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SMU 333 Instrumental Methods/Practicum Syllabus

Seton Hill University
Spring 2014

Instructor: John M. Seybert, Ph.D.
Office: G12
Phone: (724) 552-2907
Email: jseybert@setonhill.edu
Class Hours: 1:50-3:50 Tuesday/ Thursday (Practicum)
Location: SHU PAC 112
Office hours: 2:50-4:00 Tuesday and Wednesday, and by appointment

Catalog Description:
An investigation of the structure and curriculum of a school instrumental program (K-12).
Includes analysis of materials, methods of procedure, techniques, and skills suitable for teaching
instrumental lessons and ensembles. Co- or pre-requisites: SMU130, SMU132, SMU134, and
SMU136. Field experiences, Tubercular check, Act 33 Child Abuse, Act 34 Criminal Record
check, Act 114 FBI Federal Criminal History Record, and PDE-6004 (Arrest or Conviction
Report and Certification Form) required. Spring semester. Fee
Credit Awarded for the Course: 2 credits

Required Materials:

Cooper, L.G. (2004). Teaching band & orchestra: Methods and materials. Chicago: GIA.

2or 3 binder; enough sets of notebook index sheets/dividers and sheet protectors to
satisfactorily complete your course notebook

Suggested Materials:

Coldwell, R. and M. Hewitt. (2010). The Teaching of Instrumental Music 4
th
ed. Upper
Saddle River, NJ: Pearson.

Consortium of National Arts Education Associations (1994). National standards for arts
education. Reston, Virginia: Music Educators National Conference.

Jagow, S. (2007). Teaching Instrumental Music: Developing the Complete Band
Program. Delray Beach, FL: Meredith Music.

SMU 333: Instrumental Methods/Practicum Spring 2014

2
Klotman, R.H. (1996). Teaching Strings. 2
nd
ed. New York: Schirmer.

OToole, P. (2003). Shaping sound musicians: An innovative approach to teaching
comprehensive musicianship through performance. Chicago: GIA.

Rush, S. (2006). Habits of a Successful Band Director: Pitfalls and Solutions. Chicago:
GIA.

Required iPad Applications

Dropbox for iPad: https://www.dropbox.com/ipad
Nearpod (Panarea): www.nearpod.com
SmartMusic for iPad (Student Membership) www.smartmusic.com
Socrative (Student Clicker): www.socrative.com

Suggested iPad Applications

A.P.S. MusicMasterPro http://apsdevelopmentllc.com
PaperHelper: http://www.rumbleapps.net/paperhelper.html
Notability (Note Taking): https://itunes.apple.com/us/app/notability/id360593530?mt=8
Notion http://www.notionmusic.com/products/notionipad.html

Course Objectives

A. General Learning Objectives

The student should develop skills and understanding necessary to plan, implement, and evaluate
a comprehensive instrumental music program at the secondary level. This course is designed to
enable the future music educator to:

(1) Acquire pedagogical skills for use with secondary students

(2) Develop a working knowledge of practices in current use in secondary music
education

(3) Develop a working knowledge of materials employed in the teaching of
secondary instrumental music

(4) Develop an understanding of some of the theoretical constructs on which secondary music
education is based and implement them in the instrumental music classroom


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B. Specific Behavioral Objectives

Through a variety of in-class exercises and outside field experiences, the student will:

gain fluency in curricular issues and lesson planning
explore and evaluate repertoire, instrumental texts, technology and materials appropriate
for use in an secondary instrumental music classroom
gain an understanding of various methods of teaching instrumental music to secondary
school students
apply principles of teaching, learning, and classroom management to the secondary
school environment
become cognizant about the musical development, maturation patterns, and learning
styles of secondary school students
gain a better understanding of the various theories of learning
identify and sequence appropriate teaching materials and strategies for various types of
learners
implement various techniques for the assessment of musical growth
prepare, teach, and evaluate music lessons that incorporate a variety of musical activities
directed toward the development of a musical concept in a secondary instrumental music
classroom

Topics to Be Covered

National Standards for Arts Education
Lesson Planning and Sequencing
Pennsylvania Academic Standards for the Arts and Humanities
Pennsylvania Common Core Standards
Musical Development of Secondary Students
Repertoire and Materials Selection
Comprehensive Musicianship
Running Effective Rehearsals
Programming and Performing
Motivation and Classroom Management
Organizing and Administering the Instrumental Program
Technology for Music Instruction
Organizing and Administering Your Teaching
Handling Business Issues
Knowing the Profession Today
Process for Securing a Teaching Position
Exploring Personal Issues for the Music Educator
Contemplating Then, Now, and Why in Music Education


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University Objectives:

Communication and Problem Solving
Use the expressive arts as a mode of inquiry or expression.
Demonstrate leadership, negotiation, relational, and consensus skills.
Use technological skills to access information, organize knowledge, and communicate.
Propose new solutions to current issues.
Express arguments or main points clearly, in written and oral communication.
Transfer knowledge and values into sound decision-making.

Historical, Cultural, and Global Awareness
Analyze the impact of history, geography, and socio-cultural dynamics on global
interactions from a variety of disciplinary perspectives.

Multiple Modes of Inquiry
Organize and manage resources in a creative way to achieve impact.
Find, evaluate, and apply information.
Interpret quantitative and qualitative information to present a logical argument based on
supporting data.

Self Reflection and Assessment
Demonstrate ethical decision-making grounded in philosophical inquiry.
Recognize the value of diverse spiritual and religious perspectives.

Major/Program Objectives:
demonstrate knowledge, skills and techniques in the development and delivery of instruction
exhibit a knowledge of content, methodologies, philosophies, materials, technologies and
curriculum development in music education
inspire others by engendering a respect for music and a desire for musical knowledge and
experience
modify instruction to work productively within diverse education populations
recognize the value of lifelong professional development, enabling one to remain current
with changes in the arts of teaching music

Course Philosophy and Pedagogical Design

The most important thing I learned in those early days was to know the music and speak the
least.
-Frederick Fennell

Secondary instrumental music is an essential component of a comprehensive undergraduate
music education. There are numerous responsibilities placed on a secondary instrumental
educator. It is impossible for any methods to prepare a student for every possible situation you
might encounter in your future career. However, it is my goal to prepare with the significant
information and reference materials to begin your teaching career with success.


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I designed this course to include a sampling of musical experiences with standards-based
practices and administrative procedures employed in effective instrumental music programs. The
course text, Teaching Band and Orchestra, presents practical information for the beginning
program, the intermediate and advanced secondary program, and the big picture (i.e.,
professional materials to prepare for your career). The primary goal in this course is to provide
you with the theory (knowledge of pedagogical methods, lesson planning) and practice to
employ effective strategies and assessments in your future instrumental classroom. It is
important for you to evaluate the suggested ideals in order to progress musically and
pedagogically in ways relevant to students development from intuition to mastery.

Class instruction will focus primarily on in-class activities and demonstrations, the discussion of
assigned readings, and teaching presentations (course projects) to peers and secondary school
students in field experiences. Class exercises and discussions are intended to clarify and
reinforce the course content to enable individuals to contribute to experiential knowledge. You
are expected to reference the assigned readings to support your views on various issues discussed
in class.

The main purpose of the course is to bring students to a satisfactory level of competency in
regard to the following:

a personal philosophy of music education and its relationship to educational practice
understanding and application of appropriate and effective instructional practices in line
with the National Standards in Music Education and ESOL Standards
an acquired repertoire of effective instructional practices in classroom and rehearsal
settings
a proactive approach to classroom management in various music class settings
a working knowledge of the administrative procedures which attend the development and
maintenance of a well-founded secondary instrumental music program

To achieve great things, two things are needed: a plan, and not quite enough time.
-Leonard Bernstein

Arts Education Standards

National Standards for Music Education
http://musiced.nafme.org/resources/national-standards-for-music-education/

National Coalition for Core Arts Standards (NCCAS)
http://nccas.wikispaces.com/Home

Pennsylvania Department of Education Academic Standards for Arts and Humanities
http://www.portal.state.pa.us/portal/server.pt/community/state_academic_standards/19721

Pennsylvania Department of Education Standards Aligned System
http://www.pdesas.org/Standard/CommonCore

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SMU 333 Instrumental Methods/Practicum Course Schedule
(The instructor reserves the right to adjust the schedule as needed. Readings should be
completed prior to class discussions. Students are expected to listen to all related examples
in the score anthology.)

Date Topics, Reading, Listening

Week 1
January 23 (R) Course introduction (syllabus, materials, course outline)
How to be an Effective Instrumental Music Director?
Topics: Syllabi, Practicum Requirements, Ten Leadership Questions
Reading: Rush Chapter 10 (141-150); Cooper, pages 333-340

Week 2
January 28 (T) DUE: Answers to Ten Leadership Questions Article
Topic: Laying the Foundation
Reading: Cooper, Chapter 1
Assignments: Cooper, page 16 (Questions 2 and 4)
Goals/Objectives; Beginning Instrumental Philosophy

January 30 (R) DUE: Goals/Objectives; Beginning Instrumental Philosophy
Topic: Planning for Success

February 1 (S) Jamey Aebersold Clinics (Required) (9:00 a.m.-8:30 p.m.)
Seton Hill University Honor Bands (Jazz/Concert) Rehearsals and Concert

Week 3
February 4 (T) DUE: Aebersold Clinics/Honor Band Reflection
Topic: Planning for Success
Assignments: Cooper, pages 57-58 (Questions 2 and 4)
Lesson Plan; Teacher Interview

February 6 (R) DUE: Lesson Plan; Teacher Interview
Topic: Running Effective Rehearsals
Assignment: Cooper, page 133 (Question 1)
Timed Rehearsal Plan


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Week 4
February 11 (T) DUE: Timed Rehearsal Plan (Cooper, page 133, Question 1)
Topic: Running Effective Rehearsals
Reading: Seybert Handout (Effective Rehearsal Strategies)
Assignment: Cooper, page 133 (Question 5)
List of suggestions concerning rehearsing the ensemble

February 13 (R) DUE: List of Rehearsal Suggestions (Cooper, page 133, Question 1)
Topic: Running Effective Rehearsals; Comprehensive Musicianship
Reading: Cooper, Chapter 6; OToole, Chapters 1 and 2
Assignment: Page 196 (Questions 1-6)
Basic Classroom Rules; Methods to Motivate Students; Pros/Cons for
Attending a Music Festival; Techniques and Strategies at Music Festivals
Week 5
February 18 (T) DUE: Chapter 8 Assignments (Cooper, Page 196, Questions 1-6)
Topic: Considering Some Core Issues (Motivation and Discipline)
Assignment: CMP Group Presentation (Strategies and Assessment)

February 20 (R) Practicum
DUE: Unit Plan Proposal

Week 6
February 25 (T) DUE: CMP Group Presentation I (Strategies and Assessment)
Topic: Strategies and Assessment
Reading: OToole, Chapters 3 and 4
Assignment: CMP Presentations; Technology Proposals

February 27 (R) Practicum

Week 7
March 4 (T) DUE: CMP Group Presentation II (Music Selection, Journal, Homework,
and Listening)
Topic: Music Selection; Effectively Using Journals; Homework and
Listening Assignments; Library File Assignment (Cooper, Page 113)
Reading: Cooper, Chapter 5; OToole, Chapters 5, 7, and 8
Assignment: SmartMusic Computer Grade Book (Cooper, page 271,
Question 1) and Technology Presentation

8


March 6 (R) Practicum

March 8-16 Spring break, Have a great break!
Week 8
March 18 (T) DUE: SmartMusic Computer Grade Book (Cooper, page 271, Question 1)
and Technology Presentation
Topic: Technology and Instrumental Music Education; Organizing and
Administering Your Teaching;
Reading: Technology Packet (Dropbox); Cooper, Chapter 10
Assignment:

March 20 (R) Practicum

Week 9
March 25 (T) DUE: Unit Teaching Plans (DRAFT) Peer Editing
Topic: Unit Teaching Plans Presentations
Reading: OToole, Part III: Unit Teaching Plans
(Pages 215-280; 325-395)
Assignment: PMEA Reflection

March 27 (R) PMEA Conference - Class Cancelled


9

Week 10
April 1 (T) DUE: PMEA Conference Reflection
Topic: Recruiting and Retaining Beginning Students
Assignment: Cooper, page 244, Question 2: Summary of Band and
Orchestra Handbooks

April 3 (R) Practicum

Week 11
April 8 (T) DUE: Summary of Band and Orchestra Handbooks
Topic: Organizing and Administering the Program
Assignment: Library File and Unit Teaching Plans


Week 12
April 15 (T) DUE: Library File and Unit Teaching Plans (DRAFTS)
Topic: Unit Plans and Music Library Files Peer Editing; Contemplating
Then, Now, and Why in Music Education
Reading: Cooper, Chapter 14; Seybert Article; A Sound Decision Case
Study
Assignment: Library File and Unit Teaching Plans; Cooper, page 372 (
(question 2): Music Education Philosophy

April 17-21 Easter break, Have a great break!

Week 13
April 22 (T) DUE: Unit Plans Presentation and Music Library Files;
Topic: Exploring Personal Issues for the Music Educator


Week 14
April 29 (T) DUE: Music Education Philosophy
Topic: Music Education Philosophy (Peer Editing);Handling Business
Issues

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May 1 (R) Practicum

Week 15
May 6 (T) Topic: Review semester comprehensively

May 8 (R) DUE: Practicum Portfolio (Online)
Special Topics Discussion

Have a Great Summer Break!


11

Responsibility of the Students

Course Projects
All course projects are to be typewritten unless otherwise noted. In cases where specific format
has not been prescribed for the project, the student is to create a format that gives a well-ordered
and professional appearance. Since an important aspect of class instruction is derived from the
discussion of projects, projections submitted late will be accepted within 48 hours of the due
date, minus two full letter grades. Projects will not be accepted beyond this 48-hour extension.
Course projects are designed to focus on the professional application of course information. It is
expected that considerable care will be taken in the preparation and presentation of each project.
It is also required that as concerns arise in class preparations, you make an appointment with Dr.
Seybert to discuss your project. Please plan ahead.

Code of Academic Conduct:
Seton Hill University expects that all its students will practice academic honesty and ethical
conduct. The University regards plagiarism, cheating on examinations, falsification of papers,
non-sanctioned collaboration, and misuse or illegal use of library material published or
unpublished as violations of academic honesty.

Academic Integrity Policy:
If a faculty member believes a student has been intentionally academically dishonest for
example, with cheating, plagiarism, assisting others with dishonesty the faculty member is
obligated to file an Academic Dishonesty Report Form with the Office of Academic Affairs. [For
complete statement of Policy, see GriffinGate DocumentsAcademic Affairs--Academic
Integrity Policy].

Disability Statement:
If you have a disability that may require consideration by the instructor, you should contact Terri
Bassi-Cook, the Director of Disability Services at 724-838-4295 or tbassicook@setonhill.edu
mailto: tbassicook@setonhill.edu and/or disabilityservices@setonhill.edu
mailto:disabilityservices@setonhill.edu as soon as possible to develop a plan of accommodation.
You should provide the instructor with a copy of your accommodation plan and schedule a
meeting so that you can be supported in an informed manner. It is not necessary to disclose to
your instructor the nature of your disability. If you need accommodations for successful
participation in class activities prior to your appointment at the Disability Services Office, you
should offer information in writing to your instructor which includes suggestions for assistance
in participating in and completing class assignments.

Academic Engagement and Class Attendance:
Students must fully engage in the learning process, are expected to attend all class meetings, and
are held responsible for the full content of each course of study.

A responsible academic life implies systematic preparation in all course work. Students must
devote sufficient time for adequate class preparation. A minimum of two hours outside of class
for every hour the course meets is a common guideline.

12

Each course instructor articulates in the course syllabus a course outline and required readings
and/or assignments which must be completed prior to attendance. The syllabus also describes the
teaching/learning environment required in the class (laboratory, studios, experiential exercises,
collaborative work, discussion, and lecture). Overall course assessment commonly includes
participation and attendance.

The University faculty and administrative support participation in intercollegiate sports, theatre
productions, music recitals, conferences, workshops, and other co-curricular activities; however,
it is always the students responsibility to negotiate a way to receive information and/or materials
distributed in class. Students must understand that, depending on the course design and
requirements, it may not be possible to make up a missed class session. The student must
negotiate any absence from a class for participation in such events with the instructor prior to the
absence from class.

Students who miss a class because of illness or personal emergency must contact the instructor
before the class meeting. Depending on the course design and requirements it may not be
possible for a student to make up a missed class session.

Saving Course Assignments:
In order to fulfill the requirements of the liberal arts curriculum, students must save major
assignments completed in this course, so that they can successfully argue in the capstone liberal
arts course, Senior Integrative Seminar, that they have met the University Learning Objectives.


13

Evaluation
______________________________________________________________________________
Assignments Points
Ten Leadership Questions (January 28) 20
Goals/Objectives (January 30) 10
Instrumental Music Education Philosophy for Beginners (January 30) 20
Aebersold Clinics/Honor Band Reflection (February 4) 50
Instrumental Lesson Plan (February 6) 20
Teacher Interview (February 6) 40
Timed Rehearsal Plan (February 11) 25
List of Rehearsal Suggestions (February 13) 25
Chapter 8 Assignments (February 18) 35
Basic Classroom Rules
Methods to Motivate Students
Pros/Cons for Attending a Music Festival
Techniques and Strategies for Performance and Sightreading
CMP Group Presentation I (February 25) 25
Strategies and Assessment
CMP Group Presentation II (March 4) 25
Music Selections, Journals, Homework and Listening

SmartMusic Gradebook Assignment (March 18) 25
Technology Presentation (March 18) 25

PMEA Conference Reflection (April 1) 40

Band and Orchestra Handbooks Summary (April 8) 25

Library File Assignment (Cooper, Page 113; April 22) 100
Unit Teaching Plans/Presentation (April 22) 200

Philosophy of Music Education (April 29) 40

Instrumental Methods Practicum Online Portfolio (May 8) 250

Total Points 1000

Grading Scale:

A = 940-1000 A- = 900-939
B+ = 880-899 B = 840-870 B- = 800-839
C+ = 780-799 C = 740-770 C- = 700-739
D+ = 680-699 D = 640-670 D- = 600-639
F = 599 and below


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Project Descriptions

Instrumental Methods Practicum
The field experiences will take place in a secondary instrumental program in this area. You are
required to complete the appropriate form for EACH observation and if necessary, a reflective
self-evaluation for each teaching episode in the classroom. There will be a minimum of TEN (i.e.
twenty-hours) school visitations for this course.

Components of the Grade: Attendance, Field Experience Report, Journal Entries, Teaching
Videos and Self-Reflections.

Attendance
If you must be absent from any of your school visitations due to illness or emergency, you must
inform the people affected by your absence (i.e., Dr. Seybert, placement teacher and carpool
members, if applicable). Please discuss the situation with Dr. Seybert during the next class
meeting to find another schedule another field experience.

Privacy Issues
Please be cognizant of the importance of respecting the privacy of the children and teachers
observed. Avoid discussing classroom scenarios that might be embarrassing to teachers, parent,
or children, or that might include sensitive information concerning a child or family. During
class discussions or in journal reflections, use pseudonyms. Use professional judgment when
discussion students and situations at your field experience site.

Deportment
You will be viewed and judged as an adult by students, parents, and teachers. Please plan ahead
and dress conservatively and professionally. Please do not wear jeans or hats. Do not chew gum.
Be polite and considerate to every person that you encounter including the principal, secretaries,
custodians, teacher assistants, and parents. Be sure to arrive a minimum of 15 minutes prior to
your scheduled visitation. Please continue the tradition of representing yourself and Seton Hill
University in a professional manner.

Daily Field Experience Report
A Daily Field Experience Report is to be completed for each day of field experience. The reports
are intended to be a general summary of your days activity in the elementary school. Additional
pages may be added if necessary.

Practicum Journal
The purpose of making reflective journal comments is to focus attention on the importance of
reflective thought as a means of evaluating ones professional practices, on a daily basis. A
journal entry should be made after each field experience. Your comments should include
reactions to lesson planning, classroom/rehearsal teaching, and the complementary experiences
of teaching (e.g., observations of individual students, relationship with the cooperating teacher,
relationship with other teachers and administrators, and the overall social environment of the
school.). The writing style of the journal entries may be conversational and informal in nature.
Journal writing will be evaluated in terms of content quality and quantity.

15

Technology Project: Review of Music Software and Applications
Provide a clear and concise summary of a minimum of two software packages and three apps for
a mobile tablet and/or smart phone. The summary consists of answers to the questions listed in
Guidelines for Evaluating Music Software and a Sample Product Evaluation Form for
Technology-Assisted Instruction in Music. Please include any additional information that might
assist you and your colleagues in the future. Please provide copies of this assignment for all
members of the class.

Instrumental Methods Practicum Portfolio (Online)
This purpose of this portfolio is to serve as the basis for the organization of your continuing
education information a volume to which material may be added. The regular and systematic
updating of your professional knowledge is of utmost importance to your best instructional
practice the best care of your students. Continuing education is a fact of life for educators who
exemplify the highest standards of educational practice. The organization and maintenance of
continuing education information, be it from research journals/conference presentations, or
personal creative activity, is a component of every professionals library.

You will be expected to create an online website with all of the information for this portfolio.
Please REVISE all of the assignments with my suggestions before placing any document online.
I recommend that you use Weebly (http://www.weebly.com) to create your website. I also
suggest that you keep hard copies of all documents for your future reference. Please plan ahead.

The Course Portfolio is to be divided into the following tabs online:

Syllabus and Course Schedule
Weekly notes and handouts
Course Projects (in chronological order)
Sections of personal interest (e.g., technology, inclusion)
Elementary Method Practicum: include materials pertaining to your Instrumental
Methods Guided Field Experience (i.e. all lesson plans, videos of your teaching
presentations).

Professional Society Memberships
As a music education major at Seton Hill University you are required to be an ACTIVE member
in the collegiate NAfME chapter (this means that you are expected to attend ALL of the chapter
meetings this semester), which represents all phases of music education at all academic levels.
Membership in an additional professional society representing a cognate field is also suggested
(e.g., American String Teachers Association, National Band Association).


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Readings List

Supplemental Readings

Abeles, H.F., and L.A. Custodero, eds. (2009). Critical issues in music education. New York:
Oxford University Press.

Ausubel, D.P. (2000). The acquisition and retention of knowledge: A cognitive view. Dordrecht,
Netherlands, Kluwer Academic.

Banks, J.A. (2012). Encyclopedia of Diversity in Education. Thousand Oaks, CA: Sage.

Boyle, J.D., and R. E. Radocy (1987). Measurement and evaluation of musical experiences. New
York: Schirmer Books.

Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York: Harper &
Row.

Duncan, A. (2010). The National Endowment for the Arts. Strategic Plan FY 2012-2016.
<www.nea.gov/about/Budget/NEAStrategic Plan 2012-2016.pdf>

Eisner, E.W. (2002) Arts and the creation of mind. New Haven, CT: Yale University Press.

Ericsson, A.K., N. Charness, P. Feltovich, and R.R. Hoffman (2006). Cambridge handbook on
expertise and expert performance. Cambridge, UK: Cambridge University Press.

Gardner, H. (1983/2004). Frames of mind: A theory of multiple intelligences. New York: Basic
Books.

Gordon, E.E. (2005a). Primary measures of music audiation (CD-Rom). Iowa City; Chicago:
GIA.
________ (2012). Learning sequences in music: Skill, content, and patterns. Chicago: GIA.

Hargreaves, D.J. (1986). The developmental psychology of music. Cambridge, England:
Cambridge University Press.

Hickey, M. (1999). Assessment rubrics for music composition. Music Educators Journal, 85(4),
26-33.

Houlahan, M. and P. Tacka (2008). Kodaly today: A cognitive approach to elementary music
education. New York: Oxford University Press.

Jorgensen, E. (2003). Transforming music education. Bloomington: Indiana University Press.

Levitin, D. (2006). This is your brain on music. New York: Dutton.


17
Lindeman, C. (2003). Benchmarks in action: A guide to standards-based assessment. Reston,
VA: Music Educators National Conference.

Mark, M. and C. Gary (2007). A history of American music education (3
rd
ed.). Blue Ridge
Summit, PA: Rowman & Littlefield Education.

Reimer, B. (2000). Performing with understanding: The challenge of the national standards for
music education. Reston, VA: Music Educators National Conference.

Seybert, J. (2013). A History of the North American Band Directors Coordinating Committee,
1960-1970, Journal of Research in Music Education 60, no. 4: 430-451.

________. Effective Rehearsal Techniques for Instrumental Ensembles, The Instrumentalist
(under review).

Suzuki, S. (1983). Nurtured by love: The class approach to talent. (W. Suzuki, Trans.).
Smithtown, NY: Exposition Park Press.

Webster, P.R. (1990). Creativity as creative thinking. Music Educators Journal, 76 (9), 22-28.

Wong, H., and R. Wong. (2001). The first days of school: How to be an effective teacher.
Sunnyvale, CA: Harry K. Wong Publications.

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SMU 333 Instrumental Methods/Practicum Syllabus

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