Curriculum Writing as a New Music Teacher

Here I am, back at it after a short hiatus.  This summer has been stocked full of portfolio and website updating, applications, and interviews.  After all this, finally, I have my own music program!  Am I excited?  Yes.  Am I nervous?  Absolutely.  But not for the reasons you may think.  I am fully aware that as a first-year teacher I am bound to make mistakes.  I am never afraid to ask questions or request help, and am always open to constructive criticism and suggestions.  These things make me undoubtedly more confident going into this first year than I would be otherwise.  I teach what I love, I love what I teach, and I know my material.  The big thing that I'm really nervous about?  Curriculum.

I am not the type of music teacher who follows every pre-planned outline in the teacher's edition of grade-level music textbooks, sings a different song every day, and expects that when I get through the book the students will be satisfied and full of knowledge.  I believe in a much more integrated approach.  I have a "daily routine" that I do with all of my students at the elementary level that continually reinforces and enhances certain concepts (rhythm, body percussion, solfege, use of languages, singing of folk songs and rounds, and production of a good vocal tone), I have repertoire that needs to be taught and perfected for concerts, I have music theory and music history units, I have songs from the books and my own background that I want the students to know, I have dances to teach, listening activities to implement, composition and improvisation exercises, instrumental techniques, voice lesson instruction and more ... all that I really want to hit on with these kids.

I am fully aware that until I have had my first kindergarten class leave the school I'm at, it isn't truly "my" program.  I may be playing catch-up for a few years, or even slow-down.  These aren't things I'm worried about.  I overly plan everything I do and thus can be very flexible because I'm always prepared.  I just wish that my heart understood what my head wants it to- that I can't teach them everything.  I want to impart everything fun and useful that I know onto these student's minds, but I simply can't.

That being said, I'm struggling slightly with how to divide up this curriculum.  I have X theory units that I want students to have covered before they graduate, X history units, X folk songs in their repertoire, and X pieces of vocal pedagogy knowledge (among other things, of course).  Do I spend time on each of these things with each grade level each year and add-on more the next year?  Or do I have certain units only with certain grade levels?  Obviously I am aware of the benefits and shortcomings of each method.  My main goal is to create a program of cumulative knowledge that students actually take into middle school with them, instead of unmemorable units they did 5 years ago that they won't remember.

Does anyone have any thoughts on this matter?  Remember, I am not totally lost, but could benefit from some personal experiences.  Comment away!  :)

How do we reach younger students with Classical Music?

As a music educator this is a question that one must constantly come up with ways to answer.  In the past I've liked having students close their eyes and sway as they listened to a classical piece, then asked them after for some "mood words" and what kind of story they saw in their head as they listened.  We would then listen to some of the piece again and they would take turns picking out elements of the piece (such as timbre, tempo, dynamics, pitch, rhythm, melody) and explaining why the composer might have chosen to use their chosen element.  Later we would talk about the composer and the circumstances really surrounding the piece we studied (title, intended affect, etc.).  This approach gives students the freedom to form their own ideas, while still exposing them to the classics and teaching them about the composer (whether they realize it or not!).  Just telling a group of young students "Now we are going to listen to and learn about classical music!" might put some of them off.

I'd like to share with you a video that I recently stumbled upon that involves setting students' familiar lyrics to the melody of some very famous and important classical pieces by prominent composers.  This is a method that I hadn't yet thought of, and the kids in the video are pretty comical.  Please feel free to discuss, and enjoy!

"Una voce poco fa"

Today after a long absence from blogging, I want to share this video with you.  In transitioning between fachs and really accepting and loving the changes that have happened in my voice, I've been listening to singers that I previously hadn't really explored.  This video is refreshing for me, because the aria is being sung (as it was originally intended) by a mezzo.  Also, this particular singer, Joyce DiDonato not only originated the role of Meg in Mark Adamo's opera Little Women, but is a good friend of my voice teacher this past year, baritone Weston Hurt.  Small world, huh? :)  Enjoy!

 

Music Lessons/Tutoring

Hello all!

This post is dedicated to promoting my new profile on WyzAnt.  This is a tutoring, teaching, and coaching site which organizes qualified professionals as "independent contractors".  They require you to complete certifications in the areas that you seek to tutor or teach in, and have you get a background check so that possible students and their guardians know that you're qualified.  I personally have 11 subjects listed that I am willing to tutor for (including voice, music theory, reading, and writing).  If you're in the Central Wisconsin area and are looking for a tutor, contact me via my profile (I'm also willing to do Skype lessons).  If you're looking for a way to market yourself as a tutor, I highly recommend this site.  Take a look!

   
   

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Classical Singers Forum

I just wanted to let everybody know about a very extensive forum called  The New Forum for Classical Singers.  This forum can be very interesting and helpful if you ever have voice-related questions.  I am not saying to take the information presented here as 100% accurate and true, but sometimes it is good to see others' opinions on topics that you are considering.  I am a believer in having resources and since nowadays we all seem to turn to the internet to comfort ourselves, I thought I'd share.  Enjoy! :)

Kiss Me, Kate

For the last concert cycle of the semester our Concert Choir is doing selections from the screen and stage.  One of the numbers we are performing is "Another Openin', Another Show" from Cole Porter's "Kiss Me, Kate".  For those of you who aren't familiar, this is a musical adaptation of Shakespeare's "Taming of the Shrew".  This musical is quite comical, and is one I'd definitely suggest renting. I actually used "So In Love" from this same show as an audition piece to my undergrad voice program.  That being said, I am a huge fan of classic musical theatre and my viewing suggestions reflect that.

This 1953 film stars Howard Keel and Kathryn Grayson.  Here is the original movie trailer.  Take a look, and enjoy!

Zwischen-fach

This last year has been a momentous journey in terms of my vocal development.  I just finished singing the role of the Countess in Mozart's Figaro, and am right now preparing "Things Change, Jo" from Mark Adamo's Little Women.  Confused?  So was I.

If you aren't familiar, the role of the Countess is lyric soprano, and the role of Meg (Little Women) is mezzo-soprano.  Of course there can be crossover when choosing repertoire; sing what suits your voice.  But how are you supposed to choose repertoire when you aren't quite sure where you fit?

I happen to have a weightier tone than some of my soprano colleagues, have both a high and a solid low range, but have a difficult time singing those higher notes on lower dynamics.  I have found that in singing lower into my register, my higher range has also extended and improved.  This is not to say that I am now a mezzo because I have that strength in my low range, but I am finding that I am not only able to sing a variety of repertoire, but am comfortable doing it.  I don't quite fit cleanly into either the soprano or the mezzo category. 

The term that is used to describe that exact situation is Zwischen, and in knowing that I am comforted that there are other people in the same boat.  Sometimes singing lower soprano repertoire and high mezzo repertoire in combination can be exactly what is right for your voice.  I just wanted to share this little piece of enlightenment as today it gave me a bit of perspective into my own situation.  Don't put yourself in a box- sing what feels good and helps you to improve as an individual singer.