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Teaching for Musical Understanding


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Table of Contents

* Each chapter ends with selected resources: Preface: Acknowledgments: 1. Learning: An Embodied, Constructive Process Contemporary Understandings About Learning Understanding as Schema: Understanding as Metaphor: Understanding as Image: Understanding as Embodied: Implications for Teaching Contexts for Learning 2. Learning: A Sociocultural, Constructive Process A Social Constructivist Vision of Learning Scaffolding: Learning is a Holistic Process: Learning is Experiential, Not Necessarily Sequential: Learning Requires Learner Agency: Learner Agency and Teacher Power: A Social Constructivist Music Learning Community 3. Learning Music through Embodied, Constructive Process Conceptualizing Music Our Metaphorical Understanding of Music Concepts Elements or Dimensions of Music? Metadimensions of Music Dimensions as Points of Entry: A Doorway In How do we Construct our Concepts of Music? Constructing Concepts in Context Teaching for Musical Understanding 4. Learning Music through Sociocultural, Constructive Process Teacher Role: Scaffolding Learners Scaffolding Learners: Establishing a Supportive Learning Environment: Finding Out What Learners Know: Encouraging Expression of Musical Ideas: Focusing Learner Energy: Monitoring Learner Understanding and Progress: Providing a Model of Musicianship: Learner Roles A Social Constructivist Music Learning Community 5. Music Learning as Musical Problem Solving Learning Through Problem Solving Learning and Teaching Music Through Problem Solving Planning Musical Problems What Will Learners Be Learning? The Musical Context: Organizing the Experience: Assessment: Lesson Planning Planning the Problem: 6. Performing, Listening and Creating Problems Performing Problems Listening Problems Creating Problems Composing and Arranging: Media for Composing: Musical Dimensions as Points of Entry for Composing: Organizing Small-Group Composing: Songwriting: Improvising: Dimensions as Points of Entry for Improvising: Improvising Within Structures: Music Learners as Creative Musicians: 7. Thinking About Learners in Planning Musical Problems Entry-level Experiences for Young Learners Singing: Moving: Playing: Creating: Listening: Notating: Technology: Nature of Problems for Young Learners Entry-level Experiences for Older Beginners Middle-Level Experiences More Complex Experiences Sample Lesson and Unit Plans 8. Entry-Level Musical Problems Lesson 8.1 Identifying and Representing Beat Lesson 8.2 Identifying and Representing Duration and Pitch Lesson 8.3 (For Older Beginners) Entry-Level Exploration of Pitch and Duration Lesson 8.4 Exploring Contour and Direction through Listening Lesson 8.5 Using a Song to Develop a Class Performance Lesson 8.6 Experiencing Style Lesson 8.7 A Musical Conversation Sample of Student Work: 9. Middle-Level Musical Problems Lesson 9.1 Experiencing and Creating with Dynamics Sample of Student Work: Lesson 9.2 Analyzing and Creating a Melody Samples of Student Work: Lesson 9.3 Effects of Tempo Change Sample of Student Work: Lesson 9.4 Timbre: Using Alternate Sound Sources Lesson 9.5 Tonal Center Lesson 9.6 What Do You Hear? 10. Planning Units of Study Planning a Unit on Texture Unit: Texture Lesson 10.1 Melody and Countermelody: Lesson 10.2 Representing Texture (Score Reading): Lesson 10.3 Solo and Ensemble: Sample Student Work: Unit: Monothematic Works Lesson 10.5 Creating Interest through Expressive Qualities: Qualities: Samples of Student Work: Unit: Meter (2-4 Class Sessions) Lesson 10.6 Identifying Meter (1 Session): Lesson 10.7 Compose a Piece That Changes Meter: Unit: Arranging a Round Lesson 10.8 Learning the Round: Lesson 10.9 Arranging the Round: Sample of Student Work: 11. Complex Musical Problems Unit: Bithematic Forms (Verse and Refrain, ABA Form, etc.) (3-6 Class Sessions) Lesson 11.1 Hearing Bithematic Form: Lesson 11.2 Composing in Bithematic Form: Samples of Student Work: Lesson 11.3 A More Extended Bithematic Work: Unit: Harmonic Structure (4 Sessions) Lesson 11.4 Introducing Tonic and Dominant Harmonies: Lesson 11.5 Using Tonic and Dominant Harmonies: Sample of Student Work: Lesson 11.6 Hearing Tonic, Dominant, and Subdominant Harmonies: Lesson 11.7 Singing Chordal Harmonies: Unit: Theme and Variation (6-8 Sessions) Lesson 11.8 Introducing the Idea of Variation: Lesson 11.9 Analyzing a Theme and Variation: Lesson 11.10 Composing Variations on a Theme: Samples of Student Work: Unit: The Blues (4-6 Sessions) Lesson 11.11 Introducing the Blues: Unit: Variations On A Ground Bass (6-8 Sessions) Extension: Sample of Student Work: 12. Connecting to Other Ways of Understanding Interdisciplinary Learning in K-12 Settings Interdisciplinary Learning through Process and Conceptual Connections Process Connections: Conceptual Connections: An Arts-infused Curriculum Pathway: Characterization: Point of View: Stories and Illustrations: Egyptian Art: Role of the Individual within a Group: Wood Sculptures: Balance: Daffodils: Symmetry: Some Closing Thoughts Epilogue: Appendix A: Music for Lessons: Appendix B: Classroom Materials: Appendix C: Directions for Games: Endnotes: References: Index:

About the Author

Jackie Wiggins is Distinguished Professor Emerita of Music Education and former Director of the School of Music, Theatre, and Dance at Oakland University.


"One of the best books of its kind. Teaching for Musical Understanding is written with great style and authority."--Carlos X. Rodriguez, University of Michigan "An excellent mix of the theoretical and the practical. It is exactly what entry-level undergraduate music education majors need as a first text in the field."--Frank Heuser, UCLA "The only comprehensive discussion that applies theory to music education."--Joseph Pignato, SUNY Oneonta

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