Chapter 11 provides suggestions for recruiting students into a college or university applied studio. A portion of the chapter is devoted to planning and delivering master classes and planning visits to middle and high schools in the effort to recruit. Stories from applied faculty and students provide materials for discussion of the culture of a studio, dealing with competition in the studio. Studio activities such as studio class, technique class, repertoire class, and excerpt class are described. Policies and ideas for recital attendance, studies and professor visibility, and travel are discussed. Questions for discussion encourage the reader to consider various teaching contexts for the implementation of these ideas.
Chapter 10 is based on responses from applied music faculty around the country as well as responses from undergraduate students regarding applied lesson study. Quotes from both applied faculty and undergraduate students are included throughout the chapter. I have tried to represent the voice of the applied teacher in this chapter as a way of honoring the very specific culture that is created in each unique applied studio. Issues presented include scheduling logistics, pianists, choosing repertoire and materials, juries and auditions, practicing and motivation. Stories written by applied faculty as well as students from around the country are used to illustrate the characteristics of successful applied teachers.
Chapter 7 provides suggestions for creating a positive learner-centered classroom. It begins with consideration of teaching personality, reflection, and professor identity. The middle section of the chapter gets at the “nitty gritty” of preparing for the first day of class; assessing prior knowledge, experience, and interest; weekly class planning; interaction with readings and materials; and student assignments. The final section of the chapter focuses on communication with students and dealing with difficult situations. Outlines are provided for the first day of class and weekly planning and preparation. Various scenarios are provided and discussed in relation to communication with students, attendance, cheating, and plagiarism, and other potentially difficult situations.
Chapter 3 focuses on the cognitive and intellectual growth of college students and includes vignettes written by undergraduate students. The role of the professor in assisting the undergraduate in developing from dualism to relativism is discussed. A review of various learning styles and a discussion of multiple intelligences is provided. Various strategies for motivating students are discussed. Specific techniques for self-regulation are also examined. The chapter concludes with suggestions for differentiating instruction. Suggestions for underclassmen include autobiographical assignments, modeling and thinking aloud; while suggestions for upperclassmen include choice in assignments and recognition of the challenges of planning a future in the arts.
Chapter 12 focuses on assisting the reader in finding and securing a position teaching music in higher education. It begins with an extended discussion of the postings and types of positions. Instructions are provided for preparing resumes, curriculum vitaes, cover letters, teaching philosophy statements and other materials. Protocols for communicating with references and other stakeholders. Details are provided for teaching and research. The middle section of the chapter is devoted to sample interview questions and recommended answers. Master classes and teaching presentations during the interview process are also discussed.
Chapter 2 provides a detailed overview of approaches to assessing music teaching and learning in a higher education setting. The chapter begins with a discussion of music aptitude versus music achievement and clarifies the differences between these constructs as well as between assessment and grading. Types of measures such as multiple choice, essay tests, and performance assessments are provided with discussion of advantages and disadvantages of each. A focus on reliability and validity if assessments is included and sample student-generated rubrics for various music courses are provided. Performance rubrics are provided as well. The chapter concludes with discussion of departmental level assessment.
Chapter 9 provides a focus on learner-centered pedagogy and a move away from the transmission model of teaching leads to active learning. I open this chapter with an extended discussion of some of the various types of group work including cooperative as well as collaborative learning groups. Cooperative groups work together on a task that is most often presented or designed by the instructor whereas collaborative groups are often involved in task generation as well as completion. Strategies for grouping students as well as room set-up, planning for group work, and assessment of group activities are addressed. The second part of the chapter provides suggestions for specific types of problem-based learning including case-based teaching, games, and simulations.
Chapter 8 outlines strategies most commonly utilized in courses in music theory, musicology, composition, conducting, and music education. However, the suggestions for lecture, discussion, and asking questions may also provide useful information for applied instructors when considering studio class interactions. I begin the chapter with a presentation of information regarding lectures and discussion-based lessons and interactions. The second part of the chapter presents strategies for getting students to read and helping students to write. I conclude with questions for discussion and suggested activities. A key focus of the chapter is on student questioning, getting students to read, and helping students to write.
Chapter 4 examines the sequencing of undergraduate instruction in relation to student musical growth. Sample purposes and goals for undergraduate music education and typical degree outlines are provided from the National Association of Schools of Music. Vignettes written by music students are provided for each level of undergraduate student—freshman, sophomore, junior, and senior, which highlight student musical needs at various stages of development. The chapter encourages readers to reflect back on their own musical growth as undergraduate students, and provides instructors with suggestions for differentiating musical instruction.
Chapter 6 provides several sample syllabi for music classes, including: Applied Music, Theory, Aural Skills, Music History, Survey of Music for Nonmajors, and Brass Techniques. Details are provided for considering course titles, course descriptions, required and recommended materials, grading criteria, calendar outlines.
