Just Good Teaching

Laura Sindberg

Foreward 13 Janet R. Barrett Preface17 Acknowledgements21 Chapter 1-Looking in a CMP Classroom1 Class Begins23 Day One-Introducing Battalia24 Day Two-Sounds Different26 Day Three-Going Deeper27 Day Four-A Letter Home29 Day Five-Biber and the Baroque31 Day Six-Battalia as Satire?32 Reflecting on the Rehearsal Vignettes33 Overview of the Book35 Going Further-Questions for Discussion36 Chapter 2-The CMP Model37 Introduction37 Music Selection37 Analysis40 Outcomes43 Long-term Outcomes45 Transfer46 Strategies47 Assessment50 Music Selection, Revisited53 The CMP Teaching Plan 54 Conclusion55 Going Further-Questions for Discussion55 Chapter 3-Looking at Shenandoah from a Choral and an Instrumental Perspective57 Why Shenandoah? One Piece, Two Classrooms, and Three Outcomes57 Shenandoah CMP Teaching Plan36 Background58 Analysis59 Melody60 Harmony60 Form62 Rhythm64 Timbre65 Texture66 Expression67 The Heart of Shenandoah68 Outcomes69 Strategies69 Assessment 71 Music Selection72 Conclusion73 Going Further-Questions for Discussion74 Chapter 4-CMP and Teachers75 From the Teacher's Point of View75 Teacher Knowledge-An Overview76 CMP Viewed Through a Lens of Teacher Knowledge78 Repertoire Matters78 Contextual Matters79 A Fluid Model81 A Dynamic Model83 The Different Phases of a Teaching Life and CMP-Stories from the Field84 CMP and Preservice Music Educators84 CMP and Novice Music Educators86 CMP and Veteran Music Educators87 CMP as a Model for Professional Development88 Intention90 Conclusion91 Going Further-Questions for Discussion92 Chapter 5-Enacting the Teaching Plan93 Taking Shenandoah into the Classroom93 Introducing the Piece93 Infusing the Teaching Plan into the Rehearsal-From Planning to Implementation95 Connecting Warm-ups to the Repertoire96 The Rehearsal96 Contingencies97 Towards Musical Understanding98 CMP and Concert Programming99 Excellence in Performance and Musical Understanding100 The Students' Experience as CMP is Implemented102 Intersections of the Points of the CMP Model-A Function of Enactment 105 Transfer Revisited106 Conclusion108 Going Further-Questions for Discussion109 Chapter 6-CMP and the Music Curriculum110 Beyond the Classroom110 CMP as Philosophy111 CMP as Approach112 CMP as a Process112 The CMP Practice113 Considering the Affective Dimension115 CMP and the Music Curriculum117 Long-term Outcomes117 Standards and Standards-based Curriculum119 State and Local Curricula121 Curriculum and Music Selection122 CMP and Reform-minded Music Teaching125 Conclusion128 Going Further-Questions for Discussion129 Chapter 7-The Evolution of CMP130 The Need for Comprehensive Musicianship130 Significant Events that Informed the CMP Project131 Contemporary Music Project132 Manhattanville Music Curriculum Project133 Yale Seminar and Tanglewood Symposium133 A Vision Takes Shape135 The First Summer Institute and Development of a Two-year Pilot Project137 Outcome of the 1977 Institute: The CMP Model139 Conclusion141 Bibliography144 Appendices152 Appendix A: Battalia for Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik A.1Movement 1152 A.2Movements 2, 3, 4153 A.3Movements 5, 6, 7154 A.4Movement 8155 Appendix B: CMP Teaching Plan Worksheets156 Appendix C: CMP Teaching Plan, Battalia163 Appendix D: CMP Teaching Plan, Orpheus With His Lute170 Appendix E: CMP Teaching Plan, Jody182 Appendix F: CMP Teaching Plan, Rhosymedre191 Appendix G: Original CMP Proposal194 Index