MUSIC 23241: MUSIC TEACHING AS A PROFESSION
Mr. Marcus L. Neiman, Assistant Professor
Kent State University School of Music
Fall, 2011
CRN: 200910 – Section number: 001 – Class Days: TR 7:45a – 8:35 am - Classroom: SOM E202
Office: Band Office - 330.672.2965 - Telephone: 330.672.2965 (Kent Campus) - E-mail: mneiman@kent.edu
Office Hours: TR 9:00 – 9:55 am (Additional hours available by appointment)
BlackBoard and Text Readings
Submitted by: Ryan Critchfield
Submitted for: Mr. Marcus L. Neiman, lecturer
Date: October 28, 2011
Music educators journal, Pages 39-44.
Summary of the Article: In Byo’s article, he lays out the groundwork to create successful playing tests. He states that an instructor’s goal should be “what do I want my student’s to sound like, act like and think like?” (Pg. 39). By structuring your lessons correctly, you will be able to teach your students not just how to respond to notes on a page, but how to interpret a song or piece. If a conductor judges the progress of the ensemble, they will not make any real progress with the individual students in becoming quality performers. An instructor needs to know what an accomplished learner sounds like in a choral setting.
In order for a student to interpret a musical style, Byo suggests taking a piece of a specific style and easy difficulty, and having several students sight read the piece and interpret a musical style. As the student’s listen to themselves, their peers and other similar styled pieces, the individual will be able to interpret it correctly over time. For instrumental testing, Byo has several testing sheets and methods for scoring students. He even tested these at different locations and different ensembles, and provides a framework for a twelve week testing cycle with the students.
Personal statements: This article was very interesting on how Byo approaches teaching a student a feeling for musicality and interpretation. With this article, I agreed with some of his opinions and techniques, and disagreed with some others. I think that his technique with sight-reading and interpretation is ingenious, and I think that it can help a student develop techniques and an ear for interpretation. Also his idea for running through an entire ensemble in just two rehearsals using a recording device an someone constantly on deck is a very effective technique, and I remember it being used both in high school, and in college level classes. Overall, I found this article very helpful, and I may use some of his points in my rehearsals in the future.
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