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Syllabus for Teaching Music to Adolescents: MUED 300

Catalog Description:
The teaching and organization of music classes in middle and senior high school. Includes consideration of performance and non-performance classes and implications of the National Standards for the Arts. Two-hour laboratory experience required throughout the semester (TBA). All music education majors develop functional playing skills on guitar, a proficiency test must be passed. Prerequisites: APST 260 (Elementary Conducting). Consent of instructor required. Enrollment Limit: 30.

Projected C/FB Hours:  20-22

1. develop pedagogical skills and knowledge,
2. practice designing and implementing lessons for the secondary school level which encourage student creativity and independent musical thinking,
3. experience portfolio assessment as an authentic form of assessment,
4. explore materials and methods suitable for teaching comprehensive music curricula at the secondary school level with regard to individual student needs for learning,
5. explore effective means of teaching the arts together, and
6. incorporate technology to support and encourage musical learning and instruction.

Objectives:  At the completion of this course, each student should be able to:

1. Plan, teach, reflect on, and evaluate teaching episodes designed for the secondary school level
2. Design sequential and age-appropriate activities for secondary performance and non-performance music classes which embrace the National Standards for the arts. 
3. Function effectively as a member of a cooperative learning group and as a peer evaluator.
4. Select musical materials appropriate for use with adolescents.
5. Provide guitar accompaniment for singing in class.
6. Use technology (Internet, software, synthesizers) to assist in the preparation and implementation of teaching episodes designed for secondary school students.

Reading Materials (**Available on e-Res): 

**Barrett, J. (March 2005). Planning for understanding: a reconceptualized view of the music curriculum. Music Educators Journal, 91(4), pp.21-25.

**Barrett, J. “Interdisciplinary work and musical integrity.” Music Educators Journal, 87(5), 27-31.

**Campbell, P. (Sept. 2005).“Deep listening to the musical world.’ Music Educators Journal, 92(1), p.30-36.

Erwin, J., Edwards, K., Kerchner, J., Knight, J. (2002). Prelude to music education.  Englewood Cliffs, NJ:  Prentice Hall. (REQUIRED TEXT)

Farrell, S.  (1997). Tools for powerful student evaluation. Ft. Lauderdale: Meredith Music Publications. (REQUIRED TEXT).

Harvard Project Zero. (1992). Arts PROPEL: A handbook for music. 

**Hickey, M. Teaching ensembles to compose and improvise. Music Educators Journal, 83(6), p. 17.

**Hickey, M. (January 1999). Assessment rubrics for music composition. Music Educators Journal, pp. 26-33.

Kaplan, P. & Stauffer, S. (1994). Cooperative learning in music. Reston, VA: Music Educators National Conference.

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

**Kerchner, J. (1996). Creative music listening. General Music Today, 10 (1), pp. 28-30.

**Kerchner, J. (Fall 1998). A model for educational partnerships. Journal of Music Teacher Education, 8(1), pp. 7-14.

**Kerchner, J. (2004). Portfolio Assessment in Music Education Methods Courses:  Experiencing, Modeling, Teaching, Assessing. In P. Shand (Ed.), Music Education Entering the 21st Century, ISME Music in the Schools and Teacher Education Seminar Proceedings. 

**Kerchner, J. (August 2001). Incorporating National Standards in performance classes.  Teaching Music, pp. 40-44.

**Kerchner, J. (2003). “Stepping off of the podium: Leveling the playing (and singing) field.”  In S. Leong, Ed., Musicianship for the 21st Century. Sydney, Australia: ASME and CIRCME.

National Standards for Arts Education. (1994). Reston, VA: Music Educators National Conference.

**Reimer, B. (1989). A philosophy of music education. Englewood Cliffs, NJ: Prentice-Hall.

**Volk, T. (1998). Music Education and Multiculturalism: Foundations and Principles. N.Y.: Oxford.

**Whitcomb, R. (May 1999). Writing rubrics for the music classroom. Music Educators Journal, 85(6), 26-32.

Other Materials:             

—an activated E-mail account (checked daily)

—Mini Digital Video Cassette

—Additional materials, e.g., transparencies, markers, CDs, as needed for teaching lessons.

Requirements:  

1.  All written assignments must be typewritten, double-spaced, and well-written (correct grammar, spelling, syntax).

2.  Due dates are fixed. Written assignments at the time of the class meeting on the date they are due. 

3.  Laboratory teachings and class presentations will not be accepted after the due date.

4.  Punctual attendance and active participation are required. "Attendance" refers to regular classes, any field trips, and special presentations by guests. "Participation" means a willingness to answer/ask questions both in and out of class and cooperative-learning sessions, 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. Three absences will lower your final course grade by one letter grade. Absences thereafter will continue to lower your final grade by one letter grade.   

5.  Completion of all assignments is necessary to pass the course.

Grading: