handle large-group instruction alone, they are expected to be involved in their assigned instructional settings by:

--Exhibiting professional traits including

• Regular, punctual attendance
• Appropriate attire and grooming
• Skill development in interpersonal relations--with students and with colleagues.

--Participating in the instructional process by

• Observing
• Assisting in large-group settings--distributing materials, performing with students in rehearsals, helping individual students in the classroom
• Preparing for every segment taught
• Tutoring individuals or small groups with specific guidance from the cooperating teacher
• (Possibly) leading large-group warm-ups and/or rehearsal segments
• (Possibly) teaching segments in music classes
• Soliciting regular feedback from the cooperating teacher
• Evaluating all teaching segments

--Demonstrating interest by

• Taking responsibility for upcoming activities by communicating directly with the cooperating teacher and requesting help as needed
• Incorporating suggestions made by the cooperating teacher and/or college supervisors toward more effective teaching
• Seeking opportunities to develop additional pedagogical skills.