Developing Critical Thinkers in Music

Woodford, Paul

doi:10.2307/3398991

Cited by 6 publications

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“…Although ensemble members will learn specific knowledge and skills, essentially this is "about fostering in students a disposition to develop their musical individuality." 27 This "mini-community of practitioners" is a place where "the corporate unit . .…”

Section: A Community Of Learnersmentioning

confidence: 99%

Critical Listening in the Ensemble Rehearsal: A Community of Learners

Bell¹

2018

Music Educators Journal

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This article explores a strategy for engaging ensemble members in critical listening analysis of performances and presents opportunities for improving ensemble sound through rigorous dialogue, reflection, and attentive rehearsing. Critical listening asks ensemble members to draw on individual playing experience and knowledge to describe what they hear. Focused discussion revolves around key issues that music directors consider during daily rehearsals: tonal quality, balance, blend, articulation, accuracy of performance, interpretation, musicality, and much more. An important component of critical listening is teacher monitoring of repeated listening exercises: A short listening is immediately followed by discussion and then another short listening. Questions guide the discussion, which becomes richer and more focused as students compare/apply their musical understandings with their aural perceptions and then demonstrate with performance. Though written from the standpoint of a typical public school music ensemble rehearsal, the critical listening concepts can transfer to any musical tradition where listening skills and collective performance are emphasized.

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Section: A Community Of Learnersmentioning

confidence: 99%

Critical Listening in the Ensemble Rehearsal: A Community of Learners

Bell¹

2018

Music Educators Journal

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“…Music teachers parallel what reading teachers do by helping children to develop phonemic awareness, rhyming, segmentation, expressiveness in reading, vocabulary, and other related reading skills when they have music students read song texts, musical terms, biographical backgrounds on composers and performers, and written instructions. Music teachers also teach critical thinking skills when they ask students to analyze and evaluate music and musical performances (see Davidson, 1994;Woodford, 1996;and Kassner, 1998).…”

Section: Aren't Music Teachers Teaching Reading Skills Already?mentioning

confidence: 99%

To Be or Not to Be… A Reading Teacher

Kassner¹

2002

General Music Today

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N ationalMusic Standard No. 8 states that music teachers are to teach "understanding of relationships between music, the other arts, and disciplines outside the arts" (MENC, 1994, p. 28). Specifically, we are to "identify similarities and differences in the meanings of common terms used in the various arts, identify ways in which the principles and subject matter of other disciplines taught in the school are interrelated with those of music," and "compare in two or more arts how the characteristic materials of each art can be used to transform similar events, scenes, emotions, or ideas into works of art" (p. 28). The overriding principle is to teach music as it relates to other subjects, thereby deepening students' conceptual understanding of music and other subjects. Several excellent examples of lessons that demonstrate this intgrated learning can be found in the Strategies for Teaching series (1990). Kirk Kassner teaches general music, Music Performance Club, and Composers' Club in the Federal Way (WA) Public School District.

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Critical Thinking and Music Education

Topoğlu

2014

Procedia - Social and Behavioral Sciences

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Developing Critical Thinkers in Music

Cited by 6 publications

References 0 publications

Critical Listening in the Ensemble Rehearsal: A Community of Learners

Critical Listening in the Ensemble Rehearsal: A Community of Learners

To Be or Not to Be… A Reading Teacher

Critical Thinking and Music Education

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