COMP REHENS IVE

M U SICIA NSHIP
I N E N S E M B L E C L A SS R O O M S
WHO ELSE HAS BEEN TALKING ABOUT
THIS?
 THE PROBLEM
Skill developmentdoes not necessarily lead to musical insig
Difficulty in designing band curriculum: What other issues do we see?
Conflicting philosophies of education and community/admin expectations
music education we teach how we were taught
each inventing our own approach
Turning program objectives into
no standardization from program to
instructional objectives and evaluating
program
them
Developing curriculum materials and
providing adequate learning environments
like listening labs
Coordinating the band curriculum with
other music courses
Coordinating a task force of experts to
develop, test, and evaluate new curriculum
designs
 UNDERGRADUATE CURRICULUM ISSUES
The purpose of music education should be to enable our students to
become engaged as lifelong lovers of music either as creators, performers,
or as listeners; nurturing and stimulating their creativity, their imagination,
and their expressive spirit, qualities that have been a part of their lives long
Music Ed students need before they arrived in our rehearsal halls or our classrooms.
to be prepared as
musically as possible:
recital
University principal
lessons with
conductors should be
professor not grad
directly involved with
student
Music Ed students
same
curriculum
requirements/goals
as performance
students
Reduce faculty Increases in conducting DMAs
research (without public school experience)
requirements and
require more time
Principal conductors of colleges
preparing for
becoming increasingly less aware
teaching
of the challenges their Music Ed
students will find in public schools
 UNDERGRADUATE CURRICULUM:
REPERTOIRE SELECTION Make music
an
important
The root of the (repertoire part of your
selection) problem resides in the In touch
daily life
Attend live
preparation of the future music with concerts by
musical important
educator. It has become increasingly monuments ensembles/
difficult to devote enough time in of our time artists

the curriculum to enable students to

fully integrate principles of an To develop
musical
aesthetic music education into their Expand the depth and Know about
philosophical core, and to nurture depth of personal music that
your does not
their comprehensive understanding listening taste: directly
experience impact your
of how that philosophy relates to the (buy more specific
critical process of repertoire CDs.?) teaching

selection. - Kirchhof
Be current Know about
Personal taste, musical depth, and with MVP
repertoire contempora
musical intelligence are the result of written for ry/historical
our direct experiences with great your musicians/
ensemble composers
art, great music, and great artists.
 PRIMARY LEARNING OBJECTIVES
Primary learning objectives:
Understanding structural elements: Pitch, Rhythm, Timbre, Dynamics,
Texture, Form
Knowledge of music as a creative art form in historical context
Skills:
Aural ( ear oriented)
Dexterous (hand)
Translative (eye)
Attitudes (Krathwohl-Afective Domain)
Respect for other musical preferences
Desire to improve
Like music
Feel confident in musical potential
Habits - preference for listening to quality music, performing for fun
Appreciations
Respond to expressive and creative qualities
Discriminate diferent styles
Sensitive to skilled performances
UNDERSTANDING BY DESIGN
Backwards Design: Beginning with the end in mind

Essential
Question Assessment

Strategies

http://nccscurriculum.org/2014/01/22/understandin
g-by-design-a-framework-to-support-efective-
CMP: COMPREHENSIVE MUSICIANSHIP
THROUGH PERFORMANCE
Garafalo and Teaching Music suggest a 3 or 4 year cycle of instruction
Unit study curriculum:
Analytical and Historical Notes
Glossary of musical terms
List of concepts and behavioral objectives
Activities and assignments
Evaluation
Special study unit: supplementary instructional unit
Concept oriented, skill oriented, or both
Examples: conducting, transposition, intonation, sight-reading, fundamentals, musical
terms, instrument care
MORE SPECIFICALLY
Cyclical curriculum focusing on
one major concept per year Suggest studying one-piece in-
First year: Timber and materials of depth for each concert season
music This piece becomes the source in the
Second year: forms and styles model for studies of tonality, rhythm,
melody, music theory, phrasing,
Third year: interpretation (expression
terms and symbols, ear training,
and phrasing)
composition, history
If there are four years, year two is form

CMP
and year 4 is Style.

Comprehensive music
curriculum made up of three
parts: Each concert includes 2 works
from core repertoire and 2 works
1. Instructional units, unit study
composition, and special study unit
from historical time periods
which vary each year
2. Band projects
3. Source/ reference notebook ( like a
portfolio collected over 4 year
curriculum)
THE UNIT STUDY
GENERAL INFORMATION
5 L E A R N I N G G OA L S :

T Y P E S O F ASS I G NM EN T S
Play Your Part
A ND ASS E SS ME N T S :
Play, sing, and identify by earscore-related intervals, Practice assignment: score- related technique
scales, chords, and rhythms
Suggest assessment during warm-up
Define score-related terms
Students leave room during warm-up
Give background information
and video record themselves
Complete a creative project
Listening assignment: Alone or as a whole class

Must be directed listening

Aaron Coplands What to Listen for in
What do we think of these
Music
goals?
Checklist -based on completion
Creative projects: Related to Repertoire

2 levels: basic / optional higher level

choice
More difficult to evaluate qualitatively
 SELECTION
Keep a list of unfamiliar works, write notes in
margins of concert programs
Study the scores using evaluative criteria form:
Analysis procedure (Garafalo)
Melody
Harmony
Rhythm
Orchestration
Dynamics
Texture
Form
Garafalo:
Historical Context Blueprint
for Band
More details/flow charts: p. 32-38 Blueprint for Ch. 3
Band Ch 3
JRME publishes analyses of band works
Other resources: Repertoire Lists, Teaching Music
 ANALYSIS
Analytical notes
Title
Melody
Composer/ arranger
Harmony
Publisher and date
Rhythm
Recordings
Orchestration
Historical Notes (bandstration)
Composition Dynamics
Composer Text?
Historical style Form
 OUTCOMES
Select Concepts and Sub-concepts
Concepts: Melody Harmony Rhythm Orchestration Dynamics Texture Form
Sub-concepts: More specific, related to concepts
Ex: Rhythm/16th note patterns; Form/ABA
Write instructional objectives: what you want the student to know and
be able to do
Good objectives tell:
What the student will be able to do
Under what conditions
To what extent
Use clear action verbs: (arrange compose transpose explain determine
compare transform describe define notate identify map out edit
demonstrate)
Justification for instructional objectives:
Diferentiation
Student evaluate own progress (give list of objectives to students)
Basis for curriculum evaluation
Basis for Teacher accountability
STRATEGIES

Must be related to the piece

Use/build skills necessary to perform the work- scales, chords, intervals, rhythms,
dynamics, and articulations
Aural skills relevant to the piece
Assignments with options - accommodateindividual learning styles
Every unit study should have at least one simple, open-ended creative
assignment
Use variety of instructional resources
Distribute glossary of musical terms to students.
Students find definitions ( assign a few to each student and share with the class)
ASSESSMENT

Assignments
Creative project
Written and oral quizzes
Unit exam - should
include some listening
Grade weighted more
heavily on assignments
and projects than exams
LETS MAKE A
UNIT STUDY
FOR HOLST!
( R E M E M B E R , G A R A FA L O S U G G E S T S
DOING THIS FOR JUST ONE PIECE PER
CONCERT CYCLE)
TEACHER GUIDE:

Learning Goals
Strategies and
Activities
Resources
Analysis/Performance
Notes
TEACHER GUIDE:
ANALYSIS/PERFORMANCE NOTES
Listed last in the finished unit, but
completed first Form: Chaconne
Dynamics:
Articulation types:
Form Historical considerations:
instrumentation, style
Dynamics Technical considerations:
Articulation types Soloists
Articulation
Historical considerations - Dynamic control
ornamentation? Alterations? Cornets/tpts
Technical considerations - alternate Instrumentation not all solos
fingerings, instrument substitutions cued
Errata windrep.org
Errata
TEACHER GUIDE: LEARNING GOALS
Concepts:
Form Chaconne
Melodic analysis inversion,
transformation in other two
movements
Wind band history
Holst

Skills:
Key
Articulation
Intonation in extreme
ranges
TEACHER GUIDE: STRATEGIES AND
ACTIVITIES Strategies:
Strategies Key Scale/chorale warm ups
Concept teaching Form Discovery learning
Skills development Melodic Analysis Locate, discover
inversion
Include when each takes place in
process (In warm-ups, a full period, 5
Activities:
minutes at a time, etc.)
Create another variation, their own
theme
Activities (Be specific) Respond listen to recording and
write down what instrument plays
3 national standards
each statement of the theme
Blooms, MI Theory Perform perform their composition,
perform the piece and describe to
the audience
Assessment - Based on student mastery
of the learning goals. performance and Assessment:
content. Composition, record themselves,
TEACHER GUIDE: RESOURCES

Score info:
Score information Instrumentation original/your
Title, composer, publisher, duration, ensemble
grade level, number of measures Notes:
Instrumentation cornet, cl range
Woodwind 16th notes
Notes- Technical and musical Low brass sustain
elements, challenges for specific
instruments, range considerations Recommended additional music:
Recordings - Ensemble, where to find 2nd Suite
it, brief description Hammersmith
The Planets
books and articles Vaughan Williams
recommended additional music Elgar
STUDENT GUIDE
Learning Goals (Same as teacher)
Assignments
Include how they will be graded
Type: Practice, Listening, and Creative
Include optional project ideas extra challenge for
interested students
Practice Guide
Scales and Arpeggios (Including rhythms and
dynamics)
Procedures
Rhythms to count and play
Glossary of Terms - Include pictures when possible
Historical Notes
Important information about the piece
Score samples
QUESTIONS?
References:
Garafalo, Blueprint for Band
Cooper: A Core Repertoire
Miles: Curricular Models Based on Literature Selection Teaching Music
Through Performance in Band Vol. 1
Garafalo: Instructional Designs for Middle School/High School Band
Lisk: Making the Connection: Academic, Rehearsal, Curriculum - Teaching
Music Through Performance in Band Vol. 1
Kirchhof: Beliefs, Thoughts, and Reflections Upon Music Education and
Higher Education
Repertoire Lists:
Florida Music Educators Association
Dvorak: Best Music for Young Band
Dvorak: Best Music for Beginning Band
Kvet: Instructional Literature for Middle-Level Band
http://www.queenwood.com/composers.html
http://mcgintymusic.com/
http://windrep.org
https://www.britannica.com/biography/Ralph-Vaughan-Williams
http://www.timothybroege.com/
http://www.michaelcolgrass.com
COMPOSERS
 ANNE MCGINTY
Most prolific female concert band composer
225 works: Band, String orchestra, flute, flute ensembles.
40 commissions from US bands
1st woman commissioned by US Army Band -Hall of Heroes
Founded Queenwood Publications with John Edmondsonin 1987.
Sold to Kjos Music in March, 2002
Both composers only write for this company now
Member of American Society of Composers, Authors, and Publishers
(ASCAP)
Awards:
Golden Rose award from the women band directors National Association
Outstanding Service to Music Award from Tau Beta Sigma
Who's Who of American Women and the International Who' s Who in Music
Guest conductor, clinician and speaker throughout the US and Canada
Regional and All-State Bands
Given clinics at state conventions and universities on band
performance, literature and emotions in music
Speeches at state and national conventions about the performance
and enjoyment of music and the values of music education.
 MCGINTY: REPERTOIRE
W I N D R E P E RT O I RY P R O J E C T O T HE R R E P ERT O I R E L I S T S
Alabama Folksong Fantasy FMEA
All the Pretty Little Horses (as arranger) Chorale and Canon 1
American Rhapsody
Amphion
Chorale and Variation (Bach arr)
Chant Fantastique

Canterbury Overture 2
Clouds
European Christmas II, A Clouds 2
Hall of Heroes The Red Balloon 2(+)
Kachina: Chant and Spirit Dance Madrigal for Band 2
Kokopelli
All the Prettly Little Horses ( Arr)
Long Way from Home

The Red Balloon
Tis a Gift Kvet
To Keep Thine Honor Bright Bist Du Bei Mir (Bach arr) 1
Twas in the Moon of Wintertime Fanfare and Fugue 1.5
Variations and Theme Pavane (Faure arr) 3
The Wexford Carol

RALPH VAUGHAN
WILLIAMS
(1872- 1958)English composer founder of the Nationalist movement
in English music
Most of life in London. Studied Viola piano and organ
Education:
Trinity College in Cambridge
Royal College of Music in London ( Sir Charles Stanford and Sir Hubert
Parry).
Berlin: Max Bruch
Paris: Maurice Ravel
1903 began collecting folk songs
1904 - 1906 editor of The English Hymnal
After serving in WW 1, became professor of composition at the Royal
College of Music
Compositions: Orchestral, Stage, Chamber, Vocal
3 Norfolk Rhapsodies
9 symphonies (popular: 2 London Symphony, 7 Sinfonia Antarctica)
Fantasia on a theme by Thomas Tallis
Stageworks: The Pilgrims Progress, Hugh the Drover
Vocal: Mass in G minor; Cantatas: Toward the Unknown Region Dona Nobis
Pacem
Good friends with Gustav Holst - shared Works in progress with each
other
VAUGHAN WILLIAMS: REPERTOIRE
W I N D R E P E RT O RY P R O J EC T
Concerto for Bass Tuba (arr.
Wick and Chambers)
Concerto in F minor for Tuba
and Winds (arr. Hare)
English Folk Song Suite
Fantasia on a Theme by
Thomas Tallis (arr. Bocook)
Fantasia on Greensleeves
(arr. Wagner)
Flourish for Glorious John (or.
Boyd)
Flourish for Wind Band
Golden Vanity, The (arr.
Wagner)
Linden Lea (arr. Wagner)
Linden Lea (arr. Stout)
Norfolk Rhapsody (tr. Robert
O'Brien)
Overture to "The Wasps" (tr.
Frank Hudson)
O T HE R R E P ERT O I R E L I S T S
Prelude: 49th Parallel (arr.
Noble) Dvorak
Prelude: The New Three Dorset songs (arr by
Commonwealth (arr. Grauer) Stotter) 2
Rhosymedre (tr. by Beeler) Linden Lea (arr. By Stout) 2.5
Running Set, The (tr. Silvester) Flourish for Wind Band 3
Scherzo alla Marcia FMEA
Sea Songs Rhosymedre (arr by Beeler) 4
Sea Songs (arr. Longfield) English Folk Song Suite 5
Sine Nomine (arr. Reed)
Toccata Marziale 6
Toccata Marziale
Toccata Marziale (ed Battisti)
Variations for Wind Band (trans.
Hunsberger)
Vaughan Williams Christmas, A
(arr. Wagner)
Wassail (arr. Smith)
TIMOTHY BROEGE
From New Jersey, 11 years Public School teaching
Education: Northwestern University - composition, piano,
harpsichord (Bachelor's degree)
Music performed by: MonmouthSymphony Orchestra, Garden
State Philharmonic Orchestra, Meadows Wind Ensemble, the US
Military Academy Band, New Jersey Chamber Singers, Atlantic
String quartet, Cygnus Ensemble
Works:
21 Sinfonias for large ensembles
Songs Without Words for chamber ensembles
Fantasias for solo instruments
Music for voices, keyboards, guitar, recorders and school bands
Music featured at the Boston Early Music Festival, the Mid-West
Band & Orchestra Clinic, and the College Band Directors National
Association.
Guest composer/conductor and clinician
Awards
Edwin Franko Goldman Award from the American School Band
Directors Association
2003 Award of Excellence from the New Jersey Education Association.
Past-president of the Composers Guild of New Jersey, Inc., a
Member of the Organ Historical Society, the American Guild of
Organists, and the Boston Clavichord Society and an affiliate of
Broadcast Music, Inc. (BMI).
 BROEGE: REPERTOIRE
W I N D R E P E RT O RY P R O J E C T Sinfonia XVI:
A Fable and a Folk Tale Mysterian Landscapes Transcendental Vienna
America Verses No Sun, No Shadow, Sinfonia XVII: The Four
Bartok Variations Elegy for Charles Mingus Winds
Blue Alien Accumulation Peace Song Sinfonia XVIII: Aurora OT H ER R EP E RT O I R E L I S T S
Burlesco for Band Pilgrim Traveler Sinfonia XIX: Preludes
and Grounds Dvorak
Charlotte Doyle's Procession and Torch
Voyage Dance Slow March with Theme and Variations 1.5
Celebration
Climbing Eagle Prelude and Fughetta Jody 2
Mountain Song and Variations
Rhythm Machine Procession and Torch Dance 2
Concerto for Marimba Streets and Inroads
Rhythm Games: The Surfboard Blues 2
Dreams and Fancies Waukesha Rondo Surfboard Blues
Song with Variations 2.5
El Jardin de Esperanza Sinfonia III: Hymns and The Tango Disappearing
Dances The Headless Horseman 2.5
Enumeration of the Theme and Variations
Actual Sinfonia IV: Suite for America Verses 3
Three Pieces for
Winds and Percussion American Band, Set I Kvet
Forest Green
Sinfonia V: Symphonia Three Pieces for
Four Breton Songs Rhythm Machine 2.5
Sacra et Profana American Band, Set II
Geneva Suite for Winds and Percussion 2.5
Sinfonia VI: The Four Train Heading West
Geography of the Elements and Other Outdoor Dreams and Fancies 3.5
Dream Sinfonia XII: Southern Scenes FMEA
Green Passacaglia Heart, Sacred Harp Yuletide Dances Sinfonia VI - The Four Elements 4
Grizzly Bear Rag Sinfonia XIII: Storm Wicked Story
Variations
The Headless
 MICHAEL COLGRASS
Education:
University of Illinois 1954 performance, composition.
Aspen Festival: Darius Milhaud
Tanglewood: Lukas Foss
Timpanist for 7th ArmySymphony Orchestra in Stuttgart, Germany
11 years as a freelance percussionist in New York City while composing
Performed with:
New York Philharmonic
American Ballet Theatre
Dizzy Gillespie
The modern Jazz Quartet
The original West Side Story Orchestra on Broadway
Columbia recording orchestras Stravinsky conducts Stravinsky series
Commissions from: New York Philharmonic, Boston Symphony, Minnesota, Detroit, San
Francisco, St. Louis, Pittsburgh, Washington, Toronto, the National Arts Centre
Orchestra, Canadian Broadcast Corporation, Lincoln Center Chamber Music Society,
Manhattan and Muir String Quartets, Brighton Festival in England, Fromm and Ford
Foundations, Corporation for Public Broadcasting
Awards:
1978 Pulitzer Prize for Music for Dj vu - commissioned and premiered by the New York
Philharmonic
Two Guggenheim Fellowships
Rockefeller Grant
First Prize in the Barlow and Sudler International Wind Ensemble Competitions
1988 Jules Leger Prize for Chamber Music.
Created a method of teaching childrenand teachershow to write music using
graphic notation
Adopted by the Nova Scotia education system for inclusion in the junior high curriculum. - wow cool!
Currently lives in Toronto composing, leading workshops about his methodfor
teaching composition
COLGRASS: REPERTOIRE
W I N D R E P E RT O RY P R O J EC T O T HE R R E P ERT O I R E L I S T S
Dvorak
Apache Lullaby 2

Apache Lullaby
FMEA (Bandquest)
Arctic Dreams
Old Churches 1
Arctic Dreams (ed. Ambrose)
Bali
From his website: other pieces for young band:
The Beethoven Machine
Bali - Wi
Dj vu perc quartet and orchestra
The Beethoven Machine - Middl
Dream Dancer
Gotta Make Noise - M
Gotta Make Noise
Mysterious Village
Old Churches
Raag Mala
Urban Requiem
Winds of Nagual