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Eric Teichman Department Office: Room N416

Wednesday: 6:10-9:00 Department Phone: (212) 772-5020
Classroom: N405 Office Hours: by appointment

MUS ED 677- Methods of Teaching Instrumental Music

Spring 2017

PRE-REQUISITE: Permission of the Graduate Advisor

COURSE OBJECTIVES: To prepare prospective K-12 instrumental music teachers by exploring:

Teaching music through performance-based instruction
Lesson planning, score study, conducting, rehearsal technique
Selection of repertoire, method books and other materials
Teaching Band, Orchestra, Piano, and Jazz
Classroom management
Assessment, grading
Advocacy and utilizing available resources
Basic instrument repair and maintenance
Music technology
Personal philosophy of music education

Teaching Band and Orchestra: Methods and Material: Lynn G. Cooper, GIA Publications, Inc.,
2004. ISBN: 1-57999-275-7
Any TWO current band or string methods books from the list. You may choose any 2 instrument
part books.
Published score and parts for a beginning band or orchestra piece for final project.

Habits of a Successful Band Director: Pitfalls and Solutions: Revised edition, Scott Rush, GIA
Publications, Inc., 2006. ISBN 978-1-57999-570-6
NYSSMA Manual Edition 31: The NYSSMA Manual is a 600+ page reference book copyrighted
by the New York State School Music Association (NYSSMA). It is updated every three years
Edition 31 is effective July 2015 through the 2018 Spring Festival season. The Manual contains an
extensive list of instrumental and vocal music for solo and ensemble performance. Every section is
broken down into six levels of difficulty.
Ordering information:
Reference book containing instrument fingerings, ranges and transpositions
Some examples are: FJH Classic Music Dictionary: McClean, FJH Music Co.
Handy Manual Fingering Charts: Hendrickson, Carl Fischer
Complete Instrument Reference Guide: Williams/King, Kjos

ADDITIONAL RECOMMENDED MATERIALS: conductors baton, mouthpieces for clarinet, trumpet,

alto saxophone


Understanding by Design. Grant Wiggins & Jay McTighe, Merrill Education, Prentice Hall, Inc.
2001. ISBN: 0-13-093058-X
Common Core: Re-Imagining the Music Rehearsal and Classroom. Paul Kimpton & Ann
Kimpton, GIA Publications, Inc. 2014. ISBN: 978-1-62277-101-1
Punished by Rewards. Alfie Khon, Houghton Mifflin Company, 1993. ISBN: 0-618-00181-6
Teach Like a Champion. Doug Lemov, Jossey-Bass, 2010. ISBN: 978-0-470-55047-2
Basic Techniques of Conducting. Kenneth H. Phillips, Oxford University Press, 1997.
ISBN: 0-19-509937-0

Week 1- 2/1 Introduction to methods class: Overview of course syllabus, distribution of forms
and questionnaire, discussion of guidelines for fieldwork experience and explanation of placement
process, group work: instrumental music as part of the school curriculum
Class Handouts: National, New York State, and local Standards, fieldwork forms (3 pgs),
Read: Cooper, Laying the Foundation, pp. 3-15, Building a Curriculum, pp. 63-75, Handling
Business Issues, pp. 288-297
Bring: instruments for next class.

Week 2- 2/8 Discussion of National, State and Local music standards. Discussion of requirements
for the portfolio project. Building an instrumental program, vendors and instrument purchasing.
Discuss band versus orchestra. Follow-up on fieldwork assignments.
Class Handouts: Portfolio guidelines and rubrics (2 pgs), sample musical equipment lists,
beginning band/academy proposal, vendor list, sample wish list.
Read: Cooper, Motivation and Discipline, pp. 157-163. Khon, pp. 3-4, 49-67 (distributed in
Bring: instruments and two methods books for next class.
Assignment No. 1 due next class (2/22) (budget plan).

Week 3- 2/22 Budget Plan due. Share-out of fieldwork arrangements/observations. Discussion

on rehearsal techniques/score study/lesson planning/questioning techniques. Group work: methods
book lesson planning.
Class Handouts: Questioning techniques, D.O.K. wheel, lesson plan models, curriculum
map, score excerpts, score analysis handout.
Read: Cooper, Lessons and Planning, pp. 41-55 and Rehearsals, pp. 117-129.
Bring: instruments for next class
Assignment No. 2 due next class (3/1) (lesson plan).

Week 4- 3/1 Lesson Plan due. Continued discussion of rehearsal strategies, addressing classroom
management. Hypothetical and real situations. Ensemble conducting workshop.
Class Handouts: Classroom management materials, conducting materials.
Assignment No. 3 due next class (3/8) (Methods book critique).

Week 5- 3/8 Methods Book Critique due. Discussion and demonstration of instrument care and
maintenance, basic repairs, toolkit essentials.
Class Handouts: Basic instrument repair essentials list
Read: Cooper, Selecting Literature, pp. 87- 99, Programs and Ushers, pp. 143-154, Music
Library, 99-110.

Week 6- 3/15 Guest Speaker: Penny Jacono, Director of Bands, Celia Cruz Bronx H.S. of
Music. Discussion on designing an appropriate concert program for various levels of competence
using NYSSMA Manual and various other sheet music vendors. Discussion of appropriate
repertoire. Distribute examples of concert programs.
Class Handouts: Model concert programs, NYSSMA adjudication forms
Bring: instruments for next class.
Reread: Cooper, Jazz Ensemble, pp. 70-73.
Assignment No. 4 due next class (3/22) (Concert Programs).

Week 7- 3/22 Concert Program due. Guest Speaker: Cesare Papetti, Middle School Band
Teacher, IS 237. Discussion on strategies for teaching Jazz, drum set, beginners and Jazz
Ensemble repertoire. Group work on given topic. Share-out of fieldwork.
Class Handouts: excerpts from The Articulate Jazz Musician, jazz ensemble score excerpts,
score analysis handout, artist of the week, drum set materials.
REMINDER: Fieldwork hours should be completed by next week!
Week 8- 3/29 Fieldwork is now completed. Guest Speaker: Dr. Cara Bernard, UCONN
Music Ed. Professor, Former NYC DOE Choral Director, Piano Instructor. Discussion on
techniques and strategies for teaching piano classes. Group work: planning piano lesson units of
study. Further discussion on rehearsal techniques and lesson planning. String score analysis,
group work. Share-out of fieldwork observations.
Class Handouts: piano book materials, string scores, score analysis handout
Read: Cooper, Assessment and Grades, p. 257, Student Assessment, pp. 55-57.
Wiggins/McTighe pp. 7-13 (distributed in class)
Bring: instruments and method books for next class.

Week 9- 4/5. Discussion of assessment and grading policies (sample class contracts), create your
own rubrics (see Cooper p. 264), NYSSMA rubrics, sample tests and rubrics given out in class.
Class Handouts: sample class contracts, self-assessments/journals, test rubrics, sample tests
Read: Cooper, Instrumentation, pp. 15-16.
Bring: instruments and method books for next class.
MIDTERM: Journals and Reflections Assignment No. 5 due next class (4/19).

Week 10- 4/19 Midterm Project due. Guest Speaker: David Church, music educator.
Discussion of issues specific to elementary level instrumental music instruction, including
recruitment and initial instrument selection.
Read: Cooper, Performances and Programming, pp. 135-143. Lemov, pp. 27-56 (distributed
in class).
Refresh: Cooper, pp. 117-127.
Bring: instruments and method books for next class.

Week 11- 4/26 Guest Speaker: Barbara Murray, Director of Music (emeritus), New York
City Department of Education. Discussion on student concert attendance requirements and
student critical review and reflection writing. Concert logistics and protocol.
Class Handouts: Concert logistics, sample concert review and reflection assignments
Read: Cooper, Student Helpers, pp. 233-235.
Bring: instruments and method books for next class.

Week 12- 5/3 Demonstrate/discuss music technology for the classroom. Discussion of basic
arranging for band. Instrument substitution. Sample scores will be given out, examined and
discussed. Midterms returned. Discussion of final project/demo lessons.
Class Handouts: Arranging materials, Sample score excerpts, Final project guidelines
Reminder: Bring Lesson Plan draft for next class

Week 13- 5/10 Guest Speaker: Bryan Powell, Director of Programs, Amp Up NYC (Little
Kids Rock). Presentation on free professional development opportunity providing free
instruments for your school. Guest Speaker: Jason Curry, Middle and Upper School Head of
Music, Riverdale Country School. Mock interviews. Check in on final project/demo lesson
Assignment No. 6 Presentations/lessons due next class (5/17).
Bring: instruments for next class.


Portfolio projects due today.

Week 15- 5/24 BRING INSTRUMENTS. Presentations/lessons continued. Review of course

content if time permits.

ASSIGNED READING RESPONSES: Accompanying each assigned reading will be a series of guiding
questions. These questions should focus your reading, provide an opportunity to articulate your thoughts in
response to the material, and offer substance for further discussion in class. Responses may be brief and/or
informal, but should thoughtfully and completely express your ideas.

1. BUDGET PLAN: You are given $10,000.00 from your school administration to spend on musical
instruments and supplies for about 35 music students. What will you buy with it? Make a list showing
vendor name and brands. Include actual prices and quantities of each instrument you will purchase. Be sure
to consider priority, practicality, and musical balance when making your purchases. Be sure to include a
one paragraph minimum rationale for your purchases, i.e., why purchase these instruments in this amount?

2. LESSON PLAN: Create a lesson plan to teach one of the exercises in one of the method books you have
chosen. You may model your lesson plan format after one distributed in class or create your own. You
must include: Aim, Objective, Procedure, Assessment, Standards, as well any other elements you find

3. METHODS BOOK CRITIQUE: Write a review (overview and critique) comparing/contrasting two
current band or string method part books from the given lists on the syllabus or from another source such as
JW Pepper. Consider the physical layout, how new concepts and skills are presented, scaffolding, range,
technical mastery, repertoire selections, and any other aspect you see fit. A minimum of two pages should
be a sufficient length.

4. CONCERT PROGRAM: Design a brief (mock) concert program of about 30 minutes in length for
beginning instrumental ensemble(s). You can search on publishers websites or for
appropriate selections. Try to achieve stylistic and instrumental balance in your program by considering the
timing, level, musical style and performing forces (band, jazz band, orchestra, chamber ensemble, etc.) for
each selection you choose for your program. Include a separate, detailed explanation of your choices that
justifies your reasoning for including these pieces, and their relationship to your philosophy of music

5. MIDTERM PROJECT: Journals and Reflections. See handout for guidelines.

6. FINAL PRESENTATION/LESSON: Teach and conduct an instrumental lesson to the class, who will
serve as the lab ensemble. You may purchase a score and set of parts (beginning level) of your choice from
a reputable vendor such as or use an original composition or arrangement of your choice. A
written lesson plan should be discussed with me at least one week prior to teaching. The lesson should be
20 minutes in length and have one or two clear objectives, a warm-up, and clear procedures. Be sure to
submit copies of lesson plans and scores to me on the day of your lesson.

7. PORTFOLIO PROJECT (see guidelines).

Assigned Reading Responses 80 (10 ea.)
Budget Plan 30
Lesson Plan 30
Methods Book Critique 30
Concert Program 30
(Midterm) Journal and Reflections 40
Portfolio 60
Final Presentation/Lesson 50
Attendance and Participation 50
(TOTAL: 400)

Attendance Policy
Students are expected to come to all classes. Participation, through class discussions and in-class group
projects are a significant part of your grade and an absence from class is a missed opportunity to engage
with the professor and fellow students in ways that cannot take place outside of class. Therefore there is no
specific number of legal absences allowed. Accepted absences are documented illnesses or a death in the
family. If you must miss a class and it does not fall into one of these categories, please try to notify me
prior to missing the class. Students who have missed a class for any reason will be expected to find out
what has been missed. You are fully responsible for all missed work. While even one unexcused absence
can affect your grade, three or more unexcused absences will seriously endanger your successful
completion of the class.

Hunter College Policy on Academic Integrity

Hunter College regards acts of academic dishonesty (e.g., plagiarism, cheating on examinations,
obtaining unfair advantage, and falsification of records and official documents) as serious offenses against
the values of intellectual honesty. The college is committed to enforcing the CUNY Policy on Academic
Integrity and will pursue cases of academic dishonesty according to the Hunter College Academic Integrity
Procedures. If a faculty member suspects a violation of academic integrity and, upon investigation,
confirms that violation, or if the student admits the violation, the faculty member MUST report the

Music Department Policies

All students are expected to be present for the final examination as scheduled by the Office of the
Registrar. No exceptions. In the Music Department, the grade of incomplete is granted only in cases of
serious, documented emergencies, and then only when permission has been obtained in writing from the
Department Chair, no later than one week before the final class meeting.

Students who wish to withdraw from a class with a grade of W may do so by submitting a withdrawal
form with the required signatures to Oasis by the announced deadline (around the 8th week of class).
Withdrawal after the deadline is allowed only in cases of serious emergency and must be approved by
Student Services. Students who stop attending a class without withdrawing officially receive grades of WU,
which count the same as F. The Music Department does not support requests to have grades of WU
changed retroactively to W.

Reminder regarding grades in courses for the music major: (1) All music courses require a minimum
grade of C in all prerequisite courses and (2) a course may not be taken more than twice without
departmental permission, which is granted only in exceptional circumstances (similar to those that justify
the IN).

Center for Student Disability Services

In order to receive disability-related academic accommodations students must first be registered with the
Office of Access and Accommodations, located at 1124 East Building. Students who have a documented
disability or suspect they may have a disability are invited to set up an appointment with the Office. If you
have already registered with the Office please provide your professor with the course accommodation form
and discuss your specific accommodation with him/her.


1. Accent on Achievement, Book 1: OReilly and Williams: Alfred.
2. Band Expressions, Book 1: Smith, Smith, Story, Markham: Alfred.
3. Belwin 21st Century Band Method, Book 1: Bullock and Maiello: Alfred.
4. Best in Class, Book 1: Bruce Pearson: Kjos.
5. Ed Sueta Band Method, Book 1: Ed Sueta: Ed Sueta Music Pub.
6. Essential Elements 2000, Book 1: Lautzenheiser, Higgins, et al: Hal Leonard.
7. Standard of Excellence, Book 1: Bruce Pearson, Kjos.
8. Yamaha Band Student, Book 1: Feldstein and OReilly, Alfred.
9. Sound Innovations, Book 1: Phillips, Black, et al, Hal Leonard.



1. Strictly Strings, Book 1, Dillon, Kjelland, and OReilly: Alfred.
2. Suzuki School Volume 1. Shinichi Suzuki: Warner Bros.
3. Belwin Course for Strings. String Builder Volume 1. Applebaum: Alfred.
4. Essential Elements for Strings Book 1. Allen, Gillespie, and Hayes: Hal Leonard.
5. Muller-Rusch String Method Book 1. Muller and Rusch: Kjos.
6. Wohlfahrt Foundation Studies Book 1. Wohlfahrt: Carl Fischer.
7. All For Strings Book 1. Anderson and Frost: Kjos.
8. Sound Innovations, Book 1: Phillips and Moss, Hal Leonard.