English for Music Teachers and SingersWhat are some ways that music can be integrated with other school subjects, such as English language, other languages, intercultural communications, visual arts, mathematics, science, social studies, physical education? How can teachers maintain high standards of music education within interdisciplinary settings?What are the most appropriate school music activities, and what is the best balance among these activities to bring about aesthetic responding? performance achievement? life-long involvement in music? How can content listed in the International standards be communicated to and implemented by persons responsible for local curriculum development? To what extent are the standards being implemented, by whom, and with what result? What are the potential costs and benefits to music programs of school reform proposals such as charter schools, school-to-work programs, and distance learning? What are the potential costs and benefits to music programs of instructional arrangements such as block scheduling, class size, out-of school programs, and time in class? How can cooperative learning models be adapted to music instruction? Is there a core of songs that can and should be learned by all school children? How can advances in technology enhance existing music curricula? How can advances in technology change traditional curricular content and values? Learning and Development Music education is a lifelong process involving students at all levels. Music is an academic subject with its own special body of knowledge, skills, and unique ways of knowing and thinking. It offers unique opportunities force reativity and self-expression. Musical knowledge and skill need to be developed and nurtured. Further study is needed to determine how children learn music, what developmental levels are optimal for emphasizing various skills, what experiences students should have, and what techniques should be used. The profession's best thinking is needed to explore questions such as the following: What are successful materials, techniques, and settings that motivate students to participate in general music and ensembles? What are effective techniques that help students acquire music knowledge and skills? What are successful techniques to help students apply their acquired music knowledge and skill to new pieces and situations; that is, how do they learn to make transfers and solve problems? How are positive attitudes developed toward music learning and unfamiliar music experiences? Are there prescribed sequences of learning experiences or teaching techniques that will lead to musical understanding and performance? What is the importance of early experience on the musical development of children? Are there developmental "windows of opportunity" for learning certain music skills or attitudes? What are successful techniques and classroom protocols for maintaining good discipline in music classes? What music learning experiences are good precursors to continued music participation beyond the school years? Assessment Once standards have been set for student achievement, learning must be assessed in line with those standards. A variety of assessment techniques may be used in music classroom and ensemble settings. Studies are needed to determine what techniques are most effective and how best to use the results of assessment. Music assessment should be based on specific objectives that identify clearly what students should know and be able to do.6. The profession's best thinking is needed to explore questions such as the following: What are valid forms of assessment in the arts, and how can they be used to improve student achievement in music? What are the expected musical and other outcomes of a good music education, and how can they be documented? What are some strategies for incorporating ongoing assessment into ensemble rehearsals and general music classes? How can individual learning, as well as group learning, be determined within context? How can technology be used to facilitate record keeping and assessment? Teaching and Teacher Education Teacher education institutions need to examine their programs and ensure that they are prepared to educate tomorrow's teachers. Since music educators cannot teach what they do not know, they must themselves develop the skills and knowledge that will be required of their students. Preservice education alone is not enough, however. Professional development is also essential to enable music educators to be productive throughout their professional lives. To meet these challenges, colleges and universities will need to work in partnership with local school districts and professional associations, find new ways of mentoring their graduates, and develop new ways to participate systematically in inservice teacher education. The profession's best thinking is needed to explore questions such as the following: What are some good models for cooperation between school districts and colleges or universities in providing field experiences for preservice and beginning teachers? What are some good models for support and mentoring of beginning music teachers? What is a good balance of subject matter expertise (music), methods classes, and practicum experiences in preparing new teachers? What should be the distribution of these elements throughout the music teacher education program? What are appropriate goals, modes of delivery, and instructional methods for preparing preservice early childhood and elementary educators to incorporate music into their classrooms? What techniques--such as journal-keeping, observation, continuing education, and graduate study--keep teachers engaged and learning throughout their professional lives? What information, support, and services can be provided by organizations to assist teachers in meeting their responsibilities? Music Education for Diverse Populations Diversity and Inclusion Social issues, changing demographic patterns, and inclusion of special learners in the music classroom present significant challenges for music education. The fact that today's music educator must be prepared to teach diverse and underserved populations underscores the need for examining the best methodologies, techniques, conditions, and materials for bringing music to the entire student population in the Internationa audience. The profession's best thinking is needed to explore questions such as the following: How may different learning characteristics be approached successfully in music instruction? Under what conditions are adaptations necessary in ensemble or classroom instruction? What types of adaptations are the least intrusive and allow for maintaining high musical standards within the inclusive setting? What classroom environments are most conducive to the inclusion of children with disabilities, and what strategies can best facilitate successful inclusion? How can music facilitate interaction and communication among children with different learning abilities and cultural backgrounds? What principles guide the selection of repertoire and materials for children in various settings (urban, rural, suburban, regional) and groupings (multicultural, multiethnic, homogeneous)? What techniques and materials are available to ensure that American and international students whose first language is not English are involved in school music programs? What are some strategies for including other significant persons (parents, other teachers, classroom aides, other music professionals) in the development, implementation, and evaluation of individualized programs for children with different learning abilities and cultural backgrounds? What techniques are available to ensure that learning in the classroom will transfer to environments outside the school setting? School and Community In the future, we can expect that the role of the certified and qualified music specialist will grow, expanding to that of a facilitator who works with others who are involved with students' music education, including parents, other teachers, and the community. To be most effective, music educators will need to promote lifelong learning in music, becoming involved with music programs for both preschool children and older adults. Such efforts will require contributions and cooperation from the community, other school personnel, the media, and the music industry. The profession's best thinking is needed to explore questions such as the following: How do school music programs contribute to community life? What contributions can music organizations and musicians in the community make to the school music program? What types of out reach programs can be developed between school and community that will provide lifelong music learning and involvement? How can music programs be extended to young children and older adults? What opportunities exist for intergenerational music participation? How can school personnel more actively engage parents and other caregivers in their music education? How can music teachers assist parents in helping their children reach long-term goals? How can local and national news media contribute to music education by working with schools and professional organizations on programmatic initiatives? How can the music industry and professional arts organizations contribute to music education? Supporting and Surrounding Issues Are you a good singer? Can you concentrate on other things when you are listening to music? Can you play a musical instrument? If so, what do you play? How long have you been playing? Are you good at it? Can you play any musical instruments? Can you play the drums? Can you play the guitar? Can you read music? Do you enjoy music videos? Do you like all kinds of music? Do you listen to music while doing your homework? Do you sing while taking a bath? Do you think your favorite music twenty years from now will be the same as it is today? Do you watch music shows on TV? If so, what do you watch? How does music make you feel? How much time do you spend listening to music? How often do you listen to music? If you could play any musical instrument, what would it be? If you could start a band, what type of music would you play? Why? If you were a song, what song would you be and why? Is there any kind of music that you hate? Should music lyrics be rated similar to the way movies are rated? What are some concerts you have been to? What do you think the world would be like without music? What do you think of manufactured bands? Can you name any? What is one of your favorite songs? Why do you like it? When did you first hear it? Who sings it? What is your favorite kind of music? What kind of music do you like? What kind of music do you listen to to cheer you up? What kind of music do you usually listen to? What kind of music you like the most? What kind of songs do you like to sing? What kinds of music do you dislike? What was your favorite music 5 years ago? 10 years ago? How have your musical tastes changed? Where do you usually listen to music? Which do you prefer, songs in English or songs in your own language? Who is your favorite singer or group? Who is your favorite singer? Why is music so important to people and culture? Is the image of the group or singer more important than the music? Do you mind singing to other people? (Another wording: ...singing in front of people?) If you don't mind then how large an audience would be too many? Do you prefer rock music or romantic music? How important do you think a good music teacher is to mastering an instrument? What do you think the next piece of music technology will be, after digital technology? If you could invent a new instrument, what would it sound like? Do you think that music can help enhance world education? How? Can you think of examples of music calming people or increasing their efficiency? Why do you think music is important and how does it affect different people? Corporatisation of the film industry has not really helped the producer as the corporate entity owns the rights and the producer only gets a share of the profits. Who else can procure the music, songs, films, State run electronic media, Doordarshan, PTV, Middle eastern TV, Saudia TV, European counterparts, American Private, American state run electronic media. Libraries, Universities. How much does it cost to make my products? What is my break-even point? What are my profit goals? How will I market my products(s)? What price range do my competitors charge? What is the customer demand for my product or service? How many buyers are there and where do they live? Do you have any questions for me? Would you like to Sing Dr Q's English? Would you like to make movie series of Dr Q's movies? Next |