Connecting Theory to Practice

In “Connecting Theory to Practice” by Campbell from Constructing a Personal Orientation to Music Teaching, Campbell focuses on the idea of how to use firsthand experiences from the past to improve the way you teach and learn. Specifically, Campbell describes teaching as a journey—your education is based on the constant reorganizing of experience, inquiry, and reflection. 

Campbell, M. R., Thompson, L. K. , & Barrett, J.R. (2021).  Constructing a personal orientation to music teaching: Growth, inquiry, and agency. 2nd ed. Routledge.

In “Cultivating a Personal Orientation Towards Change” by Campbell from Constructing a Personal Orientation to Music Teaching, Campbell focuses on the idea of how educational change can be used to understand, develop, and utilize yourself. Campbell argues that teachers are both catalysts of change and conservationists meaning that they determine what traditions to keep and which traditions to change within education.

Campbell, M. R., Barrett, J. R., & Thompson, L. K. (2021). Cultivating a personal orientation toward change. Constructing a personal orientation to music teaching: Growth, inquiry, and agency. (pp. 123-147). New York: Routledge.

In “Beginning: The Challenge of Teaching” by William Ayers from To Teach: The Journey of a Teacher, Ayers focuses on the role of the teacher and the challenges educators face in the field. Specifically, Ayers describes how educators must perform a range of actions and adapt to problems at any given moment.

Ayers, W. (2010). To teach: The journey of a teacher. New York: Teachers College Press.

In “Liberating the Curriculum” by William Ayers from To Teach: The Journey of a Teacher, Ayers focuses on creating a syllabus that supports both state or district standards with the core values the teacher holds on education. Ayers uses comics as an untraditional way to prove his point that sources other than textbooks can convey information effectively. 

Ayers, W. (2010). To teach: The journey of a teacher. (pp. 68-80). New York: Teachers College Press. 

In “A Constructivist View of Music Education: Perspectives for Deeper Learning” by Sheila Scott from General Music Today (Winter 2006 edition), Scott focuses on how creating collaborative communities, questioning, problem solving, and planning for instruction should serve as core principles in a classroom environment. Specifically, Scott focuses on how these constructivist principles can be seen through the lenses of Mr. Cruthers elementary music classes. 

Scott, S. (2006). A constructivist view of music education: Perspectives for deep learning. General Music Today, 19 (2), 17-21.

In “Learning with Digital Media and Technology in Hybrid Music Classrooms” by Evan S Tobias from Chapter Six of Teaching General Music: Approaches, issues, and Viewpoints, Tobias focuses on how music educators can support students' learning with digital media and technology within hybrid music classrooms. Tobias argues media can serve as "a collective singular noun" and medium that people engage with.

Tobias, E. S. (2016). Learning with digital media and technology in hybrid music classrooms. In C. R. Abril & B. M. Gault (Eds.), Teaching general music: Approaches, issues, and viewpoints. Oxford University Press.

​​In “The Substitution Augmentation Modification Redefinition (SAMR) Model: A Critical Review and Suggestions for its Use,” Erica R. Hamilton  focuses on how the Substitution Augmentation Modification Redefinition (SAMR) model can be used to benefit teachers who teach K-12th grade. Hamilton’s purpose in writing this piece is to educate teachers on what the SAMR model is, the model’s purpose, and a critical review of the model. 

Hamilton, E. R., Rosenberg, J. M., & Akcaoglu, M. (2016). The substitution augmentation modification redefinition (SAMR) model: A critical review and suggestions for its use. TechTrends, 60(5), 433-441.

 In “Confronting the challenges of participatory culture: Media education for the 21st century,”  H. Jenkins claims that participatory culture is becoming more relevant as our culture explores and responds to new media technologies that make it possible for consumers to archive, annotate, appropriate, and recirculate media content. Jenkins argues that this culture shifts the focus of literacy from individual expression to community involvement. 

Jenkins, H. (2009). “Enabling Participation,” Chapter 2 Confronting the challenges of participatory culture: Media education for the 21st century (p.145). The MIT Press. 

Jenkins, H. (2009). “A Systematic Approach to Media Education,” Chapter 6 Confronting the challenges of participatory culture: Media education for the 21st century (p. 145). The MIT Press.

In “Sexual Orientation and Music Education” by Louis Bergonzi from the Music Educators Journal, Bergonzi focuses on the idea that heterosexuality has been dominant in the music education field in the United States. Specifically, Bergonzi argues that there has been heterosexual privilege in music education and describes examples that have occurred related to music students, music educators, and the instruction taught in the classroom. 

Bergonzi, L. (2009). Sexual orientation and music education: Continuing a tradition. Music Educators Journal, 96(2), 21-25.

In “Culturally Responsive Teaching Matters!” by Elizabeth B. Kozleski from the Equity Alliance, Kozleski focuses on the idea that culturally responsive teaching connects students to their culture, prior experiences, and to different performance styles or intellectual tools to help legitimize what these students are learning. 

Kozleski, E. B. (2010). Culturally Responsive Teaching Matters!. Online Submission.

In “Rethinking the roles of assessment in music education” by Sheila J. Scott, Scott focuses on how the current movement to student-centered approaches for learning affects our understanding of student assessment. Specifically, Scott discusses how this view of curriculum reform requires new perspectives for assessment. 

Scott, S. J. (2012). Rethinking the roles of assessment in music education. Music Educators Journal, 98 (3), 31-35. 

​​In “Closer Range 3.3,” Campbell focuses on educator Benjamin Hess’ experience exploring international music he was not familiar with. Hess used exploration on international musical practices as a tool to promote diversity and inclusion in his classroom. 

Campbell, M.R., Thompson, L. K., &  Barrett, J.R. (2020).  Constructing a personal orientation to music teaching: Inquiry, growth, and agency. Chapter 3 Learning From Others, (pp. 59 – 96), Routledge.

​​In “Chapter 3: Learning From Others” in Constructing a Personal Orientation to Music Teaching by Campbell, Campbell uses Sharon Feiman-Nemser’s five orientations to teacher education to question what “good teaching qualities are.” Campbell defines  Sharon Feiman-Nemser’s five orientations to teacher education as being academic, personal, critical, technological, and practical. 

Campbell, M.R., Thompson, L. K., &  Barrett, J.R. (2020).  Constructing a personal orientation to music teaching: Inquiry, growth, and agency. Chapter 3 Learning From Others, (pp. 59 – 96), Routledge.

Kessler, J. (n.d.) Good teaching.   Slideshow. 

On January 26th, 2024, Genevieve Lotze presented for the Crane School of Music’s “Music Teaching and Learning” eleven o’clock session. From her lecture, I was able to recognize that Lotze’s main focus as an educator is to be flexible and create a hospitable classroom. Instead of focusing on being “successful” in the eyes of statistics / all-county participation or being incredibly efficient, she focuses on her teaching being “morally defensible.”

Lotze, G. (2024, Jan. 26).  What is Good Teaching?  [Class Session], Crane School of Music, SUNY Potsdam, Potsdam, NY. 

On January 31st, 2024, Katherine Ta presented for the Crane School of Music’s “Music Teaching and Learning” eleven o’clock session. From her lecture, I was able to recognize that Ta’s main focus as an educator is to be flexible, humanize students, and create a hospitable classroom. 

Ta, K. (2024, Jan. 31).  What is Good Teaching?  [Class Session], Crane School of Music, SUNY Potsdam, Potsdam, NY. 

The research conducted in Songs in their heads: Music and its meaning in children's lives (2nd ed.) demonstrates how an educator can be both a flexible musician and an innovative learner. The research conducted allows for an educator to better understand their students' cultures and make them more aware of international music. 

Shehan Campbell, P.. (2010). Songs in their heads: Music and its meaning in children's lives (2nd ed.). New York, NY: Oxford University Press.

Teachers can find musical opportunities such as attending concerts, joining community music groups, and taking continuing education courses such as master classes or workshops to fill in the gaps in their western-music-based collegiate education.

Campbell, M.R., Thompson, L. K., &  Barrett, J.R. (2020) Constructing a personal orientation to music teaching: Inquiry, growth, and agency. At Close Range, 8.1  (pp.214-219). Routledge.

Music teaching is dependent on an educator incorporating contextuality into their music lessons. Without this concept integrated into music teaching, students are being stripped of proper music education. All music teaching should emanate from authentic musical works or experiences. 

Wiggins, J. (2015). Teaching for musical understanding (Chapter 3: Learning music through embodied constructive process, pp. 27-40). New York, NY: Oxford University Press.

The Seven-Step teaching process embraces the principles of constructivist learning theory by promoting active engagement, critical thinking, personal exploration, collaboration, and reflection. It empowers students to construct their own understanding of music concepts and develop their musical abilities in an interactive and meaningful way.

Robinson, N. G., Bell, C. L., & Pogonowski, L. (2011). The creative music strategy: A seven-step instructional model. Music Educators Journal, 97(3), 50-55. 

Shaw's Chapter 2 highlights the need to align assessments with the curriculum to accurately measure student progress. It stresses clear objectives, varied assessment types, and data analysis for effective evaluation.

Shaw, John. "Assessment and Curriculum." Education Strategies for the 21st Century, Academic Press, 2020, pp. 25-50.

This chapter outlines the history and philosophy of instrumental music education, focusing on major changes in teaching practices.  Feldman showcases the evolution of teaching practices and educational theories over time, specifically in the music classroom. The chapter explores the impact of instrumental music on educational systems and student development. This chapter gives a scope of the evolution of instrumental music educational and how it continues to change.

Feldman, Evan, et al. The History of Instrumental Music Education and Its Philosophy: A Brief Introduction. 2nd ed., Routledge, 2015, pp. 10.

This chapter critiques the traditional structures of band programs, as they often prioritize hierarchy and standardization-- not a diverse approach to teaching. The author argues that creativity, student agency, and musical exploration need to be prioritized and challenge the conventional teacher-centered approach. He argues that eductaors must advocate for a more inclusive and student-driven model of instrumental music education. The authors emphasize the need for change in pedagogical practices to foster meaningful musical experiences that reflect contemporary educational values.

Allsup, R. E. & Benedict, C. (2008). The problems of band: An inquiry into the future of instrumental music education. Philosophy of Music Education Review 16(2). 156–173.

Abril (2013) explores different perspectives of American band students,  specifically focusing on their social + emotional connections to band participation. He shows how very dedicated band students can view band as a part of their identity and a sense of belonging. The study raises  questions about typical band programs and how they can be changed to be more inclusive (through instrumentation, repertoire choices, etc) and the balance between structure versus agency in music education.

Abril, C. R. (2013). Perspectives on the school band from hardcore American band kids. In P. S. Campbell & T. Wiggins (Eds.) The Oxford Handbook of Children’s Musical Cultures (pp. 435–448). Oxford University Press.

Hess (2021) uses this article to challenge the dominance of Whiteness in music education. Hess makes a call for educators to spend time educating themselves and work toward anti-racist teaching practices. She discusses how Western classical music is often the center of traditional band programs while diverse musical traditions are marginalized. The article encourages educators to critically examine their own teaching and work to consistently incorporate diverse musical perspectives. Additionally, Hess advocates for educators to create inclusive, equitable learning environments.

Hess, J. (2021). Becoming an anti-racist music educator: Resisting Whiteness in music education. Music Educators Journal 107(4), 14–20.

O’Toole (2003) uses this text to critique traditional music education methods that continue to prioritize conformity and hierarchy over student-centered learning. She argues that creativity should be the focus in the classroom and that these rigid, traditional music education classroom structures exclude diversity. This text advocates for educators to push the boundaries of the set structure of a music education classroom. O’Toole emphasizes the importance of fostering students' critical thinking, musical identity, and a more student-centered approach to music education.

O’Toole, P. (2003). Shaping sound musicians. GIA Publications; Chapter 1 Analysis

Rotjan (2021) explores the benefits of involving students in repertoire selection. Rotjan criticizes the traditional practice of teachers being the only ones deciding repertoire. The article shows how student participation fosters engagement, ownership, and deeper musical understanding. Additionally, including student input typically promotes inclusivity and diverse repertoire choices.

Rotjan, M. (2021). Deciding for or deciding with: Student involvement in repertoire selection. Music Educators Journal 107(4), 28–34.

In "Mapping Your Place: Developing a Place-Conscious Music Classroom," Schaller (2019) emphasizes the importance of connecting music education to the school's community and environment. The article explains how educators can use the cultural, historical, and social aspects of their surroundings to enhance their teaching. By making connections to students' community/environment, they foster a deeper sense of engagement for students. Schaller argues that a "place-conscious approach" helps students better understand the connections between music and their own lives.

Schaller, J. G. (2019). Mapping your place: Developing a place-conscious music classroom. Music Educators Journal 106(2), 37–44.

Chapter 6 of Shaping Sound Musicians (2003) challenges a conductor / directors typical role within the classroom. O'toole advocates for a student-centered approach rather than following an "typical" set of prescedents in the classroom. By supporting student independence, critical thinking, and creativity, students will be more inspired and feel safer int he classroom environment. O'Toole encourgaes directors to switch the focus of a conductor to be more of a facilitator rather than a dictator.

O’Toole, Patricia. Shaping Sound Musicians. GIA Publications, 2003.

Chapter 3 explores strategies for creating inclusive and student-centered music ensembles. O'Toole promotes educators using diverse learning styles to help students of all learning styles. O’Toole advocates for flexibility and responsiveness in teaching, so that music can be more engaging for all students.

O’Toole, Patricia. Shaping Sound Musicians. GIA Publications, 2003.

In Chapter 4, Shaw focuses on creating effective, descriptive, and clear rubrics, checklists, and rating scales as an assessment tool for teaching. He explains that effective assessment tools must align with clear learning objectives and focus on measurable skills. He provides examples of effective, clear assessment tools that teachers can use as a template to base their own assessments off of.

In Chapter 5, Shaw  focuses on different student-centered approaches for assessing ensemble and individual performance. He explains the need for a balance of formative and summative assessments, incorporating evaluations (both self or peer), and designing clear, descriptive rubrics. Shaw believes that assessment should be a regular part of rehearsals, and provides examples and solutions to common challenges (ex. student anxiety).

In Chapter 7,  Shaw discusses different grading concepts for ensembles. He argues that grades should reflect musical growth, effort, and achievement rather than solely being based on behavior or attendance. Shaw claims grading should not be a reward or punishment, it should instead be tailored, personal feedback.

Shaw, Brian P. Music Assessment for Better Ensembles: Strategies for Music Educators. Oxford University Press, 2022.