This page contains a Flash digital edition of a book.
A Plan Of Action: Aligning Curriculum Standards That Meet The


21st Century School & Beyond By Suzanne M. Kane


West Side High School skane@nps.k12.nj.us


Arts and Entertainment. How do we prepare our students for this next step? How do we reconstruct courses to provide for the techno- logical, critical and analytical thinking to be music moguls, editors, lawyers, etc?” How do we articulate to the decision makers the need for access to instruction? How do we articu- late the need for equipment, materials, etc. to provide that level of quality instruction to compete with the world? How do we articulate support (via curriculum, equipment, etc.) for our students to be able to compete outside of the schoolhouse doors? (Kane, 2011) In many districts across New Jersey,


L


administrative teams are forging ahead to the goals and realignment set by Common Core Standard adoptions (The Common Core Initiative, 2011) and the New Jersey Common Core Curriculum Standards for 2011-2012 and beyond. Being a “Prep, Activity, Relief or Elective” teacher cannot quantify your professional services as an educator that happens to be a teacher of music. How do you advocate for equal and equitable education with dwindling support where the bottom-line that equals to data that must equal 200+ will determine how we continue to focus our goal for access and equity for quality music education. How you articulate this information will deter- mine the support your program receives in a data driven environment. If you have not begun the conversation, it is critical at this vignette to discuss how your program influences student achieve- ment. Historical data is available regarding how quality music education affects your choir, band, orchestra and general music students’ AYP (adequate yearly progress). The dialogue between you and the sched-


TEMPO


earning is before and beyond the concert. The career


world has changed drastically in the field of


uling administrator/principal is what can ensure your students academic and musical success. Articulate the importance of equal access to your program and the affect it will have on overall success of the school’s mis- sion of academic achievement. In grades PK-5, all students should


have scaffolded instruction in music educa- tion that is sequential in nature (yearly). All students need access to a beginner’s perfor- mance group to develop foundational mu- sicianship skills outside of the general mu-


sic education classroom to ensure students are prepared for higher-order performance groups at the intermediate and advanced levels. Scheduling offerings for entry level performing groups (choir, orchestra, and band) at least one day a week as a vertical class offering (re: gifted and talented music course for example). In grades 6-8 (middle school), contin-


ued instruction in one of the performing groups (choir, orchestra, and band). This of- fered along with an alternate music program


(music technology, piano, etc) allows for the continued development of the young musi- cian. For those in a PK-8 building, articu- late your scheduling needs based on the aca- demic needs of your student. What impact will Prep coverage have on the scheduling of your performing groups? How can you come to an equal and equitable solution to student access? At the high school level, it is critical


to articulate the necessity of the freshmen and sophomore classes having access to the entry level classes to expose them to school- to-career initiatives. It is near impossible to prepare students to compete with those who have had continued, scaffolded instruction in the junior year. It is important to explain the necessity to remove Music Foundations or Music Appreciation from the curriculum guide to higher-order course offerings like Music Business, Music Production and the like. Stress the importance of allowing the continued development, support and expo- sure of career development opportunities for students of music. With thoughtful planning and dia-


Graduate Summer Sessions


for Music Educators June 18 - July 27, 2012


Villanova, Pennsylvania in association with


logue, we can ensure our students are pre- pared as consumers and producers of music for the 21st


century and beyond. Bibliography


Kane, S. M. (2011, October). TEMPO A Plan of Action: Building Foundation to create effective change in Music Education in Urban Settings , p. 32. The Common Core Initiative. (2011). Retrieved January 15, 2012, from http://www.corestandards.org/ the-standards/english-language-arts- standards


Orff


Levels I & II July 9 – 20, 2012


AOSA Approved


Our low tuition of $1075 includes materials, all fees, and 4 graduate credits. Located in suburban Philadelphia, Villanova is convenient to all transportation. Affordable housing and meals are available on campus. To learn more about this course and 30 others please visit music.villanova.edu or contact the Director of Summer Music Studies George Pinchock,at george.pinchock@villanova.edu


The Many Benefits of Music Education— Tips to Share with Parents


Here are some ways parents can assist their child’s school music educators:


Study the ways that music education develops creativity, instills disciplined work habits, and statistically correlates with gains in standardized test scores.


Speak with your local school board.


Be in touch with local music teachers on a regular basis. Offer to help out.


Take part in your school’s music booster organization.


Create the future of music: Be a Setnor musician.


Undergraduate degrees_ Composition (B.M.) Music (B.A.)


Music Education (B.M.) Music Industry (B.M., B.S.) Performance (B.M.)


Minors_


Music Industry Music Performance


Graduate degrees_ Composition (M.M.) Conducting (M.M.) Music Education (M.M, M.S., Ph.D.)


Performance (M.M.)


admissu@syr.edu 315.443.2769


vpa.syr.edu/ music


Make your mark. Come to Syracuse.


Visit www.nafme.org and search “Power of Music” for more Parent Resources.


46 MAY 2012 MAY 2012 47 TEMPO


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37