comprehensive musicianship through performance
teaching, and great (meaningful) experiences for students.”
~Janet Barrett Ph.D.; University of Illinois at Urbana-Champaign
Here are some remarks from the July 2017 participants at the CMP Summer Work- shop at Concordia College in Mequon:
“CMP is more about great teaching than any one strategy. It’s about picking great literature, doing your homework, being passionate about what you do, staying true to the music, and being yourself but not limiting yourself by fear of some- thing that might not work.”
“Each part of the model isn’t inde- pendent... As you are writing, you can move back and forth as you gain a better understanding of the piece and your desired outcomes/ strategies/assessment.”
“I think CMP made me think very critically about what my students need and how I am going get them there – instead of just making out- comes for the sake of making any outcomes.”
“With planning and really knowing the music (analysis) teaching can be comfortable and not scary – we know where we’re going (out- comes), what we’re focusing on and meaningful assessments.”
Thank you for reading and I hope to see you at a CMP event in the future.
Patty Schlafer teaches music at Mount Horeb Middle School.
Email:
schlaferpatty@mhasd.k12.wi.us
Getting Started With CMP: Short-Range Challenges
1. Start with just one piece per con- cert and apply the model to it.
2. Do one less piece per concert. The audience won’t complain and you’ll have more time to teach the music comprehensively.
3. Plan warm-ups that relate to your CMP outcome.
4. Instead of by title, have the stu- dents take out the music by rhyth- mic patterns in the music, by composer, by biographical infor- mation, by genre, by era, etc.
5. Take one piece and write down on a 3X5 card three ideas that you want to teach from this music. Tape this card to your desk or your piano for reference. It’s not a full teaching plan but it will serve as a daily reminder of outcomes that you want to teach.
Wisconsin School Musician
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