ENTRY 4: Content Knowledge
The candidate understands the central concepts, tools of inquiry, and structures of the discipline(s) he or she teaches and creates content-specific learning and literacy experiences that make the discipline accessible and relevant to assure mastery of the content. (This entry may be up to 800 words).
The candidate should complete a reflective essay illustrating appropriate content knowledge utilized in teaching the content. Three artifacts are to be submitted and may include Unit Plans, Lesson Plans, Course Plans, Class Syllabi, Teacher Observations, and Teacher Evaluations.
The candidate should complete a reflective essay illustrating appropriate content knowledge utilized in teaching the content. Three artifacts are to be submitted and may include Unit Plans, Lesson Plans, Course Plans, Class Syllabi, Teacher Observations, and Teacher Evaluations.
It is of the utmost importance for music educators to have significant knowledge of their content and be equally as able to apply it. In the classroom setting, the educator must have classroom expectations and pedagogical practices established before any music making and music learning can occur. In my practicum observations, it has been clear that these expectations and routines are key to the structure of each classroom, and unique to the individual teachers. I am looking forward to having my own classroom and establishing these guidelines and classroom expectations on my own.
In order for any musical learning and musical development to take place, the educator must have extensive musical content knowledge. Regardless of grade level, all teachers must be knowledgeable and competent when it comes to the music they are teaching. In the elementary classroom, teachers need to have an understanding of and incorporate the music learning theories of Orff, Dalcroze, Kodaly, and World Music Pedagogy into the classroom. In using a wide variety of instructional strategies, educators are able to reach all students and differentiate instruction while still putting the focus on the concept as a whole.
Modeling is another effective strategy because it asks students to listen for certain elements in the sound and do something with them. For example, during a sixth-grade soprano sectional in my student teaching, the class was singing “Remember Me” from Coco. At the end of the piece, sopranos were getting up to the pith they needed to sing but it sounded very pinched and small. I was able to model the sound and vowel shape I wanted. Using an echo strategy, I was able to help the sopranos sing the note with a better vowel shape, dropped jaw, and lifted soft palate.
Many other tools can be useful as well. In both the secondary and elementary classrooms, solfege is an extremely useful tool. The Curwen hand signs and solfege syllables help elementary aged students to begin to associate scale degrees and intervals with the syllables. This provides a solid foundation for older students, who use solfege as a tool for sight reading and pitch identification.
Content knowledge in the classroom, speaking both in terms of pedagogy and in general musical knowledge, is vitally important to the success of the students. Knowledge of both of these types is so important, as one cannot succeed in the classroom without the other.
In order for any musical learning and musical development to take place, the educator must have extensive musical content knowledge. Regardless of grade level, all teachers must be knowledgeable and competent when it comes to the music they are teaching. In the elementary classroom, teachers need to have an understanding of and incorporate the music learning theories of Orff, Dalcroze, Kodaly, and World Music Pedagogy into the classroom. In using a wide variety of instructional strategies, educators are able to reach all students and differentiate instruction while still putting the focus on the concept as a whole.
Modeling is another effective strategy because it asks students to listen for certain elements in the sound and do something with them. For example, during a sixth-grade soprano sectional in my student teaching, the class was singing “Remember Me” from Coco. At the end of the piece, sopranos were getting up to the pith they needed to sing but it sounded very pinched and small. I was able to model the sound and vowel shape I wanted. Using an echo strategy, I was able to help the sopranos sing the note with a better vowel shape, dropped jaw, and lifted soft palate.
Many other tools can be useful as well. In both the secondary and elementary classrooms, solfege is an extremely useful tool. The Curwen hand signs and solfege syllables help elementary aged students to begin to associate scale degrees and intervals with the syllables. This provides a solid foundation for older students, who use solfege as a tool for sight reading and pitch identification.
Content knowledge in the classroom, speaking both in terms of pedagogy and in general musical knowledge, is vitally important to the success of the students. Knowledge of both of these types is so important, as one cannot succeed in the classroom without the other.
ARTIFACT 1: Secondary Unit Plan
A unit plan that displays my own use of my content knowledge in the secondary setting.
ARTIFACT 2: Full Year Curriculum
A curriculum written from scratch, using my own content knowledge and music selection skillset.
ARTIFACT 3: Middle School Choral Lesson Plan
Application of conent knowledge in the middle school choral setting.