[PDF] [PDF] MODELS AND TOOLS FOR BUILDING QUALITY MUSIC PROGRAMS

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MODELS AND TOOLS FOR BUILDINGQUALITY MUSIC PROGRAMS

Prepared By:

Florida School Music Association

Models and Tools for Building Quality Music Programs○○○○○○○○○○○○○○○○○

The Board of Directors, Florida School Music Association

Contributors to this publication:

Administrator Check List for Music Observations

Planning and Preparation Indicators

Knowledge of Subject Matter Indicators

Classroom Management Indicators

Models and Tools for Building Quality Music Programs

Techniques of Instruction Indicators

Student-Teacher Interaction Indicators

Assessment Techniques Indicators

In General

Page v

Contents

Statement of Purpose ...................1

District /Campus Level Program Expectations...3

Campus Level - Elementary Music.........21

Campus Level - Secondary Music.........31

Page vi

Models and Tools for Building Quality Music Programs

Appendices

Appendix A - Sample Job Descriptions...........A-1

Appendix B - Sample Schedules ............B-1

Appendix C - Music Courses Available.......C-1

Page 7

Statement of Purpose

Models and Tools

for Excellent

Music Programs,

seeks to assist the campus administrator in defining the elements usually present in successful music classrooms and is coordinated with the National

Standards for the

Arts and the

Florida

Curriculum

Framework for

the Arts.

Page 8

Models and Tools for Building Quality Music Programs

National

Standards for Arts Education

Music education

is for all students, whether they attend magnet schools or schools with general curriculums; or schools with low, medium, or high socio-economic levels; and students" wishing to participate should have the opportunity for access to music programs.

Page 9

Statement of Purpose

The Value and Quality of Arts Educa-

tion - a Statement of Principles.

Page 11

District /Campus Level Program Expectations

Sunshine State

Standards: Florida

Curriculum

Framework - The Arts

Page 12

Models and Tools for Building Quality Music Programs

A Well Balanced

Curriculum

A growing body

of research indicates learning in the Arts, and specifically music, enhance the ability to process information and understand concepts which are applied in other subject areas.

Page 13

District /Campus Level Program Expectations

Scheduling

The music courses

offered should be developed by a process that allows students to achieve the goals/ guidelines shown in the Curriculum

Framework.

Page 14

Models and Tools for Building Quality Music Programs

Music is not for a particular

"class" of student as determined by race or socio- economic background. It is for all students, and should be accessible to all students in a sequential, articulated manner.

Page 15

District /Campus Level Program Expectations

Staffing

The most advanced students on a

campus are often a part of music classes, which have contributed to development of higher level thinking skills, conceptual learning, and life enrichment. Scheduling methods should continue to allow music programs to be accessible to these students.

Page 16

Models and Tools for Building Quality Music Programs

Music Supervision/

Coordination

Every enrolled

student should have reasonable access to the teacher, as well as access to the music courses on the schedule.

Page 17

District /Campus Level Program Expectations

. . .one music educator in every district or school should be designated as coordinator or administrator to provide leadership for the music program.

The position of

Music Supervisor

requires a specialized knowledge of music programs....Applicants for such a position should have a music degree..

Page 18

Models and Tools for Building Quality Music Programs

Page 19

District /Campus Level Program Expectations

Page 20

Models and Tools for Building Quality Music Programs

Facility

Page 21

District /Campus Level Program Expectations

○○○○○○○○○○○○○○○○○○○○○○○Room Sizes

Floor Space Requirements

Band/Orchestra2500 min for 60-75 students 30-35 sq.ft./student over 75 students. Choral 1800 min for 60-80 students 20-25 sq.ft./student over 80 students Elementary Music 1200 min for 25-30 students w/ ceiling height of 12-16 ft.

Cubic Volume Requirements

Class SizeCeiling Floor Resulting

Room#StudentsHeight(sq.ft.) Cu. Vol./Student

Choral Rehearsal60-8016-20 ft1800 350-500 cu.ft

Band/Orchestra Reh. 60-75 18-22 2500 550-700 cu ft.

Rehearsing in an

excessively loud room is extremely stressful for both students and teacher and can cause permanent hearing loss over a period of time.

Page 22

Models and Tools for Building Quality Music Programs

Reverberation

Choral Rehearsalreverberation up to 1.3 seconds

Band/Orchestra Rehearsalreverberation 0.8 - 1.0 seconds

Performance Areareverberation 1.25 - 2.25 seconds

Other General Guidelines for Music Rooms

Page 23

District /Campus Level Program Expectations

Auxiliary Spaces

Practice Rooms

Small Practice2 students25-40 sq.ft.

Keyboard practice2 students55-60 sq.ft.

Small group4 students75-80 sq.ft.

Medium group6 students95-100 sq.ft.

Ensemble practice15 students350-450 sq.ft.

Note: practice rooms should have windows, allowing for proper supervision.

Additional Rooms

Offices1 teacher100-200 sq.ft.

Instrument Repair1-3 people50-75 sq.ft.

Commons arealarge groups500-700 sq.ft.

Page 24

Models and Tools for Building Quality Music Programs

Storage Areas

Auxiliarycolor guard, booster 600-800 sq.ft.

Instruments150-200 instruments 4 sq.ft per instrument or 600-800 sq.ft. Choral robes 100 robes 2.5 sq.ft. per garment or 150-250 * sq.ft. (2-4" per hanging robe) Band/Orchestra100 uniforms 3 sq.ft. per garment or 300-400 * sq.ft. (4-5" per hanging garment) * larger programs will need proportionately more space

Music Storage

Titles High Density Storage Systems Standard File Cabinets

50035 sq.ft.65 sq.ft.

100070 sq.ft.130 sq.ft.

2000140 sq.ft. 260 sq.ft.

3000210 sq.ft. 390 sq.ft.

Success Indicators for

Music Programs

¨Curriculum:

¨Literature:Ҁ

¨Sound:

Page 25

District /Campus Level Program Expectations

¨Professionalism: ՐՠҀӰҐ

¨Participation in evaluation/festivals (secondary only): ¨Participation in All-State auditions:ѠհԠՐ

¨Appropriate performances: ѐҀ唀

¨Equipment and maintenance:

¨Organizational skills:

¨Enrollment in program:Ր

¨Population of music organizations

Page 26

Models and Tools for Building Quality Music Programs

¨Appropriate use of student time:

¨Music director seen as team player within school community: ¨All qualified students have the opportunity for leadership: ¨Music program integrated into the campus community:

¨Parental involvement:

¨Community involvement:

¨Public response:

Administrative

Contributions

Page 27

District /Campus Level Program Expectations

Page 29

Campus Level - Elementary Music

Florida Elementary Music Educators Association

Curriculum

The repertoire

taught in music class and ensembles includes music representing diverse genres and styles from various periods and cultures.

Page 30

Models and Tools for Building Quality Music Programs

Scheduling

Page 31

Campus Level - Elementary Music

Staffing

Sample job

description for elementary music specialist

Qualifications include:

Page 32

Models and Tools for Building Quality Music Programs

Walk-through

Observations

Full Observations

Page 33

Campus Level - Elementary Music

Budget

Page 34

Models and Tools for Building Quality Music Programs

Recommended

activities for funding, and fund-raising

Appropriate/typical

activities in a school year

Page 35

Campus Level - Elementary Music

Equipment

Page 36

Models and Tools for Building Quality Music Programs

Materials

Facility

Page 37

Campus Level - Elementary Music

Page 39

Campus Level - Secondary Music

Florida Bandmasters Association, Florida Orchestra Association and

Florida Vocal Association

Curriculum

Scheduling

Staffing

Page 40

Models and Tools for Building Quality Music Programs

Class Sizes

Middle School Performance Ensembles # of Students

Beginning Band **25-40

Intermediate Band25-60

Advanced Band25-75

Beginning Chorus, Treble20-40

Specialty Chorus12-20

Intermediate Chorus, SA(C)20-50

Advanced Chorus, SA(B or C)20-60

Beginning Orchestra **20-40

Intermediate Orchestra20-50

Advanced Orchestra20-75

Middle School Development classes # of Students

General Music20-35

Guitar20-35

Keyboard15-30

High School Performance Ensembles # of Students

Band 120-60

Band 2,3,430-80

Stage Band15-25

Chorus20-60

Specialty Chorus12-20

Orchestra, all types20-60

Page 41

Campus Level - Secondary Music

○○○○○○○○○○○○○○○○○○○○○○○○High School Development Classes # of Students

Electronic Music15-30 *

Guitar20-35

Humanities20-35

Keyboard15-30 *

Theory15-30

Note: these sizes are general approximations only. Classes may exist with either fewer or greater numbers of students. For a complete list of DOE approved music classes, please see Appendix D. * the number of keyboards or electronic stations must determine the maximuım class size.

** Beginning Band/Orchestra should be 25-50% of the school"s first year ıpopulation. For instructional

purposes beginning instrumental music students should not be grouped in ıclasses larger than 40 students. Efforts should be made to assist elementary schools to coordiınate beginning music programs, and may be facilitated with a visit by performance groups to tıhe elementary schools.

Optimum Equipment

Band, Middle School

2 Piccolo ** (10), 4 Oboe (15), 4 Bassoon (15), 35 Bb Clarinet (1ı5), 4 Eb

Bass Clarinet (15), 2 Eb Contra-Alto clarinet (15), 2 Tenor Sax (15), 1 Baritone Sax (15), 35 Bb cornet (15), 4 F Horn (15), 4 F/Bb Doubleı Horn (15), 6 Euphonium (15), 15 Trombones (15), 2 Bass Trombone (15), 6 BBb Tuba (15), 3 Timpani-23 ,26 ,29 (20), 1 xylophone (20), 1 Orchestra Bells (20), 2 Snare Drum (10), 2 Tenor Drum (15), 1 Bass Drum (20), 2 pr Crash Cymbals (15), 2 Suspended Cymbal (15), 1 set Color Percussion-Bongos, Woodblock, Cowbell, Claves, Castanets, Maracas, Guiro, Temple Blocks, Triangles, (10), 1 Studio Upright (acoustic) Piano (30), 1 Stereo Record/ Playback System (10), 45 Music Stands (20), 1 Conductor Stand (20)ı, 1 Podium (20), 1 Conductor Chair (20), 6 PC/Mac Computer Station (5).ı ** the number in parenthesis is the life expectancy of the instrument.

Chorus, Middle and High School

1 Grand Piano (studio acoustic piano?) (30), choral risers (15), 1ı Stereo

Record/Playback System (10), 6 Music Stands (20), 1 Conductor Stand (20), 1 Conductor Chair (20), 6 PC/Mac Computer Station (5), 1 setı Color

Percussion + hand drum, sleigh bells

Page 42

Models and Tools for Building Quality Music Programs

○○○○○○○○○○○○○○○○○○○○○○○Orchestra, Middle School

20 3/4 size Violin (20), 20 4/4 size Violin (20), 2 14" Viola (20), 4 15" Viola

(20), 2 16" Viola (20), 4 3/4 size Cello (20), 4 4/4 size Cello (20), 4 ½ size Bass (20), 4 3/4 size Bass (20), 1 Studio Upright (acoustic) Pianoı (30), 1 Stereo Record/Playback System (10), 40 Music Stand (20), 8 Bass Stooıl (15), 1 Conductor Stand (20), 1 Podium (20), 1 Conductor Chair (20), 6 PC/

Mac Station (5), Percussion

Guitar

35 Acoustic Guitar (15), 35 Music Stand (20), 1 Stereo Record/Playbaıck

System (10), 1 Conductor Stand (20), 1 Conductor Chair (20), 2 PC/ıMac stations (5)

Keyboard

30 Electronic Keyboard (10), Computerize System for interconnecting

keyboards with teaching station (5)

Theory

1 Stereo Record/Playback System (10), 1 Studio Upright Piano (30), 1ı0 PC/

Mac Stations (15)

Band, High School

2 Piccolo (15), 1 Alto Flute (20), 1 Bass Flute (20), 4 Oboe (15)ı, 1 English

Horn (20), 4 Bassoon (15), 4 Bb Bass Clarinet (15), 2 Eb Contra-Alıto Clarinet (15), 1 Eb Contra-Bass Clarinet (15), 2 Tenor Sax (15), 1 Baritone Sax (15), 2 Flugelhorn (15), 2 F Horn (15), 6 F/Bb Double Horn (1ı5), 6 Euphonium (15), 6 BBb Tuba (15), 8 Marching F Horn (10), 6 Sousaphone (10), 4 Timpani (20), 1 Marimba (20), 1 Xylophone (20), 1 Tubular Chime (20), 1 Orchestra Bells (15), 2 Snare Drum (10), 2 Tenor Drum (10), 1 set TomTom (15), 2 pr Crash Cymbal (10), 2 Suspended Cymbal (10), 1 TamTam (15), 1 Trap Set (15), 1 set Color Percussion-Bongos, Timbales, Cowbells, Woodblocks, Temple Blocks, Claves, Maracas, Guiro, Triangles, Birdwhistle, Slidewhistle, Finger Cymbals (10), 4 Marching Snare (5)ı, 4 Marching Tenor (5), 5 Tuned Marching Bass Drum (5), 2 Marching Quads (5), 2 Marching Xylophone (5), 2 Glockenspiel (10), 1 Studio Uprigıht (acoustic) Piano (30), 60 Music Stand (20), 1 Conductor Stand (2ı0), 1 Podium (20), 1 Conductor Chair (20), 6 PC/Mac Computer Station (5),ı 1

Stereo Record/Playback System (10)

Orchestra, High School

20 15" Viola (20), 4 16" Viola (20), 8 4/4 Cello (20), 6 3/4 Bass (20), 6 Bass

Stool (15), 1 Studio Upright Piano (30), 60 Music Stand (20), 1 Cıonductor Stand (15), 1 Conductor Chair (15), 1 Podium (15), 1 Stereo Record/ Playback System (10), 6 PC/Mac Station (5), Percussion

Page 43

Campus Level - Secondary Music

Observations

Full Class

Observations

Planning:

Knowledge of Subject Matter:

Classroom Management:

The majority of

classroom instruction should be with students actually playing music

Page 44

Models and Tools for Building Quality Music Programs

Student/Teacher Interaction:

Technique of Instruction:

Assessment of Instruction:

Individual

performance tests should also play a significant role in assessment, as should group performances.

Page 45

Campus Level - Secondary Music

Appropriate/typical

activities in a school year

Budget monies for

texts should be appropriately allocated to the music program as well as other academic areas.

Performances

provide students with an opportunity to demonstrate what has been achieved as a result of classroom lessons and to learn the skills necessary for performance in a public setting.

Page 46

Models and Tools for Building Quality Music Programs

For any out-of-

school time required for performances, there should be sufficient advance planning between administrators and music teachers to allow all academic obligations to be met.

Page 47

Campus Level - Secondary Music

Recommended

activities for funding & fund-raising

Page 48

Models and Tools for Building Quality Music Programs

Staffing: Student/

Teacher ratio

Commercial/Private

Music Festivals vs.

State-Sanctioned

Music Festivals

Page 49

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