{"product_id":"just-good-teaching-comprehensive-musicianship-through-performance-in-theory-and-practice-9781610483407","title":"Just Good Teaching: Comprehensive Musicianship","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eStudent 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.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eJust Good Teaching serves as a concise description of Comprehensive Musicianship through Performance (CMP) and its application to an ensemble setting. The book is grounded in pedagogical and theoretical aspects of CMP, as well as in research on best practices in music education. The author builds a strong case for the use of CMP by drawing on her own experience in the classroom, her expertise as a leading researcher in this field, and the many experiences of teachers who use the framework of CMP within their classrooms. ... This book is an excellent read for music educators. * Music Educators Journal *\u003cbr\u003eLaura Sindberg has been an important voice in instrumental music education for over three decades, a gifted musician, conductor, and teacher now devoting her life’s work to teaching others how to teach. Just Good Teaching: Comprehensive Musicianship Through Performance in Theory and Practice is an insightful and compelling overview of a philosophy of teaching that enhances student learning in the rehearsal hall, and engages and inspires the creativity and the musicianship of conductors of all types of ensembles. This is a must-read for every music undergraduate music education major and for every veteran music educator. Enjoy the journey! -- Craig Kirchhoff, Professor of Music,Director of University Bands, School of Music, University of Minnesota\u003cbr\u003eJust Good Teaching: Comprehensive Musicianship through Performance (CMP) in Theory and Practice is a uniquely valuable contribution to music teacher education. Laura Sindberg situates CMP realistically in lived experiences to facilitate music teachers in applying comprehensive musicianship methodology. A major distinction of this work is that it provides not only models of CMP but also multiple perspectives of CMP from music teachers in various phases of their teaching life. This is a text that challenges teachers at all levels of experience to learn as well as teach in ways that will transform ensemble rehearsals and performances with enhanced musical understandings. -- Molly A. Weaver, Professor of Music and Coordinator of Music Education, West Virginia University\u003cbr\u003eLaura Sindberg takes her many years of teaching in the Wisconsin public schools, her years in higher education, and her direct involvement in the Wisconsin CMP project and gives the music education profession a much needed reminder—leading students toward becoming comprehensive ensemble musicians is just good teaching.  This book takes a look at CMP's historical roots and projects possibilities for CMP teaching and learning experiences in current-day practice.  Sindberg provides model plans that encourage teachers and students not only to focus on note-learning and technique, but also engage in rehearsal discussions and other experiences that lead to informed music-making. -- Jody L. Kerchner, Professor of Music Education, Oberlin College\/Conservatory of Music\u003cbr\u003eThe music education profession has been waiting for a long time for a book like this that will guide band, choir and orchestra teachers to teach in a comprehensive way. Nearly 30 years ago Robert Garofalo published Blueprint for Band, followed 10 years later by his Instructional Designs for band. Sindberg's book, Just Good Teaching, not only follows up with these initial texts of teaching comprehensively in an ensemble setting, but the ideas she offers come from a proven 'system' (the Wisconsin CMP project) that has been working successfully for years. A highlight of the book is the offering of real anecdotes and practical suggestions within a solid philosophical foundation. This book is a must read for band, choir and orchestra teachers who want to teach in more meaningful and educational ways. It will also be valuable in our collegiate pre-service methods classes. -- Maud Hickey, Associate Professor, Music Education, Bienen School of Music, Northwestern University\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eForeward \t13 Janet R. Barrett Preface\t\t17 Acknowledgements\t\t21 Chapter 1—Looking in a CMP Classroom\t1 Class Begins\t23 Day One—Introducing Battalia\t24 Day Two—Sounds Different\t26 Day Three—Going Deeper\t27 Day Four—A Letter Home\t29 Day Five—Biber and the Baroque\t31 Day Six—Battalia as Satire?\t32 Reflecting on the Rehearsal Vignettes\t33  Overview of the Book\t35 Going Further—Questions for Discussion\t36 Chapter 2—The CMP Model\t\t37 Introduction\t37 Music Selection\t37 Analysis\t40 Outcomes\t43 \tLong-term Outcomes\t\t45 Transfer\t46 Strategies\t47 Assessment\t50 Music Selection, Revisited\t53 The CMP Teaching Plan \t54 Conclusion\t55 Going Further—Questions for Discussion\t55 Chapter 3—Looking at Shenandoah from a Choral and an Instrumental Perspective\t57 Why Shenandoah? One Piece, Two Classrooms, and Three Outcomes\t57 Shenandoah CMP Teaching Plan\t\t36 \tBackground\t58 \tAnalysis\t59 \t\tMelody\t60 \t\tHarmony\t60 \t\tForm\t62 \t\tRhythm\t64 \t\tTimbre\t\t65 \t\tTexture\t66 \t\tExpression\t67 \t\tThe Heart of Shenandoah\t68 Outcomes\t69  Strategies\t69 Assessment \t71 Music Selection\t72 Conclusion\t73 Going Further—Questions for Discussion\t74\t  Chapter 4—CMP and Teachers\t75 From the Teacher’s Point of View\t75 Teacher Knowledge—An Overview\t76  CMP Viewed Through a Lens of Teacher Knowledge\t78 \tRepertoire Matters\t78 \tContextual Matters\t79 \tA Fluid Model\t\t81 A Dynamic Model\t83  The Different Phases of a Teaching Life and CMP—Stories from the Field\t84 CMP and Preservice Music Educators\t84 CMP and Novice Music Educators\t86 CMP and Veteran Music Educators\t87 CMP as a Model for Professional Development\t88 Intention\t90\t Conclusion\t91 Going Further—Questions for Discussion\t92\t Chapter 5—Enacting the Teaching Plan\t93 Taking Shenandoah into the Classroom\t93 Introducing the Piece\t93 Infusing the Teaching Plan into the Rehearsal—From Planning to Implementation\t95 \tConnecting Warm-ups to the Repertoire\t96 The Rehearsal\t96 Contingencies\t97 Towards Musical Understanding\t98 CMP and Concert Programming\t99  Excellence in Performance and Musical Understanding\t100 The Students’ Experience as CMP is Implemented\t102 Intersections of the Points of the CMP Model—A Function of Enactment \t105 Transfer Revisited\t\t106 Conclusion\t108 Going Further—Questions for Discussion\t109 Chapter 6—CMP and the Music Curriculum\t\t110 Beyond the Classroom\t110 CMP as Philosophy\t111 CMP as Approach\t112 CMP as a Process\t112 The CMP Practice\t\t113 Considering the Affective Dimension\t115 CMP and the Music Curriculum\t117 Long-term Outcomes\t117 Standards and Standards-based Curriculum\t119 State and Local Curricula\t121 Curriculum and Music Selection\t122 CMP and Reform-minded Music Teaching\t125 Conclusion\t128 Going Further—Questions for Discussion\t129 Chapter 7—The Evolution of CMP\t130 The Need for Comprehensive Musicianship\t130 Significant Events that Informed the CMP Project\t131 Contemporary Music Project\t\t132 Manhattanville Music Curriculum Project\t133 Yale Seminar and Tanglewood Symposium\t133 A Vision Takes Shape\t135 The First Summer Institute and Development of a Two-year Pilot Project\t137 Outcome of the 1977 Institute: The CMP Model\t\t139 Conclusion\t141 Bibliography\t144 Appendices\t152 Appendix A: Battalia for Strings (score excerpts), Heinz Ignaz Franz Biber, ed. Joel Blahnik A.1\tMovement 1\t\t152 A.2\tMovements 2, 3, 4\t\t153 A.3\tMovements 5, 6, 7\t\t154 A.4\tMovement 8\t\t155 Appendix B: CMP Teaching Plan Worksheets\t\t156 Appendix C: CMP Teaching Plan, Battalia\t\t163 Appendix D: CMP Teaching Plan, Orpheus With His Lute\t170 Appendix E: CMP Teaching Plan, Jody\t182 Appendix F: CMP Teaching Plan, Rhosymedre\t191 Appendix G: Original CMP Proposal\t\t194  Index","brand":"Rowman \u0026 Littlefield","offers":[{"title":"Default Title","offer_id":51041664631127,"sku":"9781610483407","price":27.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781610483407.jpg?v=1750951208","url":"https:\/\/bookcurl.com\/products\/just-good-teaching-comprehensive-musicianship-through-performance-in-theory-and-practice-9781610483407","provider":"Book Curl","version":"1.0","type":"link"}