“The teacher can no longer listen from a “A teacher's ability to model and

“The key to a differentiated classroom is that all students
distance and hide errors to make the large
ensemble sound better. We must focus on
individuals and their improvement over
time. As an added benefit, improved
performance of individual students should
also result in better overall ensemble
performance and higher motivation.”
Crochet, L., & Green, S. (2012). Examining Progress across
Time with Practical Assessments in Ensemble Settings.
www.nafme.org.
“Choice can involve many different factors, but one constant
is a focus on the learning goal for the lesson. The learning
goal will drive the choices offered, although it may change
how the student engages with the content (representation)
or how they act and express what they know (action and
expression).”
Mrachko, A., & Vostal, B. (2020). Using the "Universal Design for Learning"
framework to plan for all students in the classroom: Engagement through choice.
Elementary STEM Journal, 25(2), 29–31.
the degree of use of
are regularly offered choices and are matched with tasks demonstrations in the
compatible with their individual learner profiles, educational instrumental class has bearing
needs, and academic levels of performance." upon pupil performance levels.
COUNCILL, K. H., & FIEDLER, L. (2017). GIFTED 101: UNLOCKING THE MYSTERY OF
ACADEMICALLY GIFTED EDUCATION. MUSIC EDUCATORS JOURNAL, 103(4), Teachers who have stronger
48-56. HTTPS://DOI.ORG/10.1177/00274321176 97005 modeling skills and apply those
skills in teaching are more likely to
produce students who perform
better than teachers who do not.
“While it may be tempting to consider No causation is implied since other
oneself sufficiently knowledgeable about skills affect the art of teaching and
the cultures represented in one’s class or pupil learning. An important link,
to consider oneself completely free of however, has been made between
bias, those sentiments are usually the theory of modeling and
incorrect and unwise. Deep reflection and practice”
increasing one’s techniques for respect Sang, R. (1997). A study of the relationship
across cultures are much wiser choices.” between instrumental music teachers’ modeling
skills and pupil performance behaviors. Bulletin
Robison, T. (2020). Culturally responsive classroom
management in the general music class: Building
of the Council for Research in Music Education,
91, 155-159.
connections with families, part 2. General Music Today,
https://www.jstor.org/stable/40318077
34(1), 37-39. doi:10.1177/1048371320909801

“A teacher-led ensemble, inherently top-down in nature, with students

“Being kind and being assertive are not mutually exclusive
characteristics, and that is a concept with which I see some
preservice or inexperienced teachers struggle.”Robison, T. (2019).
Improving classroom management issues through your carefully chosen approaches and
prompts. General Music Today, 32(3), 20-22. doi: 10.1177/1048371318812440
dutifully following directions from the podium, may not provide
sufficient opportunities for the development of musical understandings
or allow students to be involved in any decision-making processes.”
Cangro, R. (2016). Student Collaboration and Standards-Based Music Learning:
A Literature Review. Update: Applications of Research in Music Education, 34(3), 63–68.
https://doi.org/10.1177/8755123314568794

“Peer-assisted learning
(PAL), defined as “the
acquisition of knowledge
and skill through
active-helping and
supporting among status
equals or matched
companions” (Topping,
2005, p. 631), is a unique
form of collaborative
learning that can be a
powerful tool for music
teachers to increase
student achievement,
engagement, and general
commitment to learning.”
Johnson, E. (2017). The Effect of
Symmetrical and Asymmetrical
Peer-Assisted Learning Structures on
Music Achievement and Learner
Engagement in Seventh-Grade Band.
Journal of Research in Music
Education, 65(2), 163–178.
https://doi.org/10.1177/00224294177
12486
“TEACHERS MAY ALSO BE APPREHENSIVE TO “In addition to the diversity of races and cultures in my school,
INCLUDE STUDENTS WHO RECEIVE SPECIAL there is just as much diversity in home and family environments.
EDUCATION SERVICES BECAUSE THEY BELIEVE I have students who speak a different language at home than
they do at school. I also teach students who are dealing with a
THAT STUDENTS WITH DISABILITIES COULD BE
variety of traumas. Multiple students are supporting parents
BEHIND MUSICALLY, IMPEDING THE PROGRESS with terminal cancers. I teach students who have witnessed
OF THE CLASS OR ENSEMBLE. violence, or who are survivors of physical or sexual abuse. I have
1. FUELBERTH R, TODD C. “I DREAM A WORLD”: INCLUSIVITY IN
several students living in extreme poverty and students whose
CHORAL MUSIC EDUCATION. MUSIC EDUCATORS JOURNAL.
2017;104(2):38-44. DOI:10.1177/0027432117735875 parents are incarcerated.”
McEvoy, C. A., & Salvador, K. (2020). Aligning culturally responsive and trauma-informed
pedagogies in elementary general music. General Music Today, 34(1), 21-28.
doi:0.1177/1048371320909806
“It's essential that the
children should be “When are we going to play
encouraged to work out the “Large numbers of students in poverty are often music?” My reply would usually
'next note' for themselves. two grade levels or more behind their peers, and be something to the effect of
That's the essence of lack of academic language affects their “You have to first learn the
sight-singing, lf it's played achievement at school. Closing the achievement fundamentals, and then we can
for them they will gap has become both a moral imperative for our play music.” Looking back, I
immediately imitate it, but students and an economic imperative for our realize how naïve this statement
that is not sight-singing.” country.” was. First, we are always
Bertalot, J. (2006). Teaching children to Johnson, E. R. (2009). Academic language! academic literacy! : A guide
read music No.2 Pitch. Organist's Review, for K-12 educators. Corwin. learning (and relearning) the
30–31. fundamentals. We do not “get
them out of the way” in the
beginning and then move on;
they are something we
“As music educators, we do a good job of teaching one quarter note equals two continually revisit throughout
eighth notes. Now we need to reinforce this concept through the inclusion of our careers as musicians.
subdivision. Frequently, students are only required to say the subdivisions when West, C. (2016). Sound foundations. Music
Educators Journal, 102(4), 56–61.
they are present in the rhythmic example.” https://doi.org/10.1177/0027432116636941
Richardson, C. (2008). Teaching students to be rhythmically independent. Canadian Music Educator, 49(3), 41-43.