Arts Education - Band 10, 20, 30
Introduction to Band 10, 20, 30
This document was written to support teachers in the planning and teaching
of Band 10, 20 and 30 courses. All teachers of secondary band are required
to plan courses that will facilitate student achievement of the foundational
objectives detailed in this document. In so doing, all secondary band courses
offered across the province will share important commonalities. This will
ensure recognition of the credits gained by completion of the courses and
will provide consistency for students who must transfer from one school
to another.
Credit is granted on the basis of 100 hours of instruction. One
credit is granted for each of Band 10, 20 and 30. Students may earn credits
in band to fulfil requirements in Arts Education or elective areas of study.
Band programs using this document as a basis for instruction are
not required to submit Locally Developed Course of Study forms to Saskatchewan
Education, Training and Employment for approval.
Band Aim and Goals
The specific aim of the band program is to enable students to communicate
effectively through instrumental music and to understand and value a variety
of musical expressions throughout life.
The following are the specific goals of Band 10, 20 and 30. By
participating in the band program, students will:
-
acquire the skills, abilities, understandings and attitudes necessary to
express themselves musically as individuals and as members of an ensemble
(creative/productive)
-
be able to make informed decisions both as producers and consumers of music
(critical/responsive)
-
value and appreciate music from a variety of cultural and historical contexts
and understand the role of music in daily life (cultural/historical).
Philosophy
The wind band today, as in the past, remains a viable medium of artistic
expression and a highly effective educational vehicle for developing musical
abilities, understandings and appreciations. Performance-oriented activities
simultaneously activate all learning domains (psychomotor, cognitive and
affective) and should synthesize the three components identified in the
Arts Education curriculum (creative/productive, cultural/historical, critical/responsive).
Since music is first and foremost a performing art, performance-oriented
classes allow students to directly experience the artistic intent of the
composer and the art of music.
The Role of Performance
Performances should be a natural outgrowth of rehearsal and classroom activities.
As such, performances should provide an immediate focus and application
for class activities and an opportunity to demonstrate acquired learnings
to parents, administrators and the public. The performance is an integral
part of the education process rather than the ultimate product.
Discretion must be used in order to ensure that the musical education of
the students is not jeopardized as a result of an undue emphasis on performance
commitments. Noted music educator and philosopher Bennett Reimer (1989)
states that the central value of performance programs is "the opportunity
to exercise musical creativity -- rather than its peripheral values". He
goes on to say:
The creativity involved in performing is a special kind that is not
available in any other musical activities. Its uniqueness stems from the
relationship between musician and the music he or she performs. (p. 27)
The peripheral values referred to above have characteristically
included such non-musical goals as development of discipline, self- esteem
and responsibility. In addition, band has been seen as a vehicle for entertainment
and public relations. While effective band programs indirectly achieve
the goals listed above and more, these must remain secondary rather than
primary goals of the band program.
Saskatchewan and Canadian Content
Much of the instructional material and repertoire currently studied by
band students in Canadian schools is written and published in the United
States. While educational quality and artistic merit must remain the prime
considerations in selecting instructional materials and repertoire, students
must have an opportunity to study music by Canadian and, where possible,
by Saskatchewan composers. A relatively small but significant body of band
repertoire by Canadian composers has been developed and continues to grow.
The following steps may be taken to expose students to Canadian band repertoire:
-
borrow Canadian compositions from the library of the Canadian Music Centre
-
purchase materials by Canadian composers published in Canada
-
enter and support "Canadian Music" classes in festivals
-
commission a Saskatchewan or Canadian composer to write an original work
for your students
-
contact Saskatchewan and Canadian professional organizations (such as the
Saskatchewan Music Educators Association, Saskatchewan Band Association,
Canadian Music Educators Association, Canadian Band Association, Saskatchewan
Teachers' Federation) and universities as sources of information regarding
Canadian music resources
-
contact the music departments of Canadian universities to discover if they
have resources by local composers that may not be available in commercial
form.
Program Delivery
While single grade classes are recommended for Band 10, 20 and 30, it may
be necessary in some circumstances to combine two or three grade levels
in one class. In such cases, at the beginning of the course, it is absolutely
imperative for the teacher to clearly outline the expected learning outcomes
for each grade. This can be done by giving the students a course outline
which describes the content of the course and, more importantly, lists
grade-specific learning objectives. The teacher should assure that the
learning objectives for each grade represented in the class reflect growth
from one level to the next. The students must clearly understand the expectations
for themselves and be able to observe a progression in the program from
grade level to grade level.
The wind ensemble, as opposed to the larger symphonic or concert
band model, should be considered for performance-oriented activities where
feasible. The smaller wind ensemble offers students several advantages:
-
Ensembles that are based on one player per part develop better overall
individual musicianship and aural skills development.
-
Smaller numbers enable directors to better meet the needs of individual
students.
-
More flexibility and options are available for grouping students. Ensembles
may be structured according to grade, instrumentation, levels of musicianship,
repertoire and material studied (music from a particular historical or
cultural context).
In large programs students may be grouped into several smaller wind ensembles.
For example, you might have two ensembles of 34 students each rather than
one large group of 68 students.
Planning for Instruction
Instructional planning in the band program must occur on two planes --
vertical and horizontal. The vertical plane involves identifying the objectives
to be achieved, the methods by which these objectives will be achieved,
and evaluation procedures to be undertaken during a specific period of
time. The horizontal plane involves plotting the sequence of learning experiences
required to achieve the foundational objectives in an ongoing manner. The
teacher should begin by carefully studying this document in the following
manner:
| Step One |
Gain an initial familiarity with this document by reading
the "Table
of Contents" and leafing through the document, scanning sections you
think may be of particular interest to you. |
| Step Two |
Read the introductory section of the document in order to
understand how the secondary band courses fit into the development of Arts
Education and Core Curriculum in the province. |
| Step Three |
Study the section entitled "Introduction
to Band 10, 20, 30" to become familiar with the structure of the program.
Note the discussion about Foundational Objectives. Foundational Objectives
embody the required content of the secondary band courses. |
| Step Four |
Study both the "Foundational
Objectives" and the "Student
Evaluation" sections. The "Foundational Objectives" provide the content
of the secondary band program. The "Student Evaluation" section offers
a description of evaluation techniques useful for secondary band teachers
and includes a number of practical sample assessment forms. |
| Step Five |
Read the section entitled "Learning
Objectives". This section defines the outcomes of learning activities
and outlines the steps involved in achieving the broader foundational objectives. |
| Step Six |
Plan units incorporating the learning objectives for Band
10, 20, 30. Refer to the Model
Unit as an example. |
Planning a Unit
In planning an instructional unit the teacher should:
-
Plan the length of time to be spanned.
-
Select a theme or central focus that can draw together several objectives
(common thread).
-
Identify those foundational objectives to be addressed.
-
Select repertoire that is appropriate for achieving objectives.
-
Select appropriate learning objectives and Common Essential Learnings to
be achieved in the unit.
-
Plan a sequence of lessons.
-
Include Indian and Métis content, where appropriate.
-
Check to ensure that a variety of experiences has been included in the
unit (discussing, researching, listening to music, reflecting, etc.).
-
Check to ensure that experiences from all three components
(creative/productive,
cultural/historical and critical/responsive) are included.
-
Analyse and research the repertoire used, select appropriate resource materials
and prepare student study guides as needed.
-
Determine means of assessing achievement of the foundational objectives.
Remember to plan for ongoing evaluation, rather than evaluating only the
end of the unit.
