days. With your guidance, you could help students form groups, select music, and guide the type of accompaniment options, use of technology, rehearsal styles, reflections, and assessments. In her dissertation, Danelle Larson studied high school students who were assigned to form chamber ensembles several days a week for fourteen weeks, instead of always being in band rehearsals.24


She leſt the chamber


music students alone to rehearse, but guided the students with a few rehearsal check sheets and a list of questions to help them assess their work each day. She found that the chamber-music students’ motivation and attitudes toward band class improved over that of the students who re- mained in the teacher-led band class. Additionally, for the lowest-performing students in the chamber-music groups, their attitudes improved more than those of other students who had been assigned to chamber-music groups. Tis is one example of the aforementioned project-based learn- ing where students get to engage during ensemble class in collaborative music-making and creative decision-making. Tink about how the use of technology could enhance chamber-ensemble groups by adding an instrument or students accompanying themselves. More projects could be incorporated into your teaching with creative discussions among you and your students. It’s possible that their atti- tudes and motivation could greatly improve.


Other researchers have tried innovative teaching ideas for band and discovered their positive impact on learning in band classrooms. Jason Caslor fostered group improvisa- tion in the full ensemble rehearsal, and Amy Spears asked all the top ensemble students to use a different type of music literacy to learn a band piece for performance. Te students were given a Grade 2 piece, no music—only a part recording, and were asked to learn the part to the piece by ear. Comments from the researcher, ensemble teacher, and students included improved ensemble cohesion, perfor- mance responsiveness, and appreciating learning via a new musical literacy: Tese comments were truly inspiring. Te students who seemed to be most involved appreciated their new way of thinking, learning, and collaborating.25


So, in 2016, I challenge you to sincerely consider: Which version of band are you teaching? Te following versions, 1.0–6.0, are hypothetical examples of band teaching that I created as a way to start your thinking and discussions. Tese versions could unfold in a variety of ways and per- haps you have personal versions. Tink about how your teaching career has morphed through different versions of teaching:


Version 1.0–– Teacher-centered, military discipline and strict regulations align with tradition in rehearsal participa- tion by students following the instructions of the teacher to develop musical skills and knowledge.


Version 2.0––Teacher imparts comprehensive musician- ship information where students learn from the teacher about the history, theory, and compositional construction of the piece during the group rehearsal.


Version 3.0 ––Band teachers add some aspects of the 1994 National Music Standards in their classrooms, which includes aspects of connecting with other disciplines in the school. Students share in knowledge discovery about their pieces performed. Students form traditional small ensem- bles and learn solos with piano accompaniment.26


Version 4.0 ––Students lead warm-ups in large-group rehearsals and get to participate in some curricular and/or rehearsals decision-making that aligns with the 1994 na- tional standards.27


and explore student-centered rehearsing.


Version 5.0 ––As a teacher, you embrace the idea of stu- dent-centered learning and encourage your students to help make decisions within rehearsals, and with administrative choice so they feel empowered and a part of a community of artistic decision-makers. You ask deep meaningful ques- tions and challenge their thinking.28


You assign homework


that connects school music to their personal music life.29 Tey start learning to assess their musical preferences, their peers, and themselves. You assign projects for students to discover information.30


using digital media to create parts and accompaniments.


Version 6.0––You and your students structure your public performances around music projects and performances you’ve facilitated with the students.31


Your rehearsal time is


spent facilitating learning with students working on real-life music problem-solving: arranging a cover song, folk song, or composed melody for a small ensemble of any instru- mentation, everyone respects and works with their musical preferences, and we encourage the students to learn and perform at times without music, by ear. You help them create concerts that share their work in small-groups and large groups. You ask your students how to assess their proj- ect outcomes, and they decide and will help by evaluating themselves and their peers.32


Tey accompany themselves


with digital media of their choosing and styles of music. In their ensemble groups they create missing ensemble parts from digital sources or record themselves playing the others parts. Tey perform live with digital accompaniments or play their recorded performances for audiences. Tey share their performances with peers using a class sharing soſtware program such as Google Drive or Blackboard.


Let’s shake off the baggage of the past traditions and start anew. Adopt a new version of your teaching this year


30 Tey form nontraditional ensembles


Students form nontraditional ensembles


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