Score study

Score study is one of the most important preparatory exercises that instrumental ensemble teachers can (and should) engage in prior to teaching a particular piece. The systematic study of the score using the Macro-Micro-Macro technique, as suggested Feldman and Contzius, will make the piece meaningful for both teacher and student. This systematic score study will help students make relevant connections that go beyond the band or orchestra room.

In the first "Macro" phase, the primary goal is to understand the major melodic, harmonic, textural, and formal components of any given piece. If a teacher takes the time to do this and exposes the students to the knowledge he or she has acquired (in the form of a handout, for example), students will be more prepared to recognize the "bigger picture" of the composer's intent. The students will be able to look beyond their individual notes and rhythms (in isolation) to realize the cohesive aspects that shape a musical work. Giving a historical perspective by using sites like Hyper History can also help shape a student musician's initial idea of the piece. A story or short historical biography, in the form of optional reading, for example, might also be helpful at this stage.

In the "Micro" phase, the piece is analyzed on every level. Chordal analysis is important, as it will illuminate the composer's intent, even if the exercise seems pedantic and time-consuming, given the many responsibilities that a music teacher will undertakes. Knowing the harmonic score in this way will help the teacher express the essential aspects of tension and release that are inherent in almost all musical works. If the teacher knows which instruments have the important notes, he or she will be able to help the students hear the tension and resolution of important chords. Knowing the underlying harmonic structure of a work will also help the teacher address intonation problems.

In the third and final phase, the "Macro-Redux" phase, the piece is interpreted based on the first two phases of score study. In this phase, the teacher makes interpretive decisions that are relayed by the teacher's body in the physical act of conducting. In my limited experience, using visual reminders, such as highlighted passages and short written words, help me put together information for the performers. I think that if students have an accurate idea of the composer's intent, they can help the conductor make interpretive decisions. This gives students a stake in what they are doing with music, and can help make higher level connections across many areas.

Teaching strategies

It is essential for teachers of all disciplines to have a clear understanding of how to write outcomes and implement strategies in the classroom to reach all learners. I am a kinesthetic and a visual learner, so I have a tendency to base my learning activities around kinesthetic and visual experiences. In recent teaching experiences, I have found myself overly reliant on things like written lesson plans. I am sure that this reliance will go away over time as I get more comfortable in the classroom, but, for now, at least I know my bias. As a student, I respond to kinesthetic experiences, so I have my private students "do" and "feel" things with their bodies. I know that I am not an auditory learner, so, as a teacher, I need to remember to include auditory strategies in my student-centered approaches.

In a student centered approach, students come first. Being student centered means responding to the needs of the students, even in front of the music itself. I really like this idea, as it puts students in charge of their own education. If the students feel that they have a part of the creative process of music making, music becomes less of a chore and more of an art. As a conservatory student, I often felt like I was a "tool" to be used for the execution of technique. When directors told me what to do, my own creativity was stifled, especially in an ensemble setting. If everyone feels like they have a stake in an ensemble, it will provide even more opportunities for social, academic, and personal growth.

Involving students in a meaningful way inside rehearsals may help students develop transfer abilities into other areas. With teacher guidance, students will discover the many ways that music is a part of other areas of culture, science, and math. Teachers can inspire students to explore other areas by providing context for the students in the form of handouts which describe cultural perspectives on the piece, composer, and era.

Writing effective teaching strategies can help make learning meaningful for the students. Implementing the strategies can be gratifying for the teacher, and students will pick up on the excitement that this process generates. I think that teachers owe it to their students to implement creative teaching strategies that are based in meaningful learning outcomes. Helping students learn in this way will contribute to true understanding, which will lead to transfer into both music and other skill areas.