Scs Music Handbook

8/11/2019 Scs Music Handbook

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Shelby County

SchoolsMusic Handbook

John Aitken, SuperintendentMichael Lowe, Executive Director of Curriculum & Instruction

Margaret Gilmore, K-12 Instructional Supervisor & Fine Arts SupervisorRachel Cooper, Lead Music Teacher



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CLASSROOM MANAGEMENT and PROCEDURES

Characterist ics of a well-managed class:

1. Students are deeply involved with their work.

2. Students know what is expected of them and are generally

successful.

3. There is little wasted time, confusion, or disruption.

4. The climate of the classroom is work-oriented, but pleasant and

relaxed.

What is classroom management?

“The things a teacher does to organize students, time, and materials so

that instruction and student learning can take place.” Harry Wong, The First

Days of School-How to Be An Effective Teacher, p. 84

The most important element of good classroom management: A

w e l l o r g a n i z e d l e s s o n w i t h m e a n i n g f u l a c t i v i t i e s .

MOTIVATE YOUR STUDENTS

Through…A well-organized lesson containing meaningful

act iv i t ies through which students are act ively involved.

BULLETIN BOARDS:

1. Theme for the week, month, 9 weeks, etc.



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2. Next week’s activities

3. Pictures of students engaged in activities

4. Student and/or “Class of the Week”

5. Behavior charts which show class behavior

Positive verbal reinforcement, private teacher-to-students comments regarding

appropriate and/or inappropriate behavior, students earn the opportunity to

choose an activity, cooperative learning groups, performances for peers, other

students, and/or parents, awards, certificates, ribbons, treats, games, student-

led activities, positive notes and phone calls to parents.

DAY-TO-DAY ROUTINES

GOAL: Students will enter the room quietly, take their seats, have the

necessary supplies, and be eager to work.

HOW?

1. Greet the students as they arrive. Be at the door. Call the students

by name.

2. Assign seats. This establishes the teacher as the one “in charge” and

eliminates unnecessary confusion. Change seating when needed to

accommodate planned activities or to encourage appropriate behavior.

3. Establish an opening routine that is easily varied but contains

common elements, which provide structure and predictability.



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4. Establish routines and procedures for as many aspects of the class as

possible i.e. distributing and collecting instruments, supplies, books, papers,

etc., monitoring student’s involvement, encouraging student participation,

entering and exiting the room.4. Have an agenda written on the board.

5. Establish a non-verbal signal to let the students know you are ready

to begin.

TIPS FOR CLASSROOM MANAGEMENT

Why You Shouldn’t Shush Your Students and What To Do InsteadBy: Michael Linsin of smartclassroommanagement.com

When you hear a teacher shushing students, it’s a good sign things aren’tgoing well.Behind tight shoulders, tired eyes, and index finger poised over puckered lips,

you’ll find a teacher struggling to keep his or her head above water. Shushingstudents to quiet them down is associated with shaky-at-best classroommanagement, chronically distracted students, and a mountain of stress.Because it becomes progressively less effective the more you do it, shushingpromises more and more frustration as the school year rolls on. Though notas self-sabotaging as yelling or scolding, shushing similarly makes teachers lesslikeable with students. It also makes you look like you don’t know what

you’re doing. Follow the steps below and you’ll never feel the need to shush,

hush, or plead for silence again.

1. Decide Before starting any activity, decide the voice level you want from yourstudents. It’s important you consider this ahead of time. After all, if you don’tknow what you want, your students won’t know either.2. Model



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Gather your students around you and model precisely the voice level youexpect. Make your modeling exercise as detailed and realistic as you can.

Your students need to see and experience what you want before it makessense to them.3. Pract ice

Ask your students to turn to the student(s) next to them and discuss theirfavorite movie or other topic using the voice level you modeled. Have thempractice and prove to you they understand what you expect.4. Observe Good teachers observe a lot to make sure their expectations are being met.Start your activity and monitor their voice level closely—especially within thefirst several minutes.5. Stop If at any time their voice level gets louder than your expectation, instead of

shushing your students, stop the activity by signaling for their attention. Dothis whenever they exceed the level you’ve asked for.6. Remind

After getting your students attention, remind them what the voice levelexpectation is and put them on notice that if anyone goes beyond it, there willbe a consequence—as promised by your classroom management plan.

7. Enforce Listening and following directions should be one of your classroom rules. As

such, if any single student is unable or unwilling to keep his or her voice levelas modeled and practiced, then enforce a consequence.Note: With group discussions, voice levels tend to increase as studentsattempt to talk over the other voices in the room. If it becomes loud enoughto distract individual groups, simply stop them, ask them to take a few deepbreaths, and then restart the activity. Do not, however, enforce a consequence.8. Standardize Consider standardizing the speaking levels in your classroom. For example:

! Level 0: No Talking! Level 1: Whispering! Level 2: Small Group Discussion! Level 3: Whole Class Sharing

Create a small poster for reference and before every activity say simply, “Forthe assembly today, we’re at level zero.”Effect ive At Any Grade



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It may take a week or two for your students to get the hang of it. But whenthey do, controlling noise and voice levels in your classroom is easy andbecomes something you never really have to think about. Setting voice levelexpectations—for partner sharing, group work, browsing in the library, or just a

walk across campus—through the super-effective one-two combination ofdetailed modeling and student practice works at any grade level. And it’s somuch more effective than having no clear picture of what you want, noexpectation to model for your students, and no sound strategy to modulate the

voices in your classroom…other than a great big ugly, “Shhhh!”



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TIMS Teaching Model

What is the lesson object ive?(What will the students learn and/or demonstrate?)

Standards addressed and expectations of students:

Anticipatory Set :(“The Hook” –something to excite the student about the subjectmatter)

Teaching/Instruct ional Process:

(Input, modeling, and checking for understanding)

Guide pract ice and monitor ing:(Monitor orally individually or together; monitor via writtenlanguage or via a task performance; monitor via group sampling or

visual answers, e.g., “thumbs”—you monitor to know if students arelearning and lesson objectives are being met)

Independent pract ice:(This can be a question or problem for students to ponder on theirown or in small groups of pairs. The aim is to reinforce and extendthe learning beyond the lesson and ideally into real world settings.)



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Best Pract ices of Music Education

Teacher makes students aware of the standards related to Music Education.

Crit ical Elements:

Active Participation of all Students• Students are active participants of all activities.• Students are experiencing enjoyable activities.• Students are encouraged to participate in and attend music

performances outside of school.• Students get to experience a wide variety of music from all

genres.• Students are encouraged and receive positive reinforcement.

Skill Development• Students learn self-discipline, creativity, cooperation, teamwork,

responsibility, and develop self-confidence as a result of workingon musical skills.

• Instruction of skills is based on defined standards.• Students master musical skills, which will provide knowledge and

experiences to promote a lifetime of musical enjoyment.

Performance• Students have the opportunity to perform alone and with others.• Students are well rehearsed and prepared for their

performances.• Students’ stage presence, appearance, and concert etiquette are

of the highest quality.

Assessment• Assessment is based on defined standards.• A variety of different assessment practices are used to assess and

therefore meet the needs of all students.• A combination of formative and summative assessment is used.

INAPPROPRIATE CONDUCT



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Date of Call Person Called/Student’s Name Purpose of Call

INSTRUMENTS FOR GENERAL MUSIC



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Other: timpani, resonator bells, tone chimes, recorders (each student buys

their own)

TIPS FOR TEACHING MUSIC ON ACART

Excepts adapted from ‘Teaching From An Art Cart”



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by Ann Cappetta, An Coordinator/Teacher, North Haven Middle School,North Haven, Connecticut

Ideally, music instruction should take place in a well-equipped musicroom. However, this is not always the case. In many schools throughoutthe country, art and music specialists have had their programs relegated toa cart due to a resurgence in student population and lack of building space.

An itinerant music or art teacher who teaches in several classrooms needstime to unload one stack of materials and load others onto a cart or into acarton, as well as time to briefly prepare the next lesson. If the teachermust travel to several classrooms, these should not be scheduledconsecutively in opposite ends of a building. (1992)

* Work with your principal to create a realistic schedule that builds in

5 minutes traveling and set-up time to make a smoother transition fromclass to class.* Always carry your class schedule and school floor plan or map.* Carry your own office supplies, e.g., stapler, clips, tape, etc.* Arrange with the classroom teacher for an area where you can have roomfor any movement activities.* Use bungi cords on side of the cart to hold smaller unpitched rhythminstruments.* Place the music room rules on a chart clipped to the front of the cart.

* Try to develop a curriculum that parallels the facilities and the schedule.* The principal, custodian, and classroom teachers can be your bestadvocates.* Make a point of returning the room to the way you found it.* Special attention needs to be directed to school and state policy regardingstudents' assistance in moving large equipment such as the cart or anyaudio/visual equipment.* A room or storage room is necessary to house equipment, materials, tools,etc. It should be centrally located and accessible only to the music specialist.The room needs sturdy shelving of various depths is needed for storage ofinstruments, books, or other resources.* Wear comfortable clothes and shoes and keep smiling.* Teaching from a cart can be a challenge, but it can also be apositive experience, it all depends upon your vision. An affirmativeattitude coupled with professionalism will reap endless rewards and asatisfying career.



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References:Susan Costello, "Art a la Carte". School Arts, September, 1988. Audrey

Worman, "Art from a Rolling Cart", Arts and Activities, November, 1992.Thanks to the following individuals for their contributions: BobbiBowman, Felicia Geraldi, Christine Laue. Bob Looney, Principal, LaurelPlains Elementary School, New York City, New York, and Elissa Oken.

MUSIC EDUCATION RESOURCES, MATERIALS,AND COMMUNITY RESOURCES

NATIONAL MUSIC STANDARDS



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Resources:• Spotlight on Music textbook series (K-8)

McGraw-Hill Publisher• Garage Band Software (on all Shelby County computers)• Music Ace Computer Software or similar software which allows

composition• Websites with composing activities (see Favorite Websites list, page )• www.creatingmusic.com/ • www.hickorytech.net/~cshirk/k-12music/ • www.flmusiced.org/dnn/FSMA/ModelsToolsforQualityMusicPrograms

/CampusLevelElementaryMusic.aspx •

5.0 READING AND NOTATING MUSIC .

Resources:• Spotlight on Music textbook series (K-8)

McGraw-Hill• Garage Band (on all Shelby County computers)•

Music Ace Computer Software• Websites with note reading activities (see favorite websites list)• Masterworks Press (sight singing resources grades 6-12)• Hall Leonard (sight singing resources grades 6-12)

halleonard.com• Progressive Sight-Singing (grades K-12), book by Carol Krueger

Oxford University Presshttp://www.oup.com/us/krueger

6.0 LISTENING TO, ANALYZING, AND DESCRIBINGMUSIC.

Resources:• Spotlight on Music text book series, K-8

McGraw-Hill Publisher• DVD’s of program music (examples: Peter and the Wolf, Sorcerer’s

Apprentice, Carnival of the Animals)



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Alfred Publishing, alfred.com• The Composer Series (DVD set (6) available through most music

classroom catalogues)

Integration Resources

COMMUNITY RESOURCES:University of Memphis Music Education, Vocal, Choral, or InstrumentalDepartmentsOpera Memphis, Educational Division, Center for Southern Folklore, StaxMuseum, Memphis Bluegrass Association, International Bluegrass

Association, Memphis Ballet, Navy Band Midsouth (Naval Air Station,Memphis)

BOOKS:Transforming Music Education, by Estelle R. JorgensenPraxial Music Education: Reflections and Dialogues, by David J. Elliot

A History of Music Education, by Michael L. Mark, Charles L. Gary, MENC,and The National Association for Music EducationMusic Matter: A New Philosophy of Music Education, by David J. ElliotThe Ultimate Music Substitute Teacher’s Music Resource Guide, by GoeffLowrance, Barbara Meeks, Robin Virzi, Janet Vogt

The Practice of Assessment in Music Education, by Timothy BrophyGENERAL:GIA Publications, giamusic.com (good source of music education resources)

Great Music Websi tes

www.musictechteacher.com

http://exchange.smarttech.com/search.html?sbj=mu (excellent site forSmartBoard Music Lessons (K –12)

musicexpressmagazine.com/teacherscorner/worksheets.jsp (good for subs)

musicexpressmagazine.com/teacherscorner/singOnSight.jsp



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http://www.musick8.com/html/ideabank.php

http://pbskids.org/jazz/meet_a_musician_flash.html

http://www.classicsforkids.com/

http://www.dsokids.com/

mrsjonesroom.com/songs/alphlist.html

musicbulletinboards.net/downloadspage.htm

dsokids.com

kellyskindergarten.com/PowerPoints/powerpoints.htm

www.nyphilkids.org

www. sfskids.org

SonnyRadio.com (look up Louis Armstrong and Danny Kaye – scatting)

Naxosmusiclibrary.com

Allmusic.com

http://www.grooveshark.com (good for middle school/high school)

classical.net

makeuseof.com/tag/10-interactive-learning-websites-fun-game-music/

brainpop.com, brainpopjr.com (BrainPOP and BrainPOP jr have great videos and quizzes on arts and music as well as other disciplines. Theusername and password to login is shelbyc)

spaceplace.nasa.gov/en/kids/ulysses/



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ASSESSMENT/GRADING PROCEDURE

Academic grades should be based on effort, participation, and degree

of mastery of the skills taught. Formative assessment tools include visual and

aural observation of students, in addition to written assignments. Summative

assessments for the arts are forthcoming in the State of Tennessee.



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As stated in the Shelby County Grading Procedures, music, art and

physical education should record a minimum of one grade per week. Fifty

percent of the required grades must be earned and recorded by the interim of

the nine-week term.Specific grading guidelines for conduct are site-based. Check with your

administrator for the specifics.

ASSESSMENT RESOURCES

Web sites

NAEP- http://nces.ed.gov/nationsreportcard/arts/

Sample Assessments for Music (Alaska)-http://www.eed.state.ak.us/tls/frameworks/arts/6assess3.htm#singing

Washington State Arts Assessment-http://www.k12.wa.us/assessment/WASL/Arts/



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South Carolina Arts Assessment- http://scaap.ed.sc.edu/

Kennedy ArtsEDGE (wonderful site)- http://artsedge.kennedy-center.org/

Assessment in Music Education (MENC Position Statement)-http://www.menc.org/about/view/assessment-in-music-education

Books and Journal Articles

Angelo, T. A. and Cross, K.P. (1993). Classroom Assessment Techniques: A

Handbook for

College Teachers. San Francisco: Jossey-Bass Publishers.

Brophy, T. S. (2000). Assessing the Developing Child Musician: A Guide

for General

Music Teachers. Chicago: GIA Publications.

Brown, J. K. (2008). Student-Centered Instruction: Involving Children in

Their Own Education.

Music Educators Journal, 94, 30-35.

Lavender, C. (2000). The Ultimate Music Assessment and Evaluation Kit.

Milwaukee, WI:

Hal Leonard.

Sanyer, L. (2001). Students Can…Assess. In Spotlight on Assessment in

Music Education.

Reston, VA: MENC.



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The proceedings of the 2007 and 2009 International Symposium on Assessment in Music Education are also wonderful resources (the 2009proceedings should be available in early 2010). They are available at the GIAPublications web site:http://www.giamusic.com

SUBSTITUTE TEACHER RESOURCES

Substitute Folder should include:

! Current Schedule

! Class Rolls (or where to find them)

! Discipline Plan

! Morning and Afternoon Duties



Shelby County Teachers are required to have 18 hours of Professional

Development per year. There are two District Learning Days built into the

schedule for the year. For the 2011-2012 school year, these days will be

September 16 and February 20. You will be required to attend and will earn6 hours for each day, for a total of 12 of your 18 hours. Of the remaining

required 6 hours, 3 hours must be hours that are offered at your school. The

remaining 3 can be anything you wish to take which could include at your

school, at another Shelby County School, or PD360. Continue to check on

My Learning Plan for updates on PD opportunities. There are other PD

opportunities that will be offered throughout the year, and you are

encouraged to take advantage of these workshops and clinics.

My Learning Plan is the online site that you will use to register for the PD

hours you take, and the hours you complete will be listed on your online

transcript. You will have to print out your transcript at the end of each school

year in May (date will be announced), and give to your principal. The

computer specialist can guide you through the process of how to matriculate

the My Learning Plan process and how to sign up.

To log on:

http://www.mylearningplan.com/Default.asp

To log in:

User name = full SCS email address (example: [email protected])

Password = last four digits of your social security number.

Scs Music Handbook

Documents

Transcript of Scs Music Handbook