“While measuring student “Because Modern Band classes “One particular prompt that helps “The use of 378
ne particular prompt that helps
engagement in the classroom
can’t directly increase or improve
engagement, it does allow for
educators to better understand
how engaged their students are.”
Abla, Cheryl, and Brittney Fraumeni. (2019)
Student Engagement: Evidence-Based Strategies to
Boost Academic and Social-Emotional Results.
“In collaborative learning,
students depend on one another
because of their unique
knowledge and perspective. It is
therefore vital that they feel
responsible for sharing their
knowledge”
Kaendler, C., Wiedmann, M., Rummel, N., &
Spada, H. (2014). Teacher competencies for the
implementation of collaborative learning in the
classroom: A framework and research review.
“The use of 378 patterns in this
are not driven by summative
performances, students are also
able to express their musicianship
through composition and
improvisation.”
Knapp, D. (2020), Modern Band and Special
Learners, p. 50.
“Expertise is predicated not on
content but on skills.”
Duke, R. (2009). Intelligent Music Teaching, p. 30.
wary students to work together is, study may have created too much
‘You do not have to like each variability for success...Harvey,
other, but you do have to respect Garwood, and Palencia (1987)
each other. In this class, respect found singing to be significantly
means (specific directions for that more accurate follow- ing
activity).’” consistent practice on a less
variable task”
Robison, T. (2019). Improving Classroom
Management Issues Through Your Carefully Reifinger, J. L.,(2012). The acquisition of
Chosen Approaches and Prompts. General Music sight-singing skills in second-grade general music:
Today, p. 21. Effects of using solfège and of relating tonal
patterns to songs, p. 26-42.
“The overall conclusion often was
that any method, employed
effectively by an enthusiastic
teacher, can be effective. “
Gauthier, D., & Dunn, R. E. (2004). Comparing
Two Approaches for Teaching Rhythm Reading
Skills to First-Grade Children: A Pilot Study.
 “It is my goal for each of my
students to leave my class
believing themselves to be
musicians, understanding their
personal musical world, and also
feeling comfortable engaging with
the rest of the world’s musics.
McEvoy, C. A., & Salvador, K. (2020).
Aligning Culturally Responsive and
Trauma-Informed Pedagogies in Elementary
General Music, p. 21–28.
“By planning and designing music
theory curricula to provide greater
access to learners who are in the
margins, most other learners will
benefit, too.”
Quaglia, B. (2015). Planning for Student
Variability, Universal Design for Learning in the
Music Theory Classroom and Curriculum. p. 2.
“The most efficient way to
identify these potential issues is to
video record a class session and to
watch it while employing one of
two strategies...consider standing
and sitting yourself, just as the
students do in the recording.”
Robison, T. (2018). Classroom Management
Through Lesson Design: Considering Some
Often-Overlooked Variables to Prevent Issues
Before They Start, p. 35.
“Vocalizing counting is one of the
most critical skills for developing
a solid sense of rhythm. Without
it, students will not develop a
sense of how a rhythm is broken
down.”
Gamba, S. (2016). Teaching Rhythm, The Most
Important Thing in Music.

“When it comes to curriculum
design, there are two overarching
schools of thought: outcomes
based and experience based ...
The main difference [is] about the
purpose of education itself.”
“Student learning is not a result of
what teachers say, but a result of
what teachers have students do.”
“The environment created by a
traditional music program can
not only ignore such original
Teach
voices but actively discourage
them.”

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Mellizo, J. (2020). Music education, curriculum Duke, R. (2009). Intelligent Music Teaching, p. Gage, Nathan, et al. (2019). Listen to the

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design, and assessment: Imagining a more 103. Tastemakers: Building an Urban Arts High School
EQUITABLE APPROACH, p. 57-65. Music Curriculum, p. 19–36.