Laura Sindberg
Just Good Teaching
Comprehensive Musicianship through Performance in Theory and Practice
Laura Sindberg
Just Good Teaching
Comprehensive Musicianship through Performance in Theory and Practice
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The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision.
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The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision.
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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
- Produktdetails
- Verlag: Globe Pequot Publishing Group Inc/Bloomsbury
- Seitenzahl: 122
- Erscheinungstermin: 29. März 2012
- Englisch
- Abmessung: 280mm x 216mm x 7mm
- Gewicht: 329g
- ISBN-13: 9781610483407
- ISBN-10: 1610483405
- Artikelnr.: 34473225
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
- Verlag: Globe Pequot Publishing Group Inc/Bloomsbury
- Seitenzahl: 122
- Erscheinungstermin: 29. März 2012
- Englisch
- Abmessung: 280mm x 216mm x 7mm
- Gewicht: 329g
- ISBN-13: 9781610483407
- ISBN-10: 1610483405
- Artikelnr.: 34473225
- Herstellerkennzeichnung
- Libri GmbH
- Europaallee 1
- 36244 Bad Hersfeld
- gpsr@libri.de
By Laura Sindberg
Foreward 13 Janet R. Barrett Preface 17 Acknowledgements 21 Chapter
1-Looking in a CMP Classroom 1 Class Begins 23 Day One-Introducing Battalia
24 Day Two-Sounds Different 26 Day Three-Going Deeper 27 Day Four-A Letter
Home 29 Day Five-Biber and the Baroque 31 Day Six-Battalia as Satire? 32
Reflecting on the Rehearsal Vignettes 33 Overview of the Book 35 Going
Further-Questions for Discussion 36 Chapter 2-The CMP Model 37 Introduction
37 Music Selection 37 Analysis 40 Outcomes 43 Long-term Outcomes 45
Transfer 46 Strategies 47 Assessment 50 Music Selection, Revisited 53 The
CMP Teaching Plan 54 Conclusion 55 Going Further-Questions for Discussion
55 Chapter 3-Looking at Shenandoah from a Choral and an Instrumental
Perspective 57 Why Shenandoah? One Piece, Two Classrooms, and Three
Outcomes 57 Shenandoah CMP Teaching Plan 36 Background 58 Analysis 59
Melody 60 Harmony 60 Form 62 Rhythm 64 Timbre 65 Texture 66 Expression 67
The Heart of Shenandoah 68 Outcomes 69 Strategies 69 Assessment 71 Music
Selection 72 Conclusion 73 Going Further-Questions for Discussion 74
Chapter 4-CMP and Teachers 75 From the Teacher's Point of View 75 Teacher
Knowledge-An Overview 76 CMP Viewed Through a Lens of Teacher Knowledge 78
Repertoire Matters 78 Contextual Matters 79 A Fluid Model 81 A Dynamic
Model 83 The Different Phases of a Teaching Life and CMP-Stories from the
Field 84 CMP and Preservice Music Educators 84 CMP and Novice Music
Educators 86 CMP and Veteran Music Educators 87 CMP as a Model for
Professional Development 88 Intention 90 Conclusion 91 Going
Further-Questions for Discussion 92 Chapter 5-Enacting the Teaching Plan 93
Taking Shenandoah into the Classroom 93 Introducing the Piece 93 Infusing
the Teaching Plan into the Rehearsal-From Planning to Implementation 95
Connecting Warm-ups to the Repertoire 96 The Rehearsal 96 Contingencies 97
Towards Musical Understanding 98 CMP and Concert Programming 99 Excellence
in Performance and Musical Understanding 100 The Students' Experience as
CMP is Implemented 102 Intersections of the Points of the CMP Model-A
Function of Enactment 105 Transfer Revisited 106 Conclusion 108 Going
Further-Questions for Discussion 109 Chapter 6-CMP and the Music Curriculum
110 Beyond the Classroom 110 CMP as Philosophy 111 CMP as Approach 112 CMP
as a Process 112 The CMP Practice 113 Considering the Affective Dimension
115 CMP and the Music Curriculum 117 Long-term Outcomes 117 Standards and
Standards-based Curriculum 119 State and Local Curricula 121 Curriculum and
Music Selection 122 CMP and Reform-minded Music Teaching 125 Conclusion 128
Going Further-Questions for Discussion 129 Chapter 7-The Evolution of CMP
130 The Need for Comprehensive Musicianship 130 Significant Events that
Informed the CMP Project 131 Contemporary Music Project 132 Manhattanville
Music Curriculum Project 133 Yale Seminar and Tanglewood Symposium 133 A
Vision Takes Shape 135 The First Summer Institute and Development of a
Two-year Pilot Project 137 Outcome of the 1977 Institute: The CMP Model 139
Conclusion 141 Bibliography 144 Appendices 152 Appendix A: Battalia for
Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik A.1
Movement 1 152 A.2 Movements 2, 3, 4 153 A.3 Movements 5, 6, 7 154 A.4
Movement 8 155 Appendix B: CMP Teaching Plan Worksheets 156 Appendix C: CMP
Teaching Plan, Battalia 163 Appendix D: CMP Teaching Plan, Orpheus With His
Lute 170 Appendix E: CMP Teaching Plan, Jody 182 Appendix F: CMP Teaching
Plan, Rhosymedre 191 Appendix G: Original CMP Proposal 194 Index
1-Looking in a CMP Classroom 1 Class Begins 23 Day One-Introducing Battalia
24 Day Two-Sounds Different 26 Day Three-Going Deeper 27 Day Four-A Letter
Home 29 Day Five-Biber and the Baroque 31 Day Six-Battalia as Satire? 32
Reflecting on the Rehearsal Vignettes 33 Overview of the Book 35 Going
Further-Questions for Discussion 36 Chapter 2-The CMP Model 37 Introduction
37 Music Selection 37 Analysis 40 Outcomes 43 Long-term Outcomes 45
Transfer 46 Strategies 47 Assessment 50 Music Selection, Revisited 53 The
CMP Teaching Plan 54 Conclusion 55 Going Further-Questions for Discussion
55 Chapter 3-Looking at Shenandoah from a Choral and an Instrumental
Perspective 57 Why Shenandoah? One Piece, Two Classrooms, and Three
Outcomes 57 Shenandoah CMP Teaching Plan 36 Background 58 Analysis 59
Melody 60 Harmony 60 Form 62 Rhythm 64 Timbre 65 Texture 66 Expression 67
The Heart of Shenandoah 68 Outcomes 69 Strategies 69 Assessment 71 Music
Selection 72 Conclusion 73 Going Further-Questions for Discussion 74
Chapter 4-CMP and Teachers 75 From the Teacher's Point of View 75 Teacher
Knowledge-An Overview 76 CMP Viewed Through a Lens of Teacher Knowledge 78
Repertoire Matters 78 Contextual Matters 79 A Fluid Model 81 A Dynamic
Model 83 The Different Phases of a Teaching Life and CMP-Stories from the
Field 84 CMP and Preservice Music Educators 84 CMP and Novice Music
Educators 86 CMP and Veteran Music Educators 87 CMP as a Model for
Professional Development 88 Intention 90 Conclusion 91 Going
Further-Questions for Discussion 92 Chapter 5-Enacting the Teaching Plan 93
Taking Shenandoah into the Classroom 93 Introducing the Piece 93 Infusing
the Teaching Plan into the Rehearsal-From Planning to Implementation 95
Connecting Warm-ups to the Repertoire 96 The Rehearsal 96 Contingencies 97
Towards Musical Understanding 98 CMP and Concert Programming 99 Excellence
in Performance and Musical Understanding 100 The Students' Experience as
CMP is Implemented 102 Intersections of the Points of the CMP Model-A
Function of Enactment 105 Transfer Revisited 106 Conclusion 108 Going
Further-Questions for Discussion 109 Chapter 6-CMP and the Music Curriculum
110 Beyond the Classroom 110 CMP as Philosophy 111 CMP as Approach 112 CMP
as a Process 112 The CMP Practice 113 Considering the Affective Dimension
115 CMP and the Music Curriculum 117 Long-term Outcomes 117 Standards and
Standards-based Curriculum 119 State and Local Curricula 121 Curriculum and
Music Selection 122 CMP and Reform-minded Music Teaching 125 Conclusion 128
Going Further-Questions for Discussion 129 Chapter 7-The Evolution of CMP
130 The Need for Comprehensive Musicianship 130 Significant Events that
Informed the CMP Project 131 Contemporary Music Project 132 Manhattanville
Music Curriculum Project 133 Yale Seminar and Tanglewood Symposium 133 A
Vision Takes Shape 135 The First Summer Institute and Development of a
Two-year Pilot Project 137 Outcome of the 1977 Institute: The CMP Model 139
Conclusion 141 Bibliography 144 Appendices 152 Appendix A: Battalia for
Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik A.1
Movement 1 152 A.2 Movements 2, 3, 4 153 A.3 Movements 5, 6, 7 154 A.4
Movement 8 155 Appendix B: CMP Teaching Plan Worksheets 156 Appendix C: CMP
Teaching Plan, Battalia 163 Appendix D: CMP Teaching Plan, Orpheus With His
Lute 170 Appendix E: CMP Teaching Plan, Jody 182 Appendix F: CMP Teaching
Plan, Rhosymedre 191 Appendix G: Original CMP Proposal 194 Index
Foreward 13 Janet R. Barrett Preface 17 Acknowledgements 21 Chapter
1-Looking in a CMP Classroom 1 Class Begins 23 Day One-Introducing Battalia
24 Day Two-Sounds Different 26 Day Three-Going Deeper 27 Day Four-A Letter
Home 29 Day Five-Biber and the Baroque 31 Day Six-Battalia as Satire? 32
Reflecting on the Rehearsal Vignettes 33 Overview of the Book 35 Going
Further-Questions for Discussion 36 Chapter 2-The CMP Model 37 Introduction
37 Music Selection 37 Analysis 40 Outcomes 43 Long-term Outcomes 45
Transfer 46 Strategies 47 Assessment 50 Music Selection, Revisited 53 The
CMP Teaching Plan 54 Conclusion 55 Going Further-Questions for Discussion
55 Chapter 3-Looking at Shenandoah from a Choral and an Instrumental
Perspective 57 Why Shenandoah? One Piece, Two Classrooms, and Three
Outcomes 57 Shenandoah CMP Teaching Plan 36 Background 58 Analysis 59
Melody 60 Harmony 60 Form 62 Rhythm 64 Timbre 65 Texture 66 Expression 67
The Heart of Shenandoah 68 Outcomes 69 Strategies 69 Assessment 71 Music
Selection 72 Conclusion 73 Going Further-Questions for Discussion 74
Chapter 4-CMP and Teachers 75 From the Teacher's Point of View 75 Teacher
Knowledge-An Overview 76 CMP Viewed Through a Lens of Teacher Knowledge 78
Repertoire Matters 78 Contextual Matters 79 A Fluid Model 81 A Dynamic
Model 83 The Different Phases of a Teaching Life and CMP-Stories from the
Field 84 CMP and Preservice Music Educators 84 CMP and Novice Music
Educators 86 CMP and Veteran Music Educators 87 CMP as a Model for
Professional Development 88 Intention 90 Conclusion 91 Going
Further-Questions for Discussion 92 Chapter 5-Enacting the Teaching Plan 93
Taking Shenandoah into the Classroom 93 Introducing the Piece 93 Infusing
the Teaching Plan into the Rehearsal-From Planning to Implementation 95
Connecting Warm-ups to the Repertoire 96 The Rehearsal 96 Contingencies 97
Towards Musical Understanding 98 CMP and Concert Programming 99 Excellence
in Performance and Musical Understanding 100 The Students' Experience as
CMP is Implemented 102 Intersections of the Points of the CMP Model-A
Function of Enactment 105 Transfer Revisited 106 Conclusion 108 Going
Further-Questions for Discussion 109 Chapter 6-CMP and the Music Curriculum
110 Beyond the Classroom 110 CMP as Philosophy 111 CMP as Approach 112 CMP
as a Process 112 The CMP Practice 113 Considering the Affective Dimension
115 CMP and the Music Curriculum 117 Long-term Outcomes 117 Standards and
Standards-based Curriculum 119 State and Local Curricula 121 Curriculum and
Music Selection 122 CMP and Reform-minded Music Teaching 125 Conclusion 128
Going Further-Questions for Discussion 129 Chapter 7-The Evolution of CMP
130 The Need for Comprehensive Musicianship 130 Significant Events that
Informed the CMP Project 131 Contemporary Music Project 132 Manhattanville
Music Curriculum Project 133 Yale Seminar and Tanglewood Symposium 133 A
Vision Takes Shape 135 The First Summer Institute and Development of a
Two-year Pilot Project 137 Outcome of the 1977 Institute: The CMP Model 139
Conclusion 141 Bibliography 144 Appendices 152 Appendix A: Battalia for
Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik A.1
Movement 1 152 A.2 Movements 2, 3, 4 153 A.3 Movements 5, 6, 7 154 A.4
Movement 8 155 Appendix B: CMP Teaching Plan Worksheets 156 Appendix C: CMP
Teaching Plan, Battalia 163 Appendix D: CMP Teaching Plan, Orpheus With His
Lute 170 Appendix E: CMP Teaching Plan, Jody 182 Appendix F: CMP Teaching
Plan, Rhosymedre 191 Appendix G: Original CMP Proposal 194 Index
1-Looking in a CMP Classroom 1 Class Begins 23 Day One-Introducing Battalia
24 Day Two-Sounds Different 26 Day Three-Going Deeper 27 Day Four-A Letter
Home 29 Day Five-Biber and the Baroque 31 Day Six-Battalia as Satire? 32
Reflecting on the Rehearsal Vignettes 33 Overview of the Book 35 Going
Further-Questions for Discussion 36 Chapter 2-The CMP Model 37 Introduction
37 Music Selection 37 Analysis 40 Outcomes 43 Long-term Outcomes 45
Transfer 46 Strategies 47 Assessment 50 Music Selection, Revisited 53 The
CMP Teaching Plan 54 Conclusion 55 Going Further-Questions for Discussion
55 Chapter 3-Looking at Shenandoah from a Choral and an Instrumental
Perspective 57 Why Shenandoah? One Piece, Two Classrooms, and Three
Outcomes 57 Shenandoah CMP Teaching Plan 36 Background 58 Analysis 59
Melody 60 Harmony 60 Form 62 Rhythm 64 Timbre 65 Texture 66 Expression 67
The Heart of Shenandoah 68 Outcomes 69 Strategies 69 Assessment 71 Music
Selection 72 Conclusion 73 Going Further-Questions for Discussion 74
Chapter 4-CMP and Teachers 75 From the Teacher's Point of View 75 Teacher
Knowledge-An Overview 76 CMP Viewed Through a Lens of Teacher Knowledge 78
Repertoire Matters 78 Contextual Matters 79 A Fluid Model 81 A Dynamic
Model 83 The Different Phases of a Teaching Life and CMP-Stories from the
Field 84 CMP and Preservice Music Educators 84 CMP and Novice Music
Educators 86 CMP and Veteran Music Educators 87 CMP as a Model for
Professional Development 88 Intention 90 Conclusion 91 Going
Further-Questions for Discussion 92 Chapter 5-Enacting the Teaching Plan 93
Taking Shenandoah into the Classroom 93 Introducing the Piece 93 Infusing
the Teaching Plan into the Rehearsal-From Planning to Implementation 95
Connecting Warm-ups to the Repertoire 96 The Rehearsal 96 Contingencies 97
Towards Musical Understanding 98 CMP and Concert Programming 99 Excellence
in Performance and Musical Understanding 100 The Students' Experience as
CMP is Implemented 102 Intersections of the Points of the CMP Model-A
Function of Enactment 105 Transfer Revisited 106 Conclusion 108 Going
Further-Questions for Discussion 109 Chapter 6-CMP and the Music Curriculum
110 Beyond the Classroom 110 CMP as Philosophy 111 CMP as Approach 112 CMP
as a Process 112 The CMP Practice 113 Considering the Affective Dimension
115 CMP and the Music Curriculum 117 Long-term Outcomes 117 Standards and
Standards-based Curriculum 119 State and Local Curricula 121 Curriculum and
Music Selection 122 CMP and Reform-minded Music Teaching 125 Conclusion 128
Going Further-Questions for Discussion 129 Chapter 7-The Evolution of CMP
130 The Need for Comprehensive Musicianship 130 Significant Events that
Informed the CMP Project 131 Contemporary Music Project 132 Manhattanville
Music Curriculum Project 133 Yale Seminar and Tanglewood Symposium 133 A
Vision Takes Shape 135 The First Summer Institute and Development of a
Two-year Pilot Project 137 Outcome of the 1977 Institute: The CMP Model 139
Conclusion 141 Bibliography 144 Appendices 152 Appendix A: Battalia for
Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik A.1
Movement 1 152 A.2 Movements 2, 3, 4 153 A.3 Movements 5, 6, 7 154 A.4
Movement 8 155 Appendix B: CMP Teaching Plan Worksheets 156 Appendix C: CMP
Teaching Plan, Battalia 163 Appendix D: CMP Teaching Plan, Orpheus With His
Lute 170 Appendix E: CMP Teaching Plan, Jody 182 Appendix F: CMP Teaching
Plan, Rhosymedre 191 Appendix G: Original CMP Proposal 194 Index