comprehensive musicianship through performance
Centering Students With CMP Patty Schlafer, CMP Committee Chair
Was it my imagi- nation or did hell freeze over this past year? Anyone see the blue moon? Did pigs learn to fly? The answer to all three just might be a resounding yes! In 2021 we witnessed
many things we thought we would never see. So, in service to the theme of this edition “Music Education: Students at the Center,” I share one of those observations.
presented and discussed in the order you read above, always starting with Music Selection. There was a de facto agreement that thoughtful teachers choosing quality repertoire would be a good place to start when planning for a classroom filled with rich and varied outcomes.
However, in 2021 things changed. At the CMP Winter Workshop in March and then again at the June CMP Summer Workshop, the presentation of the points of the model (affectionately referred to as POMS by regular users) began with Assessment instead of Music Selection. This is a flying pig or a frozen hell, you ask? Not only do I say yes, but I would suggest that a teaching initiative born in the 70s, close to 50 years in age, still in practice, useful, sought after, and dare I say, vibrant and evolving, happens once in a blue moon!
At both the 2021 Virtual Winter and 2021 Live Summer Comprehensive Mu- sicianship Through Performance (CMP) workshops for professional development, something new and unusual occurred. Readers familiar with CMP know that the model (designed for planning music instruction) is based on the five-point star of Music Selection, Analysis, Outcomes, Strategies and Assessment. Inviting teach- ers to plan for their classrooms by working through all five points began back in the 1970s when the Wisconsin CMP Project began.
If you’ve been to a workshop, you will recall the suggestion that planning can begin anywhere within the model. Yet, in practice, these points have been regularly
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Idioms aside, this change to the workshop pedagogy is relevant and applicable to the theme of this issue. Encouraging teachers to continue to use all five points of the model but to BEGIN with assessment is new practice for workshop participants. In other words, before even considering what music to use in your classroom, consider who you teach and what they need. What better way to put students at the center?
During the summer workshop, CMP Committee members Kimmy Reynolds and Margaret Jenks led us through several thought exercises using assessment strate- gies before we tackled any of the points of the model. Here are some of the questions they posed:
• What music do they know/like?
• What are some things that they value?
• How do they feel about school and themselves as learners?
• What is their confidence level for__________?
YOUR STAGE. YOUR
• What have they already studied/ learned?
• What helps them build comfort and trust?
PERFORMANCE. Music Education
Program Faculty
Dan Healy, head of music education Cheryl Frazes Hill, choral music education
Apply Today
roosevelt.edu/wsma
September 2021
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