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Informationen zum Autor By Laura Sindberg Klappentext The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. Zusammenfassung The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity! passion! and vision. Inhaltsverzeichnis Foreward 13Janet R. BarrettPreface 17Acknowledgements 21Chapter 1-Looking in a CMP Classroom 1Class Begins 23Day One-Introducing Battalia 24Day Two-Sounds Different 26Day Three-Going Deeper 27Day Four-A Letter Home 29Day Five-Biber and the Baroque 31Day Six-Battalia as Satire? 32Reflecting on the Rehearsal Vignettes 33 Overview of the Book 35Going Further-Questions for Discussion 36Chapter 2-The CMP Model 37Introduction 37Music Selection 37Analysis 40Outcomes 43 Long-term Outcomes 45Transfer 46Strategies 47Assessment 50Music Selection, Revisited 53The CMP Teaching Plan 54Conclusion 55Going Further-Questions for Discussion 55Chapter 3-Looking at Shenandoah from a Choral and an Instrumental Perspective 57Why Shenandoah? One Piece, Two Classrooms, and Three Outcomes 57Shenandoah CMP Teaching Plan 36 Background 58 Analysis 59 Melody 60 Harmony 60 Form 62 Rhythm 64 Timbre 65 Texture 66 Expression 67 The Heart of Shenandoah 68Outcomes 69 Strategies 69Assessment 71Music Selection 72Conclusion 73Going Further-Questions for Discussion 74 Chapter 4-CMP and Teachers 75From the Teacher's Point of View 75Teacher Knowledge-An Overview 76 CMP Viewed Through a Lens of Teacher Knowledge 78 Repertoire Matters 78 Contextual Matters 79 A Fluid Model 81A Dynamic Model 83 The Different Phases of a Teaching Life and CMP-Stories from the Field 84CMP and Preservice Music Educators 84CMP and Novice Music Educators 86CMP and Veteran Music Educators 87CMP as a Model for Professional Development 88Intention 90 Conclusion 91Going Further-Questions for Discussion 92 Chapter 5-Enacting the Teaching Plan 93Taking Shenandoah into the Classroom 93Introducing the Piece 93Infusing the Teaching Plan into the Rehearsal-From Planning to Implementation 95 Connecting Warm-ups to the Repertoire 96The Rehearsal 96Contingencies 97Towards Musical Understanding 98CMP and Concert Programming 99 Excellence in Performance and Musical Understanding 100The Students' Experience as CMP is Implemented 102Intersections of the Points of the CMP Model-A Function of Enactment 105Transfer Revisited 106Conclusion 108Going Further-Questions for Discussion 109Chapter 6-CMP and the Music Curriculum 110Beyond the Classroom 110CMP as Philosophy 111CMP as Approach 112CMP as a Process 112The CMP Practice 113Considering the Affective Dimension 115CMP and the Music Curriculum 117Long-term Outcomes 117Standards and Standards-based Curriculum 119State and Local Curricula 121Curriculum and Music Selection 122CMP and Reform-minded Music Teaching 125Conclusion 128Going Further-Questions for Discussion 129Chapter 7-The Evolution of CMP 130The Need for Comprehensive Musicianship 130Significant Events that Informed the CMP Project 131Contemporary Music Project 132Manhattanville Music Curriculum Project 133Yale Seminar and Tanglewood Symposium 133A Vision Takes Shape 135The First Summer Institute and Development of a Two-year Pilot Project 137Outcome of the 1977 Institute: The CMP Model 139Conclusion 141Bibliography 144Appendices 152Appendix A: Battalia for Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel BlahnikA.1 Movement 1 152A.2 Movements 2, 3, 4 153A.3 Movements 5, 6, 7 154A.4 Movement 8 155Appendix B: CMP Teaching Plan Worksheets 156Appendix C: CMP Teaching Plan, Batta...
