Chapter 1 History

Chapter 1
1. How did the ancient Greek doctrine off ethos affect instruction in music?
The ancient Greeks believed that music had a great influence on a person’s character. The doctrine of ethos was a belief that music affected everything that existed such as an individual’s will, his or her character or behavior. Aristotle was even quoted saying that a person becomes whatever quality of music they are listening to. Plato was also quoted stating that the aim of ‘musical’ education is to inculcate rhythm, harmony and temperance of the soul, and thus develop good moral character.
This doctrine of ethos was the beginning of justification for music and the arts to be available for every student. During the 1980s music education was under attack from the government because of a ‘declining quality’ in education given to young people. This Reagan appointed commission stated that over the past twenty-five years the requirements to graduate high school and enter college have been lowered. The MENC came out with a statement to protect music education in public schools, “every individual of group that has made a major contribution to educational thought since Plato has spoken of the importance of the arts in education.”
Even the Greek philosophers knew the importance of music as part of a students’ education. The doctrine of ethos helped protect music in education and define its importance in every students’ upbringing.

2. What were the circumstances that led to early efforts to create a form of music notation?
During the 17th and 18th centuries the colonial’s poor singing in church led ministers to establish singing schools. These schools were to improve the singing quality of their students for church purposes.
Initially these schools only concerned themselves with correct vocal production and not on singing fundamentals or reading music notation. They were mainly concerned that the melody be sung correctly, melodically as well as rhythmically.
The first music instruction books were the product of John Tufts, a minister, who in the early eighteenth century wanted to teach the churchgoing colonists to sing psalms and hymns. He devised a tetrachord system of notation in which the octave in broken into two identical halves. His system was later adapted into ‘shape notes’ in which each of the four shapes of the note heads indicate a syllable. Shape notes are still seen occasionally in the notation of some hymnals, especially in the music of southern states and in Appalachia.
Poor singing in church led ministers in New England to create singing schools and improve the singing quality of students singing in church. The teachers of these singing schools created the earliest forms of music notation.

3. What guidelines for music teaching were adopted by the American followers of Pestalozzi? Which of the guidelines are still useful today?
Pestalozzi was one of the first to create a structured theory on education. He stated that the only true foundation of human instruction was that acquired through direct participation. He was one of the first educators to distinguish between “real knowledge” and “book knowledge”, the ivory tower versus the clinical experience.
Pestalozzians theories on education were transferred over to music education by Joseph H. Naef. He founded an elementary school that had music as a basic subject and all children were given appropriate music instruction. His main principles of vocal music education were very structured and that each element of music rhythm, melody and expression were to be taught separately, to make active instead of passive learning. Also that the principles of theory to be taught after the practice as an introduction into reading music.
Today music educators still use these basic teaching fundamentals in elementary vocal and instrumental music. Students are taught to read notes and rhythms before elements of expression are introduced.

4. Why were Lowell Mason’s efforts at establishing music in schools limited to vocal music at the elementary level? On what basis did he justify the inclusion of music in the school curriculum?
Lowell Mason was the first recognized official supervisor of elementary vocal music in the Boston public schools. He spearheaded the idea that music could be taught to children in the public school and became the first teacher of music in the schools of Boston. Mason established a vocal studio in Boston to improve the quality of the society’s performances.
Around these times music in Europe was an elite concept but Mason believed that any child who could read could sing. Around this time Horace Mann was advocating free public school and the American educational system was growing. Mason and Mann became friends and Mann invited him to speak at many workshops and meetings to advocate for music in public schools. Mason believed that music contributed to the well-being of the individual. That music brought comfort, solace, better homes, better citizens and happier human beings. Mason felt that everyone could enjoy music and all that was needed was proper education and proper training.
Lowell Mason was an established vocal music educator and became the nation’s first public school teacher in 1838. The public education system in America was rapidly growing during the 19th century and Mason knew that music would be an integral part of public schools.

5. What conditions in the first part of the 20th century contributed to the expansion of music in schools, especially secondary schools? What forms did this expansion take?
After the civil war public schools saw a change in development, materials, and methods devoted to the instruction of larger groups. The small group setting of the singing school and conservatories were no longer used as a result of students gradually wanting a higher education including graduating from high school and eventually college.
High school in the early 1900s was primarily used as a preparatory step toward college and, as a result, a much smaller percentage of students attended high school. These programs were unique and innovative and it became important for the school’s responsibility to make music available to all children.
A more cultured America was prevailing with the development of symphony orchestras. Large string and band classes were developing as after school activities with much success and soon became courses available during the school day.
Group piano classes began to appear around 1913 in high schools and later moved to the elementary schools, where class techniques for early piano instruction evolved.
As the country became more prosperous the American society began to concern itself with the quality of living. This concern included an awareness of the need for developing a cultured America.

6. What were the significant points made in the Tanglewood report?
In 1967 the MENC met in Tanglewood, the summer home of the Boston Symphony, to consider major issues related to the theme “Music in American Society”. The symposium was assembled not only because of the urgent issues confronting the arts and music but also as a result of some of the many criticisms and attacks being made on music education.
The symposium focused on the problems and potentials for music activities and musical development in American society. Music education as an integral part of life and living, not only within the individual but as it extended to society, was the prime focus.
The symposium gave direction on such topics as youth music, music in urban education, electronic music, music in the related arts, and music for the child in “special education.” This was the profession’s attempt to make its programs more current and more relative to issues of the day.

My Teaching Philosophy

My teaching philosophy is not complicated. My goal as a teacher is to be the most motivational, energetic, organized, and prepared music teacher so that my students, at any age or ability, can achieve at the highest level musically and as a young adult.

Bringing energy and motivation is a large part of my teaching philosophy. I feel that students can easily see if a teacher is committed and enjoys the subject they are teaching. That students are attracted to teachers that 'buy into' what they are teaching and this creates a much more engaging learning environment.

Organization and all of the behind the scenes work that is involved with being a music educator is key to running a successful program. Making sure that everything outside the rehearsal itself is in order allows a teacher to handle the different day to day 'issues' that come up more efficiently.

Being prepared for rehearsal both mentally and emotionally is also important to the success of your students. Teachers should not bring 'outside baggage' to the rehearsal. Score study and practicing conducting are also key elements to a well prepared rehearsal.

I plan on teaching high school band when I am done with my master's at NIU. I plan on incorporating many different types and styles of literature into the repertoire. Students will be offered marching band, all levels of concert band, jazz band, pep band, solo and ensemble contest including multiple chamber ensembles, percussion ensembles, theory, music history and orchestra pit for musicals.

It is important to offer such a broad spectrum of courses because high school students all have different intentions as to why they continue in band. Whether they aspire to play at the highest level or are simply in band because they enjoy playing their instrument with friends, a well rounded program has all of these students in mind.

Music in student's education at the high school level is a not only a next step for them musically but it is also a great lesson in time management and responsibility. Students are becoming young adults and many are preparing for college. Band students tend to also be heavily involved in higher level academics, sports and other extra-curricular activities. Balancing these activities with band rehearsals is a great task and teaches students about responsibility and accountability.

Music is a great way to give back to community. Performances in concerts, athletic events, parades and other venues are a way for people to connect with their community. Having a connection between generations with the same fight song, national anthem or other musical piece brings a collection of people together that might have otherwise been complete strangers.

My Music History

I have had music in my life since I was born. My mom has both a grand piano and an old upright organ in the living room. The sounds of her practicing, accompanying soloists and playing through the wedding music repertoire for soon to be wed couples were always in my house. I tried to take piano lessons with my mom but for some reason it didn't work out so well. Maybe it had something to do with the fact that my piano teacher could also ground me! My mom also pushed me to sing in choir at church. I sang from k-12 at church and continued singing in choirs and musicals in high school.

When 4th grade came around I knew I was going to play either saxophone or percussion in band. My band director told me otherwise and that I was destined to play French Horn. He was right and I love playing horn! The other great part about joining band was that all of my neighborhood friends joined band with me. We would practice together in each others garages and we all stayed great friends even through high school and college. Now we are all in each others weddings!

My first private lesson teacher Mr. Donald Johnson was very strict and straight forward with me about practicing. He would say 'If you don't practice, I feel as if I'm stealing money from your parents. I don't want to be stealin' your parents money!' He was a big influence in my playing early on. At the end of 8th grade Mr. Johnson had to let everyone in his studio go because of his calling to become a baptist minister. He is still playing his horn but not teaching.

My band director from 4th grade til 8th grade was Mr. Wesley Russell. To this day I have not had a better band director. His motivational and teaching skills made band the most fun and challenging part of the school day. He was great with parents and administration. Now that I have had a little bit of teaching experience I realize how good he was and how much I still have to learn.

My high school director Mr. Kevin Carroll was different than my previous teachers. I learned very quick that Mr. Carroll was more of a 'buddy' with his students than I was used to. It is weird but before high school I didn't know what I wanted to do with my professional career but being around Mr. Carroll I started to think about how Mr. Russell would handle some of these situations. I began thinking that there are things in school to learn and do and also what 'not to do'. I don't want to sound like I'm only being negative about my high school band experience but there were multiple instances that made me decide to go into music education. I wanted to combine the discipline of Mr. Russell and the fun of making music personal of Mr. Carroll into my own classroom.

In high school I really enjoyed doing marching band. So much in fact that I wanted to really geek out and join a group where everyone was as serious about being good as I was. So during the fall of my junior year I auditioned and made the horn line for the Cavaliers Drum and Bugle corps. I had no idea that this move would completely change my life.

I began with the Cavaliers the summer of 2001. I graduated from high school in 2002. I attended the University of Illinois Urbana/Champaign for my undergraduate in Instrumental Music Education the fall of 2002. I played in some of the best groups on campus including the Marching Illini, Symphonic Band, Wind Symphony, British Brass Band, and basketball band. During my junior year at U of I 'Varsity Men's Glee Club' was on the list of possible courses to take as a 'performing' ensemble. I sang in that choir for 5 semesters and really enjoyed being in a choral setting a few times a week even though I was an instrumental person. I graduated U of I in May of 2007.

It was when I was in the Cavaliers that I learned that there were so many other teaching techniques than the ones that were taught to me at Illinois. I was around some of the highest level teachers from great music schools around the country. These were invaluable experiences and made me much more marketable once I was done at Illinois and looking for my first teaching job.

My first teaching job was at James B. Conant High School in Hoffman Estates IL. I taught all levels of band during the 2007-2008 school year. I only have one year of teaching experience but it was a great year. I taught along with Peter Weber at Conant. Peter was also a Cavalier during the mid1990s. We shared a lot of the same teaching philosophies and the students really bought into the change that Pete and I brought to the rehearsal and ensemble sound philosophies. We team teached all 4 band ensembles that we had. It was so great for either of us to be on the podium and the other to float around the back of the ensemble or grab their instrument and play in the band. We made great improvements in their ensemble sound in just the one year of being at Conant.

I did not resign my contract due to personal reasons. I knew I had to immediately begin looking for another job. That was when I got a call from one of people from that very first group of neighborhood band friends. She called me and asked me if I knew anybody that wanted to begin their master's at NIU. I jumped at the opportunity and here I am the Graduate Assistant of the Athletic Bands at NIU. This is my second semester of full time classes and grad asst. duties here.