Chapter 9: Curriculum

1. What is “optional” curriculum? An “Ideal” curriculum? A “Formal” Curriculum? An “Instructional” curriculum?

“Operational” curriculum is an ongoing process that occurs in the classroom. These activities determine what is occurring in the individual classroom to promote learning – learning that is based on formulated objectives and desired competencies, and not just what appears in a guide.
An “ideal” curriculum is another way of saying what should be offered, as opposed to a “clinical” view which what is actually being offered. An “ideal” curriculum is developed under scholarly conditions and is a result of what curriculum theorists and planners believe the exemplary course of study should be.
A “formal” curriculum is the curriculum that is made up of viewpoints from concerned citizens, state departments of education, commercial interests, school board policymakers, pressure groups of parents, political groups, and other special-interest groups.
An “instructional” curriculum is a curriculum that teachers adopt despite their individual perceptions on what should be taught and what they actually teach. Sometimes teachers adapt the formal curriculum because they perceive that their students have certain needs or interests, but too often teachers disregard these differences and conform to a given curriculum, the “instructional” curriculum.

2. Discuss the concept of multicultural music and the effect that this idea has had on music education in North America. What does “multicultural” mean? What are the possibilities, problems, and pitfalls of a multicultural approach to general music ed.? What resources are available to teachers who chose to deliver such instruction? What does the research literature reveal about multicultural music education practices? Describe how the multicultural approach may or may not be relevant in your native country.

Multicultural music appreciation develops a respect for the achievements of cultures other than their own. This helps students understand that there are many different but equally valid forms of musical and artistic expression and also encourages students to develop a broad perspective based on understanding, tolerance, and respect for a variety of opinions and approaches. The possibilities of a multicultural approach to general music instruction are that the students will develop an understanding and appreciation of other musical societies other than their own. This approach will also free the invisible barriers that ethnic students in American classrooms might feel when talking about their native music. These students will be able to demonstrate the music in their homes and be supported by their teacher and peers. The problems and pitfalls of a multicultural approach to general music education are many. The teacher may not have had specific enough training to properly demonstrate these musical nuances. Evaluating the music of another culture is difficult for young students because they are not used to something that is different and different is usually considered to be ‘wrong’ or ‘not as good’ as the music they are used to hearing. Selecting which cultures’ music to study is another problem. Every country and even specific ethnic groups contain subpopulations, each with its own music. There are time constraints and curricular obligations that will get in the way of allowing the teacher time for multiple cultures’ music.
There are many resources available to teachers that chose to deliver multicultural instruction. Source books about various world music and traditions should be designed for use in elementary schools. This is the age when students are most open-minded and have a minimum of bias. An extensive data bank should be established that would cross-reference information concerning materials and information to assist music teachers in teaching multicultural music. Research shows that teachers should choose a representative sample of the various types of music. This will help solve the problem of selection and time. Teachers should also present music of other cultures as authentically as possible; teachers might use recordings or invite a knowledgeable performer to perform the music of that ethnic group. In order for teachers to overcome ethnocentrism, they should make every effort to instill in students an attitude of respect and acceptance toward types of music. Although teachers cannot mandate that their students adopt accepting attitudes, they can encourage them to be informed about other cultures and their music before making judgments or expressing personal opinions about that music.
The multicultural approach will be very relevant in my native country after the students gain a firm understanding of the fundamentals of music. Students need to have a thorough understanding of basic music knowledge before they can fully understand, analyze, and appreciate music as an art form from all over the world.
3. What are the three curriculum models discussed in Chapter 9? Describe what a music class will be like in each of the curriculum models respectively.

The three curriculum models are 1. Linear/control mode, 2. Consensus model and 3. Dialogue/freedom mode. The linear/control model is based on realism or the essential task of teaching is to enable students to perform precisely delineated responses. It is based on the identification of purposes of curricula by experts. Evaluation of the outcomes of this model would be based on pretesting and post-testing of students. A music class using this curriculum model might be utilized in a theory course. The teacher might give the students the final on the first day, teach the course as planned and finally give the same final on the last day of class.
The consensus model is structured on identifying needs and concerns of students. In this model the teacher’s role is to guide the students into gaining understandings, values, and skills through group planning. Evaluation in this model is done cooperatively. A music class using this curriculum model might be utilized in an early composition course. The students would begin a compositional project and the teacher would create lessons in melodic phrasing, harmonies, countermelodies, voice leading and percussion scoring or whichever the route the teacher plans to guide and assist the students in.
The dialogue/freedom model which has the minimum control of student’s outcomes, the teacher serves as a facilitator and guide. The student is the center of decision making, and evaluation rests with the student. A music class using the curriculum model might be used in an audition preparation situation. The student has a particular etude that needs to be mastered for an upcoming audition. It is up to the student to prepare to the best of their ability and ask the teacher for advice only when they have specific questions and need feedback on their progress.

4. What are the background and the concept of “comprehensive musicianship”? What practical actions did the advocates of this concept attempt to achieve? Discuss how it may be utilized in the following: general music class, theory class, and ensembles.

Comprehensive musicianship was started by Norman Dello Joio and funded by the Ford Foundation in 1959 under the title “Contemporary Music Project,” but popularly referred to as “The Young Composers Project.” Young composers were selected by a panel of composers and educators to go into the schools and universities and write for music organizations in those institutions. They were assigned to areas where it was felt that the quality of music instruction, as well as the attitudes of the music teachers, would nurture and develop the creative efforts of these contemporary composers. In addition, the works of these creative artists would help the community and its satellites become sensitive to contemporary music and its several idioms.
The advocates of this concept were improving the music educators in the country by having students display competency in analyzing music, organizing the sounds of music, and performing music. This was designed to improve the instruction in music programs. Before ‘comprehensive musicianship’ school programs were essentially performance-oriented and did little to increase the knowledge of music and the musicality of the individual student.
The general music class would demonstrate ‘comprehensive musicianship’ by having the teacher discuss not only how to perform a particular song but also how to solfege the song, hand gestures, cultural dance, cultural wear, background on the composer and how to sing this song in a different and possibly primary language that it was written for.
The theory class would demonstrate ‘comprehensive musicianship’ by having the students analyze chords, have them perform the homework on piano, and analyze the form of the particular piece.
The ensemble rehearsal would demonstrate ‘comprehensive musicianship’ by having the students rehearse and master a specific work. The director would also have the students listen and analyze professional group’s recordings and compare them. The director would also identify the form of the piece and when particular melodic ideas are presented again or again by a different voice or section.

5. What are the justifications for the use of music in early childhood programs?
There are many parents working full time that have children between the ages of two and five. These children will be placed in some sort of preschool situation. It is agreed that music and musical experiences should be a regular daily activity in every preschool and day care center. Unless these schools have personnel with some form of musical training, little is done in the way of teaching music. Young children need to participate freely in musical activities during these years. Gordon’s research states that the musical experiences offered at the preschool level will ultimately have an effect on the musical development of the maturing child. These experiences in early childhood music can and should create a foundation upon which future learning can be built.