University of North TexasCollege of Music

Course Title: MUED 4203 Mus. Perf. Choral Credit: (3) hoursSemester: Spring 2016 Class Times: T-R (++9:30-11:30 ++)Instructor: Dr. Alan McClung Location: 113 Music Annex/Public School ClassroomsOffice: 110A Music Building Office Phone: 940-369-7936Email: alan.mcclung@unt.edu Office Hours: M,T,W,R 1:00-3:00 + appointments

The Division of Music Education is dedicated to empowering studentsthrough learning opportunities that are contextual and relevant to a career in teaching.

To become an effective music educator, each student must commit to excellence in both teaching and musicianship.

Course Catalogue Overview: Principles of music performance using vocal and choral media. Nature of and influences on the human voice and its use, performance practices and procedures, and music literature for vocal and choral performance. [Pedagogical practices that complement the secondary choral music classroom.]

Pre-requisites: All 1000, 2000, and 3000 courses in music education. Because of the classroom teaching expectations in MUED 4203, Choral Conducting 3802, the 2nd conducting course, must be completed or on-going. With the completion of MUED 4203 and prior to student teaching, the student should have one semester or zero semesters to complete.

Instructional Goals: 1. To encourage an awareness of how the field of music combines with the field of education to create the discipline of music education.

2. To stimulate an awareness of the choral music teacher’s responsibilities and how those responsibilities impact the musical development of the secondary school music student.

3. To encourage students to articulate a thoughtful philosophy for teaching choral music in the secondary classroom.

4. To develop competencies necessary to create effective instructional goals, lesson plans, learning objectives, assessment strategies, and teaching strategies through peer and on-site teaching.

5. To develop an awareness of the competencies necessary to manage a positive classroom, to observe and critique student behaviors, to deliver accurate instruction effectively, and to pace rehearsals/lessons efficiently through peer and on-site teaching.

6. To develop musical competencies that produce insights and effective strategies to teach voice building, music reading, quality and appropriate repertoire selection, rehearsal techniques, to beginning, intermediate, and advanced secondary choral music students.

7. To create an awareness of the importance and impact of personal piano skills on daily classroom instruction.

8. To encourage involvement in state, national, and international professional music organizations: National Association for Music Educators (MENC), Texas Music Educators Association (TMEA), American Choral Directors Association (ACDA), Southwest ACDA, and Texas Choral Directors Association (TCDA), International Federation for Choral Music (IFCM), International Society for Music Education (ISME), ChoralNet: The Internet Center for Choral Music, and the Cambiata Institute of America for Early Adolescent Vocal Music@ UNT.

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Learning Objectives: The student will be able to . . .

1. list and describe the wealth of information available at professional music organization web sites and retrieve examples of information, including the sight-singing rules for the Large Group Choral Festival at University Interscholastic League (UIL).

2. identify and discuss the benefits of active involvement in professional music organizations at the state, divisional, national, and international level.

3. write six paragraphs that encompass the essence of your personal philosophy for teaching choral music in our secondary schools (grades 6-12). Each paragraph should include one of the following headings related to choral music: (1) who should we teach; (2) what should we teach; (3) when should we teach; (4) where should we teach; (5) why should we teach; and (6) how should we teach. It is very important that your answers be well written, including thoughtful (deeply considered) responses that reflect the readings, handouts, and discussions held in Class Meetings 2, 3, and 4. Consider this your opportunity to create a refined response for a future job interview.

4. list and describe a minimum of three of the dominate pitch systems used to teach (read) music notation.

5. list and specifically describe a minimum of five dominate rhythm systems used to teach (read) music notation. Remember that the Eastman system and the Traditional Beat-Based system have three subsets each.

6. list and describe in writing four and design two effective rating scales for performance testing.

7. list and describe in writing, and demonstrate specific master teacher traits (outstanding, observable instructional skills) while teaching a mini-lesson in voice building, pitch development, rhythm development, sight-singing, and repertoire rehearsal.

8. generate and implement a written plan using an array of voice building strategies that can encourage the development of a healthy, classical singing voice in the group setting. Expectations include the articulation of the sequential purpose behind each type of voice building exercise. Additional expectations include the use of appropriate piano skills.

9. compare and contrast formative assessment with summative assessment. Describe in writing how both forms of assessment benefit the student and the teacher.

10. develop specific learning objectives, sequential teaching strategies, and a variety of potential summative assessment strategies for mini-lessons on pitch reading development, using the Movable [DO] system and when applicable, Curwen hand signs.

11. teach mini-lessons on pitch reading development, using the Movable [DO] system and when applicable, Curwen hand signs. Expectations include the use of sequential teaching/learning techniques outlined in the learning objectives, sequential teaching strategies, and formative or summative assessment strategies.

12. develop specific learning objectives, sequential teaching strategies, and potential summative assessment strategies for mini-lessons on rhythm reading development, using the Traditional Beat-Based (Type A) rhythm numbers system, the Kodaly rhythm syllables system, and the Eastman (Type C) system.

13. teach mini-lessons on rhythm reading development, using the Traditional Beat-Based (Type A) rhythm numbers system, Kodaly rhythm syllables system, and the Eastman (Type C) system. Expectations include the use of sequential teaching/learning techniques outlined in the learning objectives, sequential teaching strategies, and formative or summative assessment strategies.

14. develop specific learning objectives, sequential teaching strategies, and potential summative assessment strategies for mini-lessons on sight-singing development, combining the Movable [DO]pitch system with various rhythm systems previously noted.

15. teach mini-lessons on sight-singing development (unison and/or part) using the pitch systems and rhythm systems previously noted. Expectations include the use of sequential teaching/learning techniques outlined in the learning objectives, sequential teaching strategies, and formative or summative assessment strategies.

16. notate the vocal ranges of the soprano, alto, tenor, and bass voice in grades 6-12. Give special attention to the ranges of the early adolescent males’ transitioning vocal ranges: (1) Baritone/Phase B; (2) Baritone/Phase A; (3) Cambiata II; (4) Cambiata I/Phase B; and (5) Cambiata I/Phase A. Discuss the differences and similarities between the male treble and the cambiata I/phase A.

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17. arrange a unison setting for the melody, Amazing Grace, to fit the (general/combined = cambiata I/phase B) cambiata voice range (F#-f#).

18. select and arrange a hymn tune for 3-part (CCB), the early adolescent male transitioning vocal ranges. (Use treble clef, treble clef, and bass clef OR treble clef, bass clef, bass clef. )

19. describe how emotional intelligence effects personal behaviors and student behaviors.

20. describe how the scientific approach to behavior modification can be designed to promote desirable behaviors and to discourage undesirable behaviors in one’s personal behavior as well as student behavior. Describe a hypothetical personal behavior or a student behavior to modify. Articulate specific steps that could be applied to either encourage or discourage a specific behavior.

21. describe how specific praise can be used to reinforce desirable student behaviors. Explain how false praise, general praise, and insincere praise can sometimes promote undesirable behaviors. Provide specific examples of each type.

22. compare and contrast extrinsic rewards with intrinsic rewards. 23. design a strategy for classroom management (supported by the school community) for a secondary choir classroom. Describe the importance of creating classroom STRUCTURE and for having a fast paced instructional plan for every class. Describe how humor, and providing a place where it’s ok to make a mistake and the opportunity to fix it, can be used to create a positive learning atmosphere in the classroom. Placed at the front of your classroom, create a poster that states in positive terms three encompassing expectations of behavior. Begin with the stem: Students are expected to . . .

24. list the people within the school community who should be asked to approve your classroom management plan.

25. plan and teach a lesson/rehearsal in a secondary school setting, using a broad array of appropriate choral, conducting, and teaching strategies and techniques. Support lesson with appropriate piano skills when necessary.

26. create a balanced choral ensemble with 4-8 participants, single or mixed gender. Select high quality, 4-part music that complements the musical forces available. Have music approved by Dr. McClung no later than Class 20. As a singer in the ensemble, facilitate all rehearsals and plan a mini-performance presentation that coordinates with the presentations of your classmate ensembles. Similar to a string quartet, or the King Singers, a podium (in-front) conductor is excluded.

27. explain the Texas UIL Approved Repertoire List and critique the benefits of using that list as a primary literature source for all graded choirs.

28. site a minimum of “5” specific repertoire sources beyond that of the UIL Approved Repertoire List.

29. create an annotated, 20 minute concert program using the UIL Approved Repertoire List.

30. create a formal score study and rehearsal plan for a 3-minute choral work.

31. list classroom equipment items and classroom teaching aids that are found in a “typical” choral music classroom.

32. create a per student figure itemized budget that would allow you to purchase the necessary musical materials needed to run a “typical” choral music classroom for one academic year.

33. list related tasks and responsibilities outside the classroom that support music classroom instruction.

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Grading System: A, B, C, D, E, and F

A. Attendance

The Division of Music Education Attendance Policy

Regular attendance with promptness and with assignments completed reflects a positive, accepting attitude in university education.

With the responsibility of being a music education student comes a conscious decision to act professionally at all times. 1 Three (3) unexcused absences* will result in a failing grade.2 A thirty (30) minute tardy constitutes an absence. Three tardies constitute one absence.

*Only university excused absences will be accepted. You must present notification to your professor, which may be obtained from the Office of the Dean of Students.

B. Participation and Attitude = 10% of total grade

The student demonstrates a commitment to positive behaviors by posing thoughtful questions, submitting assignments in a timely and prescribed manner, being prompt and dependable, supporting peers and instructor with positive statements both verbally and nonverbally, and accepting teaching critiques graciously. It is important to remember that you are in charge of you.

A = in every class session D = in some classes sessionsB = in almost every class session F = seldom to never C = in most class sessions

C. Class Work = 40 % of the total grade

Class assessments plus the Enrichment Series Workshops arranged by UNT’s ACDA Student Chapter/Up Front = (2 extra credit points) x (3 events). See Course Assessment Sheet (pages 7-8 of syllabus) for specifics.

Important Notice1 Points will be deducted for late papers.2 Absences from in-class assessments cannot be made up.3 Students are encouraged to seek out the instructor for assignment clarification and/or personal assistance.4 An average class work grade no less than “C”, is required for on-site teaching.

D. On-Site Teaching & Observing in area secondary schools = 30 % of the total grade.A = Student demonstrates outstanding instructional skills.B = Student demonstrates more than satisfactory/nearly outstanding instructional skills.

C = Student demonstrates satisfactory instructional skills. D = Student demonstrates less than satisfactory instructional skills. F = Student was unable to demonstrate acceptable teaching behaviors during this grading period.

To teach and to receive academic credit, the on-site practice teacher must . . .___1. complete a strategy meeting the day prior to on-site teaching. A written lesson plan in sketch format for the assigned, up-coming on-site lesson is required.___2. complete a scheduled reflection meeting. A scheduled period of discussion and reflection on the recently completed lesson and the submission of a completed on-site instruction video teaching assessment form is required. ___3. Submit a finalized (Formal Lesson Plan Form) including lesson objectives,

teaching strategies, assessment strategies, and materials at the time of the scheduled reflection meeting.

Important Over-Riding Notice: To pass this course, a grade no less than “C” must be achieved in on-site teaching

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and observation.

Teaching Session Procedures (One Meeting with Two Objectives)

Part I: Prior to each teaching session, each student is required to arrange an individual meeting with Dr. McClung, typically on Tuesdays and Thursdays. A consistent meeting time should be arranged with Dr. McClung. The purpose of this meeting is to plan teaching strategies for an assigned lesson topic. On the day of the scheduled teaching session the student is required to . . . ___1. submit in sketch format a Formal Lesson Plan Form in writing. Any necessary amending to that lesson plan and possible teaching strategies specific to the proposed lesson will be discussed prior to on-site teaching. ___2. Prior to teaching on-site a completed Formal Lesson Plan Form submission is required.

Part II: All on-site teaching sessions will be recorded on an SD Card, supplied by the student. Following each recorded teaching session, the student is required to bring to the arranged meeting with Dr. McClung, a thoughtful observation response recorded on the Teaching Assessment Form for On-Site Practice Teachers in the Secondary Choral Classroom and an updated/revised Formal Lesson Plan Form. Reflection and discussion of the highs and lows of your lesson will be the focus of the meeting.

Secondary Choral Music Collaboration SchoolsOn-Site settings may be added or deleted due to scheduling availability.

Ryan High School David Rives 940-369-3075 drives@dentonisd.org Strickland Middle School Amy Logan 940-369-4261 alogan@dentonisd.org Strickland Middle School Kevin Rybowicz 940-380-0386 krybowicz@dentonisd.org Calhoun Middle School Denise Stephens 940-369-2428 dstephens1@dentonisd.orgCrownover Middle School Stephanie Hicks 940-369-4700 shicks2@dentonisd.org Blalack Middle School Jennifer Alarcon 972-968-3616 alarconj@cfbisd.edu Polk Middle School Allison Murray 972-968-4730 murraya@cfbisd.edu R.L. Turner High School Brian Murray 972-968-5449 murraybr@cfbisd.edu Newman Smith High School Evan Brown 972-968-5339 browne@cfbisd.edu Guyer High School Steve Evans 940-369-1149 sevans2@dentonisd.org Creekview High School Tara Sikon 972-968-4837 sikont@cfbisd.edu

On-Site teaching is at the pleasure of officials at the various secondary schools listed. Schools may be deleted or added according to availability. To participate fully, students enrolled in this course are required to comply to all expectations of professional behavior, including social relationships with secondary students, dress, body adornments (piercings and tattoos), hair styles, personal hygiene (i.e. offensive body odors or offensive perfumes), and ISD regulated health requirements . Failure to comply requires the student to drop this course.

E. Written Final: 10 job interview essay questions = 10% of the total grade.

Questions are taken from the 33 learning objectives found on pages 2-3 of this syllabus. The student chooses and emails to the instructor five questions from the list. After receiving the student’s list, the instructor chooses and emails an additional five questions from the learning objective list. Due date: 12:00 noon, Tuesday, the week of finals.

F. Playing Final: Piano/Accompanying Skills = 10% of the total grade.

11-12 points = A 9-10 = C 8-9 points = D10-11 points = B 7 and below = F

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STUDENT REVIEW COMPONENTS: To receive a final grade, students must pass the student review components linked to this course. Students will receive an incomplete for this course if any of the student review components are not completed successfully. If any portion is not passed at the end of the semester, the student will receive a final grade of “I”. The “I” may be removed by following the procedures for “removal of an I” described in the UNT Undergraduate Catalog. PLAYING FINAL: The final is worth a total of 12 points and 10% of the total grade. Each student is expected to arrange an individual testing session with the instructor outside normal class time. All four assessments can be performed in one session or in separate sessions. One retake of each assessment is allowed. All assessments must be completed by 3:00 Thursday, the week preceding finals week. Should this create a scheduling hardship, the student is responsible for notifying the instructor prior to the deadline. Assessment 1: The student will be asked to perform on piano any two voice combinations from any segment of the included four-part score, I Have Longed for Thy Saving Health, by the Renaissance composer, William Byrd. Tempo should reflect the standard performance pulse of Renaissance motets, 60 beats per minute. Points are awarded on pitch and rhythmic accuracy. Value: 0-3 points. This assessment is connected to the required score reading assessment of Student Review. Failure to achieve a minimum of 2 points on this assessment will result in an “I” in this course. The “I” will be lifted when this required assessment is completed. Limit: 1 year. Value 0-3 points

Assessment 2: The student will be asked to sight-read a traditional four-part hymn on piano. Student chooses a traditional hymn book and the tempo. Instructor chooses the hymn to be performed. Points are awarded on pitch and rhythmic accuracy. Tempo must establish an identifiable melody. Value: 0-3 points

Assessment 3: The student will be asked to perform on the piano the Circle of Fifths in block or open chords. Example: I chord becomes I7/V7 to the new I which becomes I7/V7 and so on. See the pattern below. The student may use one or two hands to perform the exercise. The student may additionally use the written chord symbols and choose the tempo. Points are awarded on pitch accuracy. Value: 0-3 points

C- C7- F- F7- Bb- Bb7- Eb- Eb7- Ab- Ab7- Db/C#- Db7/C#7- Gb/F#- F#7- B- B7- E- E7- A- A7- D- D7- G-G7-C.

Assessment 4: The student will be asked to perform tonic triads in chromatic motion (up and down) as typically required for a vocal warm-up on piano. Follow the playing of each block chord are the individual pitches, so-fa-mi-re-do. Tempo must reflect standard classroom practice. Performance must be accomplished in a standing position, without looking at the keyboard. Points are awarded for an appropriate exercise tempo and pitch accuracy. This assessment is connected to the required vocal warm-up assessment of Student Review. Failure to achieve a minimum of 2 points on this assessment will result in an “I” in this course. The “I” will be lifted when this required assessment is completed. Limit: 1 year. Value: 0-3 points

Additional Resources

On-line Recordings- www.unt.naxosmusiclibrary.com/catalogue/item On-line Recordings- Spotify: https://www.spotify.com/us/On-line Literature- Choral Public Domain Library: www.cpdl.org

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MUED 4203 Course Assessment Check-ListSpring 2016

Name _____________________________________________________________________________________

Note: To receive full credit, written assignments must be typed and notation assignments must be generated on music notation software. Improved submissions (opportunities to improve a paper) must be submitted at the start of the class that follows the original turn-in date. A hardship extension may be requested.

Score Due Date Assessment

___ CM1 Develop a professional description Value: 0-1 point

___ CM1 Mini-test: Identifying primary pitch and rhythm systems Value: 0-2 points

___ CM2 Retrieve information from professional internet sites Value: 0-1 point

___ CM2 Retrieve UIL sight-singing rules Value: 0-1 point

___ CM2 Create descriptors: Why teach music Value: 0-1 points

___ CM2 Teach audiation lesson Value 0-1 point

___ CM3 Complete take-home test writing learning objectives and an assessment strategies Value: 0-1 point

___ CM3 Create descriptors on teaching music: who, what, when, where, why, and how plus 2 well-written, topic-specific paragraphs. Value: 0-3 points

___ CM3 Create a pitch development lesson with two learning objectives and two corresponding summative assessment strategies. Value: 0-2 points

___ CM4 Complete a mini-test over vocal development readings. Value: 0-2 points

___ CM4 Teach a mini lesson on pitch development. Value: 0-3 points

___ CM5 Design four rating scales. Value: 0-2 points

___ CM5 Complete a mini-test over assessment readings. Value: 0-2 points

___ CM5 Teach a lesson on vocal development. Value: 0-3 points

___ ACDA Enrichment Series #1 To Be Announced Extra Credit Value: 2 points

___ CM6 Complete a mini-test over student behaviors and classroom management Value: 0-5 points

___ CM7 Notate middle school vocal ranges. Value: 0-4 points

___ CM8 Arrange Amazing Grace melody for unison cambiata voice. Value: 0-2 points

___ CM8 Create a rhythm development lesson with two learning objectives and Value: 0-2 points Two summative assessment strategies.

___ CM8 Teach a mini-lesson on rhythm development Value: 0-3 points

___ ACDA Enrichment Series #2 To Be Announced Extra Credit Value: 2 points

___ CM9 Complete a mini-test over repertoire readings Value: 0-2 points

___ CM10 Create two critical thinking questions over McGill and Collins readings Value: 0-2 point

___ CM11 Teach mini-lesson on sight-singing development Value 0-3 points

___ CM18 Arrange a CCB arrangement of a hymn (16 measures). Value: 0-3 points

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___ CM21 Create a twenty minute annotated concert program. Value:0-10 points

___ ACDA Enrichment Series #3: To Be Announced Extra Credit Value: 2 points

___ CM22 Perform an ensemble presentation Value: 0-5 points

___ CM23 Classroom materials list Value: 0-1 point

____ CM24 Submit a classroom budget for the year. Value: 0-2 points

___ CM25 Submit a formal conducting score analysis project. Value: 0-5 points

___ Total points earned out of 74 class work plus 6 potential extra credit points.

74-67 = A 66-59 = B 58-52 = C 51-44 = D 43….. = F

Piano Final: Can be performed at any time during the semester in a private session. Deadline: Thursday prior to finals week. Should this create a scheduling hardship, the student is responsible for notifying the instructor prior to the deadline.

______ A Student Review Component -- Prepare to perform any two parts combined (Example: CB, SA, AB, SC) in open score, from motet by William Byrd, I Have Longed for Thy Saving Health. Value: 0-3 points (A minimum score of 2 required on this assessment to pass student review.)

______ Sight-read on piano a traditional four-part hymn. Value: 0-3 points

______ Perform on piano the circle of fifths. Value: 0-3 points

______ A Student Review Component -- Without looking at the keyboard, perform on piano in chromatic increments, tonic triads as typical in a vocal warm-up. Use pitch pattern: SO-FA-MI-RE-DO. Be prepared to move up the scale and down the scale. Value: 0-3 points (A minimum score of 2 is required on this assessment to pass student review.)

___________ TOTAL: Piano/Accompany Skills

A Grading Overview

Participation and Attitude (10% of final grade) will be summarized into (A-F). The student demonstrates a commitment to positive behaviors by posing thoughtful questions, turning in work in a timely and prescribed manner, being prompt and dependable, supporting peers and instructor with positive statements both verbally and nonverbally, and accepting teaching critiques graciously. It is important to remember that you are in charge of you.

A = in every class session D = in some classes sessionsB = in almost every class session F = seldom to never C = in most class sessions

Class assignments (40% of final grade) are rated on a point basis and summarized into (A-F). Assignments must be turned in on time. Do-overs must be resubmitted in the immediate class that follows. See information posted in syllabus—page 4.

On-site teaching and observation (30% of final grade) will be summarized into (A-F): Must attain an average of C or above to pass the course. Areas requiring demonstrated achievement include lesson plan preparations, eye contact, voice control both singing and speaking, sequencing of learning events which includes viable teaching strategies, pacing of events, use of praise, ability to improvise by sequencing backwards or forwards to adjust to class response, piano skills necessary to lead lesson, rehearsal techniques and conducting skills, plus insightful and positive reflections. See syllabus, page 4-5.

Written Final: The in-class written final is worth 10% of your grade. It will consist of 10 essay-type interview questions related to teaching choral music at the secondary level. Questions will be taken from the 33 learning objectives found on pages 2-3 of this syllabus. Submission date: Tuesday, 12:00 noon, final’s week. See syllabus for specifics, page 5.

Piano/Accompanying skills (10% of final grade) are rated on a point basis and summarized into (A-F). Two of the requirements are student review components. Completion date: 3:00 Thursday, week prior to final’s week. See syllabus for specifics, pages 5-6.

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Required Textbooks

Holt, M. & J. Jordan. The School Choral Program: Philosophy, Planning, Organizing, and Teaching, (GIA Publications, Inc., 2008).

McClung, A. C. Movable Tonic: A Sequenced Sight-Singing Method (Teachers Edition).( GIA Publications, Inc., 2008).

Additional recommended textbooks (On reserve in Music Education Resource Library)

McGill, S. & E. Volk. Beyond Singing: Blueprint for the Exceptional Choral Program. (Hal Leonard Corporation, 2007). Available at Pender’s Music, $25.00

Collins, D. C. Teaching Choral Music (Second Edition), Prentice Hall Inc. (1999).

Materials: 1 SCHC Card (Buy Buys, $18.00)5 RECORDABLE COMPACT DISCS 1 three-ring notebook (supplied).

_______________________________________________________________Recommended source books for your professional library.

1 Ables, Harold, F, Charles Hoffer, and Robert H. Klotman. Foundations of Music Education, 2ed. Ed. (Schirmer Books, 1994).

2 ACDA’s Monograph No. 11, The Foundation of Artistry: An Annotated Bibliography of Distinctive Choral Literature for High School Mixed Choirs, Linda Anderson, Annotator; (ACDA, 2002).

3 Ammer, C. The A to Z of Foreign Musical Terms (ECS Publishing, 1989)4 Albrecht, S. K. (Ed). The Choral Warm-Up Collection, (Alfred Publications, 2003).5 Buchanan H. J. & M. W. Mehaffey. Teaching Music through Performance in Choir, Vol 1. (GIA Publications, 2007).

Includes CD 6 Buchanan H. J. & M. W. Mehaffey. Teaching Music through Performance in Choir, Vol 2. (GIA Publications, 2007).

Includes CD 7 Hoffer, Charles R. Teaching Music in the Secondary Schools, Fifth Edition (Wadsworth). 8 Ehmann, W., & Frauke Haasemann. Voice Building for Choirs. (Hinshaw Music, 1981).9 Jeffers, R. Translations and Annotations of Choral Repertoire; Vol. I - Sacred Latin Texts. (earthsongs, 1988). 10 Jordan, J. The Choral Warm-Up: Methods, Procedures, Planning and Core Vocal Exercises. (GIA Publications, 2005).

Includes CD 11 Phillips, Kenneth H. Directing the Choral Music Program (Oxford University Press, 2004).12 Madsen, C. & T. L. Kuhn. Contemporary Music Education. (Harlan Davidson, Inc., 1974). 13 Ware, C. Basics of Vocal Pedagogy: The Foundations and Process of Singing. (McGraw Hill Companies, Inc., 1998). 14 Zegree,S. The Complete Guide to Teaching Vocal Jazz (Heritage, 2002).

Additional Resources:On-line Recordings: www.unt.naxosmusiclibrary.com/catalogue/item On-line Literature: Choral Public Domain Library: www.cpdl.org

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Faculty & students in a united commitment to excellence inteaching and musicianship.

Plan Ahead! To student teach you must:___ Have an overall grade point average (GPA) of 2.75 on all UNT course work and an overall GPA of 2.75___ Have an overall GPA of 2.75 in all MUXX courses and all EDXX courses___ Have a minimum of a [C] in all education and music education courses.___ Have an overall GPA of 2.75 in your professional development classes. See your Student Handbook for a list of these courses. ___ Have successfully completed ALL proficiency examinations before applying to student teach.

See academic advisor’s note below.

*Reminder*: Requirements for MUED 4203

GPA of at least 2.75 on all transfer and UNT course work

Completion of Piano, Computer, and Theory proficiencies

Completion of Upper Division jury/exam (4th semester barrier from 1500-level to 3500-level lessons)

Admittance to Teacher Education program (through College of Education, see your academic advisor) Be knowledgeable of your degree progress! Access your degree audit online –anytime- Be informed!

Use your audit to find courses to fulfill University core and College of Music major requirements

Visit www.mydegreeaudit.unt.edu

The interactive degree audit is an easily accessible, interactive version of the official UNT document that your academic advisors use to track your progress and eventually submit for graduation. If there are any issues, questions, or if you transfer in any courses, please visit the Advising Office.

Be prepared!

Passing your exit barrier at the end of the 6th semester will help ensure smooth processing of student teaching application

**MUED 4103 also requires a code. See your academic advisor for more information

From the Academic Dean: Received January 7, 2016.

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ACADEMIC DISHONESTY Students caught cheating or plagiarizing will receive a "0" for that particular assignment or exam [or specify alternative sanction, such as course failure]. Additionally, the incident will be reported to the Dean of Students, who may impose further penalty. According to the UNT catalog, the term “cheating" includes, but is not limited to: a. use of any unauthorized assistance in taking quizzes, tests, or examinations; b. dependence upon the aid of sources beyond those authorized by the instructor in writing papers, preparing reports, solving problems, or carrying out other assignments; c. the acquisition, without permission, of tests or other academic material belonging to a faculty or staff member of the university; d. dual submission of a paper or project, or resubmission of a paper or project to a different class without express permission from the instructor(s); or e. any other act designed to give a student an unfair advantage. The term “plagiarism” includes, but is not limited to: a. the knowing or negligent use by paraphrase or direct quotation of the published or unpublished work of another person without full and clear acknowledgment; and b. the knowing or negligent unacknowledged use of materials prepared by another person or agency engaged in the selling of term papers or other academic materials. 

ACCEPTABLE STUDENT BEHAVIOR Student behavior that interferes with an instructor’s ability to conduct a class or other students' opportunity to learn is unacceptable and disruptive and will not be tolerated in any instructional forum at UNT. Students engaging in unacceptable behavior will be directed to leave the classroom and the instructor may refer the student to the Dean of Students to consider whether the student's conduct violated the Code of Student Conduct. The university's expectations for student conduct apply to all instructional forums, including university and electronic classroom, labs, discussion groups, field trips, etc. The Code of Student Conduct can be found at deanofstudents.unt.edu/conduct

ACCESS TO INFORMATION – EAGLE CONNECT Your access point for business and academic services at UNT occurs at my.unt.edu. All official communication from the university will be delivered to your Eagle Connect account. For more information, please visit the website that explains Eagle Connect and how to forward your e-mail: eagleconnect.unt.edu/ 

ADA STATEMENT The University of North Texas makes reasonable academic accommodation for students with disabilities. Students seeking accommodation must first register with the Office of Disability Accommodation (ODA) to verify their eligibility. If a disability is verified, the ODA will provide you with an accommodation letter to be delivered to faculty to begin a private discussion regarding your specific needs in a course. You may request accommodations at any time, however, ODA notices of accommodation should be provided as early as possible in the semester to avoid any delay in implementation. Note that students must obtain a new letter of accommodation for every semester and must meet with each faculty member prior to implementation in each class. For additional information see the Office of Disability Accommodation website at disability.unt.edu. You may also contact them by phone at (940) 565-4323.

Spring Semester Academic Schedule (with Add/Drop Dates)http://catalog.unt.edu/content.php?catoid=13&navoid=974   - spring_2016

Final Exam Schedulehttp://registrar.unt.edu/exams/final-exam-schedule/spring

Financial Aid and Satisfactory Academic Progress

UndergraduatesA student must maintain Satisfactory Academic Progress (SAP) to continue to receive financial aid.  Students must maintain a minimum 2.0 cumulative GPA in addition to successfully completing a required number of credit hours based on total registered hours per term.   Students cannot exceed attempted credit hours above 150% of their required degree plan.  If a student does not maintain the required standards, the student may lose their financial aid eligibility.

If at any point you consider dropping this or any other course, please be advised that the decision to do so may have the potential to affect your current and future financial aid eligibility. Please visit http://financialaid.unt.edu/sap for more information about financial aid Satisfactory Academic Progress. It is recommended that you to schedule a meeting with an academic advisor in your college or visit the Student Financial Aid and Scholarships office to discuss dropping a course being doing so. RETENTION OF STUDENT RECORDS Student records pertaining to this course are maintained in a secure location by the instructor of record. All records such as exams, answer sheets (with keys), and written papers submitted during the duration of the course are kept for at least one calendar year after course completion. Course work completed via the Blackboard online system, including grading information and comments, is also stored in a safe electronic environment for one year. You have a right to view your individual record; however, information about your records will not be divulged to other individuals without the proper written consent. You are encouraged to review the Public Information Policy and the Family Educational Rights and Privacy Act (FERPA) laws and the university’s policy in accordance with those mandates at the following link: essc.unt.edu/registrar/ferpa.html

Handouts/Articles: In class order11

Class Meeting #1___NOTEBOOK/DVD TABLE OF CONTENTS___NOTEBOOK/DVD Syllabus___NOTEBOOK Handout: Developing a professional description ___DVD: Motet by William Byrd: I Have Longed for Thy Saving Health (Score Reading for Student Review)___DVD and NOTEBOOK Handout: Happy Birthday!___DVD: Guidonian Hand ___NOTEBOOK Handout: Vocabulary Building: Pitch.___NOTEBOOK Handout: Criminal Background Check Sheet for Denton ISD.

Class Meeting #2___NOTEBOOK Handout: Organizing Philosophical Thoughts About Teaching Music: Why ___NOBEBOOK Handout/DVD: Pitch Development Lesson Step-by-Step ___NOTEBOOK Handout: Pitch Ladder ___ NOTEBOOK Handout: Formal Lesson Plan Form ___ NOTEBOOK Handout: Effective Teacher Qualities ___ NOTEBOOK/DVD: Music Standards for Texas Choral Music Educators ___DVD: The Inconsistent Singer___DVD: National Standards for HS and MS (NAfME, 2014)___ NOTEBOOK Handout: Video Assessment Form for On-Site Practice Teaching ___ NOTEBOOK Handout: Brophey, Guidelines for Effective Teacher Praise of Students___DVD Journal Article: Madsen, C. & Kaiser, K. (1999). Pre-Internship Fears of Student Teaching. Update: The Applications of

Research in Music Education, Spring, 27-32.___DVD Texas Essential Knowledge and Skills for Secondary Music

Class Meeting #3___ NOTEBOOK Handout: National Standards in Music ___NOTEBOOK Handout: Organizing Philosophical Thought About Teaching Music: What, Who, When, How and Whom___DVD Article: McClung, A.C. Classroom Pillars: Course Goals, Learning Objectives, and Assessment Strategies. ___ NOTEBOOK Handout: McClung, Writing Learning Objectives and Assessment Strategies.___ NOTEBOOK Handout: McClung, Identifying the parts of a learning objective and an assessment strategy test

Class Meeting #4 ___DVD Journal Article: Austin, S. F. Building Strong Voices: Twelve Different Ways, Part I ; Choral Journal 46(6)

December 2007; pages 55-66.___DVD Journal Article: Austin, S. F. Building Strong Voices: Twelve Different Ways, Part II. Choral Journal 46(8),

February 2008; pages 59-73. ___DVD Journal Article: Bosemen K.W., Registration Strategies for Training the Male Passaggio in Choral Journal, 48(12),

June/July 2008; pages 59-72.___NOTEBOOK/DVD Handout: McClung, Voice Building Strategies for the Group Setting

Class Meeting #5___DVD Journal Article Asmus, E. Music Assessment Concepts. Music Educators Journal, September (1999) pages 19-24___DVD: McClung, A Sequence for Developing Meaningful Learning Objectives and Assessment Strategies ___ NOTEBOOK Handout: Crooks, T. J. Six Ways Classroom Assessment Influences Education. Taken from The Impact of Classroom

Evaluation Practices on Student Achievement. Review of Educational Research, 58(4), (1988) 438-481.___ NOTEBOOK Handout: Performance Test Situations ___ NOTEBOOK Handout: McClung, Examples of rating scales for performance testing. ___ NOTEBOOK Handout: McClung, Computing Percentages

Class Meeting #6___DVD Article: Teaching Choral Music: Discipline is a Discipline by Don Collins, pages 404-421.___NOTEBOOK Handout and DVD: McClung, A.C. Pedagogical Structures and Strategies for the Choral Music Classroom: A

Checklist to Consider.___ NOTEBOOK Handout: Classroom Management Overview ___ NOTEBOOK Handout: Response to Behaviors: Life Can Be Unfair!___DVD, Journal Article: McClung, A. C. (2000). Extramusical Skills in the Music Classroom. Music Educators Journal, March, 37-

42+68.

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___DVD, Article: McClung Proactive, Preventative Discipline. ___DVD, Checklist: McClung, Providing Classroom Structure ___ NOTEBOOK Handouts: Jaguar Chorale (Flower Mound, Mark Rohwer) Course Syllabus 2007; ___DVD: Rice Middle School Handbooks (Beginning and Advanced (Jennifer Alarcon)___ DVD: Creekview HS Choir Handbook, 2011 (Brian Murray). ___DVD: Enrichment reading article: Mithers, C. (2003). The Perils of the Pushover Parent. Ladies’ Home Journal, January, 92-97.

Class Meeting #7___ NOTEBOOK Handout/DVD: McClung, Rhythm Development Lesson Step-by-Step ___ NOTEBOOK Handout: McClung, A.C. Cambiata Classification Theory and Vocal Range Placement Procedure ___DVD: McClung, A.C. (The Early Adolescent Male Voice) in Brothers, Sing On, Jonathan Palant, Hal Leonard, 2013.___DVD: Friddle, D. Changing Bodies, Changing Voices ___DVD: McClung, AC. Repertoire List for Cambiata Voices, 2012. ___DVD: Chappell, A. Repertoire List for Beginning Treble Choirs. ___DVD: Rhythm Development Lesson Step-by-Step___ NOTEBOOK Handout: Historical Approaches ___ NOTEBOOK Handout: Amazing Grace melody

Class Meeting #8 ___DVD Handout Journal Article: McClung, A.C. The Wonders of Choral Music in the Movable Level Grades: A Bit of Nature and a

Lot of Nurture, Choral Journal, November. 47(5), (2006) pages 38-48.___DVD Handout Journal Article: McClung, A.C., Master Teacher in Middle Level Choral Music: Pedagogical Insights and

Practices. Choral Journal, November. 47(5), (2006), pages 7-28.___DVD Journal Article: Reames. R. R., & M. Warren. Recommended Literature Middle-Level Mixed Choirs.

Choral Journal, November. 47(5), (2006), pages 77-88.___DVD Journal Article: Gackle, L.. Finding Ophelia’s Voice: The Female Voice During Adolescence. Choral Journal, November.

47(5), (2006) pages 29-35.___DVD Journal Article: Beery, L. (2009) Music for Men in the Middle. Choral Journal. ___DVD: Chappell, A. Repertoire List for Beginning Treble Choirs, Unpublished Masters Project.

Class Meeting #9 ___ NOTEBOOK Handout: Choral Music Preparation and Adjudication Checklist (General, Iowa, Michigan, Texas, and Cambiata

Institute) ___ NOTEBOOK Handout: CD titles of recorded examples of middle school, junior high, and high school choruses. ___DVD: Cambiata Institute—Adjudication Criteria Reference for Tone, Musical Effect, and Technical Preparation. ___DVD: MENC (NAfME) Religious Music in Public Schools (What the Supreme Court Said) ___DVD: Journal Article: Drummond, T., Singing Over the Wall: Legal and Ethical Considerations for Sacred Music in the Public

Schools. (December, 2014) NAfME.

Class Meeting #10 ___DVD Handout: Concert Programming, A. McClung___DVD Chapter: Teaching Music is Not Just Teaching Music in Teaching Choral Music by Don C. Collins; pages 423-454. ___DVD Chapter: The Recruitment and Retention of Choir Members in Beyond Singing: Building the Exceptional Choral Program

by Stan McGill and Elizabeth Volk; pages 134-138.___ NOTEBOOK Handout/DVD: Step-by-Step Procedures for Adjudicated Settings in Sight-Singing by A. McClung.

Class Meeting #11___ NOTEBOOK Handout/DVD: Questions related to Annotated Concert Program Project___DVD Book Chapter: Kolb R. (1993). Effective Choral Programming in Up Front!, edited by Guy Webb.___ NOTEBOOK Handout: Questions related to A Formal Score Analysis___CD Book Chapter: Lamb, G. (1974). Score Study in Choral Techniques

Class Meeting #12 and Supplements ___ NOTEBOOK Handout: Code of Ethics and Standard Practices for Texas Educators and Teachers ___ NOTEBOOK Handout: Zing-a-Zing-a-Zing Intonation___ NOTEBOOK Handout: A Life Perspective by Ralph Marston___ NOTEBOOK Handout: A Perspective on “No Child Left Behind”___DVD K. Armstrong with summary by J.L. Trautman Twelve Steps to a Compassionate Life

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___Video Handout: Adams, C. (1992) Dailey Workout for the Beautiful Voice. Santa Barbara Music (Extra-Credit)

Book Chapters1. McGill, S & E. Volk. (2007). The Recruitment and Retention of Choir Members in Beyond Singing: Blueprint for the

Exceptional Choral Program; Hal Leonard Publishing. 2. Collins, D. (1999) Discipline is a Discipline and Teaching Music is Not Just Teaching Music in Teaching Choral Music.

Prentice-Hall.3. Kolb, G. R. (1993) Effective Choral Programming in Webb, G. B.(Ed), Up Front! Becoming the Complete Choral

Conductor E.C. Schirmer Music Company Inc. 4. Lamb, G. (1974) Score Study in Choral Techniques

Videos DVD’s Available Upon Request!!!!1. Adams, C., Daily Workout for a Beautiful Voice. Santa Barbara Music Publishing 2. Eichenberger, Rod., What They See Is What You Get. Hinshaw Music Inc. 3. Lautzenheiser Tim. Leadership Success 4. The Hobart Shakespeareans 5. The Ron Clark Story 6. Mr. Holland’s Opus

The Class CalendarT/1/19 Class Meeting #1

Topic 1: Handout: Syllabus with brief class overview

Topic 2: DVD: William’ Byrd’s I Have Longed for Thy Saving Health. Specific expectations regarding piano skills as listed in syllabus.

Topic 3: Handout: Establishing proof of your ability to teach choral music successfully. Who will you ask to speak on your behalf?

In-class assessment #1 during CLASS MEETING #1:___You are asked to complete the form, Developing a Professional Description. Time limit: 5 minutes. Place the completed form in your personal assessment file in the file box located at the front of class. Value = 1 point. Topic 4: Teaching music to a non-reader: What will you do if your students are unable to read

music?

Topic 5: Textbook: McClung, Movable Tonic: pp. 237-240; Appendix C – A General Overview of Rote Teaching Techniques

Topic 6: Textbook: McClung, Movable Tonic: pp. 241-251; Appendix D. Sight-Singing Systems -Dominate Pitch and Dominate Rhythm Systems

In-class assessment #2 during CLASS MEETING #1: ___You are asked to complete the following mini-test questions:

1. Describe in writing the following dominate pitch systems used to teach sight-singing in American secondary schools: movable do, movable pitch numbers, fixed do.

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2. Describe in writing the following dominate rhythm systems: (1-3) Traditional-Beat-Based, (Types A, B, C); (4) (Cheve) Kodaly rhythm syllables; (5) Orff-Schulwerk; (6-8) Eastman counting system (Types A,B,C) Value 0-2 points.

Topic 7: The benefits of being an active member of the professional music organizations and accessing professional web sites.

Topic 8: Handout/DVD: Happy Birthday for the classroom! Establish schedule for students leading class in happy birthday, demonstrating piano skills.

Topic 9: Handout -- Complete the Criminal Background Check for Denton Independent School System.

Topic 10: Overview of CLASS MEETING #2. Assign instructional lessons on audiation.

R/1/21 Class Meeting #2

Reading Assignments for CLASS MEETING #2.

___Textbook: Arasi, M. The Lifelong Impact of the Choral Experience: Philosophy and Teaching Styles in The School Choral Program; pages 1-11.

___Textbook: McClung, A. Movable Tonic -- Unit I - Lessons 1 and 2; pages 3-17.

___Handout: McClung, A. Pitch Development Step-by-Step Teaching Strategies

___Handout: Formal Lesson Plan Form

___Handout: Effective Teacher Qualities

___Handout: Music Standards for Texas Choral Music Educators

___Handout: On-Site Assessment Form for Practice Teaching in the Secondary Choral Music Classroom

___Supplemental Enrichment Reading Handout Article: Madsen, C. & Kaiser, K (1999). Pre-Internship Fears of Student Teaching. Update.

___Supplemental Enrichment Handout: Texas Essential Knowledge and Skills in Secondary Music.

Assessment #1 due in CLASS MEETING #2: ____A. You are asked to go to the home page of each professional organization listed below. Write a short description of the depth of topics included on each site and print out a hardcopy of the site’s home page. Think of this assignment as preparation for a job interview question. Be prepared to explain and discuss the importance of each site and why these resources are important to a career in secondary choral music education. Create a stapled document. Documentation on ALL organizations listed must be included to receive

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credit. Value 0-1 point.

Professional Organization Links for Choral Music

___American Choral Directors Association (ACDA): www.acdaonline.org ___Texas Choral Directors Association (TCDA): www.ensemble.org ___Texas Music Educators Association (TMEA): www.tmea.org ___National Association for Music Education (NAfME formerly MENC): www.menc.org ___International Society for Music Education (ISME): www.isme.org ___International Federation for Choral Music (IFCM): www.ifcm.net ___ChoralNet: The Internet Center for Choral Music: www.choralnet.com ___Cambiata Institute of America for Early Adolescent Vocal Music:

www.music.unt.edu/cambiata ___Cambiata Press: Accessed through the Cambiata Institute

___B. You are asked to retrieve and print a hardcopy of the TMAA Adjudicators Sight-reading Procedure for Choir: found at the UIL web site: http://www.uiltexas.org/files/music/TMAA_Sight-reading_Precedure_for_Choir.pdf.

Value: 0-1 point Site path checked: 8/03/15

Assessment #2 due in CLASS MEETING #2:___You are asked to generate (after reading the first half of the Arasi article) a list of six

descriptive nouns or short descriptive phrases that reflect WHY music should be taught in our SECONDARY schools. Place the list in hierarchical order

(most important to least important). Value: 0-1 point.

NOTE INSTRUCTION: To receive full credit, ALL written assignments must be typed. Include the title of the assignment, your name, and the due date of the

assignment.

Assessment #3 due in CLASS MEETING #2: ___You are asked to teach a lesson on audiation, based on the individually assigned

instructional segment in Class Meeting #1. Use McClung’s Lesson 2 in Movable Tonic to plan your objectives, teaching strategies and assessment measures.

Value: 0-1 point .

Topic 1: Developing a personal teaching philosophy encourages concise classroom goals. Today’s philosophy discussion centers on why music should be taught in our secondary schools. Consider the essence of why humankind is drawn to music. Take notes and prepare to write a thoughtful philosophical paragraph that reflects why music should be taught.

Topic 2: Teaching Strategies Handout/DVD: Pitch Development Lesson Step-by-Step and the Formal Lesson Plans Form

Topic 3: Demonstration, discussion, and practice of McClung‘s Movable Tonic, Lessons 1-2: (1) echo singing,

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(2) aural prompting, (3) visual prompting, (4) Curwen hand signs, (5) written solfege letters, (6) the pitch ladder, and (7) audiation.

Topic 4: Formal Lesson Plan Form

Topic 5: A brief discussion of Master Teacher Characteristics(A) Create a list of teaching skills that are observable and identifiable.

Topic 6: A brief discussion of DVD—Enrichment Reading: Texas Essential Knowledge and Skills in Secondary Music.

Topic 7: An overview of CLASS MEETING #3.

T/1/26 Class Meeting #3

Reading Assignments for CLASS MEETING #3:

___Textbook: Arasi, M. The Lifelong Impact of the Choral Experience: Philosophy and Teaching Styles in The School Choral Program; pages 11- 39.

___Textbook: McClung, A. Movable Tonic -- Lesson 3-4; pages 17-30.

___Handout: National Standards in Music: Important updates and information go to: (http://musiced.nafme.org/resources/national-standards-for-music-education/

___DVD Article: McClung, A. (2004), Classroom Pillars: Course Goals, Learning Objectives, and Assessment Strategies.

___Handout: McClung, A. Writing Learning Objectives and Assessment Strategies

___Handout: McClung, A. Sample Test: Identifying the parts of a learning objective and an assessment strategy

Assessment #1 due in CLASS MEETING #3: ___You are asked to complete and submit the sample test: Identifying the

parts of a learning objective and an assessment strategy. Value: 0-1 point

Assessment #2 due in CLASS MEETING #3:___You are asked to generate a list of three descriptive nouns or short descriptive phrases that reflect your insights on each the five questions that follow. Your source should be the second half of the Arasi article, as well as information gained through class handouts and discussion.

(1) What should we teach?

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(2) When should we teach? (3) Where should we teach? (4) How should we teach? (5) Who should we teach?

___In addition, you are asked to write two thoughtful philosophical paragraphs on two of the five questions listed above. You are expected to synthesize the information related to the readings and the class lecture/discussions. You may submit an edited version of your earlier essay, “Why we should teach music?”

Respond to each task as if you were sitting in a job interview for a secondary choral music position. The interview is being conducted by the school principal, or the fine arts coordinator, or a committee comprised of school administrators, fine arts chairman, and choral music parents. Thank and write as a worthy choral music education professional. Value: 0-3 points.

Assessment #3 due in CLASS MEETING #3:___You are asked to create a pitch development lesson with two learning objectives and two connecting and corresponding summative assessment strategies (McClung, Lessons 1-4). To receive credit, the objective and assessment strategy but be lean and specific. The objective stem should state: The student will be able to. . .). The assessment stem should state: The student will be asked to. . . The verb(s) that you select should reflect observable behavior. Remember: Objectives must be specific about what the student will be asked to do and the assessment strategy restates the what and adds how the student will be expected to demonstrate mastery of the objective. Use of the Formal Lesson Plan Form is optional. Value 0-2 points Topic 1: Discussion-- How to teach an alien to eat a breakfast cereal.

(A) identify the goal --objectives are subsets of goals. (B) identify the objective (C) model specific behaviors that achieve the objective(D) assess guided practice (formative assessment) (E) praise success (F) encourage independent practice (G) acculturate by moving from the need for extrinsic rewards (external praise) to

intrinsic rewards (internal personal satisfaction)(H) move from formative assessment to summative assessment.

Topic 2: Discussion of identifying goals and learning objectives. A discussion of assessing the success achieved at reaching the stated learning objective.

Topic 3: Discussion: What, When, How, Where, and To Whom Should We Teach Music? (A) The ability to articulate the profound tenets of your personal philosophy prepare you

for the inevitable job interview. (B) How flexible are the tenets of a personal philosophy? Is there a difference

between flexibility and being unaware?

Topic 4: Demonstration, discussion, and practice of McClung‘s Movable Tonic, Lessons 3-4:

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(1) three techniques to approach pitch by leap; and (2) the modified music staff. (3) modeled teaching strategies using handout: Pitch Development Step-by-Step

Topic 5: An overview of CLASS MEETING #4.

R/1/28 Class Meeting #4

Reading Assignments for CLASS MEETING #4:

___Textbook: Jordan, J. The Vocally Proficient Choir: Part One --Building Sequential Vocal Technique Skills through the Choral Warm-up in The School Choral Program; pages 185-199.

___DVD Article: Austin, S., Building Strong Voices: Twelve Different Ways, Part I, in Choral Journal, 48(6), December 2007; pages 55-66.

___DVD Article: Austin, S., Building Strong Voices: Twelve Different Ways, Part II, in Choral Journal, 48(8), February 2008; pages 59-73.

___DVD Article: Bozeman, K.W., Registration Strategies for Training theMale Passaggio in Choral Journal, 48(12), June/July 2008; pages 59-72.

___Handout: McClung, A. Voice Building in the Group Setting

___Enrichment Reading --Textbook: Reed, J. The Vocally Proficient Choir: Part Three -- Working Male Voices in The School Choral Program; pages 241-252.

___Enrichment Video: Daily Workout for a Beautiful Voice by Charlotte Adams. On reserve 3rd floor Music Building, Music Education Resource Library.

In-Class Assessment # 1 in CLASS MEETING #4___You are asked to complete a four question mini-test (multiple-choice) over basic concepts presented in the voice building reading assignments listed above. Personal hand written notes, taken from the readings, are allowed when taking the mini-test. Value 0-2 points

Assessment #1 due in CLASS MEETING #4 ___You are asked to teach a 5-minute pitch development lesson. Teach the class a facet of pitch develop, using Movable Tonic, Lessons 1-4 as a guide. Complete and submit a Formal Lesson Plan Form. Consider the benefits of using the handout, Pitch Development Lesson Step-by-Step to guide your teaching strategies. Value 0-3 points.

Topic 1: Voice Building vs. Vocal Warm-ups A. General principals to consider B. Female voices C. Male voices: unchanged, changing/transitioning/mutating/extending, changed.

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Topic 2: Your Teaching Philosophy: Why, What, When, Where, Who, and How. Practice capturing the essence of your personal teaching philosophy by writing it down in an essay format.

Topic 3: Overview of CLASS MEETING #5. A. From handout, Voice Building Strategies for the Group Setting, assign each student a

series of exercises to teach to the class in class meeting #5.

T/2/2 Class Meeting #5

Reading assignments for CLASS MEETING #5: ___DVD Article: Music Assessment Concepts by Edward P. Asmus in Music Educators

Journal, September 1999; pages 19-24.

___Handout Article: Crooks (1998): Six Ways Classroom Assessment Influences Education in Review of Education Research 58(4) by T. J. Crooks 1998; pages 438-381.

___Handout: Examples of Rating Scales for Performance Testing by Alan McClung (A) A “rubric” is a scoring tool that states the behaviors that are required to accomplish an objective successfully.

___Enrichment Reading: Measuring and Evaluating the School Choral Program: Standards-Based Benchmark Assessment by Jennifer Miceli in School Choral Program, pg.253-297.

Topic 1: Discussion of Assessment articles. PLEASE BRING YOUR TEXTBOOK (THE SCHOOL CHORAL PROGRAM) TO CLASS.

Topic 2: Assessment formats

Topic 3. Rating scales (rubric) for performance testing. Additive Rating Scale Graphic Rating Scale Continuous Rating Scale Numerical Rating Scale

Assessment #1 due in CLASS MEETING #5 ___You are asked to condense each of the four rating scales into a single sentence description. Use the handout (Examples of Rating Scales) as a guide to . . .

(1) state clearly the “design essence” of an additive rating scale;

(2) state clearly the “design essence” of a graphic rating scale;

(3) state clearly the “design essence” of a continuous rating scale; (4) state clearly the “design essence” of a numerical rating scale.

Value 0-2 points

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In-class assessment #1 during CLASS MEETING #5: ___You are asked to complete a four-question mini-test over assessment concepts addressed in the Asmus and Crooks article. Value 0-2 points

Assessment #2 due in CLASS MEEITING #5: ___You are asked to teach a series of vocal development exercises as assigned in class meeting #4. Use the handout, Vocal Development in the Group Setting, as a primary source. The lesson should last no less than 4 minutes and more than 5 minutes. Formal Lesson Plan Form is required. Value 0-3 points, based on the numerical rating scale that follows.

Numerical Rating Scale: 4 = consistently outstanding 3 = mostly outstanding 2 = satisfactory 1 = needs attention

___Teacher approaches each segment of the lesson with appropriate eye contact, enthusiasm, and confidence.

___Teacher choices are sequentially acceptable. ___Teacher choices are pedagogically acceptable. ___Teacher models expectations with minimum of talk. ___Teacher effectively uses voice to model and piano to support exercises involving pitch.___Teacher maintains a fluid pace.___Teacher provides appropriate praise to encourage desirable behaviors.

24-27 = 3 points 85% -100%19-23 = 2 points 70% - 85%14-18 = 1 point 52% - 69%

R/2/4 Class Meeting #6

Reading assignments for CLASS MEETING #6:

___Handout: Teaching Choral Music: Discipline is a Discipline by Don C. Collins, pages 404-421.

___Handout Article: Extramusical Skills in the Music Classroom by Alan McClung

___Textbook: The Multicultural Considerations for the School Choral Program: Part Three Voices from the City: Choral Programs in Urban Settings by Donna Emmanuel in The School Choral Program, pages 441-469.

___Handout: Guidelines for Effective Teacher Praise of Students.

___Handout: Colleyville Heritage High School Choir Handbook, Danny Dietrick___Handout: Jaguar (Flower Mound) Course Syllabus, Mark Rohwer___DVD: Creekview HS Choir Handbook, Brian Murray

___Handout: Enrichment reading: Mithers, The Perils of the Pushover Parent

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Assessment due in CLASS MEEITING #6: Note: Continued from Class Meeting #5. For students requesting prior permission, this could be an opportunity to re-teach your lesson.

___You will asked to teach a series vocal development exercises as assigned in class meeting #4 from the handout, Vocal Development in the Group Setting. Submit a Formal Lesson Plan Form. Lesson should last no less than 4 minutes and no more than 5 minutes. Value 0-3 points based on the numerical rating scale that follows.

Numerical Rating Scale: 4 = consistently outstanding 3 = mostly outstanding 2 = satisfactory 1 = needs attention

___Teacher approaches the each segment of the lesson with appropriate eye contact, enthusiasm, and confidence.

___Teacher choices are sequentially acceptable. ___Teacher choices are pedagogically acceptable. ___Teacher models expectations with minimum of talk. ___Teacher effectively uses voice to model and piano to support exercises involving pitch.___Teacher maintains a fluid pace.___Teacher provides appropriate praise to encourage desirable behaviors.

24-27 = 3 points 85%-100%19-23 = 2 points 70% - 85%14-18 = 1 point 52% - 69%

Assessment due in CLASS MEETING #6: Note: Continued from Class Meeting #4. For students requesting prior permission, this could be an opportunity to re-teach your lesson.

___You will be asked to teach a 5-minute pitch development lesson. Guide the class through a facet of pitch development using Movable Tonic, Lessons 1-4 as a guide. Consider the benefits of using the handout Pitch Development Lesson Step-by-Step to guide your teaching strategies. Value 0-3 points.

In-class assessment #1 for CLASS MEETING #6:

___You will be asked to answer ten questions on a timed mini-test. Five multiple choice questions will come from the Collins and Emmanuel readings. For the remaining five questions, be prepared to provide brief definitions for following words: praise, behavior modification, classroom management, societal skills, emotional skills, emotional intelligence, IQ, EQ, and extramusical skills. Personal hand written notes, taken from the readings, are allowed when taking the mini-test. Value: 0-5 points Time limit: 7 minutes.

Topic I : Classroom Management: Getting Desirable Behaviors

Discipline is a discipline

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Pedagogical Structure and Strategies: A Checklist to Consider EQ vs. IQ Extramusical skills vs. musical skills Posting a supported plan

1. Rules (expectations and values) -- how many are enough? stated in terms of what student will do. stated in terms that everyone understands.

2. Written expectations should begin with the stem: The student will be expected to . . . (First expectation should include the word, CONSIDERATE).

Positive consequences vs. negative consequences Praise is the primary reward The effects of praise; proximity; smiling vs. frowning; wait to begin;

nonverbal redirection of attention; touching; closed office sessions; private voice lessons.

The consistent follow through: Identifying the challenges Additional issues that deserve serious consideration

Touching………………………………..ask permission if required or refrain Closed office sessions…………………..refrain Private voice lessons……………………refrain, double dipping is unethical. Sitting at the back of the bus……………refrain Trying to replace parents………………..refrain Crossing the friendly teacher line……… refrain Face book, on-line pages, and similar communication venues…..very careful. The power of belonging At what age do sexual identities and preferences emerge? Teachers: private lives vs. public expectations

T/2/9 Class Meeting #7

Reading assignments for CLASS MEETING #7:

___ Textbook: McClung, Movable Tonic, Unit II -- Combining Duration and Pitch, pages 33-113.

___Textbook: McClung, Movable Tonic, Supplement 3 -- Rhythm Charts pages 332-333.

___Handout: McClung, Rhythm Development Lesson Step-by-Step

___Google --Web Site: Cambiata Institute of America: www.music.unt.edu/cambiata .

Read a variety of short articles by Don Collins including,Understanding Adolescent Vocal Registers, Classifying Early Adolescent Voices, Approaches to Teaching Boys with Changing Voices,Different Ways Boy’s Voices Change,The New Adolescent Bass.

___Handout/DVD: McClung, Cambiata (Male Changing/Transitioning Voice) Vocal Range

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Classification and Placement Procedure. Supplement with more on DVD___DVD: McClung, A.C. The Early Adolescent Male Voice (chapter contribution in print) in

Brothers, Sing On. Jonathan Palant, Hal Leonard, 2013. ___DVD: McClung, A.C. Repertoire List for Cambiata Voices, 2012, 2014. ___DVD: Berry: Repertoire List for Men in the Middle___DVD: Repertoire List for Beginning Treble Choirs

In-class assessment #1 for CLASS MEETING #7:

___Following in-class discussion, you will be asked to notate the singing ranges of the following middle school choir voices: Soprano, Alto, Cambiata I/Phase A; Cambiata I/Phase B; Cambiata II; Baritone/Phase A; and Baritone/Phase B. Value: 4 points.

Topic 1: The vocal ranges for students ages 12-14. Soprano, Alto, Trebles,Cambiata I/Phase A; Cambiata I/Phase B; Cambiata II.Baritone/Phase A; Baritone/Phase B; Bass.

Topic 2: Discussion of various articles located on the Cambiata Institute web site.

Topic 3: View video tape of cambiata voice testing procedure.

Topic 4: Modeled teaching strategies for rhythm development lesson.

February 11-13 = TMEA San Antonio (No Class)

T/2/16 Class Meeting #8

Reading assignments for CLASS MEETING #8

___DVD Journal Article: McClung, A. Master Teachers in Middle-Level Choral Music: Pedagogical Insights and Practices. In Choral Journal 47(5), November 2006.

___DVD Journal Article: McClung, A. The Wonders of Choral Music in the Middle-Level Grades: A Bit of Nature and Lot of Nurture. in Choral Journal 47(5) November 2006.

___Textbook: The Choral Music Program: Building Early Choral Experiences: Part Two--the Middle School Choral Program by Judy Bowers. pages 359-373.

___DVD Article Handout: Reames, R. Recommended Literature for Middle-Level Mixed Choirs. In Choral Journal 47(5) November 2006.

___DVD Journal Article: Gackle, L. Finding Ophelia’s Voice: The Female Voice During Adolescence. in Choral Journal 47(5) November 2006.

___ Enrichment Reading: Middle and Junior High Choral Music Focus Issue. Choral Journal Vol.47. No 5. November 2006.

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Assessment #1 due in CLASS MEETING #8: ___You are asked to notate the melody of Amazing Grace in a key that fit’s the vocal range for cambiata I and cambiata II singing in unison. Notate in the treble clef. Although the unison melody should remain mostly true, you will need to discover an appropriate key and adjust a few pitches to allow for unison singing. To receive full credit, submit the project in a notation system such as Finale or Sibelius. Value: 0-2 points

EARLY NOTICE: Assignment due in CLASS MEETING #18: You are asked to choose a hymn melody and arrange 16 measures for CCB; using three staves; treble clef, treble clef, and bass clef OR treble clef, bass clef, bass clef. Points will be earned for the use of appropriate ranges and of the implementation of appropriate choral writing techniques. The project is expected to be harmonically valid with appropriate voice leading. To receive full credit, this project must be submitted in a notation system such as Finale or Sibelius. Value: 0-3 points.

Assessment #2 due in CLASS MEETING #8:

___You are asked to create in writing two learning objectives and two corresponding summative assessment strategies on rhythm development using Classroom Pillars and Movable Tonic as a guide. Submit a Formal Lesson Plan Form. Remember to choose your wording carefully and to use the appropriate stems. Value: 0-2 points.

Assessment #3 due in CLASS MEETING #8:

___You are asked to teach a 5 minute lesson on rhythm development, using a rhythm chart and the teaching strategies provided in the Rhythm Development Lesson Step-by Step, which are taken from Movable Tonic. Value: 0-3 points.

Topic 1: What master teachers say about success in the middle school choral music classroom. Work from a sequential plan that offers challenging yet achievable objectives Maintain a fast pace while keeping students focused on the objective Keep students active through responding, singing, moving, watching, thinking. Eliminate waiting.

Topic 2: CD: Choral literature examples for the SACB choir.

Topic 3. CD: Choral literature examples for the CB, CCB middle school choir.

Topic 4. CD: Choral literature examples for the SA, and SSA middle school choir.

Topic 5: Teaching Rhythm Development Lessons

Thursday, February 18 (No Class) Conducting MS All-State in Delaware

T/2/23 Class Meeting #9

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Reading assignment for CLASS MEETING #9:

___Textbook: The School Choral Program -- The Search for Healthy and Appropriate Repertoire: Three Perspectives --Perspective One: Criteria for Choosing Appropriate Repertoire, James Jordan; pages 111-121.

___Textbook: The School Choral Program -- The Search for Healthy and Appropriate Repertoire: Three Perspectives --Perspective Two: The Search for High-Quality Repertoire, Michele Holt; pages 123-131.

___Textbook: The School Choral Program -- The Search for Healthy and Appropriate

Repertoire: Three Perspectives --Perspective Three, A Song Worth Singing -- Selecting Choral Literature at All Levels, Paul D. Head; pages 133-144.

__ Handout: Choral Adjudication Forms

___DVD Handout: MENC, Religious Music in the Schools

___Enrichment Activity: The Hobart Shakespeareans: A DVD film starring Michael York. Under the charismatic spell of a middle school English teacher, students in an urban setting fall in love with the works of Shakespeare. Can be placed on reserve in the Music Education Resource Library, 3rd floor Music Building -- See McClung’s shelf behind the monitor’s desk.

In-Class Assessment due in CLASS MEETING #9:

___You are asked to respond to a four-question mini-test taken from today’s readings.

Note: Hand written notes taken from the readings may be used to complete the quiz. A bonus question will be offered. Google Golden Proportion. Be prepared to describe briefly in writing how the Golden Proportion has been applied to music and how this could be applied to a choral rehearsal. Value: 0-2 points.

Assessment #1 due in CLASS MEETING #9: Continued from Class Meeting #8. For students requesting prior permission, this could be an opportunity to re-teach your lesson.

___You are asked to teach a 5 minute lesson on rhythm development, using a rhythm chart and the teaching strategies provided in the Rhythm Development Lesson Step-by Step. Lesson should include two summative assessments.

Value: 0-3 points.

Topic 1: Choosing repertoire for your concert Judging for quality Comprehensive planning Balancing easy, intermediate, and difficultChoosing a theme: Pros and cons

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Choosing a text Choosing for a colors, textures, and an array of variety.

Topic II The Golden Proportion

Topic III LOOKING AHEAD: Ensemble Performance Presentation (See Class Meeting #22)

Topic III Where to look for repertoire

*Professional Organization Convention Performances and Reading Sessions*Professional Organizations (On-line) See CLASS MEETING #2*Music Companies and Stores specializing in choral music reading sessions,

and through the mail recordings including Penders Music and J.W. Pepper Music.

* On-line source: Choral Public Domain Library. * State large group festival lists: Texas UIL (PML-preferred music list)*School choral libraries *Commercial recordings *Various publications (See example list below)

IMPORTANT RESOURCES

Don Collins; Teaching Choral Music Terry Barham; Strategies for Teaching Junior High and Middle School Male Singers GIA Publications; Teaching Music through Performance in Choir Vol I and II

University Music Library’s Complete Works of Various Composers ACDA (2002) Monograph No. 11, The Foundation of Artistry: An Annotated Bibliography of Distinctive Choral Literature for High School Mixed Choir, Linda Anderson, Annotator.

Topic IV: Religious music in the public schools

Topic V: Choral Adjudication Forms—

Topic VI: Cambiata Institute’s Adjudication Criteria and Teaching to the Test

Topic VII: Listening examples (CD) of middle school, junior high and high school choirs.

R/2/25 Class Meeting #10.

Reading assignments for CLASS MEETING #10:

___Handout: Teaching Music is Not Just Teaching Music in Teaching Choral Music by Don C. Collins; pages 423-454.

___Handout: The Recruitment and Retention of Choir Members in Beyond Singing: Building the Exceptional Choral Program by Stan McGill and Elizabeth Volk; pages 134-138.

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___Handout: Step-by-Step Procedures for Adjudicated Settings in Sight-Singing by A. McClung.

Assessment #1 due in CLASS MEETING #10:

___You are asked to create two well-written, thought provoking questions from the McGill readings and the Collins reading that you would like to discuss in class in CLASS MEETING #10. Restating information covered in the readings is not the assignment. Credit will be rewarded on the basis of original (outside the box) critical thinking. Value: 0-2 points

Topic 1: A discussion of Collins and McGill readings

Topic 2: Listening, critiquing, and adjudicating middle school, junior high school, and high school choirs.

Topic 3: Modeling teaching strategies for sight-singing development, using the handout, Step-by-Step Procedures for Adjudicated Settings in Sight-Singing.

T/3/1 Class Meeting #11

Reading assignments for CLASS MEETING #11:

___Review the 27 learning objectives found at the start of this syllabus.

___Review all readings to clarify thoughts and questions.

___Looking Ahead Handout: Concert Assignment Questions

___Looking Ahead Book chapter: Kolb R. (1993). Effective Choral Programming in Up Front!, edited by Guy Webb.

___Looking Ahead Handout: Score Preparation Questions

___Looking Head: Book Chapter: Lamb, G. (1974). Score Study in Choral Techniques

___Enrichment Reading Handout: Code of Ethics and Standard Practices for Texas Educators and Teachers

___Enrichment Reading Handout: Intonation

Assessment #1 for CLASS MEETING #11:___You are asked to submit a Formal Lesson Plan Form and to teach a 5 minute lesson on sight-singing development, using Step-by-Step Procedures for Adjudicated Settings in Sight-Singing.

__1. Teaching strategies may follow the UIL procedural steps or the classroom procedural steps.

__2. Musical examples may be extracted from musical examples in

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Movable Tonic or teacher-composed. __3. Musical examples may be unison, 2-part, 3-part or 4-part. __4. Provide a single copy for every class member. __5. Be prepared to defend your choices. Value: 0-3 points.

Topic 1: Professional responsibilities outside your classroom(a) supporting your colleagues’ programs in-field and out-of-field(b) supporting students’ interests outside of choir (c) supporting community arts events (d) keeping your performance chops tuned

Topic 2: An information review

Topic 3: A discussion of the Gordon Lamb article and the concert selection assignment. Topic 4: A overview of the questions to guide you though “choosing the music for a concert.”

Topic 5: A discussion of the teaching format for the second half of this course.

Practice teacher #1: Voice building for the body, the voice, and the mind. Piano skills must be demonstrated.

Practice teacher #2: Pitch skill development Practice teacher #3: Rhythm skill development Practice teacher #4: Sight-singing developmentPractice teacher #5: Apply above skills and rehearse and conduct on-going classroom music

Topic 6: Teaching teams are established and lesson topics assigned.

LOOKING AHEAD: The following assessment was assigned in CLASS MEETING #8 and will be due in CLASS MEETING #18.

___You are asked to choose a hymn and arrange 16 measures (mostly through composed) for CCB. Arrangement should include three staves: treble clef, treble clef, and bass clef OR treble clef, bass, clef, bass clef. Points will be earned for the use of appropriate ranges and of the implementation of appropriate choral writing techniques. The project is expected to be primarily through composed, and harmonically valid with appropriate voice leading. To receive full credit, this project must be submitted in a notation system such as Finale or Sibelius. Value: 0-3 points.

LOOKING AHEAD: Assessment due in CLASS MEETING #21: ___Reading Handout Article: Kolb, Effective Choral Programming. Sidebar: An excellent

information source

___From the UIL Approved Repertoire List, choose music for a 20 minute concert. Provide an annotated rational for the selection of each work. Include the specific resourced

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location of each concert selection. Include the question prior to the answer. SPECIFIC QUESTIONS ARE INCLUDED IN A HANDOUT STORED ON YOUR CLASS CD. An email of the handout questions is available upon request.

Repertoire sources are on RESERVE in the music education library, 3th floor, Music Bld.

Ensemble choices include: (1) a high school INTERMEDIATE (non-varsity) level (primarily 9-10 grade), SATB chorus; (2) a high school intermediate (non-varsity) level, SSA chorus (primarily 9-10 grade); (3) a middle school intermediate/advanced level, SA chorus; or (4) a middle school intermediate/advanced level, SACB choir.

The repertoire for the first three choirs must come from the UIL Approved List, but repertoire for choir #4 may be split between my personal middle school mixed choir notebook and the UIL Approved List.

If you choose choir #4, you have permission to choose up to 3 selections from my personal middle school mixed choir notebook. Reserve location is music education library, 4th floor of Music Building.

Late papers are not accepted. Value: 0-10 points

LOOKING AHEADAssessment due in CLASS MEETING #22: ___Reading: HANDOUT: Collins pp.456-470 (The Choral Environment: Building and Buying for Learning)

___You are asked to create a list of items that should be included in the “typical” choral music classroom suite. Use readings, classroom observations, and interviews with choral teachers for information sources. Remember to include spaces like practice rooms, choral music library, and performance needs like performance risers and performance piano. Value: 0-1 point

LOOKING AHEADAssessment due in CLASS MEETING #23: ___You are asked to create a comprehensive itemized budget for your first year. Your principal needs figures today! It is most likely that you will not get everything you want or even need, so it is important to shop carefully, to prioritize, and to place your list in a needs hierarchy. Use a microsoft excel sheet for columns and various entries.

Items to include in your considerations: 1. a new office computer. Present computer is very old and slow.

2. a year’s music for each student (anticipate a student enrollment of 98). Give year cost PER STUDENT and a grand total.

3. a new digital piano for rehearsal and performance purposes. Present acoustical piano doesn’t hold tune.

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4. two new Wenger risers. The school presently owns three risers.

5. two 3-drawer file cabinets for music storage, presently there are two file cabinets

6. a bulletin board for the choir room. Present bulletin board is tattered and too small.

7. a music staff lined white board. Presently there is a small chalk board.

8. UIL participation fee for 2 groups. Provide per group fee and total fee.

9. black music storage notebooks for each student. Presently, nothing is available.

10. bus transportation for 98 students (2 buses), to and from UIL. UIL is 25 miles away from your school. You will be gone for 5 hours. Be sure to break everything down.

Note: Dividing the leg work of this assignment among your classmates should make this assignment easier. Value: 0-2 points

LOOKING AHEAD: Assessment due in CLASS MEETING #25.

Reading Handout Article: Lamb, Score Study. An important reference for the assignment that follows.

___You are asked to generate a formal conducting analysis of a score. The selected score comes from the works submitted in your concert program. SPECIFIC QUESTIONS ARE INCLUDED IN A HANDOUT STORED ON YOUR CLASS CD. Include questions prior to answers. An email of the handout questions is available upon request.

Include all appropriate score markings. In addition to the “marked score”, you are to turn in a written overview.

Using appropriate music vocabulary, provide insights into the following categories: form, text, diction, melody, harmony, phrasing, dynamics, and perceived musical challenges including pitch, meter, rhythm, range, or other concerns, such as accompanying instruments.

Thoughtful attention should be given to each category and the thoroughness and clarity of that attention will be considered in the assessment of this project. Late papers are not accepted. Value: 0-5 points

R/3/3 Class Meeting #12

Topic 1: Guided Practice of Mini-Lessons

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T/3/8 Class Meeting #13 On-Site #1 Observation Location: Calhoun Middle School. I will teach today.

R/3/10 Class Meeting #14 On-Site #2 Teaching Location: Calhoun Middle School

Procedure 1: Prior to teaching, your lesson plan must be approved by Dr. McClung. Arrange a 15 minute meeting by signing up on the appointment schedule located on the board by his office.

Procedure 2: After teaching a lesson, you are asked to watch your recording, complete an observation form, and meet with Dr. McClung to reflect on your successes and challenges. At this same meeting we will discuss the lesson plan that you have prepared for your next up front teaching session.

SPRING BREAK

T/3/22 Class Meeting #15 On-Site #3 Teaching Location: TBA

R/3/24 Class Meeting #16 On-Site #4 TeachingLocation: TBA

T/3/29 Class Meeting #17 On-Site #5 Teaching Location: TBA

R/3/31 Class Meeting #18 On-Site #6 Teaching Location: TBA

Assessment due in CLASS MEETING #18. ___You are asked to choose a hymn and arrange 16 measures (mostly through composed) for CCB. Arrangement should include three staves: treble clef, treble clef, and bass clef OR treble clef, bass, clef, bass clef. Points will be earned for the use of appropriate ranges and of the implementation of appropriate choral writing techniques. The project is expected to be primarily through composed, and harmonically valid with appropriate voice leading. To receive full credit, this project must be submitted in a notation system such as Finale or Sibelius. Value: 0-3 points.

T/4/5 Class Meeting #19 On-Site #7 Teaching Location: TBA

R/4/7 Class Meeting #20 On-Site #8 Teaching Location: TBA

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T/4/12 Class Meeting #21 On-Site #9 TeachingLocation: TBA

Assessment due in CLASS MEETING #21: ___Reading Handout Article: Kolb, Effective Choral Programming. Sidebar: An excellent

information source

___From the UIL Approved Repertoire List, choose music for a 20 minute concert. Provide an annotated rational for the selection of each work. Include the specific resource location for each concert selection. SPECIFIC QUESTIONS ARE INCLUDED IN A HANDOUT STORED ON YOUR CLASS CD.

Subject to Change: Repertoire sources are on RESERVE, Music Education Library, 3th floor, Music Building.

Ensemble choices include: (1) a high school (9-10 grade) intermediate (non-varsity) level, SATB chorus; (2) a high school (9-10 grade) intermediate (non-varsity) level, SSA chorus (9-10 grade); (3) a middle school intermediate/advanced level, SA chorus; or (4) a middle school intermediate/advanced level, SACB choir.

The repertoire for the first three choirs must come from the UIL Approved List, but repertoire for choir #4 may be split between my personal middle school mixed choir notebook and the UIL Approved List.

If you choose choir #4, you have permission to choose up to 3 selections from my personal middle school mixed choir notebook. For access to this music, talk with me.

Late papers are not accepted. Value: 0-10 points

R/4/14 Class Meeting #22 On-Site #10 Teaching Location: TBA

Assessment due in CLASS MEETING #22:

___Reading: Handout: Collins pp.456-470 (The Choral Environment: Building and Buying for Learning)

___You are asked to create a list of items that should be included in the “typical” yet “well-equipped” choral music classroom suite. Use readings, classroom observations, and interviews with choral teachers for information sources. Remember to include spaces like practice rooms, choral music library, and performance needs like performance risers and performance piano. Value: 0-1 point

___Ensemble Performance Presentation. You have put together an ensemble with 4-8 participants. Similar to a string quartet or the King Singers, there is no up-front conductor. As a singer in the ensemble, you have selected 4-part, quality literature, had it assessed and signed by Dr. McClung, facilitated rehearsals, and chosen the performance details. The presentation time and place has been coordinated with your classmates,

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singers, and the instructor. UIL-type adjudication sheets will be used to judge the performance. Conductors are expected to provide each judge with a copy of the music, all measures numbered. It is expected that these copies be submitted to Dr. McClung by Tuesday, April 26. Judges will consist of (3) experienced secondary choral music teachers. Your grade will be assigned from the results of the adjudication. Scores lower that a [3] are considered unacceptable by your administration. Value: 0-5 points

T/4/19 Class Meeting #23 On-Site #11 Teaching Location: TBA

Assessment due in CLASS MEETING #23: ___You are asked to create a comprehensive itemized budget for your first year. Your principal needs figures today! It is most likely that you will not get everything you want or even need, so it is important to shop carefully, to prioritize, and to place your list in a needs hierarchy. Break all prices down into per unit and then total cost of each category

Category items to include in your considerations:

1. a new office computer. Present computer is very old and slow.

2. a year’s music for each student (anticipate a student enrollment of 98). Give year cost PER STUDENT and a grand total.

3. a new digital piano for rehearsal and performance purposes. Present acoustical piano doesn’t hold tune.

4. two new Wenger risers. The school presently owns three risers.

5. two 3-drawer file cabinets for music storage, presently there are two file cabinets

6. a bulletin board for the choir room. Present bulletin board is tattered and too small.

7. a music staff lined white board. Presently there is a small chalk board.

8. UIL participation fee for 2 groups. Provide per group fee and total fee.

9. black music storage notebooks for each student. Presently, nothing is available.

10. bus transportation for 98 students (2 buses), to and from UIL. UIL is 25 miles away from your school. You will be gone for 5 hours. Be sure to break everything down. break everything down.

Note: Dividing the leg work of this assignment among you should make this assignment easier.

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Value: 0-2 points

R/4/21 Class Meeting #24 On-Site #12 Teaching Location: TBA

T/4/26 Class Meeting #25 On-Site #13 Teaching Location: TBA

Reading Assignment for CLASS MEETING #25 ___Supplemental Enrichment Reading - Handout Article: Code of Ethics and Standard Practices for Texas Educators and Teachers.

LOOKING AHEAD: Assessment due in CLASS MEETING #25. Reading Handout Article: Lamb, Score Study. An important reference for the assignment that follows. ___You are asked to generate a formal conducting analysis of a single score. The selected score should come from the works submitted in your concert program. SPECIFIC QUESTIONS ARE INCLUDED IN A HANDOUT STORED ON YOUR CLASS CD.

Include all appropriate score markings. Before starting, make a mental list of all items that should be marked in the score. In addition to the marked score, you are to turn in a written overview. Include questions prior to answers.

Using appropriate music vocabulary, provide insights into the following categories: form, text, diction, melody, harmony, phrasing, dynamics, and perceived musical challenges including pitch, meter, rhythm, range, or other concerns, such as accompanying instruments. Thoughtful attention should be given to each category. The thoroughness and clarity of that attention will be considered in the assessment of this project. Late papers are not accepted. Value: 0-5 points

R/4/28 Class Meeting # 26 Location: Music Annex

Topic 1: Possessing a wealth of teaching experiences, UNT graduates, presently teaching in the metroplex schools, will reflect on their first years of teaching.

T/5/3 Reserved for Ensemble Presentations 12:00-12:50 Location: Orchestra Hall

R/5/5 Reserved for Ensemble Presentations 12:00-12:50 Location: Orchestra Hall

MAY 6 and 7: MS/JH NATIONAL CONFERENCE FOR CHORAL MUSIC

WRITTEN FINAL: The written final is worth 10% of your grade. It will consist of 10 essay questions related to teaching choral music at the secondary level and taken from the Learning Objectives found at the start of this syllabus. You choose five questions and five questions will be assigned. Reflecting the readings and discussions in Classes 2 and 3, responses are to be comprehensive, thoughtful, thorough, and

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extremely well written. The responses to these learning objectives are examples of the questions asked in a job interview for a position in secondary choral music. Due date: 12:00 noon, Thursday, April 28, the week prior to finals.

PIANO FINAL: The piano final is worth a total of 12 points and 10% of the total grade. Each student is expected to arrange an individual testing session with the instructor outside normal class time. All four piano assessments can be performed in one session or in separate sessions. Three takes are allowed. For the second or third attempt of either segment of student review, you may request and then arrange for Dr. Taylor and Dr. Emmanuel to listen to your student review playing exam. Failure to pass either of the student review segments will result in an “I” for the course. All assessments must be completed by 3:00, Thursday, the week preceding finals week. Should this create a scheduling hardship, the student is responsible for notifying the instructor prior to the deadline.

Enrichment Activites—Extentions of Secondary Choral Methods and Choral Conducting

Up-Front: Music Education Pedagogy Choir—Tuesday and Thursday, 12:00-12:50 Orchestra Hall (Rm 232) Up-Front: Concert Handbell Choirs—Choirs are taught and times arranged by student conductors. Sight-Singing ABC’s—Offered to all that are interested. Taught by students who have completed MUED

4203,and assisted by students taking MUED 4203. MS/JH National Conference for Choral Music (May 6-7, 2016): Hosted by Cambiata Institute at UNT, Alan

McClung, director. In addition to attending the event, choral music education students serve on event committees. UNT’s 2016 All-State Choir Camp, July (5) 6-9. Choral music education students are hired as camp counselors. UNT’s 2016 MS/JH Honor Choir Camp, July (12) 13-16. Choral music education students hired as camp

counselors. Piano ABC’s—Offered to choral music education students and taught by choral music education students with

appropriate skills.

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