Just Good Teaching (eBook)

Laura Sindberg is assistant professor of music education at the University of Minnesota, where she teaches undergraduate and graduate courses in music education. Prior to earning her doctorate at Northwestern University, Dr. Sindberg taught public school music for 17 years, during which time she became heavily involved in Comprehensive Musicianship through Performance—also the topic of her dissertation research. Dr. Sindberg continues to be actively involved with CMP in all facets of her teaching and has written and presented extensively on the topic.

Foreward 13Janet R. BarrettPreface17Acknowledgements21Chapter 1—Looking in a CMP Classroom1Class Begins23Day One—Introducing Battalia24Day Two—Sounds Different26Day Three—Going Deeper27Day Four—A Letter Home29Day Five—Biber and the Baroque31Day Six—Battalia as Satire?32Reflecting on the Rehearsal Vignettes33 Overview of the Book35Going Further—Questions for Discussion36Chapter 2—The CMP Model37Introduction37Music Selection37Analysis40Outcomes43Long-term Outcomes45Transfer46Strategies47Assessment50Music Selection, Revisited53The CMP Teaching Plan 54Conclusion55Going Further—Questions for Discussion55Chapter 3—Looking at Shenandoah from a Choral and an Instrumental Perspective57Why Shenandoah? One Piece, Two Classrooms, and Three Outcomes57Shenandoah CMP Teaching Plan36Background58Analysis59Melody60Harmony60Form62Rhythm64Timbre65Texture66Expression67The Heart of Shenandoah68Outcomes69 Strategies69Assessment 71Music Selection72Conclusion73Going Further—Questions for Discussion74Chapter 4—CMP and Teachers75From the Teacher’s Point of View75Teacher Knowledge—An Overview76 CMP Viewed Through a Lens of Teacher Knowledge78Repertoire Matters78Contextual Matters79A Fluid Model81A Dynamic Model83 The Different Phases of a Teaching Life and CMP—Stories from the Field84CMP and Preservice Music Educators84CMP and Novice Music Educators86CMP and Veteran Music Educators87CMP as a Model for Professional Development88Intention90Conclusion91Going Further—Questions for Discussion92Chapter 5—Enacting the Teaching Plan93Taking Shenandoah into the Classroom93Introducing the Piece93Infusing the Teaching Plan into the Rehearsal—From Planning to Implementation95Connecting Warm-ups to the Repertoire96The Rehearsal96Contingencies97Towards Musical Understanding98CMP and Concert Programming99 Excellence in Performance and Musical Understanding100The Students’ Experience as CMP is Implemented102Intersections of the Points of the CMP Model—A Function of Enactment 105Transfer Revisited106Conclusion108Going Further—Questions for Discussion109Chapter 6—CMP and the Music Curriculum110Beyond the Classroom110CMP as Philosophy111CMP as Approach112CMP as a Process112The CMP Practice113Considering the Affective Dimension115CMP and the Music Curriculum117Long-term Outcomes117Standards and Standards-based Curriculum119State and Local Curricula121Curriculum and Music Selection122CMP and Reform-minded Music Teaching125Conclusion128Going Further—Questions for Discussion129Chapter 7—The Evolution of CMP130The Need for Comprehensive Musicianship130Significant Events that Informed the CMP Project131Contemporary Music Project132Manhattanville Music Curriculum Project133Yale Seminar and Tanglewood Symposium133A Vision Takes Shape135The First Summer Institute and Development of a Two-year Pilot Project137Outcome of the 1977 Institute: The CMP Model139Conclusion141Bibliography144Appendices152Appendix A: Battalia for Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel BlahnikA.1Movement 1152A.2Movements 2, 3, 4153A.3Movements 5, 6, 7154A.4Movement 8155Appendix B: CMP Teaching Plan Worksheets156Appendix C: CMP Teaching Plan, Battalia163Appendix D: CMP Teaching Plan, Orpheus With His Lute170Appendix E: CMP Teaching Plan, Jody182Appendix F: CMP Teaching Plan, Rhosymedre191Appendix G: Original CMP Proposal194Index