The points that stuck to me a lot through this reading were the emphasis on students learning without you actually being there. We saw how the two students influenced one another, and it mentioned in this that there was no teacher present, however I would like to make the argument that they were each others teachers in these situations. This experience allows for so much more to happen “in the classroom”. These students are as it describes in the book bridging the gap between one another's differences in music.
When watching a video In my beginning methods music education class, we were comparing two classrooms. One classroom had organization and students who were interested and engaged, the other had the complete opposite. We talked about things that can cause a classroom to turn out like the second one, and I think it is well exemplified in the first example in the book. The students are learning music they want to learn, they are doing it how they want to do it, they don't feel like they are in a class or are preparing for an assessment. Students who are doing all of the following would have the maximum potential for success and to be engaged in class. However, meeting goals and VA standards. We need to keep in mind what these students should be able to do by the end of this class, a lot of the time we use the SOLs to determine the path of which we would teach, but what we could do is redo it so its meeting these standards of learning but it is engaging material that will best interest the students for a curriculum for example, 5.2 The student will sing a varied repertoire of songs alone and with others, including. Who says the students can't sing “Stayin Alive” by the Bee Gees. I think we choose to give students classical rep to perform for things like these because WE are scared of change, we need to be more open to adaptation of the music in the classroom.
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Brandon RhinehartHere I will be posting reflective essays and philosophical documents and other assignments Archives
December 2019
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