MUE 480: Course Reflection

Final Course Reflection Paper

          Ziwei Bai

Looking back to my philosophy of choral music education and my experience as a choral teacher assistant at the very first time in the public school setting, I realize that the main purpose of my teaching philosophy won’t be changed. As a middle school choir teacher, I am not only responsible for following my daily curriculum, but also more importantly, in charge of building a harmonic choir family with my academic skills and professions so that my student can develop their own musicianship and identity by themselves.

Like what I said before in my teaching philosophy, my belief of a qualified choral teacher is to be well adaptive of various cultures and background, creating healthy learning environment with respects and encouragements for every improvement, learning from my students with curiosity and treating my students with passions as always. I can recall those philosophies so deeply from my own experiences as a choir student and from my internship placement.

As a choir student from a totally different cultural background, the curiosity of learning and experiencing musics from other culture and language can be one of my major factors to join the choir. I really enjoyed the mans choir curriculum last semester, with both American folk songs and songs from other culture and styles like “Baba Yetu” from Nigeria. On the other hands, the experience from classroom and performance stages may also influence whether I will continue singing in choir too. For me, the major reason why I decided to join gospel choir is because of the energy and the sense of united community that Dr. Thompson brought to his choir group. In fact, many of our gospel choir members won’t be the best individual singer, but the the choir is growing so fast because of the positive classroom environment and passions that Thompson show to every choir members. On the other hands, I had never sang in church and with school orchestra before I joined mans choir and gospel choir.Those experience from performing in front of public can be very valuable for me which I might not be able to have in the future. This is why as a choir teacher, we need to take care of every choir members thoroughly and keep the diversity of our choral repertoire.

As a choir teaching assistant in my internship placement, I found out that tons of paper works and preparation monthly musical programs are very common for a middle school choir teacher, which might be a distraction for me to stick on my philosophy perfectly. My mentor teacher had no time to joke or really smile even to her colleagues due to the stressful daily curriculum and tasks. We all known some middle school students are in their puberty which can potentially be a troublemaker in every choir class that acts countrary to other students.However, she was able to ignore those negativity by providing more caring body language and repeated phrases to attract student’s attentions. For my perspective, middle school students are very accepted and sensitive for teacher’s cares and passions on them because they like being followed.

By reviewing my growth as a teacher in this semester, the most prominent part for me is the confidence building throughout daily practice in the classroom as well as knowledge from my colleagues and mentor teacher. At the very beginning class, I didn’t even know how to start a simple warm-up section for my middle school choir students because I cannot make the cue properly for them to sing after me. It is so grateful that my mentor teacher helped me to use hand gesture for cuing and suggested me to practice at home in front of the mirror and avoid overuse of piano for help. With those home practices and guides, I am able to do more and more comfortable to help her with every warm-up section for the rest of the semester, which really boosts my confidence in teaching choir. For the sight-singing exercises, I learned quite a lot of teaching skills from my colleagues micro-teach section such as how to use modeling more than descriptions and how to use more solfege hand signs more fluently and effectively. All those methods worked for my internship experience so well and my voice projecting is also gradually developing with my improving confidence. However, there is a large space to enhance for my ability to organize my language in teaching. I really had to review and practice my lesson plan for several times in order to make my teaching fluent enough and without occasionally stops or pauses. Moreover, my conducting skill still needs a long time for developing into professions by individual practices and private assists.

For most parts in this course, I had learned a lot of theoretical knowledge and teaching experience from Mr. Evans and graduate colleagues during lectures and discussions. However, for students like me who have lack of conducting skills and choral teaching experience, learning can be more effective with additional micro-teach experiences and professional instructions from my professor and colleagues. However, the last two expert’s lecture that Mr.Evans brought to our class were quite useful and insightful for our future choir teaching preparation.

Chapter 9 Mini-Project 3, Books Review

Sight-Singing Books Review

(1) Music for Sight Singing (9th Edition),Edition by Nancy Rogers & Robert W. Ottman, Published by Pearson, 2013.

  1.  Are the materials specific to one method of teaching? 

Yes, the materials of this book are structured from a wide range of folk musics from the world and practice exercises, which focus on developing sight singing skills and ear.  

  1. Are the materials graded for difficulty?

 Yes, the materials of this book arranges from simple level to more complicated contents from the beginning chapters to the end.

  1. Is the material scaffolded appropriately?

 Yes, the material is very cohesive to the knowledge that each unit introduces and the arrangement of the material is very concise for reading.

  1.  What are the strengths and weaknesses of this materials?

 The strengths of materials are the accessibility for public school for daily based music training and the book is not too long and complex for reviewing; the weaknesses can be the lack of songs collection especially for professional voice training.

  1.  Are the materials based in real music or specially composed exercises?

Yes, I think the materials includes both melodies from real music especially folk songs and composed exercises based on different difficulties level and knowledge of the unit. 

  1.  Do the materials feature a variety of rhythmic and melodic content?

 Yes, every unit in this book combines both rhythmic and melodic based exercises. Rhythmic exercises include simple and compound meters to irregular or changing meter signatures; melodic exercises include all minor and major keys in any diatonic modes and various harmonic progressions.

(2) Melodia:a comprehensive course in sight-singing, by Samuel Winkley Cole.

  1.  Are the materials specific to one method of teaching?

 No, the book focuses on teaching both large group classes and individual reading and sing-alone based on the requirement from instructors.

  1.  Are the materials graded for difficulty?

 Yes, the content of this book includes level of difficulty from diatonic to harmonic exercises, one part to two part, keys from less to more signatures, major to minor and easy to hard in rhythmic patterns.

  1. Is the material scaffolded appropriately?

 Yes, the material are structured into eleven different series and there is an introduction of knowledge for exercises on the beginning of each unit.

  1.  What are the strengths and weaknesses of this materials?

 The strengths of this book are abundant exercises for both public and private teaching use, clear clarification and goals for each unit, all exercises are related to official authorship. The weaknesses can be the edition is old and lack of modern and cultural diverse materials.

  1.  Are the materials based in real music or specially composed exercises?

 Yes, the source of the materials are mostly from 17th to 19th century famous western music composers and masters of choral compositions. 

  1. Do the materials feature a variety of rhythmic and melodic content?

 Yes, well classified by key-signature and time-signature into many different series.

(3)Ear-training and Sight-singing Applied to Elementary Musical Theory:A Practical and Coördinated Course for Schools and Private Study, by George Anson Wedge.

  1.  Are the materials specific to one method of teaching?

Yes, the purpose of this book is to show how to teach elements of music by using the three particular ways: exercises to be written, exercises for diction to be used for ear-training and exercise for sight-reading. 

  1.  Are the materials graded for difficulty?

 No, the book has no specific clarification of level.

  1.  Is the material scaffolded appropriately?

 Not exactly, the material structures from a random setting of knowledge for teacher to use.

  1. What are the strengths and weaknesses of this materials?

 The book has very specific explanation and introduction of each basic music element and definition that can be feasible in public school and private instruction. However, the arrangement of this material is too random and complex for beginning music learner. Moreover, lack of songs collection from real musics.

  1.  Are the materials based in real music or specially composed exercises?

 No, most of the songs are composed by authors instead of officials.

  1.  Do the materials feature a variety of rhythmic and melodic content?

Yes.

(4)The practice of sight-singing, by John Henry Cornell

  1.  Are the materials specific to one method of teaching?

 Yes, the book introduces the method of measuring sight-singing skill is based on a thorough knowledge, theoretical and practical from tonality to rhythm.

  1.  Are the materials graded for difficulty?

 In some ways from exercises but not very clear from the arrangement.

  1.  Is the material scaffolded appropriately?

 Yes, the book combines a four main series about basic tonality, tonal practices on the intervals, rhythm and rhythmic practice on the intervals with specific small sections of related knowledge from simple to hard.

  1.  What are the strengths and weaknesses of this materials?

 The purpose of this book is helping people develops a sense of sophisticated tonal skill as a foundation to learn various sight-singing work which can be effective in some ways. Moreover, there are many specific explanations for music beginner to learn to prepare for sigh-read. However, the content is too long and complex and there are hard to find feasible exercise in a concise way.

  1.  Are the materials based in real music or specially composed exercises?

No, the materials are mostly written by authors instead of officials.

  1.  Do the materials feature a variety of rhythmic and melodic content?

 Yes, there are huge numbers of small tonal exercises and rhythmic exercises for teachers to use.

 

* Overall, I think the Melodia:a comprehensive course in sight-singing, by Samuel Winkley Cole. can  be the more feasible book for me to use because the arrangement of this book is more concise than my last two sight-singing book and the classical sources of this book are more abundant too.

Assignment 3:Extrinsic Motivators for Potential Singers

What are five ideas or activities that would serve as extrinsic motivators for potential singers in a middle school / junior high school choral program? A high school program?

The first idea to serve as extrinsic motivators especially for adolescents, is the peer pressure, because students during their adolescence want to be seen as really successful in some aspects or doing something.

The second idea to serve as extrinsic motivators are the influence of being with good friends who are current choir members. When the current choir member are excited in choir, they will respond positive information to persuade another potential new singer who is his friend, which is pretty effective in doubling the enrollment of choral ensembles.

The third idea to serve as extrinsic motivators is the advertisement of the choral program. By showing the school of the various achievements that your choir had made with social media, school newspapers and school’s website could be effective in recruiting potential singers.

The fourth idea to serve as extrinsic motivators can be the travel. The visiting opportunities to other schools or out of state’s musical festival by joining the choirs will be very valuable experience for potential singers.

The fifth idea to serve as extrinsic motivators can be the teacher’s fun personality. Because many students at the age of middle school to high school tend to select a course which the teacher is one of their favor.

Assignment 1: Teaching Philosophy

Personal Teaching Philosophy for Choral Music Eduction

Ziwei Bai  

As a future choral music teacher, I always strive to search the most effective way for students in varieties of the classroom’s environment. Music, unlike many other subjects such as maths, science and even literature classes, needs teachers to be more creative and improvising in order to deal with any unpredictable circumstances during the class. In my opinion, the goal of music education in a public school environment is not only to share and learn from musics of others, but also encourage our students to form their own musicianship and identity throughout developing academic skills and performing abilities.

Due to my personal experience of learning music from knowing nothing to professions, I realize that how important the choral music education influences the development of musicianship for every human being. Singing is the  most basic and natural skill for every human being, which including a wide range of growth in human’s reading, speaking, performing and expressing skills etc. Moreover, joining the choir and singing together with children can be the fastest and most efficient way for developing students’ singing ability by accomplishing the goal together and the friendly and emotional environment which truly enhance student’s music learning efficiency. As a future choral music teacher, I should not only be a conductor or sectional player, but also the leading singer who can be sensitive enough in finding individual advantage from each student, continuously refining skills through practice and reflecting on areas of individual growths with encouragements.

As a result, my belief of a qualified choral teacher also needs to be well adaptive for diverse cultures and backgrounds in order to make the choir as a big family and community;creating healthy environments with respects and encouragements for every step of improvements; always having a curious mind and learning new things from students in order to create a connection of equality and friendship. And most essentially, always treating music as a life-long love and trying to give the same passions to every student as possible.