Teaching - Personal Thoughts, Background, Experiences, Courses
Teaching lies at the heart of my professional identity, scholarship, and music activities. I am a music teacher at home teaching all learners—whether in kindergarten, middle, undergraduate or graduate school. In my teaching, I seek to foster life-long learning in students, life-long engagement in musical activites, and to enhance the practice and profession of music education.
Public School and Private Studio Teaching
As a public school teacher, I taught all aspects of music education—choral and instrumental (band and orchestra) music at the elementary and secondary levels, and general music K-8. In my work in the schools, I was a strong advocate for comprehensive musicianship, interdisciplinary connections, and the use of project-based teaching as a way to achieve a more relevant and personal learning environment for students. In my private music studio, I encouraged students to develop their musicality through disciplined performance practice and analytic listening study and to explore their creativity through improvising and composing activities.
As both a public school and collegiate music educator, I have mentored preservice music teachers throughout their development, including guided observation, early field experiences in teaching, pre-student teaching internships, student teaching, research projects, master's theses, and early career.
Collegiate Teaching
As a college professor, I teach all aspects of music education at the undergraduate and graduate levels. Each of my courses is rooted in problem-based learning that emphasizes critical thinking and creative pedagogical innovation that prepares students for effective teaching careers and life-long learning as music teachers.
Undergraduate courses in the Foundations of Music Teaching for Learning Program focus on building students’ knowledge and understanding of the professional work of music teaching.
Graduate courses are designed to deepen students’ awareness of theoretical assumptions that undergird professional practice, and stimulate creativity and the vivid use of imagination in all things music education related.
Public School and Private Studio Teaching
As a public school teacher, I taught all aspects of music education—choral and instrumental (band and orchestra) music at the elementary and secondary levels, and general music K-8. In my work in the schools, I was a strong advocate for comprehensive musicianship, interdisciplinary connections, and the use of project-based teaching as a way to achieve a more relevant and personal learning environment for students. In my private music studio, I encouraged students to develop their musicality through disciplined performance practice and analytic listening study and to explore their creativity through improvising and composing activities.
As both a public school and collegiate music educator, I have mentored preservice music teachers throughout their development, including guided observation, early field experiences in teaching, pre-student teaching internships, student teaching, research projects, master's theses, and early career.
Collegiate Teaching
As a college professor, I teach all aspects of music education at the undergraduate and graduate levels. Each of my courses is rooted in problem-based learning that emphasizes critical thinking and creative pedagogical innovation that prepares students for effective teaching careers and life-long learning as music teachers.
Undergraduate courses in the Foundations of Music Teaching for Learning Program focus on building students’ knowledge and understanding of the professional work of music teaching.
Graduate courses are designed to deepen students’ awareness of theoretical assumptions that undergird professional practice, and stimulate creativity and the vivid use of imagination in all things music education related.
Class Images, Student Work & Inspirations
Undergraduate Courses
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MUSIC TEACHING AND LEARNING 1
Music Teaching and Learning is team-taught and is the second course within the Foundations of Music Teaching for Learning Program following Principles of Music Education. MTL is specifically targeted at developing preservice music teachers’ knowledge and skills in understanding K-12 learners and curriculum work, and developing professional dispositions of curiosity, critical thinking and collaboration.
In MTL, students are introduced to the basic ideas of human learning and instructional practice through participation in actual music projects that range from songwriting to improvised dance; from covering popular tunes to composing soundtracks for film clips; from musical storyboarding of books to studying the relationship of music and social justice. Then students link these experiences to the key characteristics and processes of curriculum making aimed at developing learners’ understanding of music.
Using “Big Ideas” in music—such as music as expression or music as physical response, for example—students create music projects around fundamental disciplinary questions (e.g., What is a song? How are music and movement related?). Students then brainstorm ideas—consulting books and journals, interviewing practicing teachers, investigating creative media, reviewing innovative practices found on websites—to design performing, listening, and composing activities for students at the primary, elementary, middle school and high school levels. Through the design process students come to appreciate the importance of developing meaningful learning activities for their own students—especially building bridges between music learning in and out of school.
PRACTICUM IN ELEMENTARY GENERAL MUSIC TEACHING
In the practicum, students are challenged to engage in all aspects of teaching primary (grades K-2) and elementary-age children (grades 3-6) music. This course acts as a student’s first formalized teaching experience and occurs at a local parochial school under the guidance of a team of faculty from the music education department.
Throughout the practicum, students work at getting to know the children they teach, improving their own teaching, and developing practical and analytical skills required for creating classroom environments (i.e., classroom management) that engage students in musical learning. Practical experiences focused on curriculum development, instruction, and assessment are linked to the conceptual framework developed in Music Teaching and Learning 1 (MTL). Reflecting on practice plays a key role in deepening students’ awareness of the complexity of teaching and the importance of continuous professional development throughout a teacher’s career.
Practicum in Elementary General Music Teaching is team-taught and is the third course within the Foundations of Music Teaching for Learning Program and specifically targeted at developing preservice music teachers’ instructional knowledge and skills; increasing their understanding of learners and the role context plays in shaping student learning; and developing professional dispositions of experimental, critical analysis and reflection on teaching.
CLASSROOM INSTRUMENTS
Although “classroom instruments” conjures up images of instruments typically used in general music classrooms such as autoharps, “Orff instruments," hand drums, keyboards or recorders, this course—Classroom Instruments—is much more than learning how to play and use these instruments in music classrooms. Rather students are challenged with exploring how children and adolescents participate in music making using all kinds of instruments (acoustic as well as digital) as vehicles for self and creative musical expression.
Practical activities include analyzing how formalized and informal approaches to instrumental learning conceptualize student learning and teaching. Commercial materials, such as series texts, methods and special education books are used to practice formal approaches. For exploring informal approaches, students form ad hoc performing groups using popular instruments (e.g., guitar, drum set, electric bass, ukulele) to learn songs, and access “on demand” print and digital media/peer resources necessary to perform a song for an invited audience. Classroom instruments re-conceptualized as "online-digital production tools" are also investigated through the lens of media education/participatory culture with students creating collaborative ensembles and compositions using apps, Ipads, and free digital tools for music production.
Classroom Instruments is a required course for music education students in the general music track. Classroom Instruments is open to any undergraduate or graduate music student regardless of degree program and can be used as a free elective.
Music Teaching and Learning is team-taught and is the second course within the Foundations of Music Teaching for Learning Program following Principles of Music Education. MTL is specifically targeted at developing preservice music teachers’ knowledge and skills in understanding K-12 learners and curriculum work, and developing professional dispositions of curiosity, critical thinking and collaboration.
In MTL, students are introduced to the basic ideas of human learning and instructional practice through participation in actual music projects that range from songwriting to improvised dance; from covering popular tunes to composing soundtracks for film clips; from musical storyboarding of books to studying the relationship of music and social justice. Then students link these experiences to the key characteristics and processes of curriculum making aimed at developing learners’ understanding of music.
Using “Big Ideas” in music—such as music as expression or music as physical response, for example—students create music projects around fundamental disciplinary questions (e.g., What is a song? How are music and movement related?). Students then brainstorm ideas—consulting books and journals, interviewing practicing teachers, investigating creative media, reviewing innovative practices found on websites—to design performing, listening, and composing activities for students at the primary, elementary, middle school and high school levels. Through the design process students come to appreciate the importance of developing meaningful learning activities for their own students—especially building bridges between music learning in and out of school.
PRACTICUM IN ELEMENTARY GENERAL MUSIC TEACHING
In the practicum, students are challenged to engage in all aspects of teaching primary (grades K-2) and elementary-age children (grades 3-6) music. This course acts as a student’s first formalized teaching experience and occurs at a local parochial school under the guidance of a team of faculty from the music education department.
Throughout the practicum, students work at getting to know the children they teach, improving their own teaching, and developing practical and analytical skills required for creating classroom environments (i.e., classroom management) that engage students in musical learning. Practical experiences focused on curriculum development, instruction, and assessment are linked to the conceptual framework developed in Music Teaching and Learning 1 (MTL). Reflecting on practice plays a key role in deepening students’ awareness of the complexity of teaching and the importance of continuous professional development throughout a teacher’s career.
Practicum in Elementary General Music Teaching is team-taught and is the third course within the Foundations of Music Teaching for Learning Program and specifically targeted at developing preservice music teachers’ instructional knowledge and skills; increasing their understanding of learners and the role context plays in shaping student learning; and developing professional dispositions of experimental, critical analysis and reflection on teaching.
CLASSROOM INSTRUMENTS
Although “classroom instruments” conjures up images of instruments typically used in general music classrooms such as autoharps, “Orff instruments," hand drums, keyboards or recorders, this course—Classroom Instruments—is much more than learning how to play and use these instruments in music classrooms. Rather students are challenged with exploring how children and adolescents participate in music making using all kinds of instruments (acoustic as well as digital) as vehicles for self and creative musical expression.
Practical activities include analyzing how formalized and informal approaches to instrumental learning conceptualize student learning and teaching. Commercial materials, such as series texts, methods and special education books are used to practice formal approaches. For exploring informal approaches, students form ad hoc performing groups using popular instruments (e.g., guitar, drum set, electric bass, ukulele) to learn songs, and access “on demand” print and digital media/peer resources necessary to perform a song for an invited audience. Classroom instruments re-conceptualized as "online-digital production tools" are also investigated through the lens of media education/participatory culture with students creating collaborative ensembles and compositions using apps, Ipads, and free digital tools for music production.
Classroom Instruments is a required course for music education students in the general music track. Classroom Instruments is open to any undergraduate or graduate music student regardless of degree program and can be used as a free elective.
Graduate Courses
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PHILOSOPHIES AND ISSUES IN MUSIC EDUCATION
Philosophies and Issues in Music Education course is designed to study the beliefs and philosophical frameworks that have been proposed and used to guide American music education since its introduction into the public schools in the mid 19th century. Discussions are guided by my strong belief that all people are musical and that it is the responsibility of the American society and its schools to provide a comprehensive, balanced, relevant, and socially just curriculum for all students.
Students in the course embrace some of the most challenging and best readings in the field of music and arts education philosophy. Plus, they analyze the sociopolitical assumptions undergirding historical and contemporary practices found in American music education curriculum, instruction, and assessment. The works of John Dewey, Bennett Reimer, Estelle Jorgensen, Maxine Greene, and Elliott Eisner, among others are used. Contemporary topics are situated in relevant and pressing issues derived from national and state educational policy initiatives, cultural/historical studies, diverse images of teaching, demographic analysis, critical theory, and progressive writings on the relationship between democracy and education.
Philosophies and Issues in Music Education is one of the foundation courses within the Graduate Studies in Music Education Program and specifically designed to provoke students’ thinking about the value of art/music in human living and the role public institutions have in the social process of an education in the arts. Philosophies and Issues in Music Education is linked to the graduate Curriculum course.
CURRICULUM
In Curriculum, we explore the fascinating diversity of the field itself by examining curriculum as both a theory and a practice. Readings and activities focus on contrasting and philosophically opposing images of curriculum and their manifestations in subject matter content, learning activities, instruction and assessment. These images are analyzed and critiqued through the lenses of three educational perspectives: technical-rationalism, experiential-progressivism, and critical theory.
As a practical matter, students grapple with designing a “course of study” for a specific grade/ensemble/course, set of courses, or music program based upon a well-crafted set of philosophical beliefs about music education. Embedded in the design process is the use of key features and components found in specific curriculum images, such as defining objectives, describing experiences or creating questions for critical reflection and action. As a synthesis, students articulate how curriculums are organized and shaped by philosophical frameworks and larger social forces related to the economy, politics, culture, race, gender, and class.
Curriculum is one of the foundation courses within the Graduate Studies in Music Education Program and specifically designed to deepen students’ thinking about the assumptions and frameworks that underpin curriculum work as a practical endeavor in music education. The graduate Curriculum course is linked to the Philosophies and Issues in Music Education course.
Philosophies and Issues in Music Education course is designed to study the beliefs and philosophical frameworks that have been proposed and used to guide American music education since its introduction into the public schools in the mid 19th century. Discussions are guided by my strong belief that all people are musical and that it is the responsibility of the American society and its schools to provide a comprehensive, balanced, relevant, and socially just curriculum for all students.
Students in the course embrace some of the most challenging and best readings in the field of music and arts education philosophy. Plus, they analyze the sociopolitical assumptions undergirding historical and contemporary practices found in American music education curriculum, instruction, and assessment. The works of John Dewey, Bennett Reimer, Estelle Jorgensen, Maxine Greene, and Elliott Eisner, among others are used. Contemporary topics are situated in relevant and pressing issues derived from national and state educational policy initiatives, cultural/historical studies, diverse images of teaching, demographic analysis, critical theory, and progressive writings on the relationship between democracy and education.
Philosophies and Issues in Music Education is one of the foundation courses within the Graduate Studies in Music Education Program and specifically designed to provoke students’ thinking about the value of art/music in human living and the role public institutions have in the social process of an education in the arts. Philosophies and Issues in Music Education is linked to the graduate Curriculum course.
CURRICULUM
In Curriculum, we explore the fascinating diversity of the field itself by examining curriculum as both a theory and a practice. Readings and activities focus on contrasting and philosophically opposing images of curriculum and their manifestations in subject matter content, learning activities, instruction and assessment. These images are analyzed and critiqued through the lenses of three educational perspectives: technical-rationalism, experiential-progressivism, and critical theory.
As a practical matter, students grapple with designing a “course of study” for a specific grade/ensemble/course, set of courses, or music program based upon a well-crafted set of philosophical beliefs about music education. Embedded in the design process is the use of key features and components found in specific curriculum images, such as defining objectives, describing experiences or creating questions for critical reflection and action. As a synthesis, students articulate how curriculums are organized and shaped by philosophical frameworks and larger social forces related to the economy, politics, culture, race, gender, and class.
Curriculum is one of the foundation courses within the Graduate Studies in Music Education Program and specifically designed to deepen students’ thinking about the assumptions and frameworks that underpin curriculum work as a practical endeavor in music education. The graduate Curriculum course is linked to the Philosophies and Issues in Music Education course.
Thesis and Research Mentoring
Master's degree students seeking to engage in extended research study have the option to pursue thesis work. Undergraduate students can enroll in independent study and complete small self-study oriented research projects. Go to the Student Research Projects section of the website to see a complete list of research projects that I have directed.
Class Images, Student Work & Inspirations
Elective Courses - Undergraduate/Graduate
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SENIOR SEMINAR IN MUSIC EDUCATION
In my Senior Seminar in Music Education, advanced undergraduate students identify a topic of interest or an area of music or education to investigate in depth over the course of an entire semester. Depending upon topic, students carry out original research or engage in intensive study aimed at generating a synthesis of understanding. Concluding activities include formal presentations at professional music education conferences or campus scholarship exhibitions.
Recent seminar topics have included: re-conceptualizing music theory in the high school; examining gender relations in a kindergarten music classroom; creating criteria for the inclusion and study of music from multicultural perspectives; constructing comprehensive musicianship in large ensemble settings; creating a personal narrative of teaching and learning in the college music curriculum; exploring children’s musical creativity through digital media; analyzing educational dilemmas (such as mastery vs coverage and current learning needs vs future needs) in curricular design; exploring historical and contemporary definitions of musical talent, aptitude and intelligence; assessing the merits of competition and collaboration in music education.
Often taught in a small group format or in the manner of an independent study, Senior Seminar in Music Education is open to any undergraduate music student regardless of degree program and can be used as an elective.
ADVANCED TOPICS IN MUSIC EDUCATION
Advanced Topics in Music Education investigates topics and issues that occupy perennial interest in music education as well as emerging trends that may have potential impact on school music programs and music teaching and learning. What does social justice, authentic assessment, collaborative partnerships, music industry, informal learning, digital-popular-participatory culture, educational corporatization, gender studies, green schools, common core, college/career readiness, project-based learning, creative technologies, critical theory, postmodernism, teacher evaluation/performance, educational inequality, and more . . . . have to do with music education? Inside and outside of class, students gather to investigate topics based on professional concern and interest, review research, read blogs, share thinking and practices, learn new strategies and brainstorm solutions to challenges posed by issues investigated.
Advanced Topics in Music Education can be taken by undergraduates seeking to fulfill upper division electives and by graduate students as an elective in graduate music education degree program. For graduate students this course can be repeated with alternate numbering or through SUNY Potsdam's Extended Education or as a part of the Crane Practicing Teachers' Professional Development Program.
PROJECTS & READINGS IN MUSIC EDUCATION
Most teachers and researchers in the learning arts and sciences believe that students are most successful when what they are learning is authentic, relevant, mind engaging, and resembles the life they are living now and relates to the life they will face in the future. Students in the Projects & Readings in Music Education course learn how to design and teach a set of learning strategies to guide their own students in in-depth investigations of musical topics of both socio-disciplinary (i.e., musical-cultural) importance and student interest. In teams students create driving curriculum questions, launch-pad and extended investigation activities, supporting materials and resources, and assessment criteria to be used in either general music classrooms or performing ensembles.
Projects & Readings in Music Education enables students to carry out projects in their own schools, and draws their attention to the advantages of using the best practices of 21st century education—questioning, inquiry, critical thinking, problem solving, collaboration, application of knowledge and skills, and exhibition of student understanding. The history of innovative teaching and learning practices dating from the pedagogy of Aristotle and Confucius to the work of Howard Gardner, Jean Lave and Etienne Wenger, and others is interwoven.
Graduate students can take Projects & Readings in Music Education as an elective within the graduate music education degree program. The course can be repeated with alternate numbering or through SUNY Potsdam's Extended Education or as a part of the Crane Practicing Teachers' Professional Development Program.
In my Senior Seminar in Music Education, advanced undergraduate students identify a topic of interest or an area of music or education to investigate in depth over the course of an entire semester. Depending upon topic, students carry out original research or engage in intensive study aimed at generating a synthesis of understanding. Concluding activities include formal presentations at professional music education conferences or campus scholarship exhibitions.
Recent seminar topics have included: re-conceptualizing music theory in the high school; examining gender relations in a kindergarten music classroom; creating criteria for the inclusion and study of music from multicultural perspectives; constructing comprehensive musicianship in large ensemble settings; creating a personal narrative of teaching and learning in the college music curriculum; exploring children’s musical creativity through digital media; analyzing educational dilemmas (such as mastery vs coverage and current learning needs vs future needs) in curricular design; exploring historical and contemporary definitions of musical talent, aptitude and intelligence; assessing the merits of competition and collaboration in music education.
Often taught in a small group format or in the manner of an independent study, Senior Seminar in Music Education is open to any undergraduate music student regardless of degree program and can be used as an elective.
ADVANCED TOPICS IN MUSIC EDUCATION
Advanced Topics in Music Education investigates topics and issues that occupy perennial interest in music education as well as emerging trends that may have potential impact on school music programs and music teaching and learning. What does social justice, authentic assessment, collaborative partnerships, music industry, informal learning, digital-popular-participatory culture, educational corporatization, gender studies, green schools, common core, college/career readiness, project-based learning, creative technologies, critical theory, postmodernism, teacher evaluation/performance, educational inequality, and more . . . . have to do with music education? Inside and outside of class, students gather to investigate topics based on professional concern and interest, review research, read blogs, share thinking and practices, learn new strategies and brainstorm solutions to challenges posed by issues investigated.
Advanced Topics in Music Education can be taken by undergraduates seeking to fulfill upper division electives and by graduate students as an elective in graduate music education degree program. For graduate students this course can be repeated with alternate numbering or through SUNY Potsdam's Extended Education or as a part of the Crane Practicing Teachers' Professional Development Program.
PROJECTS & READINGS IN MUSIC EDUCATION
Most teachers and researchers in the learning arts and sciences believe that students are most successful when what they are learning is authentic, relevant, mind engaging, and resembles the life they are living now and relates to the life they will face in the future. Students in the Projects & Readings in Music Education course learn how to design and teach a set of learning strategies to guide their own students in in-depth investigations of musical topics of both socio-disciplinary (i.e., musical-cultural) importance and student interest. In teams students create driving curriculum questions, launch-pad and extended investigation activities, supporting materials and resources, and assessment criteria to be used in either general music classrooms or performing ensembles.
Projects & Readings in Music Education enables students to carry out projects in their own schools, and draws their attention to the advantages of using the best practices of 21st century education—questioning, inquiry, critical thinking, problem solving, collaboration, application of knowledge and skills, and exhibition of student understanding. The history of innovative teaching and learning practices dating from the pedagogy of Aristotle and Confucius to the work of Howard Gardner, Jean Lave and Etienne Wenger, and others is interwoven.
Graduate students can take Projects & Readings in Music Education as an elective within the graduate music education degree program. The course can be repeated with alternate numbering or through SUNY Potsdam's Extended Education or as a part of the Crane Practicing Teachers' Professional Development Program.
