How do musicians make artistic choices? This is an essential question that should be at the center of our music lessons. Too often, the answer to this question is a secret kept by music teachers from their students. The music director makes all the choices, and then instructs the students to play or sing this way … Continue reading Artistic Choices
Author: mramusicplace
Practicing Improvisation
This week, a colleague was reading a unit plan I was working on, and noticed the phrase "practice improvisation." She immediately pointed out to me that improvisation can't be practiced, and to put those two words together makes an oxymoron. I was not convinced and still am not convinced that this is so. What is … Continue reading Practicing Improvisation
It’s Music Festival Season–Which One Should You Choose?
If you're a director of a school music ensemble, then you are now heading into festival and contest season. There are plenty of music festivals vying for your business. Most are good to excellent and offer something valuable (besides a ribbon or trophy) for you and your students to take home with you. With all … Continue reading It’s Music Festival Season–Which One Should You Choose?
Why Do Essential Questions Improve Music Teaching and Learning?
In my school district, the objective at the top of each lesson plan, and the objective must begin with the phrase "students will be able to." The idea is to state an objective in terms of what I want the students to know and do as a result of the lesson. This is a helpful way … Continue reading Why Do Essential Questions Improve Music Teaching and Learning?
A Learning Sequence for Music Rehearsals
Beginning rehearsal on a new musical work is always a mixed bag for me. On the one hand, it is exciting to begin a new piece, and I look forward to starting work on it, foreseeing the day when my ensemble arrives at the point where the audiated performance in my imagination meets or exceeds … Continue reading A Learning Sequence for Music Rehearsals
Strengths and Weaknesses of Orff Schulwerk
Today I will discuss the advantage and disadvantages of the Orff Schulwerk Approach to music education. At the outset, I should mention that no single method of teaching music is sufficient for meeting the needs of all children, or for teaching all aspects of music. Each method bring valuable perspectives into the music classroom, and … Continue reading Strengths and Weaknesses of Orff Schulwerk
Staying Focused as a Music Teacher
If there is one thing that I don't like about being a music teacher, it is this: I only see my students once a week for forty-five minutes. The problem with this is that over the course of an entire school year, I see my classes a maximum of forty times. That's as many times … Continue reading Staying Focused as a Music Teacher
The Difference Between Rhythm and Beat
The term "beat" is arguably the most misunderstood in music. This is evident from the disparate ways the word is used, even among music educators and professional musicians. For example, is a beat something musicians see, hear, or audiate? Directors often tell students in their ensemble to "follow the beat," intending that the musicians see … Continue reading The Difference Between Rhythm and Beat
What Do Music Notes Mean?
I searched the title of this post today, and the results were any number of explanations of how to read music; what the note names were, the different kinds of notes, the treble and bass clefs, and so forth. But is this really what those notes on a page mean? Not at all. As you … Continue reading What Do Music Notes Mean?
Working Aurally With Key Signatures
In my post, Do You Really Know What A Key Signature Is? I made the point that we must not overlook the importance of audiation and teaching keyalities and tonalities aurally before teaching written key signatures. I mentioned singing and playing scales and arpeggios by ear in different keyalities and tonalities. Today, I would like to hone … Continue reading Working Aurally With Key Signatures
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