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| Preface | |
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| The Nature and Rewards of Music Teaching | |
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| The Importance of Personal Experience | |
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| The Joy of Teaching Music | |
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| The Teaching Process | |
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| The Components of Teaching Music | |
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| Why Have Music in the Schools? | |
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| What Should Be Taught in Music Classes and Rehearsals? | |
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| How Should Music Be Taught? | |
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| To Whom Is Music Being Taught? | |
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| What Are the Results? | |
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| The School Music Teacher | |
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| Personality and Ego | |
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| Personal Characteristics | |
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| The Importance of Being Yourself | |
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| Personal Efficiency | |
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| Relations with Professional Colleagues | |
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| No One Is Successful with All Students All the Time | |
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| Is Music Teaching for You? | |
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| The Need for Continued Growth | |
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| Why Teach Music? | |
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| The Importance of Music in the Schools | |
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| The Importance of Music | |
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| Existing Is Not the Same as Living | |
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| Aesthetic Experiences | |
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| Characteristics | |
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| The Need for Instruction | |
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| Support for Music in the Schools | |
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| Nonmusical Reasons for Music | |
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| Improving Mental Capabilities | |
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| Group Activities | |
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| Avocational Value | |
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| What: The Subject Matter of Music | |
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| The Secondary School Music Curriculum | |
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| Learning in Music | |
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| Musical Syntax | |
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| Musical Works | |
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| Intellectual Understandings | |
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| Concepts | |
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| Way of Thinking | |
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| Creative Process | |
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| Skills and Activities | |
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| Attitudes | |
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| Selecting Content | |
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| Guidelines | |
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| Educational | |
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| Valid | |
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| Fundamental | |
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| Representative | |
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| Contemporary | |
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| Relevant | |
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| Meaningful | |
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| Learnable | |
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| Areas of Study in the Music Curriculum | |
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| Nonperforming Classes | |
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| Performing Ensembles and Classes | |
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| Types of Performing Groups | |
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| Small Ensembles | |
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| Orchestras | |
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| Marching Bands | |
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| Stage Bands and Swing Choirs | |
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| Credit and Graduation Requirements | |
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| Credit for Private Study | |
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| Extracurricular Activities | |
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| The National Standards | |
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| Planning for Music Instruction | |
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| Planning by Music Teachers | |
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| Aids in Planning | |
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| Long-Range Planning | |
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| Unit Planning | |
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| Lesson Planning | |
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| Sample Lesson Plan for General Music | |
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| Assessing Learning | |
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| Getting Started in the Schools | |
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| Consider the Five Basic Questions | |
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| Why | |
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| What | |
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| To Whom | |
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| How | |
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| Results | |
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| How: The Methods of Music Teaching | |
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| Guidelines for Teaching Music in the Schools | |
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| Types of Learning | |
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| Cognitive Domain | |
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| Ways of Cognitive Learning | |
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| Motivation | |
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| Structure | |
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| Sequence | |
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| Reinforcement | |
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| Other Aspects of Cognitive Learning | |
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| Transfer | |
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| Memory | |
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| Psychomotor Domain | |
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| Distributed Practice | |
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| Singleness of Concentration | |
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| Affective Domain | |
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| Teaching Instrumental Music | |
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| Beginning Instrument Instruction | |
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| Pre-Band Instruments | |
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| Guiding Students | |
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| Need for Class Instruction | |
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| Beginning Instruction Books | |
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| Teaching Beginning Classes | |
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| Rote Procedures | |
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| Teaching Rhythm | |
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| Emphasizing Musical Qualities | |
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| Practicing | |
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| Teaching Fundamental Playing Skills: Winds | |
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| Breath Support | |
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| Basic Embouchure | |
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| Single-Reed Instruments | |
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| Double-Reed Instruments | |
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| Flute | |
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| Brass Instruments | |
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| Tonguing | |
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| Teaching Fundamental Playing Skills: Strings | |
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| Bowing | |
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| Left Hand | |
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| Percussion | |
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| Instrumentation | |
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| Seating | |
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| Transferring to Other Instruments | |
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| Equipment and Supplies | |
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| Teaching Teenage Singers | |
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| What is Correct Singing? | |
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| Physical Actions for Correct Singing | |
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| Correct Position | |
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| Deep Breath | |
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| Relaxed Throat | |
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| Action of the Breath | |
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| Resonance | |
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| Teaching the Correct Physical Actions | |
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| Aural-Psychological Approach | |
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| Style and Tone | |
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| Range | |
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| Diction | |
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| Girls' Voices | |
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| Boys' Voices | |
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| Voice Change | |
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| Classifying High School Voices | |
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| Rehearsing Performing Ensembles: Preparation and Procedures | |
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| Rehearsing and Teaching | |
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| Preparation | |
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| Score Preparation | |
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| Pedagogical Preparation | |
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| Rehearsal Preparation | |
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| Rehearsing and Teaching Instrumental Music | |
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| Stage and Marching Bands | |
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| Teaching Choral Music | |
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| Show Choirs and Musicals | |
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| Warm-Up | |
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| Rehearsal Procedures | |
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| Verbal Commentary | |
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| Indicating Musical Entrances | |
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| Isolating Trouble Spots | |
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| Keeping Students Occupied | |
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| Reviewing Learned Music | |
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| Critical Listening by Students | |
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| Objective Listening by the Teacher | |
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| Providing for Individual Attention | |
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| Individual Practicing Outside of Rehearsal | |
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| Saving Time | |
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| Pace in Teaching | |
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| Rehearsing Performing Ensembles: Intonation and Expression | |
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| Improving Intonation | |
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| Intonation Illusions | |
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| Musical Inexperience | |
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| Listening Habits | |
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| Lack of Coordination | |
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| Lack of Concept | |
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| Poor Methods of Tone Production | |
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| Psychological and Physical Factors | |
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| Environmental Factors | |
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| Instrumental Intonation | |
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| Wind Instrument Intonation | |
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| String Intonation | |
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| Procedures for Instrumental Music Classes | |
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| Choral Intonation | |
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| Range and Tessitura | |
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| Tempo | |
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| Intervals | |
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| Hearing Other Parts | |
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| Procedures for Choral Music | |
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| Teaching Musical Expression | |
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| Techniques for Teaching Interpretation | |
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| Rhythm | |
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| Blend | |
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| Balance | |
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| Dynamics | |
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| Sustained Notes | |
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| Staccato | |
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| Legato | |
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| Phrasing | |
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| Interpreting Choral Music | |
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| Tone Color | |
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| Humming | |
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| Slurring | |
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| Pronunciation of Foreign Languages | |
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| Musical Feeling and Technique | |
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| Teaching for More than Performances | |
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| Selecting Music | |
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| Musical Quality | |
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| Suitability for the Group--General Factors | |
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| Repetition | |
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| Length | |
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| Musicianship of the Students | |
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| Suitability for the Group--Choral | |
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| Text | |
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| Religious Texts | |
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| Range | |
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| Tenor Part | |
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| Accompaniment | |
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| Dissonant Intervals | |
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| Number of Parts | |
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| Musical Arrangement | |
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| Suitability for the Group--Instrumental | |
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| Key | |
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| Scalewise Runs | |
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| Range | |
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| Musical Arrangement | |
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| Performance Needs | |
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| Locating Music | |
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| The Copyright Law | |
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| Developing Music Reading | |
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| Methods of Reading Music | |
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| Reading Patterns | |
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| Improvisation | |
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| Teaching Musical Understandings | |
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| Teaching More than Performing | |
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| Teaching Middle School General Music | |
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| Status of General Music | |
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| Scheduling and Exploratory Experiences | |
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| Content of General Music | |
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| The Teacher and General Music | |
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| Characteristics of Successful Teaching | |
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| Presents Concrete Content | |
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| Achieves Results Quickly | |
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| Relates to Students | |
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| Active Learning | |
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| Appeals to Student Maturity | |
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| Contains Variety | |
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| Individual and Class Instruction | |
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| Activities and Materials | |
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| Singing | |
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| Listening | |
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| Creative Activities | |
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| Teaching High School Nonperformance Courses | |
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| Importance of Nonperformance Courses | |
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| Role of Technology | |
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| Music Appreciation | |
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| Purposes | |
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| Course Content | |
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| Listening | |
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| Recognition of Styles | |
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| Examinations | |
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| Fine Arts and Humanities Courses | |
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| Theory Courses | |
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| Content | |
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| Ear Training | |
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| Creative Activity | |
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| Piano and Guitar | |
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| School Music Performances | |
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| Reasons for Performances | |
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| Guidelines for Performances | |
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| Preparing for Successful Performances | |
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| School Assemblies | |
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| Informal Programs | |
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| Programs Outside of School | |
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| Preparation for the Performance Setting | |
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| Planning the Program | |
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| Enhancing Performances | |
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| Staging Vocal Music | |
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| Staging Instrumental Music | |
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| Business Matters | |
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| Printed Programs | |
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| Tickets | |
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| Publicity | |
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| Trips and Tours | |
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| Checklist for Program Planning | |
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| To Whom: The Students | |
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| Teenagers and Music | |
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| Varied Situations | |
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| Contradictions | |
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| Students in Urban Schools | |
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| Music Teachers and Teenagers | |
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| Teenage Musical Development | |
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| Physical and Vocal Development | |
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| Motivating Teenagers | |
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| Group Motivation | |
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| Group Morale | |
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| The Teacher's Attitude | |
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| Securing Adequate Membership | |
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| Recruiting Boys | |
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| Working with Boys | |
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| Managing Music Classes and Rehearsals | |
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| Discipline and Teaching | |
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| Developing Desirable Classroom Behavior | |
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| Special Areas for Music Teaching | |
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| Talking | |
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| Inability to Participate | |
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| Attendance | |
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| Maintaining Classroom Control | |
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| Handling Minor Disturbances | |
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| Handling Persistent Rule Violators | |
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| Handling Serious Problems | |
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| With What Results? | |
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| Assessing Learning in Music | |
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| Uses of Assessment | |
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| Improving Instruction | |
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| Grading Students | |
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| Evaluating Courses and Curricula | |
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| Assessment: Keep It Simple! | |
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| Assessment: More than Tests | |
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| Projects | |
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| Journals | |
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| Portfolios | |
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| Self-Assessment | |
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| Assessment: More than Facts | |
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| Tests and Testing | |
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| Cognitive Tests | |
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| Psychomotor Tests | |
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| Affective Assessment | |
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| Grading Students | |
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| Clear Criteria | |
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| C as the Starting Point | |
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| More than a Letter Grade | |
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| The Music Education Profession: Past, Present, and Future | |
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| What Is a Profession? | |
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| The Profession in the Past | |
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| Before 1920 | |
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| After 1920 | |
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| Present and Future Challenges | |
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| Guiding Principles for Music Teachers | |
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| Appendices | |
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| Code of Ethics | |
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| Additional Readings | |
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| Teaching Materials | |
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| Photo Credits | |
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| Index | |