no. 2 (2008): 156–73. 11
Ibid., 157.
12Ibid., 160, 164. 13Ibid., 164. 14Ibid.
Music Educators Journal 98, no. 1 (2011): 51–57. 16
15David A. Williams, “Te Elephant in the Room,” A colleague in instrumental education at Oklahoma
City University, Michael A. Raiber, oſten reminds band teach- Patricia O’Toole, Shaping Sound Musicians: An
ers, “Your students aren’t just human organ pipes!” 17
Innovative Approach to Teaching Comprehensive Musicianship through Performance. (Chicago: GIA Publications, 2003), xi; Laura K. Sindberg, Just Good Teaching: Comprehensive Musi- cianship through Performance in Teory and Practice (Lanham, MD: Rowman & Littlefield. 2012);
https://en.wikipedia.org/ wiki/Comprehensive_Musicianship. 18Robert Garofalo, Blueprint for Band (Washington,
DC: Meredith Music Publications, 1976). 19
no. 5 (2007): 38–43. 20
tions, 1997). 21
Te School Music Program: A New Vision, (Reston,
VA: MENC, 1994); Kevin Tutt, “Using Questions to Teach the National Standards in Rehearsal,” Music Educators Journal 93,
Larry Blocker, Eugene Corporon, Ray Cramer, Tim
Lautzenheiser, Edward S. Lisk, and Richard Miles, Teaching Music through Performance in Band (Chicago, IL: GIA Publica-
http://nationalartsstandards.org/mca/music 22
2 (2015): 39. 23
http://www.nafme.org/my-classroom/standards; Evan S. Tobias, Mark Robin Campbell, and Phillip
Greco, “Bringing Curriculum to Life: Enacting Problem-Based Learning in Music Programs,” Music Educators Journal 102, no.
Ibid., 40. 24Danelle D. Larson, Te Effects of Chamber Music
Experience on Music Performance Achievement, Motivation and Attitudes among High School Band Students, Retrieved from
ProQuest Digital Dissertations. 2010. 3410633. 25
Jason Caslor, Spontaneous Improvisation with Large,
Public School Instrumental Ensembles, Retrieved from Pro- Quest Digital Dissertations. 2010, 3407150; Maud Hickey, “Teaching Ensembles to Compose and Improvise,” Music Edu- cators Journal 83, no. 2: 17–21; Amy Spears, Constructivism in the Band Room: Facilitating High School Band Students’ Playing
by Ear through Informal, Student-Led Practices, 2014, 3642858. 26
Brian D. Meyers, “Activities of high school band
directors in the United States toward Solo and Ensemble Activities” (Doctoral diss., Arizona State University, <<Tempe, 2011).
27Cynthia Johnston Turner, “Crowdsourcing Our En-
semble Rehearsals,” Music Educators Journal 100, no. 2, (2013): 68–71.
28Randall Everett Allsup and Marsha Baxter, “Talking
about Music: Better Questions? Better Discussions!” Music Educators Journal 91, no. 2 (2004): 29–33; http://education.
ohio.gov/getattachment/Topics/Teaching/Educator-Evalua- tion-System/How-to-Design-and-Select-Quality-Assessments/
DOK-Compared-to-Blooms-Taxonomy.pdf.aspx 29
33, no, 1: 39–47. 30
Evan Tobias, “Crossfading Music Education: Con-
nections between Secondary Students’ In- and Out-of-School Music Experience,” International Journal of Music Education
Tobias et al.; Ed Asmus, “Music Assessment Con-
cepts: A Discussion of Assessment Concepts and Models for Student Assessment,” Music Educators Journal 86, no. 2, (1999), 19–24; Mitchell Robinson, “Alternative Assessment Techniques for Teachers,” Music Educators Journal 81, no. 5 (1995), 28–34; Larry Blocher, “Te Assessment of Student Learning in Band,” in Teaching Music through Performance in Band, Vol. 1, Chap-
ter 4, 27–30. 31
Educators Journal 103, no. 2, (2015): 85–86. 32
(1991}: 40–45. 33
Randall E. Allsup, “Our Both/And Moment,” Music Robert A. Cutietta and Tomas Brennan, “Coach-
ing a Pop/Rock Ensemble,”Music Educators Journal 77 no. 8, Lucy Green, Music, Informal Learning and the
School: A New Classroom Pedagogy (London, UK: Ashgate Randall Everett Allsup and Marsha Baxter, “Talking Caron L. Collins and James Wells, “21st-Century
Publishing, 2008). 34
about Music: Better Questions? Better Discussions!” 35
Ensembles—What We Imagine, We Can Become!” Music Edu- Ed Asmus, “Music Assessment Concepts: A Discus-
cators Journal 100, no. 4 (2014): 18–21. 36
sion of Assessment Concepts and Models for Student Assess- ment,” Music Educators Journal; Mitchell Robinson, “Alterna- tive Assessment Techniques for Teachers,” Music Educators Journal; Larry Blocher, “Te Assessment of Student Learning
in Band,” in Teaching Music through Performance in Band. 37
Caslor, Spontaneous Improvisation. 38Robert E. Dunn, “Teaching Lifelong, Intuitive Lis-
tening,” Arts Education Policy Review 107, no. 3 (2006): 33–38. ________________________________________ Tis article originally appeared in the February/March 2016 issue of Ala Breve, the official journal of the Alabama Music Educators association, and is used with permission.
Dr. Jill M. Sullivan is an Associate Pro- fessor of Music Education in the School of Music, part of the Herberger Institute for Design and the Arts, at Arizona State University, Tempe. She teaches undergrad- uate instrumental methods, master’s-level courses in assessment and measurement, instrumental literature and pedagogy, introduction to research, and psychology of music, as well as doctoral-level classes
in historical and quantitative research methods. Dr. Sullivan has ex- perience teaching band to elementary, middle level, and high school students. At Sequoyah Middle School, she started 200 beginning band students each year, and the entire program included over 400 band students. Her research agenda includes historical publications pertaining to 19th- and 20th-century women’s bands, and quantita- tive preservice and in-service music teacher investigations.
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