Professional Literature

Coffin, L., Rafferty, S. M., Pitts, L. B., & Rogers, A. (1932). Study Helps for Developing "Discriminating
Listening" Music Supervisors' Journal, 18(3), 33. Retrieved from
http://www.jstor.org/stable/3384448
In Study Helps for Developing Discriminating Listening, the authors present background
information on the content of Haydns Surprise Symphony in the context of musical listening in the
classroom in order to help educators formulate their lesson plans and material. It begins with a quote by
Calvocoressi which reads, Music contains everything there is to know about music. Nothing but music
will teach you musics secrets (p. 33). It is in light of this that the authors provide a basic framework for
the content of the music presented.
The article begins with a discussion of style in different time periods. In the classical period, form
is to be most emphasized, such as in the theme and variations form of the Surprise Symphony. A focus on
balance, specificity of sections, and use of repetition and contrast is key. Rhythm is steady and
predictable, melody is easy to sing, harmony exists in diatonic and basic tonality, instrumentation is not
thick and heavy, moods are not to be pervasive in contrast to the romantic period (p. 33). It is also pointed
out that the historical context of kingdoms and court musicians should be mentioned. In light of this, one
of my mystery musician clues is about Haydn being a court musician and composing a great number of
works for the baryton, an early instrument of that time, because it was his princes favorite instrument and
the one he played.
After discussing the romantic, impressionistic, and modern styles, the article moves on to the
specific styles of certain composers. Haydn is not expanded upon, but is mentioned in comparison to
other composers. For example, his clock-like precision is contrasted with Beethovens sporadic accents
and rhythmic life. Also, Haydns tonality is more diatonic and presented with clarity by fewer instruments
in contrast with Beethovens dissonance and thick textures (p. 35). Reading about other composers that
my students are already familiar with helps shape my thoughts about comparing and contrasting during
my lessons.
Next, the authors focus on form. In the theme and variations section, they suggest playing the
theme first and having the students sing it before introducing its variations. This is doable with Haydn
because of his era. Also, I am hoping to focus on a different variation each lesson, so this form lends itself
to such expansion.

Lastly the article mentions types of songs and types of voices and then provides suggested lesson
plans where the Andante from Haydns Surprise Symphony is encouraged as a good listening exercise that
lends itself to discussing instrumentation and historical context among what has been expounded above.
Ending with an emphasis on teaching the instruments of the orchestra, the authors wrap up their
suggestions. Overall, this article provided some good considerations and a fair amount of context with
which to more discerningly view the content of the Surprise Symphony. I hope to incorporate some of
their suggestions and material in my lesson questions and clues for mystery musician.

Olson, R. G. (1967). Teaching Music Concepts by the Discovery Method. Music Educators Journal,
54(1), 51. Retrieved from http://www.jstor.org/stable/3391125
In this article for music educators, Olson proposes that the discovery process has been met with
much success in elementary curriculum and that its principles tie in quite effectively with the music
classroom as well. The discovery approach focuses on inquiry-based learning of student-propelled
problem solving and learning. When students encounter challenges,
According to Olson, The discovery method is an attempt to structure exploration in such a way that the
children are not only free to experiment, but are also deliberately led into a situation that requires them to
explore and find meaning for themselves (p. 51). Spontaneity is balanced with a focused environment in
order to promote student-directed learning.
This method also promotes authentic learning as it seeks to present students with problems and
processes that are real and must be solved in a way consistent with the area of study. Also, although prior
knowledge and experience may be helpful during the process, it is not necessary. Spitzer and Suchman,
whose methods in the area of discovery approach are considered typical, suggest that there are three
implications when applying this method to music: (a) that the problem to be solved should pertain to the
childs experience with a musical composition; (b) that the problem should be solved by a musical
process; and (c) that the discovery process, in relation to any piece of music, can be initiated without the
childs having acquired preparatory musical skill or knowledge (p. 52). It follows, then, that this is an
effective way to get students of a vast difference in background, as is often the case in music, to become
engaged with the initial material.
Music concepts are the proposed content that Olson feels fits best with this method, and he
mentions listening lessons as a pertinent avenue by which to teach these concepts. He outlines eight steps
that take place in conjunction with the discovery method, but provides the caveat that the order is flexible
and although 1-5 are quick to occur, 7-8 may be an extension of the lesson rather than included in the
original content. The steps are as follows:
Step one: The problem is presented.
Step two: The children search for an answer.
Step three: The children express their answers.
Step four: The process by which the answers were found is described.
Step five: The answers are compared and tested for verification.
Step six: New questions which arise are explored or retained as future problems.
Step seven: Later lesson are planned as a reinforcement by the presentation of the same concept
in other musical settings.

Step eight: Terms and symbols relating to music concepts are recorded as they are discovered and
organized for later systematic review (p. 52).
Olson fleshes out these steps and then provides scripted examples of how this process may work
in a lesson, one of them being a listening lesson on Andante from Surprise Symphony by Franz Joseph
Haydn. This is the content of my unit, and much of what Olson provides has informed my process,
primarily in terms of what questions to ask and how to guide the students discovery. The concepts that
Olson chooses to emphasize are in line with what I have as well: theme-and-variation form, parallel
minor, division of the beat into two and three, counter-melody, loud-soft, classical style (p. 127).
Introducing the theme at the beginning is essential, and guiding their listening by saying that it
will change, hearing the change, and then inquiring after what changed is a key progression. The teacher
uses solfege to introduce the theme, which I had not thought of and may now include. They give the
students tasks to do while listening, like raising their hand when they hear the minor variation. Discussing
the context of the piece (classical period) by comparing it to their previous knowledge is the approach
presented. While I will be doing this, this information will be conveyed through the mystery musician
segment of my lesson focusing on Haydn himself. Also, asking why the students think this piece is part of
the Surprise Symphony seems like an obvious question but can often just be lectured into the lesson
instead of letting the students make inferences and discuss the surprise chord and the composers
intention behind it.
The dialogue presented by Olson and the steps for student discovery have shaped my unit,
specifically in the question sections and in how to preemptively set up an environment of focused inquiry
based on how I introduce concepts or instruct the students concerning what to listen for. This was an
invaluable article.