A REVIEW OF BEGINNING BAND METHOD BOOKS FOR INCLUSION OF COMPREHENSIVE MUSICIANSHIP AND ADHERENCE TO THE NATIONAL STANDARDS FOR MUSIC EDUCATION

Transcription

1 A REVIEW OF BEGINNING BAND METHOD BOOKS FOR INCLUSION OF COMPREHENSIVE MUSICIANSHIP AND ADHERENCE TO THE NATIONAL STANDARDS FOR MUSIC EDUCATION Shannon S. Paschall A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2006 Committee: Kenneth Thompson, Advisor Kevin Schempf, Advisor Elaine Colprit Andrew Pelletier

2 2006 Shannon Paschall All Rights Reserved

3 iii ABSTRACT Kenneth Thompson and Kevin Schempf, Advisors Research has shown that providing students with a comprehensive music education produces knowledgeable musicians who perform as well, or better, than students taught only performance skills (Austin, 1998; Whitener, 1981). The National Standards for Music Education are a repackaging of the ideas of comprehensive musicianship that have been emphasized since the 1960s (Austin, 1998). Some music educators are required to fulfill the goals of the National Standards (Hoffer, 2001), and many cite a lack of time and materials necessary to achieve these goals (Austin, 1998; Byo, 1999). This task could be simplified for beginning band teachers with the use of a band method that already integrates these concepts. The purpose of this study was to review five beginning band methods for inclusion of comprehensive musicianship and adherence to the National Standards for Music Education. Band Expressions (Smith & Smith, 2003), Essential Elements 2000 Plus DVD (Lautzenheiser et. al., 2004), Standard of Excellence: Enhanced Comprehensive Band Method (Pearson, 2004), The Yamaha Advantage: Musicianship from Day One (Clark & Feldstein, 2001), and Accent on Achievement (O Reilly & Williams, 1997) were reviewed for inclusion of items, topics, and musical skills that each should address according to the National Standards for Music Education as well as books, articles, and studies on comprehensive musicianship. The number of times each band method addresses a topic cited as a standard in the National Standards and/or included in comprehensive musicianship was charted. While all five band methods assist directors in providing comprehensive instruction and adhering to the National Standards, only Band Expressions integrates all of the topics reviewed in this thesis into the band method.

4 Colossians 3:17 iv

5 v ACKNOWLEDGMENTS I sincerely appreciate the time, energy, and enthusiasm given by my advisor, Dr. Ken Thompson, during the past few months. His advice and encouragement have been invaluable. I am especially grateful to Mr. Kevin Schempf for helping me grow as a musician and for his extra efforts in serving as co-chair of the thesis committee. I would also like to thank Dr. Elaine Colprit and Dr. Andrew Pelletier for serving on the thesis committee and sharing their time and talents. Special thanks to Carl Fischer, Hal Leonard, Alfred, Neil A. Kjos, and Warner Bros. Publication Companies, the publishers of the band methods reviewed in this thesis, for their donations of materials. Sample student method books are available by contacting these publishers. Thanks to my family and friends for their prayers and support throughout all my academic and musical endeavors.

6 vi TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION... 1 Statement of the Problem... 1 Need for the Study... 2 Purpose of the Study... 2 CHAPTER II. REVIEW OF LITERATURE... 4 MENC National Standards for Music Education... 4 Comprehensive Musicianship... 8 Existing Reviews of Band Methods Summary of Review of Literature CHAPTER III. METHODOLOGY Selection of Band Methods Selection of Topics for Consideration CHAPTER IV. RESULTS Comparative Review of Band Methods Structural Methodology Pedagogical Methodology Adherence to the National Standards and Inclusion of Comprehensive Musicianship CHAPTER V. DISCUSSION Conclusions and Recommendations... 55

7 vii Summary Suggestions for Further Research REFERENCES BIBLIOGRAPHY... 87

8 viii LIST OF TABLES Table Page 1 Topics Included in the National Standards and Comprehensive Musicianship Structural Methodology: Accent on Achievement Structural Methodology: Band Expressions Structural Methodology: Essential Elements Structural Methodology: Standard of Excellence Structural Methodology: Yamaha Advantage Pedagogical Methodology: Accent on Achievement Pedagogical Methodology: Band Expressions Pedagogical Methodology: Essential Elements Pedagogical Methodology: Standard of Excellence Pedagogical Methodology: Yamaha Advantage Adherence to National Standards and Inclusion of Comprehensive Musicianship: Accent on Achievement Adherence to National Standards and Inclusion of Comprehensive Musicianship: Band Expressions Adherence to National Standards and Inclusion of Comprehensive Musicianship: Essential Elements Adherence to National Standards and Inclusion of Comprehensive Musicianship: Standard of Excellence Adherence to National Standards and Inclusion of Comprehensive Musicianship: Yamaha Advantage... 52

9 ix 17 Adherence to National Standards and Inclusion of Comprehensive Musicianship: Singing Adherence to National Standards and Inclusion of Comprehensive Musicianship: Solos/Duets Adherence to National Standards and Inclusion of Comprehensive Musicianship: Varied Repertoire Adherence to National Standards and Inclusion of Comprehensive Musicianship: Posture Adherence to National Standards and Inclusion of Comprehensive Musicianship: Playing Position Adherence to National Standards and Inclusion of Comprehensive Musicianship: Breathing Adherence to National Standards and Inclusion of Comprehensive Musicianship: Expression Adherence to National Standards and Inclusion of Comprehensive Musicianship: Play by Ear Adherence to National Standards and Inclusion of Comprehensive Musicianship: Improvisation Adherence to National Standards and Inclusion of Comprehensive Musicianship: Composition Adherence to National Standards and Inclusion of Comprehensive Musicianship: Arranging... 65

10 x 28 Adherence to National Standards and Inclusion of Comprehensive Musicianship: Reading Adherence to National Standards and Inclusion of Comprehensive Musicianship: Notating Adherence to National Standards and Inclusion of Comprehensive Musicianship: Listening Adherence to National Standards and Inclusion of Comprehensive Musicianship: Form Adherence to National Standards and Inclusion of Comprehensive Musicianship: Theory Adherence to National Standards and Inclusion of Comprehensive Musicianship: Evaluating Adherence to National Standards and Inclusion of Comprehensive Musicianship: Other Arts Adherence to National Standards and Inclusion of Comprehensive Musicianship: History Adherence to National Standards and Inclusion of Comprehensive Musicianship: Multicultural Adherence to National Standards and Inclusion of Comprehensive Musicianship: Conducting... 76

11 1 CHAPTER I INTRODUCTION Statement of the Problem In his introduction to the 1976 publication, Blueprint for Band, Garofalo makes a statement about the condition of band programs in America. There are few carefully planned courses of study designed to teach students the fundamentals of music theory, introduce them systematically to the great composers, or assist them in comprehending the fascinating metamorphosis of musical form and style through the broad sweep of man s history. Instead, our students concentrate on acquiring the technical competence necessary to play the scores which we decide will make an interesting program for our next audience or will please our colleagues who will be judging the next contest (1976, vii). While most band programs train students to be performers, not all programs provide the information and knowledge students need to become musically educated adults. Band programs that aid students in the development of musicality, analysis skills, and aesthetic understanding should produce adults who are able to make value judgments about music (Culbert, 1974, p. 5). Garofalo, like Culbert and many other music educators, believes band students should have a comprehensive music education, which is defined as instruction in performance skills combined with the acquisition of musical knowledge. Students become musicians through performing, composing, improvising, arranging, and conducting. Through implementation of a comprehensive musicianship curriculum, an idea that has been in existence for several decades, music educators may be able to fulfill the goals of the National Standards for Music Education published in 1994 by the Music Educators National Conference. The standards specify what

12 2 musical techniques and knowledge every student should possess at the end of grades 4, 8, and 12; the standards apply to all students through grade 8 and to every student enrolled in required or elective music courses beyond grade 8. While a comprehensive music education, one that adheres to the National Standards for Music Education, should begin as soon as students select an instrument, many music teachers have limited amounts of planning and rehearsal time (Austin, 1998, p. 30; Byo, 1999, p. 112). Consequently, it would seem logical and efficient for beginning band directors to use a band method that already integrates the concepts of comprehensive musicianship to aid in fulfilling the goals of the National Standards. Research on which current band methods meet the requirements set forth in the National Standards would aid band directors in the task of selecting an appropriate band method. Need for the Study Several studies provide suggestions for selecting an appropriate beginning band method while others review existing band methods. While these studies are useful and remain relevant, several new band methods and revised editions of existing band methods have been published; therefore, several band methods currently in use have yet to be reviewed. In addition, many current music teachers are required to achieve the goals of the National Standards for Music Education (Hoffer, 2001, p. 52), and none of these previous studies focus on this concern. For these reasons, this study is needed to review current band methods for inclusion of comprehensive musicianship and adherence to the National Standards for Music Education. Purpose of the Study The purpose of this study is to review beginning band methods in consideration of their inclusion of comprehensive musicianship and adherence to the National Standards for Music

13 3 Education. This study is intended to serve as a resource for pre-service teachers and current music educators by providing a review of five band methods currently in use. If directors were able to gain insight into new and updated publications and grasp how well new band methods adhere to the National Standards, promoting comprehensive musical instruction, then band directors could more easily investigate these methods for themselves in order to enhance music instruction for their students. This study should be useful to all band directors, especially beginning teachers who have a limited knowledge of current band methods.

14 4 CHAPTER II REVIEW OF LITERATURE MENC National Standards for Music Education The Yale Seminar on Music Education was held at Yale University from June 17-28, 1963 in order to identify and discuss problems currently facing music education. The participants examined the K-12 curriculum and questioned why school music programs had not yet been able to produce a musically literate public (Mark, 1996, p. 34). The Yale Seminar found that while school instrumental music programs produced competent performers, superficial showmanship and mass activity did little to increase the musicality and musical appreciation of individual musicians (p. 36). Participants agreed that music programs trained students to be performers rather than knowledgeable musicians. Unfortunately, the Yale Seminar participants were primarily university faculty and professional musicians who had little direct involvement with K- 12 music education in the public schools. With little representation from music educators or the Music Educators National Conference: the National Association for Music Education (MENC), the seminar could not implement any ideas, but instead created an atmosphere that was conducive to change, in which the music education profession could seriously consider new methods and materials (p. 37). The Yale Seminar determined that school music programs needed to teach more than performance skills, but only music educators would eventually be able to alter the K-12 music curriculum. To address the problems identified by the Yale Seminar, music education leaders held their own conference from July 23-August 2, 1967, in Tanglewood, Massachusetts. MENC was the primary sponsor of the symposium created to discuss and define the role of music education in contemporary American society at a time when it was faced with rapid social, economic, and

15 5 cultural change (Mark, 1996, p. 39). Music educators at Tanglewood agreed that all musical styles and forms as well as music from diverse cultures and historical periods belong in the curriculum. They decided music instruction should be available for all age groups and that high school students needed instruction in the arts. Technology should be applied to music instruction, and teacher education programs should be expanded and improved. The Tanglewood Symposium culminated with the writing of The Tanglewood Declaration, a document that contained a recommendation that music be placed in the core academic curriculum (p. 44). In 1969, MENC began to implement the suggestions of the Tanglewood Symposium through the Goals and Objectives (GO) Project. Thirty-five goals and objectives were identified for MENC to focus on in order to improve music education in America. MENC established the National Commission on Instruction to implement these goals and objectives. In 1974, the commission published The School Music Program: Description and Standards. This document describes an ideal school music program through presentation of standards for instructors, curriculum, facilities, and equipment, providing teachers with a model for comparison with the aim that more programs would eventually emulate this model (Mark, 1996, p. 48). A second edition of The School Music Program: Description and Standards was published in 1986, presenting specific curriculum goals to be achieved. By 1990, every student in grades K-12 would have access to music instruction and every high school, college, and university would require at least one credit in the arts for graduation. The standards published in both editions of The School Music Program represent the response of the music education profession to the national movement for increased quality in education, even though the arts were not considered an essential academic subject at this time (p. 49). While music educators

16 6 were not required to make improvements in the music curriculum, they sought to improve K-12 music education with the belief that music would someday become a core academic subject. On March 31, 1994, Goals 2000: Educate America Act (PL ) was signed into law (Mark, 1996, p. 104). This federal law validated and enforced the national movement demanding increased quality in education by requiring identification of standards and achievement levels in all core subject areas: English, mathematics, science, foreign languages, civics and government, economics, arts, history, and geography (p. 106). Identifying the arts as a core subject area indicated that the arts are as significant as other academic subjects, so identification of standards and achievement levels were now required for all arts disciplines, and the National Standards for Arts Education were written in response (p. 107). The National Standards for Arts Education contain content standards, statements of what students should know and be able to do in each discipline dance, music, theater, and visual arts. Each content standard is coupled with an achievement standard, providing a description of how students are to demonstrate mastery of each specific content standard (p. 49). The National Standards for Music Education, as part of the National Standards for Arts Education, were published in 1994 by the Music Educators National Conference. Developed under the guidance of the National Committee for Standards in the Arts, they were designed to represent the views of educators, parents, artists, professional associations in education and in the arts, public and private education institutions, philanthropic organizations, and leaders from government, business, and labor. The standards specify what musical techniques and knowledge every student should possess at the end of grades 4, 8, and 12, define music education as a balanced, complete, and sequential music curriculum, and provide assistance in improving the school music program. The standards apply to all students through grade 8 and to every student

17 7 enrolled in music beyond grade 8 (Lehman, 2000, p. 2). Students in grades 5-8 use the band methods reviewed in this thesis, so the music content standards for grades 5-8 are as follows: 1. Singing, alone and with others, a varied repertoire of music 2. Performing on instruments, alone and with others, a varied repertoire of music 3. Improvising melodies, variations, and accompaniments 4. Composing and arranging music within specified guidelines 5. Reading and notating music 6. Listening to, analyzing, and describing music 7. Evaluating music and music performances 8. Understanding relationships between music, the other arts, and disciplines outside the arts 9. Understanding music in relation to history and culture (MENC, 2005). These standards provide high expectations to ensure that the music curriculum in every school provides an optimal learning environment for all students. These are the best practices currently found in American schools (Lehman, 2000, p. 2). Many states and school districts have adopted the National Standards, and while some require teaching to fulfill the goals of the Standards, others simply recommend it (Hoffer, 2001, p. 52). The Standards do not mean that every lesson or rehearsal must contain elements of all nine standards, or that every course should contain equal portions of each standard, but the topics included in the Standards should not be omitted in band and choir rehearsals (p. 53). Fulfilling the goals of the National Standards would be especially important if a student s only musical experience was participation in a performing ensemble.

18 8 Comprehensive Musicianship In Teaching Music through Performance in Beginning Band, Pearson states, The National Standards for Arts Education has... identified what all American students should know and be able to do in the arts. In many ways, the Standards have structured what music educators have for some time called comprehensive musicianship (2001, p. 58). Many leading music philosophers and researchers agree that ensemble directors should maximize student learning through comprehensive musicianship, thus validating music as part of the educational curriculum by integrating theoretical, historical, analytical, and stylistic aspects of music into the performance repertoire (Grashel, 1993, p. 38). Comprehensive musicianship found its roots in the Young Composer s Project, which began in Norman Dello Joio, a prominent composer and pedagogue interested in music education, suggested an arrangement between composers and public school music programs. Composers-in-residence, funded by the Ford Foundation, were placed throughout the United States to write original, contemporary music for public school ensembles (Mark, 1996, p. 29). The barrier between composers and performers was removed, and students benefited from the interaction with composers because a great deal of new literature was written for school performance groups. The project was successful, but composers soon discovered that music teachers did not have a conceptual understanding of contemporary music techniques and could not teach these techniques to their students (Bauer, 1987, p. 15). Given this evident lack of knowledge, the Contemporary Music Project was organized in 1963 to sponsor seminars for music educators to bridge the gap between composers and teachers (p. 16). This was a time when many musicians, not just music educators, were interested in what was being taught in public school music programs. There was a shift in focus from what students

19 9 were learning in middle and high school band classes to what future music educators were learning when preparing to teach (Thomson, 1990, p. 21). The leaders of the Contemporary Music Project concluded college music curricula needed to do more to prepare all music students to deal with contemporary musical literature, indeed a wide variety of literature, and to bring students from all the music disciplines into a more common frame of reference to facilitate communication and understanding. Thus, the need emerged for a more comprehensive music education (Willoughby, 1990, p. 39). Participants in the Yale Seminar, also in 1963, concluded that school instrumental music programs produced competent performers, but the strong emphasis on performance in the K-12 music curriculum did not create knowledgeable musicians with a life-long appreciation for music (Mark, 1996, p. 36). Music educators responded to the Yale Seminar with the Tanglewood Symposium, and MENC s GO Project was initiated to implement the recommendations of this group. One of the GO Project s thirty-five objectives states that MENC will lead in efforts to ensure that every school system allocates sufficient staff, time, and funds to support a comprehensive and excellent music program (p. 47). MENC and leaders in the music education profession have been advocates for a comprehensive music education since this time. Comprehensive musicianship is a pedagogical approach that provides a rationale for performance based ensemble courses to be included as part of the core academic curriculum. Teaching comprehensively requires directors to teach more than performance skills through instruction in music history, music theory, analysis, and listening skills. Many ensemble directors neglect this responsibility because of the inherent pressure of preparing public performances, lack of planning or rehearsal time, or fear of high attrition rates if ensembles are viewed as traditional academic classes (Austin, 1998, p. 30; Byo, 1999, p. 112). If teachers select repertoire

20 10 for its potential to provide opportunity for diverse instruction, students can gain both technical and conceptual knowledge while learning new music (Grashel, 1993, p. 38). According to Elliott, comprehensive musicianship is a combination of performance skills and formal (history, theory, form) and informal (musicality, phrasing) musical knowledge. He advocates teaching both types of musical knowledge through performing, composing, improvising, arranging, and conducting. Elliott writes that music educators should teach informal musical skills and then worry about formal musical knowledge, because if students acquire musicianship skills, then they have the knowledge required to understand and enjoy music for life. (1995, p. 32). Comprehensive musicianship is simply performance with understanding (Austin, 1998, p. 25). Willoughby describes comprehensive musicianship as the integration of content and musical experiences, the teaching of musical skills through performance (1990, p. 39). Comprehensive musicianship encompasses all the activities that a musician engages in performing, creating, evaluating, listening, conducting, analyzing, and communicating. It is a method of instruction in which a student functions as a musician in the broadest sense (Texter, 1979, p. 5). While the National Standards for Music Education state what students should know and be able to do, they do not specify how teachers are to meet these objectives with their students (MENC, n.d., p. 2). Through implementation of a comprehensive musicianship curriculum, an idea that has been in existence for half a century, music educators will be able to realize the goals of the 1994 National Standards for Music Education. The comprehensive musicianship approach to training instrumentalists has had a positive effect since its development in the 1960s.

21 11 It centers on choosing quality music for performance and integrating knowledge about the music within group rehearsals (Schleuter, 1997, p.11). William Whitener, in his comparison of two approaches to teaching beginning band, examined the effects of providing a comprehensive music education for beginning band students. He studied two beginning bands, one given a comprehensive music education, and one taught only technical skills necessary for performance. The comprehensive group spent less time performing due to increased instructional time, but at the end of the study, there was no significant difference in the performance levels of the two groups as measured by a performance test score (Whitener, 1981, p. 61). Students taught comprehensively showed significant differences in scores in the areas of interval (p <.01) and meter discrimination (p <.05) due to instruction on intervals and meters included in the comprehensive approach. Students in the comprehensive group were also more sensitive to changes between major and minor modalities (p <.01). This is the result of an instructional emphasis on the difference between major and minor sonorities. Students in the comprehensive group also scored higher on an auditory-visual discrimination test (p <.01) because of instruction in composition (p. 62). In addition, 63% of the comprehensive group was able to improvise Twinkle, Twinkle Little Star. None of the performance group subjects could complete this improvisatory task (p. 64). Austin discovered that the goals outlined in the National Standards closely resemble ideas previously developed, implemented, and tested by comprehensive musicianship. He found that previous comprehensive musicianship models required a focus on: 1. perception or conception of the common elements 2. interdisciplinary study of music theory, history, and performance

22 12 3. involvement of students in the musician s varied roles as performer, composer, conductor, listener, and analyst 4. study as well as performance of quality music literature representing diverse genres, cultures, and historical periods 5. ensemble classes that function as both learning laboratories and rehearsal settings Only Standard 8, understanding relationships among music, the other arts, and disciplines outside the arts, has no direct correlation in any comprehensive musicianship model (1998, p. 25). Austin provides a review and synthesis of several previous studies on the effects of comprehensive musicianship in public school ensembles. He found that research studies on comprehensive musicianship have ranged from two weeks to two years in length, and the amount of time devoted to comprehensive instruction during these studies ranged from a few minutes of every third rehearsal to half of every rehearsal. Results were positive regardless of how or how long this approach was implemented (1998, p. 28). Music achievement scores (reflecting basic knowledge, conceptual understanding, aural perception, or analytical listening skills) were consistently higher for students taught using a comprehensive approach and/or also improved significantly over time (Boyle & Radocy, 1973; Carlson, 1993; Culbert, 1974; Garofalo & Whaley, 1979; Gebhardt, 1974; Grashel, 1978; Linton, 1967; Sherburn, 1984; Swearingen, 1993; Wentworth, 1978; Whitener, 1983; Whitlock, 1982). Specifically, Boyle and Radocy developed and administered tests to students in twelve different music classes, including band, orchestra, and general music, at the elementary, middle, and high school levels. Students showed gains in scores in many areas after one year of

23 13 instruction from teachers devoted to the comprehensive musicianship practice. For example, scores for identifying musical form improved from 30% to 80%, ability to notate scales increased from 3% to 60%, and rhythmic error detection scores moved from 33% to 83% after one year of instruction based on comprehensive musicianship (1973, p. 16). Culbert found that students taught using a comprehensive teaching method performed as well as students trained through a performance-based approach (1974, p. 74). In addition, the students in the comprehensive group showed a significant difference in scores on a Music Achievement Test (p <.05) in the areas of tonal memory, musical style, auditory-visual discrimination, and melody, pitch, instrument, and chord recognition (p. 73). Devoting 25% of the rehearsal time to teaching skills in describing music helped students in the comprehensive group achieve higher scores (p. 74). Garofalo and Whaley compared the comprehensive unit study and traditional performance approaches for teaching music to high school band students. Garofalo s Unit Study Composition curriculum model provided a systematic introduction to basic music concepts related to the structural elements of music and historical styles for students in the experimental group (1979, p. 137). One high school band was taught using this method, and another high school band, taught using a traditional performance approach, served as the control group. After five weeks of instruction, the students in the experimental group scored significantly higher (p <.01) on a conceptual knowledge and aural identification test than students in the control group. The experimental group s performance ratings were also higher than those of the control group, and a test given to the experimental group six weeks after the study revealed that these students had retained the comprehensive knowledge (p. 141).

24 14 Grashel developed and evaluated instructional strategies for teaching musical form to intermediate band students from four schools. Students received instruction in musical form either in class, outside of class through the use of supplementary materials, or in class combined with supplementary materials for use outside of class; one band served as the control group. A 35-question multiple-choice test on musical form was administered at the conclusion of the study. All three experimental groups scored significantly higher (p <.001) than the control group, and the knowledge they gained was transferable to unfamiliar band literature (1978, p. 190). Parker studied two middle school bands, one taught using a comprehensive musicianship approach, and one taught only performance skills. He found no significant difference (.05 level) between the scores of the two groups on the Test of Musical Performance Skills. Parker also found no significant difference (.05 level) in students evaluations of the band program based on the method of instruction (1975, p. 130). Swearingen (1993) and Whitlock (1982), as cited by Austin, found that students and parents have a positive response to the comprehensive musicianship approach (1998, p. 28). Garofalo (1976), Grashel (1993), and Pearson (2001) agree that teaching comprehensive musicianship requires extra planning time, but they all stress that the extra preparation is worth the effort. It is critical that a comprehensive music education, one that adheres to the National Standards for Music Education, begins as soon as students select an instrument, but many band directors have limited amounts of planning and rehearsal time to find and use alternate materials to teach composition, improvisation, conducting, etc. (Austin, 1998, p. 31). Consequently, it would seem logical and efficient to use a beginning band method that already integrates these concepts.

25 15 Existing Reviews of Band Methods Numerous authors (Birdwhistell, 1998; Heavner, 1995; Hock, 1991; Hoffer, 2001; Kinyon, 1982; Kuhn, 1970; Schleuter, 1997) provide extensive lists of criteria for selecting a beginning band method. Some of these criteria include music of superior quality, instructions on playing position and care of the instrument, a simple fingering chart, a glossary, and a consistent and logical introduction of new notes, rhythms, and musical terms. A method should also contain instruction on playing musically and expressively as well as reading notation. Specifically, the studies of Birdwhistell (1998), Heavner (1995), and Hock (1991), which will be discussed later, review the content, instructional sequence, and inclusion of comprehensive musicianship in beginning band methods. The following is a more extensive discussion of the ideas of the seven authors listed above. Schleuter provides an overview of the pedagogical organization of current band methods. He believes that instrumental methods are organized by the introduction of rhythmic notation. Most authors organize rhythmic material according to note values beginning with whole notes and rests, then progressing through half, quarter, and sixteenth notes and rests. Mathematical and visual relationships of note values are stressed. Band methods tend to differ in the speed of introduction of new notes and note values and the amount of material presented that emphasizes each note value. Notation and counting systems (most often 1-e-and-a) are introduced simultaneously. Nearly all melodies are in the major mode and limited to a few keys (most often B b, E b, and F), which indirectly facilitate the development of a sense of tonality (1997, p. 8). Most band methods emphasize 1) the primary association of fingerings with notation rather than sound; 2) the mathematics of proportional note values; 3) note naming; and 4) a mixture of technical and melodic material (p. 9).

26 16 In his 2001 edition of Teaching Music in the Secondary Schools, Hoffer lists several criteria to consider when selecting a beginning band method. He insists that a method should contain instructions on instrument care, illustrations of posture, position, and embouchure, and interesting and worthwhile music. Hoffer states that directions should be clear and simple and playing problems introduced in a logical order. Ensemble music and suggestions on embouchure, breath support, and counting should be included in the student book, and a teacher s edition must be available. Recordings are also essential to provide a good aural model for students (p. 87). Kuhn provides criteria for selecting a beginning band method by listing questions to ask when searching for the appropriate method. He insists that methods should contain music of superior quality and advises the reader to look for instructions on the care and use of the instrument, correct illustrations of posture, hand positions, and embouchure, and a fingering chart. Directions should be clear and concise, musical content should include a variety of styles and genres, and technical issues should be introduced logically. Ensemble arrangements and a list of musical terms are essential, the appearance and structure of the book should be pleasing, and a score or teacher edition must be provided (1970, p. 30). Kinyon states great care should be taken in choosing the band method and it should be selected only after a comparative study has been made among several class method books. While all band methods intended for class instruction have similar pedagogical sequences, each method has specific strengths and weaknesses, so it is the band director s responsibility to select the method that is best suited for his or her situation. Points of consideration include first note values because whole notes assist in setting embouchures and quarter notes aid in establishing rhythm. Students with previous musical experience might begin with whole notes to develop a

27 17 proper embouchure, while students with no musical background could begin with quarter notes to focus on music literacy. Range of pitches and introductions of rhythms need to occur in a practical sequence, and new problems should be isolated and presented in a clear and logical manner. Pages should be uncluttered, and pictures, a fingering chart, full score, and recordings allow for ease of use. Number of pages, instruction in musicianship, and a variety of musical pieces are other items to consider (1982, p. 63). Birdwhistell s study is an analysis of five beginning band methods for content, instructional sequence, and inclusion of comprehensive musicianship methodology. The author reviewed Essential Elements: A Comprehensive Band Method, Sounds Spectacular, Standard of Excellence Comprehensive Band Method, Now Go Home and Practice: An Interactive Band Method for Students, and Belwin 21 st Century Band Method. Categories used to analyze the band methods included: instrumentation, content of introductory material, number of pages, pitches introduced, writing exercises, enrichment (theory and history), and test materials. She also reviewed the fingering charts, glossary, supplemental materials, and the teacher edition included with each method. Results are displayed in tables so readers can easily compare the qualities of each band method (1998). Heavner also analyzed current beginning band methods for the previously cited principles of comprehensive musicianship. He reviewed Standard of Excellence Comprehensive Band Method, Essential Elements: A Comprehensive Band Method, Mastery Learning, Sounds Spectacular, Now Go Home and Practice, and Rhythm Master. Heavner compared the structures of the methods and reviewed each method according to a comprehensive musicianship model. His model included five categories: content, instructional literature, activities, concepts, and evaluation. Experienced instrumental music educators completed a survey on how well they

28 18 thought current band methods covered the principles of comprehensive musicianship. A Chi- Square Goodness-of-Fit Test was used to determine the difference between what Heavner found using his comprehensive musicianship model and the ratings of experienced music teachers. While band methods published prior to the mid-1970s did not integrate the principles of comprehensive musicianship, results from the test and the author s analysis indicated that current beginning band methods provide a comprehensive musicianship curriculum (1995). Hock s thesis is intended as a guide for instructing instrumental music educators on which criteria to consider when selecting a beginning band method. Hock defines these criteria as full score availability, introductory material, order of presentation, inclusion of a fingering chart, musicianship instruction, range considerations, warm-ups, intonation exercises, percussion concepts, and supplementary materials. She used these criteria to evaluate Best in Class by Bruce Pearson and Band Plus by James Swearingen and Barbara Buehlman. Hock recommends that music educators base their choice of band method on the criteria presented in the study and on how well it fits his/her instructional needs (1991). Summary of Review of Literature Several authors agree that comprehensive musicianship is the integration of musical knowledge and skills into performance instruction (Austin, 1998; Elliott, 1995; Garofalo, 1976; Grashel, 1993; Schleuter, 1997; Texter, 1979; Whitener, 1981; Willoughby, 1990). Austin (1998) and Pearson (2001) go further, agreeing that the National Standards for Music Education, published in 1994 by the Music Educators National Conference, are simply a restructuring of the topics emphasized since the 1960s as comprehensive musicianship. Other authors (Austin, 1998; Boyle & Radocy, 1973; Culbert, 1974; Garofalo & Whaley, 1979; Grashel, 1978; Parker, 1975; Whitener, 1981) cite the benefits of providing comprehensive musical instruction, and three

29 19 authors agree that this takes extra planning time (Garofalo, 1976; Grashel, 1993; Pearson, 2001). If beginning band directors wish to provide students with comprehensive musical instruction and fulfill the goals of the National Standards, it would seem logical and efficient to use a band method that already integrates these topics. Kinyon states that a band method should be selected only after a comparative study has been made among several class method books (1982, p. 63). If directors need to fulfill the goals of the National Standards (Hoffer, 2001, p. 52), then topics included in the National Standards should be considered when comparing band methods. Despite its absence in the National Standards, a review of the topics included in comprehensive musicianship adds conducting to the list of topics to consider (Elliott, 1995). Elements of band method structure number of pages (Birdwhistell, 1998; Kinyon, 1982), appeal of layout and pages (Kinyon, 1982; Kuhn, 1970), and inclusion of a fingering chart and glossary (Birdwhistell, 1998; Kuhn, 1970) are deemed important. Pedagogical elements such as first note values (Kinyon, 1982), range of pitches introduced (Birdwhistell, 1998; Hock, 1991; Kinyon, 1982), and method of introduction of new notes, rhythms, and musical terms should be considered (Hock, 1991; Hoffer, 2001; Kinyon, 1982). Assembly and maintenance instructions (Birdwhistell, 1998; Hock 1991; Hoffer, 2001; Kuhn, 1970), band arrangements (Hoffer, 2001; Kuhn, 1970), and supplementary exercises or recordings (Birdwhistell, 1998; Hock, 1991; Hoffer, 2001; Kinyon, 1982) should also be included. Authors also recommend that the student book contain pictures displaying proper posture and playing position (Birdwhistell, 1998; Hock, 1991; Hoffer, 2001), a varied repertoire representing music from many cultures (Hoffer, 2001; Kinyon; 1982; Kuhn 1970), and instruction in music history and theory (Birdwhistell, 1998).

30 20 The studies of Birdwhistell (1998), Heavner (1995), and Hock (1991) are similar to this study because they provide suggestions for selecting an appropriate method while reviewing several band methods. While these studies remain relevant, several new band methods and revised editions of existing band methods have been published; therefore, several band methods currently in use have yet to be reviewed. In addition, many music educators are required to achieve the goals of the National Standards for Music Education (Hoffer, 2001, p. 52), and none of these studies focus on this concern. For these reasons, this study will review five band methods currently in use for inclusion of comprehensive musicianship and adherence to the National Standards for Music Education.

31 21 CHAPTER III METHODOLOGY Selection of Band Methods Five beginning band methods that have not been reviewed in previous theses or dissertations were reviewed in this study: Band Expressions (Smith & Smith, 2003), Essential Elements 2000 Plus DVD (Lautzenheiser et. al., 2004), Standard of Excellence: Enhanced Comprehensive Band Method (Pearson, 2004), The Yamaha Advantage: Musicianship from Day One (Clark & Feldstein, 2001), and Accent on Achievement (O Reilly & Williams, 1997). Band Expressions and The Yamaha Advantage are new publications while Essential Elements 2000 and Standard of Excellence are new editions. Accent on Achievement is not a recent publication but has been included in this thesis because it has not been reviewed in a previous study. Student books, instead of the teacher editions, were used for the review because a teacher s knowledge and materials have an impact only if they are used in the classroom, and the impact they have depends on how they are used (Jackson, 2004, p. 13). If topics are included in the student book, then topics are made available to students even if instruction does not occur on a specific topic. In some instances, a teacher could follow the suggestions provided in the teacher edition to provide instruction on a topic that is not listed in the student book. If this is a possibility, it will be noted in Chapters 4 and 5. The student clarinet book, specifically, was used only to determine the range of pitches introduced, the range of the fingering chart, and assembly and maintenance instructions. This was necessary because clarinet students are required to learn a greater range of pitches than other beginning students, and the clarinet fingering chart has the widest range as well as the most variance in fingerings. In addition, the

32 22 assembly and maintenance instructions in the clarinet book were more detailed than the instructions for other instruments due to more complex assembly and maintenance processes. Selection of Topics for Consideration Review of the band methods began with a comparison of the structural methodology, defined as the organization and design of the band method, including number of pages, total number of instructional pieces, instructional pieces per page, appeal/layout of pages, and inclusion of a fingering chart, practice record, and glossary or index. The pedagogical methodology of each method was also reviewed. Pedagogical elements consist of the introductory pitches, first note values, range of notes, key signatures, time signatures, and the most complex rhythm as well as the method of presentation. Other pedagogical elements include the method for introduction of new notes, rhythms, and musical terms, and an explanation of instrument assembly and maintenance. The number of band arrangements included in the method (Kuhn, 1970), content of supplemental exercises (Hock, 1991), and material included on a CD or DVD (Hoffer, 2001; Kinyon, 1982) may also enhance instruction; therefore, these items were included as portions of the pedagogical elements. The five band methods were reviewed for inclusion of items, topics, and musical skills that each should cover according to the National Standards for Music Education as well as previously cited books, articles, and studies on comprehensive musicianship. The number of times each band method addresses a topic cited as a standard in the National Standards and/or included in comprehensive musicianship was charted. As displayed in Table 1, many of the topics presented as comprehensive musicianship are included in the National Standards, so several of the topics overlap.

33 23 Table 1 Topics Included in the National Standards and Comprehensive Musicianship Topic National Standards Comprehensive Musicianship Singing (1) Singing alone and with others Performance alone and with others a varied repertoire Solos/Duets (2) Performing on instruments alone and Performance alone and with Varied Repertoire with others a varied repertoire others a varied repertoire Posture Playing Position Breathing good posture proper playing position breath support Expression expression Playing musically Play by Ear playing by ear Improvisation (3) Improvising melodies, variations, and Improvising accompaniments Composition (4) Composing and arranging music Composing Arranging Arranging Reading (5) Reading and notating music Reading music Notating Notating music Listening (6) Listening, analyzing, and describing Listening Form form Form Theory theory Theory Evaluating (7) Evaluating music and performances Evaluating music and performances Other Arts (8) Understanding relationships between music and other arts

34 24 Topic National Standards Comprehensive Musicianship History (9) Understanding music in relation to Understanding music history Multicultural history/cultures and cultures Conducting Conducting Note. (#) = the number of the National Standard. The results of the study are organized into charts for easy comparison between methods. The charts display the amount of material each student book provides when addressing a topic in the National Standards or comprehensive musicianship.

35 25 CHAPTER IV RESULTS Comparative Review of Band Methods This review of five band methods resulted in three sets of charts: Structural Methodology, Pedagogical Methodology, and Adherence to National Standards and Inclusion of Comprehensive Musicianship. One chart for each band method is presented under each of the three titles. Structural Methodology Comparison of the organization and design of the band methods is displayed in Tables 2, 3, 4, 5, and 6 and begins with the number of pages and instructional pieces. Band Expressions contains 57 pages while the other books all have 48 pages. Band Expressions contains more pages because the book includes a greater number of instructional pieces than the other band methods. The number of instructional pieces ranges from 134 in Accent on Achievement to 209 in Band Expressions. The number of instructional pieces per page varies due to the amount of instructional text on the page and the length of the pieces. Appeal and layout of the pages in the student book is also described. Inclusion of a fingering chart, practice record, and glossary or index is also displayed in Tables 2, 3, 4, 5, and 6. The five band methods contain fingering charts that provide additional, alternate, fingerings when a note may be played in multiple ways, and as illustrated in Tables 5 and 6, Standard of Excellence and Yamaha Advantage label these fingerings as alternate. As displayed in Table 4, Essential Elements 2000 provides the fingering chart with the greatest range of pitches. These band methods provide clarinet players with instruction in the largest

36 26 number of notes as well as the greatest range of pitches, so only the range of the clarinet fingering chart is listed. Four of the methods include practice records with space for daily records spanning 36 weeks. Band Expressions does not include a practice record in the student book, but there is a reproducible weekly practice planner in the teacher resource guide. While Accent on Achievement and Yamaha Advantage include a glossary but no index, Essential Elements 2000 includes an index but no glossary. Band Expressions contains an index and glossary defining 85 musical terms. Standard of Excellence contains an index and a glossary that identifies or defines 82 composers and musical terms. Table 2 Structural Methodology Accent on Achievement Number of pages 48 Number of instructional pieces 134 Instructional pieces per page Between 4 and 7 Appeal/Layout of pages Pages are colorful with illustrations on most pages. New notes are introduced in yellow, rhythms in blue, key signatures and time signatures in green, and musical terms in red or purple. Pages are full but not cluttered. Fingering chart Clarinet from D3 to C6, provides more than one fingering when possible but does not label fingerings as alternate Practice record Glossary/Index On page 48, space for daily records for 36 weeks Glossary: Page 45; definitions for 69 musical terms