Today the definition of "being educated in music" is challenging: it includes a deep understanding of music, the ability to reflect on one's own progress, knowing how to practice independently and efficiently, and the ability to transfer knowledge and skills to new situations. The Teaching of Instrumental Music, Third Edition is the only text that integrates the pedagogy of performance skill on each instrument with that instrument's use in the school or adult ensemble. The text also analyzes the elements of teaching competence, both content and pedagogical, required of a twenty-first century teacher, including the ability to motivate students, to relate well with the administration and colleagues, to effectively administer the instrumental program, and to be accountable to students, the school, and the community. New to the Third Edition are: bull; Chapters on the principles of string instruction and a chapter on each of the string instruments. An expanded rehearsal section (two chapters) that includes suggestions on score preparation and rehearsal routines. A section on developing the school jazz ensemble. A discussion of program objectives and authentic assessment. Reference material including trouble shooting checklists, fingering charts, and instructional materials, as well as extensive photographs and drawings that support and supplement the descriptions of the proper approach to each instrument. A broad treatment of the instrumental music program that is compatible with education reform initiatives, standards, priorities, and assessments.
Table of Contents
1. History of Instrumental Music. 2. Objectives. 3. Evaluation. 4. Motivation. 5. Administration. 6. Recruiting and Scheduling. 7. Principles of Winds and Acoustics of Strings. 8. The Flute. 9. The Oboe. 10. The Clarinet. 11. The Bassoon. 12. The Saxophone. 13. Principles for Brass. 14. The Trumpet and Cornet. 15. The Horn. 16. The Trombone and Baritone/Euphonium. 17. The Tuba. 18. Percussion Instruments. 19. Principles for Strings. 20. The Violin. 21. The Viola. 22. The Cello. 23. The Double Bass. 24. Rehearsal Routines. 25. Rehearsing Concert Literature.
We have been students of public and private school bands and orchestras for our entire professional careers, both of us having begun as teachers of these groups. We are impressed with the continual improvement of these ensembles, and the inspired teaching and commitment to music education that brought about the improvement. We hope that the first two editions of this text have contributed in a small way to the growth of instrumental music.The basic thrust of the first edition has been retained in this expanded third edition. Good instrumental music teaching has not changed significantly, although today's teachers have more responsibilities. Teachers, whether in private or public schools, must inspire students, establish clear standards and insist that they be met, and most importantly provide students with accurate information that enables them to develop the musical skills, insights, understandings, and the sense of responsibility to themselves and others that make group performance both fun and satisfying.Schools have changed considerably since the first edition of this book was published in 1969 with more required subjects, new ways of scheduling instruction, graduation standards, the availability of technology, and the unfortunate too-frequent need for teachers to secure the resources that enable today's musical outcomes. Colleges have modified teacher education to meet new teacher certification requirements, often resulting in less time for the pedagogy of instrumental music. Thus, books such as this one have become more valuable not only as a text but as a reference for teachers in the field. This third edition reflects these changes in expanded coverage of issues such as formulating objectives, evaluating, motivating, and recruiting students, as well as administering a program that depends upon its own unique philosophical justification. Secondary school ensembles no longer emulate college organizations; they have their own literature and rationales for existing.We continue to emphasize a "centrist" approach to each of the instruments, we do not advocate a particular teaching approach by a master teacher. Students are individuals, each with strengths, weaknesses, and potential, requiring that the teacher approach each teaching venture with a flexibility that can best facilitate the student's musical growth. Thus, we have resisted providing examples of the teaching techniques of the master teachers of any instruments. The critics and reviewers of this edition have been public school teachers and excellent music educators at the college level. The credits for careful reviews from the first and second editions remain applicable; we are indebted to them. String pedagogues Bret Smith of the University of Maryland, Joanne Irwin of Oberlin College, Pat D'Ercole of the University of Wisconsin-Stevens Point, as well as brass expert Eric Ledebuhr provided us with important suggestions.In an attempt to reduce the length of the Second Edition, we omitted the section on string instruments. This was clearly a mistake, as the continued growth of orchestras depends on the willingness of all instrumental teachers to provide both band and orchestra experience for their students. The many stunning all-city youth orchestras should inspire all students to have an orchestral experience. In this Third Edition, the addition of five string chapters plus an enlarged coverage of various additional responsibilities of the instrumental music teacher has resulted in a lengthy book which still cannot address all of today's educational issues that the instrumental teacher must confront and solve. Appropriate sections of the book have been successfully used as a text; other sections such as the trouble-shooting charts serve as a reference for the prospective teacher during his or her field experience; the book as a whole offers information that the authors hope will continue to be relevant to the instrumental teacher thro