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MUSIC 3V03 Foundation Of Music Education

Academic Year: Fall 2015

Term: 1

Day/Evening: D

Instructor: Dr. Keith Kinder

Email: kinderk@mcmaster.ca

Office:

Phone: 905-525-9140 x

Office Hours: Mon 1:30-2:20; Thurs 1:30-2:20



Course Objectives:

I. Purpose:

                - To investigate the significant philosophical, psychological, sociological and pedagogical issues in music education that inform the aesthetic view, and lead to the formation of a personal philosophy of music teaching.

                - To prepare and present a research paper in the form of a seminar.

II. Structure:

                - The course will begin with two intensive lectures introducing the "foundations of music education" as outlined in the text, chapters 2, 3, 5, 6, 7, 8. These lectures will establish the ground out of which the rest of the course will grow. The majority of the course will consist of seminar presentations by the members of the class.


Textbooks, Materials & Fees:

I. Required Text:

 - Abeles, Harold; Charles Hoffer; Robert Klotman (1994).  Foundations of Music Education (2nd ed.).  New York:  Schimer Books.

II.  Supplementary Reference Material - (in our library, but not necessarily in the music section)

a)  Reimer, Bennett. (1989) A Philosophy of Music Education (2nd ed.)  Englewood Cliffs, N.J.:  Prentice-Hall Inc.

b)  Dreikurs, Rudolf; Pearl Cassel. (1972) Discipline Without Tears (2nd ed.) New York:  Hawthorne Books.

c)  Dreikurs, Rudolf; Bernice Grunwald. (1982) Maintaining Sanity in the Classroom.  New York:  Harper and Rowe.

d)  Dreikurs, Rudolf. (1968)  Psychology in the Classroom.  New York:  Harper and Rowe.

e)  Tempson, William; David Tobin. (1982)  Teaching As Performing.  Englewood Cliffs, N.J.:  Prentice-Hall Inc. 

f)  Walch, J. Weston. (1984) Successful School Discipline.  Portland ME:  J. Weston Walch Pub.

g)  Rossman, R. Louis, ed. (1989) TIPS: Discipline in the Music Classroom. Reston, VA: MENC.

h)  Elliot, David J. (1995). Music Matters.  Toronto: Oxford University Press.

 i) National Standards for Arts Education. (1994) Reston, VA: MENC

 j) The Vision for Arts Education in the 21st Century. (1994) Reston, VA: MENC

k) Description of Quality Music Programs. (1997) Mississauga, Ont: Coalition for Music Education in Canada

l) Lebler, Don, et al (2015) Assessment in Music Education: From Policy to Practice. Cham: Springer International Publishing.

k) Hamann, Donald (1991) Creativity in the Music Classroom. Reston, VA: MENC

m) Stringham, Edward J. (1959) Listening to Music Creatively. 2nd. ed. Englewood Cliffs, NJ: Prentice-Hall

n) Gregerson, Mary B., et. al. (2013) Teaching Creatively and Teaching Creativity. New York: Springer New York.

o) Fitzsimmins, Sharon (2005) An Earful: A Teacher’s Guide to Listening. Midhurst, ON: Sharon Fitzsimmins.

p) Rodriguez, Carlos X. (2004) Bridging the gap: Popular Music and Music Education. Reston VA: MENC


Method of Assessment:

I. Assignments and Grading:

  A)  Seminar (40%)

                Present a 25-minute seminar (20 minute presentation, 5 minute discussion) on one of the topics from the attached list.  Students are encouraged to suggest other topics; however, please consult with the instructor before beginning work on any presentation not included on the list.  It is important to select a topic which is of considerable interest to you personally. Please time presentations carefully to allow time for discussion.

                The presentation must carefully relate the seminar topic to the "foundations of music education" presented in the initial lectures.  It should follow this format:

               i)  presentation of the subject; 70-75%

               ii) evaluation and/or opinion; 25-30%

                Please prepare:

                i)  a short report, 5-6 pages, summarizing your research. This report is to be in essay form, with a concise introduction and conclusion. Ideas drawn from external sources must be properly acknowledged with a citation. Please hand in your report for grading within a week following your oral presentation.

                ii)  a synopsis (1-2 pgs.) containing the salient points of your research.  This synopsis is to be handed out to the class at the beginning of your presentation.

Both papers must include bibliographies.

The seminar will be judged on content and presentation, according to the following formula: Content - 40%, Presentation - 30%, Paper - 30%.

(N.B Students may use any accepted format for citations, provided that consistency is maintained. However, "Name-Date" citation is recommended. In this format, quotations, facts and ideas from external sources are acknowledged in the text in the following manner:

"This technique, which Alan Walker considers 'a lasting contribution to the history of musical form' (Walker 1989, p. 309), was used by Liszt ..."

"Name-Date" citation requires a slight change in the format of bibliographic entries:

Walker, Alan. (1989) Franz Liszt: The Weimar Years 1848-1861. New York: Alfred A. Knopf.)

B)  Individual Activity: (10%)

Compare the first movement of Mozart Symphony No. 40 or 41 to that of Symphony No. 25, 27, 29, 33, or 34, according to Leonard Meyer’s concepts of meaning and emotion in music. Consider how the two works fulfil normal expectations of style and context (meaning), and how they alter or delay the expected patterns (emotion). Using Meyer’s principles, analyze how the well-known work (Symphony 40 or 41) appears (or does not appear) to be of greater quality than the lesser-known work

May be presented in point form or as a chart.

Due: October 5, 2015

C)  Essay (15%)

                Define music. Discuss the important terms included in your definition, and the ramifications for music teaching inherent in those terms.

                Due date:  Anytime, but not laterthan October 19, 2015 (unless your seminar is also scheduled for that date, in which case your essay will be due October 26, 2015).

D)  Performance Piece (15%)

                Select a piece of music from your area of specialty (band, choir, jazz band, orchestra, general music, etc.), which you might wish to program on a future concert. Justify its use within a structured music program on aesthetic ("I believe in this piece because...") and pedagogical ("I can teach........with this piece") grounds. Please include a copy of the score (not the original) with your essay.

                Due date:  anytime, but not later than November 23, 2015.

E)  Classwork (20%)

                - Grade will be based on preparation for, and participation in, class meetings. Attendance and willingness to contribute to class discussions will be considered in assigning this grade.


Policy on Missed Work, Extensions, and Late Penalties:

1. Incorrect grammar, spelling and sentence structure will be graded on all written assignments.

2. Due dates are organized to distribute the workload as evenly as possible over the complete course. Students are required to attend to them carefully. Late assignments and incomplete projects will not be accepted unless prior arrangements have been made with the instructor.


Please Note the Following Policies and Statements:

Academic Dishonesty

You are expected to exhibit honesty and use ethical behaviour in all aspects of the learning process. Academic credentials you earn are rooted in principles of honesty and academic integrity.

Academic dishonesty is to knowingly act or fail to act in a way that results or could result in unearned academic credit or advantage. This behaviour can result in serious consequences, e.g. the grade of zero on an assignment, loss of credit with a notation on the transcript (notation reads: "Grade of F assigned for academic dishonesty"), and/or suspension or expulsion from the university.

It is your responsibility to understand what constitutes academic dishonesty. For information on the various types of academic dishonesty please refer to the Academic Integrity Policy, located at www.mcmaster.ca/academicintegrity

The following illustrates only three forms of academic dishonesty:

  1. Plagiarism, e.g. the submission of work that is not one’s own or for which other credit has been obtained.
  2. Improper collaboration in group work.
  3. Copying or using unauthorized aids in tests and examinations.

Email correspondence policy

It is the policy of the Faculty of Humanities that all email communication sent from students to instructors (including TAs), and from students to staff, must originate from each student’s own McMaster University email account. This policy protects confidentiality and confirms the identity of the student.  Instructors will delete emails that do not originate from a McMaster email account.

Modification of course outlines

The University reserves the right to change dates and/or deadlines etc. for any or all courses in the case of an emergency situation or labour disruption or civil unrest/disobedience, etc. If a modification becomes necessary, reasonable notice and communication with the students will be given with an explanation and the opportunity to comment on changes. Any significant changes should be made in consultation with the Department Chair.

McMaster Student Absence Form (MSAF)

In the event of an absence for medical or other reasons, students should review and follow the Academic Regulation in the Undergraduate Calendar Requests for Relief for Missed Academic Term Work. Please note these regulations have changed beginning Fall 2015. You can find information at mcmaster.ca/msaf/. If you have any questions about the MSAF, please contact your Associate Dean's office.

Academic Accommodation of Students with Disabilities

Students who require academic accommodation must contact Student Accessibility Services (SAS) to make arrangements with a Program Coordinator. Academic accommodations must be arranged for each term of study. Student Accessibility Services can be contacted by phone 905-525-9140 ext. 28652 or e-mail sas@mcmaster.ca. For further information, consult McMaster University's Policy for Academic Accommodation of Students with Disabilities.

Academic Accommodation for Religious, Indigenous and Spiritual Observances

Students requiring academic accommodation based on religion and spiritual observances should follow the procedures set out in the Course Calendar or by their respective Faculty. In most cases, the student should contact his or her professor or academic advisor as soon as possible to arrange accommodations for classes, assignments, tests and examinations that might be affected by a religious holiday or spiritual observance.


Other Course Information:

I. Course Structure and Topics:

Sept 14 – Introduction: Philosophical Foundations; Aesthetic Foundations (Chapters 2, 3 - article on “Aesthetics of Music” in the New Groves’s Dictionary of Music and Musicians)

Sept 21  - Sociological foundations (Chapters 5, 6)

Sept 28  - Psychological foundations (Chapter 7, 8)

Oct. 5    a) Name:_____________________________ topic: Music Aptitude/Achievement Tests

              b) Name:_____________________________ topic: Performance Testing

              c) Name:_____________________________ topic: Learning Stages

Oct 19    a) Name: _____________________________topic: Gender Stereotyping in the Choice of Instruments

             b) Name:_____________________________ topic: Creativity in the Classroom

             c) Name:_____________________________ topic: Motivation     

Oct 26    a) Name:_____________________________ topic: Teaching Listening

              b) Name: ____________________________topic: Popular Music in the Classroom

              c) Name:_____________________________ topic: Teacher Burnout

Nov 2    a) Name:_____________________________ topic: Classroom Management

              b) Name:_____________________________ topic: Canadian Music in Canadian Schools

              c) Name:____________________________ topic:_________________________

Nov 9     a) Name:____________________________  topic: __________________________

             b) Name:____________________________ topic: ___________________________ 

             c) Name:____________________________ topic:___________________________

Nov 16   a) Name:____________________________ topic:___________________________

            b) Name:____________________________ topic:___________________________

            c) Name:_____________________________ topic:_________________________

Nov. 23  a) Name:_____________________________ topic:__________________________

             b) Name: ____________________________ topic: __________________________

             c) Name:_____________________________ topic:__________________________

 Nov 30   a) Name:____________________________ topic:___________________________

              b) Name:_____________________________ topic:__________________________

              c) Name: ___________________________   topic: ____________________________

Dec 7   a) Name:_____________________________ topic:________________________________

            Wrap Up     

II. Seminar Topics:

A. Assigned Topics:

i)  Music Aptitude and Achievement Tests

- well-known tests

- strengths, weaknesses

- use them?  what can they tell us

 ii)  Performance Testing

- problems? solutions?

iii)  Learning Stages

- Piaget, Bruner, others

- application to music teaching

iv) Gender Stereotyping in the Choice of Musical Instruments

- does it happen?  Why?

- strategies for altering the status quo.

v) Creativity in the Classroom

- definitions, how do you integrate it into a structured music program?  value?

  • - creativity for the teacher
  • - creativity for the student

vi)  Motivation

 - short term, long term

  - in class, out of class

  - special learners

   - motivation for the teacher

    - etc.

vii) Teaching Listening

  - what?  how?

 - strategies for incorporation into a structured program

  - value

viii)  Popular Music in the Classroom

- what?  how much? 

- place within the curriculum? 

- value?

ix)  Teacher Burnout

x)  Classroom Management:  Survival and/or Illumination

- designing the perfect lesson over and over

 xi)  Canadian Music in Canadian Schools

  • Canadian Music Centre
  • John Adaskin Project
  • Other approaches       

B. Unassigned Topics:

xii) Music Teachers’ Organizations and Journals

- local, regional, national, international

- purpose of organization

- who can join?  who does belong?

- Journal - who writes it?

- does it have a stated purpose?

- value of these organization and journals

xiii)  Annotated Bibliography for one of the following areas:

                                - brass

                                - woodwinds

                                - percussion

                                - strings

                                - classroom music

                                - philosophy

                                - education

                                - band

                                - orchestra

                                - choir

                                - jazz ensembles

                                - etc.

xiv)  Approaches to the Teaching of a Specific Concept.

- outline several different approaches or ideas

xv)  In-depth look at one of:

  • the philosophical stances.
  • the psychological approaches.
  • (one or more) of the important sociological issues.

xvi)  Introducing Contemporary Music and Notation

       - outline a strategy

xvii)  Criteria for selecting repertoire for one of:

                                - band

                                - orchestra

                                - choir

                                - jazz ensemble

                                - classroom music

                                - etc.

xviii)  Or??