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Overview
The Teaching of Instrumental Music, Sixth Edition introduces music education majors to basic instrumental pedagogy for the instruments and ensembles commonly found in the elementary and secondary curricula. It focuses on the core competencies required for teacher certification in instrumental music, with the pervasive philosophy to assist teachers as they develop an instrumental music program based on understanding and respecting all types of music.
Parts I and II focus on essential issues for a successful instrumental program, presenting first the history and foundations, followed by effective strategies in administrative tasks and classroom teaching. Parts III, IV, and V are devoted to the skills and techniques of woodwind, brass and percussion, and string instruments. In all, The Teaching of Instrumental Music is the complete reference for the beginning instrumental teacher, commonly retained in a student’s professional library for its unique and comprehensive coverage.
This Sixth Edition includes:
-Streamlined language and improved layout throughout, making this edition more concise and accessible to students
-Updated content throughout, including insights from current research for curriculum development, coverage of current law and policy changes that impact the classroom, contemporary motivational strategies, more information on the history of African-American and all-female music ensembles.
-Updated references, photos, lists of artists, and online resources.
Product Details
| ISBN-13: | 9781040153536 |
|---|---|
| Publisher: | Taylor & Francis |
| Publication date: | 11/12/2024 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 512 |
About the Author
Richard J. Colwell is in the Music Educators Hall of Fame and received special citations from the International Society for Music Education, Illinois Music Educators Association, and National Federation of Music Clubs. He founded the Bulletin of the Council for Research in Music Education and the Quarterly Journal of Music Teaching and Learning.
Michael P. Hewitt is Professor of Music Education at the University of Maryland, and founder and director of the University of Maryland Summer Youth Music Camp. He served on the editorial boards of the Journal of Research in Music Education and the Bulletin of the Council for Research in Music Education, and was elected to the Editorial Committee of the Society for Research in Music Education.
Read an Excerpt
We have been students of public and private school bands and orchestras for our entire professional careers, both of us having begun as teachers of these groups. We are impressed with the continual improvement of these ensembles, and the inspired teaching and commitment to music education that brought about the improvement. We hope that the first two editions of this text have contributed in a small way to the growth of instrumental music.
The basic thrust of the first edition has been retained in this expanded third edition. Good instrumental music teaching has not changed significantly, although today's teachers have more responsibilities. Teachers, whether in private or public schools, must inspire students, establish clear standards and insist that they be met, and most importantly provide students with accurate information that enables them to develop the musical skills, insights, understandings, and the sense of responsibility to themselves and others that make group performance both fun and satisfying.
Schools have changed considerably since the first edition of this book was published in 1969 with more required subjects, new ways of scheduling instruction, graduation standards, the availability of technology, and the unfortunate too-frequent need for teachers to secure the resources that enable today's musical outcomes. Colleges have modified teacher education to meet new teacher certification requirements, often resulting in less time for the pedagogy of instrumental music. Thus, books such as this one have become more valuable not only as a text but as a reference for teachers in the field. This third edition reflects these changes in expanded coverage of issues such as formulating objectives, evaluating, motivating, and recruiting students, as well as administering a program that depends upon its own unique philosophical justification. Secondary school ensembles no longer emulate college organizations; they have their own literature and rationales for existing.
We continue to emphasize a "centrist" approach to each of the instruments, we do not advocate a particular teaching approach by a master teacher. Students are individuals, each with strengths, weaknesses, and potential, requiring that the teacher approach each teaching venture with a flexibility that can best facilitate the student's musical growth. Thus, we have resisted providing examples of the teaching techniques of the master teachers of any instruments. The critics and reviewers of this edition have been public school teachers and excellent music educators at the college level. The credits for careful reviews from the first and second editions remain applicable; we are indebted to them. String pedagogues Bret Smith of the University of Maryland, Joanne Irwin of Oberlin College, Pat D'Ercole of the University of Wisconsin-Stevens Point, as well as brass expert Eric Ledebuhr provided us with important suggestions.
In an attempt to reduce the length of the Second Edition, we omitted the section on string instruments. This was clearly a mistake, as the continued growth of orchestras depends on the willingness of all instrumental teachers to provide both band and orchestra experience for their students. The many stunning all-city youth orchestras should inspire all students to have an orchestral experience. In this Third Edition, the addition of five string chapters plus an enlarged coverage of various additional responsibilities of the instrumental music teacher has resulted in a lengthy book which still cannot address all of today's educational issues that the instrumental teacher must confront and solve. Appropriate sections of the book have been successfully used as a text; other sections such as the trouble-shooting charts serve as a reference for the prospective teacher during his or her field experience; the book as a whole offers information that the authors hope will continue to be relevant to the instrumental teacher throughout his or her career.
We have attempted to improve the reference section by indicating which references are "out of print" at the time of publication of this book, but are texts that remain in circulation due to their availability in a large number of college and university libraries. Out-of-print books, no matter how excellent but not generally owned by these libraries, have been dropped. Most troublesome was providing accurate information about the important references still in print but not available from the original publisher. We believed it necessary to accurately identify our source and have done so, but many texts are now distributed by other publishers or music houses that purchased the remaining stock of the original publisher, or in some cases are reprinting the original text with a new copyright date.
Two individuals deserve special recognition. Joanne Riker of East End Publishing Services, Inc. designed the new format and supervised each step of the production process. Dr. Ruth Colwell, an impeccable editor who is fluent in many disciplines, music and English being two that were of inestimable value to us.
Richard J. Colwell Thomas Goolsby
Table of Contents
Part I – The Foundations
1. History of Instrumental Music
2. Teaching and the Role of Motivation
3. Objectives, Standards, and Curriculum Development
4. Assessment
5. Administering and Organizing the Program
6. Recruiting
7. Scheduling
8. Special Populations and Instrumental Music
9. The Physiology of Instrumental Music Performance
Part II – The Ensembles and Classroom Teaching
10. Planning for and Rehearsing Instrumental Ensembles
11. Planning for and Teaching Beginning Instrumental Students
12. The Marching Band
13. The Jazz Ensemble
14. The Guitar and Classroom Teaching
Part III– The Woodwind Instruments
15. Winds Principles
16. The Flute
17. The Oboe
18. The Clarinet
19. The Saxophone
20. The Bassoon
Part IV – The Brass and Percussion Instruments
21. Brass Principles
22. The Trumpet and Cornet
23. The Horn
24. The Trombone
25. The Tuba and Euphonium
26. Percussion Instruments
Part V – The String Instruments
27. Strings Principles
28. The Violin
29. The Viola
30. The Cello
31. The Double Bass
Preface
The basic thrust of the first edition has been retained in this expanded third edition. Good instrumental music teaching has not changed significantly, although today's teachers have more responsibilities. Teachers, whether in private or public schools, must inspire students, establish clear standards and insist that they be met, and most importantly provide students with accurate information that enables them to develop the musical skills, insights, understandings, and the sense of responsibility to themselves and others that make group performance both fun and satisfying.
Schools have changed considerably since the first edition of this book was published in 1969 with more required subjects, new ways of scheduling instruction, graduation standards, the availability of technology, and the unfortunate too-frequent need for teachers to secure the resources that enable today's musical outcomes. Colleges have modified teacher education to meet new teacher certification requirements, often resulting in less time for the pedagogy of instrumental music. Thus, books such as this one have become more valuable not only as a text but as a reference for teachers in the field. This third edition reflects these changes in expanded coverage of issuessuch as formulating objectives, evaluating, motivating, and recruiting students, as well as administering a program that depends upon its own unique philosophical justification. Secondary school ensembles no longer emulate college organizations; they have their own literature and rationales for existing.
We continue to emphasize a "centrist" approach to each of the instruments, we do not advocate a particular teaching approach by a master teacher. Students are individuals, each with strengths, weaknesses, and potential, requiring that the teacher approach each teaching venture with a flexibility that can best facilitate the student's musical growth. Thus, we have resisted providing examples of the teaching techniques of the master teachers of any instruments. The critics and reviewers of this edition have been public school teachers and excellent music educators at the college level. The credits for careful reviews from the first and second editions remain applicable; we are indebted to them. String pedagogues Bret Smith of the University of Maryland, Joanne Irwin of Oberlin College, Pat D'Ercole of the University of Wisconsin-Stevens Point, as well as brass expert Eric Ledebuhr provided us with important suggestions.
In an attempt to reduce the length of the Second Edition, we omitted the section on string instruments. This was clearly a mistake, as the continued growth of orchestras depends on the willingness of all instrumental teachers to provide both band and orchestra experience for their students. The many stunning all-city youth orchestras should inspire all students to have an orchestral experience. In this Third Edition, the addition of five string chapters plus an enlarged coverage of various additional responsibilities of the instrumental music teacher has resulted in a lengthy book which still cannot address all of today's educational issues that the instrumental teacher must confront and solve. Appropriate sections of the book have been successfully used as a text; other sections such as the trouble-shooting charts serve as a reference for the prospective teacher during his or her field experience; the book as a whole offers information that the authors hope will continue to be relevant to the instrumental teacher throughout his or her career.
We have attempted to improve the reference section by indicating which references are "out of print" at the time of publication of this book, but are texts that remain in circulation due to their availability in a large number of college and university libraries. Out-of-print books, no matter how excellent but not generally owned by these libraries, have been dropped. Most troublesome was providing accurate information about the important references still in print but not available from the original publisher. We believed it necessary to accurately identify our source and have done so, but many texts are now distributed by other publishers or music houses that purchased the remaining stock of the original publisher, or in some cases are reprinting the original text with a new copyright date.
Two individuals deserve special recognition. Joanne Riker of East End Publishing Services, Inc. designed the new format and supervised each step of the production process. Dr. Ruth Colwell, an impeccable editor who is fluent in many disciplines, music and English being two that were of inestimable value to us.
Richard J. Colwell
Thomas Goolsby