Through learning different genres and forms of music, students learn the diverse

cultures that celebrated/performed it, the history behind the compositions, the
languages used in their sheet music; not to mention, the art of playing in an e
nsemble gives students an important lesson about interpersonal relations: the va
lue of working together in a fair and cooperative environment
My philosophy of teaching is to facilitate learning through active student parti
cipation and interaction with the ensemble. My classroom will be a safe learning
environment focused on student improvement and musical progression. Using cross
-curriculur teaching to relate the repertoire to the daily lives of students I b
elieve will help with broadening their knowledge about different subjects mentio
ned in their classes. Multicultural teaching is also an important component to m
y teaching the uses for music within different areas of the world. As an instrum
ental teacher, I emphasize hard work and practice as part of my expectations of
each student. Much like in sports, music is practiced in rehearsals and individu
ally to gain the skills necessary for the concert. Having high expectations for
student improvement will help with strengthening the orchestra both in concerts
and with the recruiting process.
It is my belief that participation in band has the ability to challenge students
in multiple areas; intellectually, physically, emotionally, and socially. As st
udents grow as a musicians, they will also grow into young adults that have lear
ned how to set personal goals, work together for a shared purpose, and value the
contributions of each individual in the band. It is my goal to provide the stud
ents with a worthy use of their leisure time, an emotional outlet for expression
, and a worthy social experience.
Objectives
By the end of the school year, each Waddell Academy Middle School band member wi
ll be able to:
Demonstrate the proper assembly and maintenance techniques of an instrument.
Demonstrate the proper posture for playing an instrument.
Demonstrate the proper embouchure for playing his or her specific instrument.
Demonstrate the correct method of breathing to play a wind instrument.
Demonstrate the use of proper hand position on his or her specific instrument.
Demonstrate the ability to produce a good characteristic tone on his or her spec
ific instrument.
Identify and demonstrate proper use of various articulation markings.
Demonstrate a working knowledge of rhythms and rhythmic structure.
Identify and define various musical terminologies.
Demonstrate an enhancement in discriminatory listening skills.
Demonstrate the ability to interact responsibly and appropriately within a large
group.
Demonstrate characteristics of good self-discipline as it relates to classroom s
tructure and practice habits.
Demonstrate the ability to tune his or her specific instrument by use of electro
nic tuner and by aural recognition.
Demonstrate the physical coordination necessary to facilitate technical passages
of music.
Perform a solo (accompanied or otherwise) in front of a group of people.
Demonstrate the ability to critically evaluate musical performances and to expre
ss thoughts and feelings about those performances in a variety of contexts.
Identify musical intervals and unisons and demonstrate the ability to tune their
specific instrument to these intervals based on a set of criteria.
Demonstrate the appropriate strength, endurance, stamina, and coordination as it
relates to an instrumentalist at the middle school level.
Member Characteristics
I am a valued and cherished member of this organization because of the unique an

d special qualities that only I possess.

Each day I will choose to use my talents, abilities, and character qualities to
enhance my own growth and to nurture the growth of my fellow classmates.
In every moment I will choose to behave in a manner that is consistent with my c
haracter.
In every situation I have the ability to choose my own response. My response wil
l either conform to or contradict the internal set of values which governs my li
fe.
I have the power to create my own environment by the choices I make in each mome
nt. I am not a victim of anyone or anything. I do exactly what I want to do -- n
o more, no less.
Rehearsal Etiquette
The quality of work that a performing ensemble accomplishes in its rehearsal is
the single most important factor in the overall success of the group. Efficient
rehearsals produce SUPERIOR bands. There are certain factors that will contribut
e to good rehearsals on a daily basis.
Be ready! Always be in the right place, at the right time, with the right equipm
ent and the right attitude. Be prepared to move quickly and quietly between task
s.
Be prompt! All posted times are important. Instruction begins within 2-mins of t
he bell. Concerts should always begin on time. Therefore, you should be early. I
f it is stated to be at a concert by a certain time, please comply.
Be disciplined! I am a firm believer that the only type of discipline that is tr
uly effective is self-discipline.
Be patient! Raise your hand if you have a question. Wait your turn and listen to
the progress taking place.
La tercera etapa, entre los 6-12 aos, es la del pensamiento de las Operaciones Co
ncretas, cuando el nio puede simbolizar operaciones (es decir, puede realizar una
imagen mental concreta) sin tenerlo que hacer fsicamente. El nio ha desarrollado
imgenes realistas internas del mundo que le rodea, de modo que a los 7-8 aos de ed
ad un modo concreto de representacin visual se ha convertido en la forma predomin
ante de pensar y recordar la experiencia, junto a representaciones kinestsicas y
auditivas. Ahora aprende a clasificar y relacionar, y medir distancias y cantida
des, por lo tanto realiza un pensamiento constructivo. El contacto con el medio
ambiente se mantiene durante esas operaciones mentales, ya que mediante una inve
rsin es posible volver a la forma percibida un nio va a construir y derribar las co
nstrucciones del Lego . Las operaciones concretas son la base sobre la cual se pue
den construir operaciones intelectuales ms abstractas. Los nios pequeos y aquellos
limitados a las operaciones concretas tienden a centrar la atencin en slo uno de l
os aspectos ms destacados de un objeto, situacin o problema a la vez, excluyendo o
tros aspectos potencialmente relevantes. Piaget le llam a esta tendencia "centrac
in".
Sin embargo, muy pronto, el mundo del nio se ampla an ms, hasta que incluye informac
in que no es fcil de representar mediante imgenes. (Trate de imaginar un concepto c
omo "libertad" o "equidad"). Cuando esto sucede, el nio se vuelve ms propenso a ut
ilizar la representacin simblica, incluyendo el habla interna, usando palabras com
o smbolos formalizados que "representan" conceptos. Este es el comienzo de la eta
pa conceptual auditiva digital de desarrollo. En este punto las decisiones propi
as de los nios y las intenciones pueden ser expresadas como un dilogo interno, mie
ntras que antes eran intenciones"sentidas". Este es el comienzo de la capacidad
conceptual cognitiva, que se desarrolla por medio de una educacin eficaz.
DESARROLLO COGNITIVO DESDE LOS 7 aos
En este perodo el pensamiento es lgico, y la percepcin de la realidad es objetiva,
por ello es concreto. Puede fijar su atencin en aspectos de la realidad que son p

redecibles, lo que le ofrece estabilidad, aumentando su capacidad de aprender. P

odr fijar su atencin para obtener informacin, descubrir y conocer el mundo que le r
odea.
La relacin que establece con su entorno y el grado de madurez alcanzado le permit
en ampliacin del sentido de s mismo como entidad separada, como ser activo y pensa
nte con relacin a otro. Dejan atrs el egocentrismo de la etapa anterior.