Student learning in school music ensembles is often focused on technical skill development. Give your students broader experience involving multiple music learnings, technical proficiency, cognition, and personal meaning. The Comprehensive Musicianship through Performance (CMP) model will help you plan instruction for school ensembles that promotes a holistic form of music learning and will allow you to use your creativity, passion, and vision. With model teaching plans and questions for discussion, this book can give you richer, more meaningful challenges and help you provide your students with deeper musical experiences. Sindberg combines the theoretical foundations of CMP with practical applications in a book that's useful for practicing teacher-conductors, scholars, and teacher educators alike.
Laura Sindberg is assistant professor of music education at the University of Minnesota, where she teaches undergraduate and graduate courses in music education. Prior to earning her doctorate at Northwestern University, Dr. Sindberg taught public school music for 17 years, during which time she became heavily involved in Comprehensive Musicianship through Performance-also the topic of her dissertation research. Dr. Sindberg continues to be actively involved with CMP in all facets of her teaching and has written and presented extensively on the topic.
Foreward 13 Janet R. Barrett Preface 17 Acknowledgements 21 Chapter 1-Looking in a CMP Classroom 1 Class Begins 23 Day One-Introducing Battalia 24 Day Two-Sounds Different 26 Day Three-Going Deeper 27 Day Four-A Letter Home 29 Day Five-Biber and the Baroque 31 Day Six-Battalia as Satire? 32 Reflecting on the Rehearsal Vignettes 33 Overview of the Book 35 Going Further-Questions for Discussion 36 Chapter 2-The CMP Model 37 Introduction 37 Music Selection 37 Analysis 40 Outcomes 43 Long-term Outcomes 45 Transfer 46 Strategies 47 Assessment 50 Music Selection, Revisited 53 The CMP Teaching Plan 54 Conclusion 55 Going Further-Questions for Discussion 55 Chapter 3-Looking at Shenandoah from a Choral and an Instrumental Perspective 57 Why Shenandoah? One Piece, Two Classrooms, and Three Outcomes 57 Shenandoah CMP Teaching Plan 36 Background 58 Analysis 59 Melody 60 Harmony 60 Form 62 Rhythm 64 Timbre 65 Texture 66 Expression 67 The Heart of Shenandoah 68 Outcomes 69 Strategies 69 Assessment 71 Music Selection 72 Conclusion 73 Going Further-Questions for Discussion 74 Chapter 4-CMP and Teachers 75 From the Teacher's Point of View 75 Teacher Knowledge-An Overview 76 CMP Viewed Through a Lens of Teacher Knowledge 78 Repertoire Matters 78 Contextual Matters 79 A Fluid Model 81 A Dynamic Model 83 The Different Phases of a Teaching Life and CMP-Stories from the Field 84 CMP and Preservice Music Educators 84 CMP and Novice Music Educators 86 CMP and Veteran Music Educators 87 CMP as a Model for Professional Development 88 Intention 90 Conclusion 91 Going Further-Questions for Discussion 92 Chapter 5-Enacting the Teaching Plan 93 Taking Shenandoah into the Classroom 93 Introducing the Piece 93 Infusing the Teaching Plan into the Rehearsal-From Planning to Implementation 95 Connecting Warm-ups to the Repertoire 96 The Rehearsal 96 Contingencies 97 Towards Musical Understanding 98 CMP and Concert Programming 99 Excellence in Performance and Musical Understanding 100 The Students' Experience as CMP is Implemented 102 Intersections of the Points of the CMP Model-A Function of Enactment 105 Transfer Revisited 106 Conclusion 108 Going Further-Questions for Discussion 109 Chapter 6-CMP and the Music Curriculum 110 Beyond the Classroom 110 CMP as Philosophy 111 CMP as Approach 112 CMP as a Process 112 The CMP Practice 113 Considering the Affective Dimension 115 CMP and the Music Curriculum 117 Long-term Outcomes 117 Standards and Standards-based Curriculum 119 State and Local Curricula 121 Curriculum and Music Selection 122 CMP and Reform-minded Music Teaching 125 Conclusion 128 Going Further-Questions for Discussion 129 Chapter 7-The Evolution of CMP 130 The Need for Comprehensive Musicianship 130 Significant Events that Informed the CMP Project 131 Contemporary Music Project 132 Manhattanville Music Curriculum Project 133 Yale Seminar and Tanglewood Symposium 133 A Vision Takes Shape 135 The First Summer Institute and Development of a Two-year Pilot Project 137 Outcome of the 1977 Institute: The CMP Model 139 Conclusion 141 Bibliography 144 Appendices 152 Appendix A: Battalia for Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik A.1 Movement 1 152 A.2 Movements 2, 3, 4 153 A.3 Movements 5, 6, 7 154 A.4 Movement 8 155 Appendix B: CMP Teaching Plan Worksheets 156 Appendix C: CMP Teaching Plan, Battalia 163 Appendix D: CMP Teaching Plan, Orpheus With His Lute 170 Appendix E: CMP Teaching Plan, Jody 182 Appendix F: CMP Teaching Plan, Rhosymedre 191 Appendix G: Original CMP Proposal 194 Index