Daniel Miles

Annotated Bibliography
August 4th, 2014

Teaching with CMP for Deeper Understanding:

An Annotated Bibliography by Daniel Miles

The Wisconsin Comprehensive Musicianship Project (CMP) was formed in 1977 as a

method for music teachers to incorporate deeper understanding into the learning of music. The

method guides teachers to teach more than just playing the right notes; it moves to teaching

students but understanding why a piece is played the way it is. It helps students realize the story

the composer is trying to tell, the historical background behind folk tunes, and that music is more

than just black dots on a page. It is teaching music through music.

This bibliography contains resources on the selection of repertoire, methods of

assessment, and constructivist teaching theories. By combining all of this information a music

teacher will have a good understanding of using the core of the CMP model.

CMP has a series of cyclical steps that guide a music teacher through the entire process of

teaching the chosen piece. The process isbecause it is a cyclein no particular order: selection

of repertoire, assessments, strategies for teaching, outcomes, and analysis for future teaching.

CMP is a tool to empower teachers to teach music for music sake at a deeper level of

understanding.

CMP is a great tool but it can be cumbersome for teachers to use because it requires more

forward planning for the teacher than simply rehearsing a piece. The core of CMP is the

selection of repertoire, assessment, and outcomes. If these three points are not intelligently in

place there is nothing for the rest of the model to stand on. Selecting repertoire is the starting

point for CMP. Quality repertoire needs to be selected so music can be taught through it. A math

teacher would not use a poor quality textbook to teach math just as a music teacher should not

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use poor quality music. The assessment and outcomes portion work together. The teacher will

use the assessment strategies to gauge learning of the outcomes. The outcomes fall into three

categories: skill, knowledge, and affective. A skill outcome is just that, it is a specific technical

skill or skills that is attained by actually playing the instrument. It could be playing the right

dynamics or playing in a new key signature. A knowledge outcome is information that the

students know about the piece. It could be as basic as who is the composer and what other

pieces do we know by that composer to as complex as, what are the cultural ramifications of

Karel Husas Music for Prague. The tricky part is creating outcomes that promote a deeper

meaning in music and then creatively assessing those outcomes.

The constructivist theory, where students create connections between subjects, has been

shown to promote deeper understanding. The information in knowledge and affective outcomes

is waiting to be connected with other subjects. If the outcomes are integrated properly with other

subjects, both subjects benefit because students are creating deeper connections between

subjects. The CMP model is a great tool for teachers to use when teaching music.

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Apfelstadt, H. (2000). First things first selecting repertoire: Finding quality, teachable repertoire

appropriate to the context, compatible with the national standards, and interesting to play

is an achievable goal. Music Educators Journal, 87(1), 1-22, 46. doi:10.2307/3399672

This source outlines repertoire selection based upon the national standards. Exact examples are
given as exemplars to help with the selection process. The author also argues that the national
standards can naturally help with integrating music with other subjects.

Barrett, J. R. (2001). Interdisciplinary work and musical integrity: Interdisciplinary connections

can open up possibilities for comprehensive study while preserving the integrity and

validity of musical experience. Music Educators Journal, 87(5), 27-31.

doi:10.2307/3399705

This article focuses on keeping music in the music classroom while students are still creating
music. The author provides three ways to achieve her goal. The first is context; looking into the
creation of the piece, what was the catalyst for its composition or what does it musically
represent? Second, looking at the compositional elements of music like rhythm, melody,
harmony, texture. These first two focus on the knowledge aspect of CMP. Third, she focuses on
the integration of music expression. This is the aesthetic outcome of CMP.

Blom, D., & Encarnacao, J. (2012). Student-chosen criteria for peer assessment of tertiary rock

groups in rehearsal and performance: Whats important? British Journal of Music

Education, 29, 25-43. doi:10.1017/S0265051711000362

This article is a look at student-chosen peer assessment criteria for a rock band. It looked at what
students understood as important for their skill development. They looked at what kinds of skills
were needed for rehearsal and performance skills and then looked at how to align those designs.
It is a great article because it defines also how to teach these various skill sets. It is unique in that
it focuses on rock bands instead of concert bands, but the skills should be transferable to guide
student learning within the CMP outcomes.

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Bond, V. L. (2013). Follow and facilitate: What music educators can learn from the Reggio

Emilia approach. General Music Today, 27(1), 24-28. doi:10.1177/1048371313480798

The Reggio Emilia approach is a constructivist style of education from the northern part of Italy.
It is a holistic approach where the community, classroom environment, family, and teacher all
work in synergy to provide meaningful lessons for children. The entire environment around the
student is structured for education and the teacher acts as a facilitator to help students see the
connections. These connections help students gain a deeper understanding of the stated CMP
outcomes.

Boyle, J. D. (1992). Evaluation of music ability. In R.Colwell (Ed.), Handbook of research on

music teaching and learning (pp. 247-265). New York, NY: Schirmer.

This chapter covers a broad scope of how to evaluate music ability. The author defines various
constructions, psychological qualities that exist to explain some aspect of behavior, such as
music ability, music aptitude, music talent, and music intelligence. All of these abilities should
be assessed in the outcomes of CMP. The author examines how to construct a music test based
on the criteria aural recognition and developmental readiness. The author concludes that there are
many ways to assess students and many different ways teachers can use this data to inform their
teaching.

Bresler, L. (1995). The subservient, co-equal, affective, and social integration styles and their

implications for the arts. Arts Education Policy Review, 96(5), 31-37. Retrieved from

http://www.researchgate.net/journal/1063-2913_Arts_Education_Policy_Review

This article it gives a broad overview of the four ways arts can be integrated within a curriculum
and the implications for each method of integration. The first method is subservient. The arts are
used to show a point about another discipline and no musical knowledge is gained. The second
method is coequal where the same teacher presents both subjects at the same time, or co-teachers
are used for instruction of two or more subjects. The third is affective where music is use to alter
the mood of students. For example playing music to alter students mood. The fourth method is
social integration where music is used alongside the curriculum to socially build the
communitys social capital. When writing the CMP knowledge and affective outcomes the
different methods for integration should be considered to get the best result.

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Brooks, J. G., & Brooks, M. G. (1993). In search of understanding: The case for constructivist

classrooms. Alexandria, VA: Association for Supervision and Curriculum Development.

According to the authors, constructivism is not a teaching theory; instead it is a theory about
knowledge and learning (p. vii). The authors promote in constructivism students gain deep
understanding when new knowledge is learned and then connected to prior knowledge creating
new cognitive structures (p. 15). Integrating CMP knowledge, skill, and affective outcomes with
other subjects or back directly to the learner will help create stronger and deeper understandings
of music.

Brophy, T. S. (2000). Assessing the developing child musician: A guide for general music

teachers. Chicago, IL: GIA.

This book serves as a guide to strengthen the general music teachers methods of assessment. It
provides theory on how to create assessments for general music to encourage learning. The book
includes chapters on assessing performance, composing, critical thinking, and portfolios. The
CMP teaches through music performance but CMP incorporates many elements of general music
that need to be assessed.

Burrack, F., & McKenzie, T. (2005). Enhanced student learning through cross-disciplinary

projects. Music Educators Journal, 91(5), 45-50. doi:10.2307/3400142

This is a study by a music education professor and a high school music teacher. They
collaborated to see how other subjects along with music would enhance student learning. In all of
the examples given the students only collaborated with one or two other disciplines. For
example, their units included music and poetry, music and visual arts, and music, language arts,
and visual arts. Descriptions of each study are included. The study found that making cross
discipline connections enhanced students learning.

Cane, S. (2009). Collaboration with music: A noteworthy endeavor. Music Educators Journal,

96(1), 33-39. doi:10.1177/0027432109341165

The article claims that the word integration has a negative connotation and therefore
collaboration should be used. The author cites studies that show collaboration with music
improves student learning and motivation. The author gives a collaborative project example
between music and language arts detailing how deeper links were created between the two
subjects. Motivation is a key element of the article and shows another benefit for writing CMP
outcomes that use collaboration.

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Cleaver, D., & Ballantyne, J. (2014). Teachers' views of constructivist theory: A qualitative

study illuminating relationships between epistemological understanding and music

teaching practice. International Journal of Music Education, 32, 228-241.

doi:10.1177/0255761413508066

This is a study that examined to what extent and in what ways do music teachers understand the
constructivist principles when they teach. The researchers used two subjects, a music teacher,
and a school administrator that used to be a music teacher. The researchers conducted interviews
with the two teachers to determine what their understanding of constructivism is in the
classroom. The main conclusion is pre-service music teachers need to not just focus on the
theory of constructivism, but also focus on the pragmatic side of implementing constructivism in
their classroom.

Colwell, R. (1970). The evaluation of music teaching and learning. Englewood Cliffs, NJ:

Prentice-Hall.

This book describes how assessment data can be used to inform teaching to create better results.
It includes philosophical discussion on the meaning of evaluation and then several chapters
giving pragmatic solutions to creating evaluations on music education. It breaks the music into
three sections that are closely aligned with CMPs outcomes, cognitive, affective, and
psychomotor.

Colwell, R. J., & Wing, L. B. (2004). An orientation to music education: Structural knowledge

for teaching music. Upper Saddle River, NJ: Prentice-Hall.

This book is a guide for music teachers to help them make decisions when building curriculum.
It is divided into sections that include the context for music education, the significance for
decision making, and many chapters on the creation of objectives for different outcomes. Most
importantly there is guidance on writing objectives for each cognitive, affective, and skill
outcomes that exist in CMP.

Cooper, L. G. (2004). Teaching Band &Orchestra: Methods and Materials. Chicago, IL: GIA.

The relevant chapter of the chapter is selecting quality literature. It has lists to define what good
music is, how to determine if the music is a good match for your band, and ideas to help search
for repertoire. A topic of particular interest includes fifteen questions to guide a teacher on
selecting repertoire. Cooper recommends that band directors make a cycling list of core
literature.

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Cornelius, S., & Natvig, M. (2013). Teaching music appreciation: A cultural approach. Journal

of Music History Pedagogy, 4, 139-150. Retrieved from http://www.ams-

net.org/ojs/index.php/jmhp

The argument of this article is that students who are in music appreciation courses should also
learn the cultural and historical side of music. They encourage methodologies such as, 1)
presenting music as a process rather than a product, 2) Encouraging self-reflection and
independent thinking, 3) Promoting social understanding through the lens of music (p. 143).
Concrete examples are given to produce their outcomes such as, interviewing an elder, reflecting
on my music, and a concert review. The authors came to the conclusion that viewing music
through a historic and cultural lens gave the students a deeper understanding of the music.

Crochet, L. S., & Green, S. K. (2012). Examining progress across time with practical

assessments in ensemble settings. Music Educators Journal, 98(3), 49-54.

doi:10.1177/0027432111435276

This article is a study summary. The study was done over a period of time on establishing goals
for assessment, mostly for student teachers. It summarizes the importance of student-centered
individualized instruction instead of large group instruction. It provides methods for moving
towards individualized instruction, but then takes it one step further and utilizes a long term
factor. It then discusses at length how to assess individualized learning.

Elliott, D. J. (2012). Another perspective: Music education as/for artistic citizenship. Music

Educators Journal, 99(1), 21-27. doi:10.1177/0027432112452999

Elliotts Praxial Philosophy for music education argues that students take band because they
want to be in band (the same for choir and orchestra) so we should let them play an instrument.
He says that there are skills that students learn by playing an instrument that music teachers must
not forget about. In the article Elliott claims there is a new way the world needs to understand
citizenship and that is through the arts. Elliott goes into great depth defining what a citizen is and
then how music can help define that citizen. The way music is identified in culture is the
fundamental reason for teaching music in schools.

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Elliott, D. J., & Silverman, M. (2014). Music matters: A philosophy of music education. (2nd ed.).

New York, NY: Oxford University Press.

This book defines Elliotts Praxial philosophy for music education. The paraxial philosophy is
based around the fundamentals of musical understanding. The book calls for a multidimensional
view of music because music is too complex to view as just a form of entertainment or a means
to get better test scores. The philosophy calls for the creation of music, by performing,
composing, conducting, improvising, and arranging, to help increase students musical
understanding. The CMP outcomes need to be written to accommodate the very ways of creating
music.

Fautley, M., & Savage, J. (2011). Cross-curricular teaching and learning in the secondary

school: The arts. New York, NY: Routledge.

This book is designed to be a guide for teachers to help with integration of the arts into the
curriculum. It is designed for all teachers as a guide for arts integration. It is a practical guide
with reflection questions to help the user understand the role of the arts within a curriculum.
There are many definitions to help all subjects understand how the arts can be integrated with
other subjects. The guide is based on the UK curriculum but it can easily be adapted to inform
the outcomes of the CMP model.

Fllis, A. K., & Fouts, J.T. (2001). Interdisciplinary curriculum: The research base: The decision

to approach music curriculum from an interdisciplinary perspective should include a

consideration of all the possible benefits and drawbacks. Music Educators Journal,

87(22), 22-26, 68. doi:10.2307/3399704

Much research has been done on the topic of interdisciplinary studies, and this article describes
many of those studies. It also gives an overview of the origin of integrated studies and the
methodologies and teaching philosophies behind them. The information in this article is based
only on research studies found in scholarly writings. Many educators may be tempted to start
delving into an integrated curriculum, but this article shows that research must be conducted and
analyzed before we make these changes in education.

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Garafalo, R. (1983). Blueprint for Band. Ft. Lauderdale, FL: Meredith Music.

Chapter three provides methods and criteria for selecting quality literature for band. Garfalo
recommends keeping a list of all quality literature that you come across and then picking out
pieces to help you create a program. Also cleverly included is a rubric to help the teacher
determine if the music is worth teaching in the curriculum. Then Garafalo provides an in depth
checklist of items to look for in the selected piece of music. These items then turn into the
knowledge, affective, and skill outcomes in the CMP model.

Goetze, M. (2000). Challenges of performing diverse cultural music. Music Educators Journal,

87(1), 23-26. doi:10.2307/3399673

The article is focused on authentically teaching students music from a different culture. When
this music is taught in schools typically its authenticity is compromised because it is a
transcription that is forced into the rules of western-art music. Also, the performance might not
be authentic because western style performance practices will be used and there might not be
access to authentic instruments for the correct sound. There also must be considerable study of
the cultures music to make sure the music is being taught with integrity and authentically. When
music from a different culture is selected the teacher must ensure that a culturally appropriate
arrangement is chosen.

Gordon, E. E. (2007). Learning sequences in music. Chicago, IL: GIA.

This book focuses on the sequence of how students learn music. Part one begins at the most basic
level, how to listen, and moves through the many skills needed to be a musician like rhythm and
pitch development. It includes summaries of major learning theories and music methodologies.
Part two includes practical applications of how to structure learning in the classroom that leads to
a performance and then how to assess the performance. This book will help develop an
awareness of the sequential pattern of music learning to help create targeted objectives and
assessment creation.

Green, S. K., & Hale, C. L. (2011). Fostering a lifelong love of music: Instruction and

assessment practices that make a difference. Music Educators Journal, 98(1), 45-50. doi:

10.1177/0027432111412829

The author argues creating a lifelong connection to music within students can be done through
assessment. There are two types of assessment goals that dictate student-learning habits. The first
is the student is only focused on the grade and the second is the student is focused on the process
of learning. The first method produces students that are only focused on a final product and there

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is no learning after the final product. The second goal encourages students to learn more after
they have finished formal study. When writing the CMP outcomes they must foster the process
of learning and not on the final concert.

Hale, C. L., & Green, S. K. (2009). Six key principles for music assessment. Music Educators

Journal, 95(4), 27-31. doi:10.1177/0027432109334772

The authors claim assessment is an ongoing process that evolves during the term. There are six
principles needed to be in mind during the process of assessment. First, begin with the end in
mind; know exactly what outcomes are desired during the course of teaching. Second, find out
what students know. This is a diagnostic assessment to see what students already know so
instruction can begin there. Third, check as you go. These are the little checks along the way of
learning to inform instruction. Fourth, students should self assess. Students can check to make
sure they are moving along. Peer assessment can also be used. Fifth, use rubrics to reinforce
learning goals. Rubrics are used to give quantifiable evidence to students so they know where
they stand and they have defined goals to work towards. Lastly, assess yourself. Teachers should
assess their own teaching to ensure their instruction is fitting the students and it can be altered if
needed.

Hope, S., & Wait, M. (2013). Assessment on our own terms. Arts Education Policy Review, 114,

2-12. doi:10.1080/10632913.2013.744235

This article focuses on the aspect of higher education assessment, but the principles can be
attributed to K-12 education as well. The article describes various methods for determining how
assessment works and labels how each method fits into the broad scheme of assessment. Only
bits and portions of this article will be useful as it is centered on higher education.

Labuta, J. A. (1997). Teaching musicianship in the high school band. Ft. Lauderdale, FL:

Meredith Music.

Labuta provides a method for evaluating musicianship. There are sections with sample questions
on musical knowledge, listening exams, out of class assignments, and individual performance
tests. He gives discrete methods to examine students once a program that includes musicianship
has been implemented.

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Latukefu, L. (2009). Peer learning and reflection: Strategies developed by vocal students in a

transforming tertiary setting. International Journal of Music Education, 27, 128-142.

doi:10.1177/0255761409102320

The argument of this article is vocal students will be able to learn more music if they are using
self-assessment and peer learning techniques. The students were asked to create a journal of their
learning of music. The study had two findings. The first is group learning during the warm-up
vocal exercises worked better than private lessons. The second is students could learn repertoire
better in a private lesson than they could in a large group rehearsal.

Lebler, D. (2007). Student-as-master? Reflections on a learning innovation in popular music

pedagogy. International Journal of Music Education, 25, 205-21.

doi:10.1177/0255761407083575

This article examines what happens when students are acting as their own teachers. It uses the
assumption that in the changing world students need to have the skills to adapt at a faster rate
than previous students. The article does focus on popular music styles, but the skills can easily be
transferred to creating student self assessments in CMP. The article finds personal reflection
(both written and recorded) and peer reflection aids greatly in the learning process to aid in the
learning process.

Matthews, W. J. (2003). Constructivism in the classroom: Epistemology, history, and empirical

evidence. Teacher Education Quarterly, 30(3), 51-64. Retrieved from

http://www.teqjournal.org

Using the authors words, This article is to provide an overview and critique of constructivist
teaching practices, followed by a brief review of evidence-based practices in teaching (p. 51).
The article provides an explanation and historical development of constructivism. The author
notes non-constructivist classes tended to out perform constructivist classes. He cites the lack of
research training given in undergraduate teacher education programs because the pre service
teachers are not able to stay informed in current research when they enter the work force.

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Miles, R. (2010). Curricular models based on literature selection. In R. Miles (Series Ed.),

Teaching music through performance in band: Vol. 1 (pp. 67-87). Chicago, IL: GIA.

This chapter is on selecting repertoire to create a comprehensive curriculum, as opposed to

selecting repertoire because the kids might like to play it. Miles has several methods to select
music. The first is making a rotation of pieces that will be learned on a three or four year basis.
The next is using menu format where the teacher will use lists categorized by time period. Music
is selected from those lists. Sample lists are provided. The last method is to select pieces that are
from a variety of time periods and cover the musical elements, form, structure, technical, and
listening skills for comprehensive musicianship.

Norris, C. E. (2010) Introducing creativity in the ensemble setting: National standards meet

comprehensive musicianship. Music Educators Journal, 97(2), 57-62. doi:

10.1177/0027432110387934

The argument of this article is the national standards can be used as a guide to teach
comprehensive musicianship. The author encourages teachers to follow the guidance of the
national standards and have students compose, arrange, and improvise. When students compose,
arrange, or improvise they are creating something and obtaining a deeper understanding of
music. Sample lesson plans are included for middle school chorus and band.

OToole, P. (2003). Shaping sound musicians. Chicago, IL: GIA.

This is a guidebook for CMP methodology. It explains each component and some basic criteria
of each component. The book also gives examples of studies for major works for choir, band,
and orchestra. It fits into the research by giving definitive elements to analyze and view music.
The practicality of this book is fantastic, but it does not provide any resources on how to look for
various aspects of the music or really how to assess the outcomes you set.

Overland, C. T. (2013). Integrated arts teaching: What does it mean for music education? Music

Educators Journal, 100(2), 31-37. doi:10.1177/0027432113497762

This is a broad speculative article that makes no claims of the best way to integrate music, but it
does give insight into the pros and cons for arts integration. This article provides the music
teacher with a research summary on arts integration to show how integration can be a valuable
educational tool. The article also provides a historical summary and examples of different types
of arts integration. Lastly the article has a brief section on proper methods for integrating music.

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Philpott, C. (2012). Assessment for self-directed learning in music education. In C. Philpott, &

G. Spruce (Eds.), Debates in music teaching (pp. 153-168). New York, NY: Routledge.

The chapter examines two case studies from the UK comparing a self-directed learning
environment and an assessment for learning environment. The chapter defines assessment of
learning, assessment for learning, and self-directed learning that will help form a framework for
assessing self-directed learning. The authors conclude that self-directed study will give students
more ownership of their work therefore producing better results. Relating to CMP the outcomes
need to provide students the opportunity for self-directed learning.
Pulman, M. (2009). Seeing yourself as others see you: Developing personal attributes in the

group rehearsal. British Journal of Music Education, 26, 117-135.

This article examines the peer assessment model to determine the personal and group attributes
of every member so the ensemble could be better. The students followed four steps and when
they felt comfortable they would move onto the next step. The group developed all attributes
being assessed. The study found students improved on the output they were able to provide to the
ensemble.

Reimer, B. (2002). A philosophy of music education: Advancing the vision (3rd ed.). Upper

Saddle River, NJ: Pearson.

This book is the 3rd revision of Bennett Reimer's aesthetic philosophy of music education. The
philosophy focuses on the whole idea we are in music for the love and beauty of music. Music
should be taught in the curriculum because it teaches us to appreciate beauty. To determine
artistic quality he focuses on imagination, craftsmanship, sensitivity, and authenticity. This
article supports my research because it outlines the affective outcome.

Reynolds, H. R. (2000). Repertoire is the curriculum. Music Educators Journal, 87(1), 31-33.

doi:10.2307/3399675

This article states the content music teachers teach is equivalent to the textbooks in any other
subjects. The text music teachers use to teach must be of high quality and Reynolds outlines a
repertoire selection process. He claims teachers must keep lists, attend concerts, ask peers, and
stay up to date with the latest music being published. The chosen music must also provide
meaningful teaching moments for the students. The meaningful moments are created based on
the outcomes of CMP.

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Robert A Duke, R. A. (2005) Intelligent music teaching. Austin, TX: Learning and Behavior

Resources.

The chapter on assessment is an essay that provides a philosophical approach to assessment. The
essay strives for teachers to be reflective when they are teaching their students to make sure
assessments are meaningful and appropriate. The author also makes a claim for a practical
method of assessment that reflects real world situations and not abstract demonstrations of skills.

Rush, S., Wilkinson, E., & Scott, J. (2014). Habits of a successful middle school band director.

Chicago, IL: GIA.

It has sections on different methods of assessing students. One method is differentiated

instruction. Examples given are creating a checklist, recording performances and the last is live
performance reports. Another section is on different forms of assessment such as: assessing
recordings, line pass offs, chair placements, rubric creation, sight-reading assessment, and
student-centered learning. Practical examples of integrating these assessment methods into the
curriculum are included.

Scott, S. J. (2012). Rethinking the roles of assessment in music education. Music Educators

Journal, 98(3), 31-35. doi:10.1177/0027432111434742

This article outlines three methods for assessment that enhance student learning. First,
assessment of learning is the traditional form of assessment that focuses on ranking quality and
right or wrong. It does give the student information on what they do and do not know. Second,
assessment for learning is where students use assessment results as a method to learn more than
what they already know. Third, assessment as learning is where students perform self-
assessments to guide their own learning. Assessment for learning and assessment of learning
empowers students to become lifelong learners. When creating the outcomes for CMP there
should be opportunities for self-assessment.

Sindberg, L. K. (2006). Comprehensive musicianship through performance (CMP) in the lived

experience of students (Doctoral dissertation). Retrieved from ProQuest Dissertations &

Theses Global. (UMI No. 3221852)

This is a case study of six students and two teachers from middle and high school on their
journey through a CMP lesson plan. The study found that there is difference between what

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students learned and what the teachers intended students to learn. The study offers suggestions to
help teachers create meaningful connections in the CMP model.

Sindberg, L. K. (2012) Just good teaching: Comprehensive musicianship through performance

(CMP) in theory and practice. Lanham, MD: Rowman & Littlefield Education.

This book outlines practical and philosophical implications of CMP. There are sample lesson
plans, broken down into a day-by-day account to show the evolution of how to teach with the
CMP method. There is also a chapter of integration with the piece Shenandoah because it
naturally leads itself to want to be sung. There are philosophical sections to why teach with CMP
and how CMP aligns with the music curriculum.

Snuder, S. (2001). Connection, correlation, and integration: Developing and integrated

curriculum involves more than simply creating a set of related materiahy activities, and

strategies. Music Educators Journal, 87(5), 32-39. doi:10.2307/3399706

An integrated curriculum can be an effective way to enhance student learning if this type of
program is created with certain guiding ideals. This article explains the history and how to build
an effective integrated curriculum. Included in this article are positive and negative effects of an
integrated curriculum and tips for music teachers when integrating music with other subjects.

Scott, S. J. (2014). Repetitions and contrasts: Using essential questions to frame unit plans in

general music. General Music Today, 27(2), 22-29. doi: 10.1177/1048371313495873

The article focuses on the creation of essential questions to help guide music teaching and
learning. The authors provide examples of essential questions and sample lesson plans, for
elementary general music, which could be used for the essential questions. The essential question
should be incorporated into the outcomes and assessment of CMP to provide guidance for both
students and teachers for the learning process.

Wesolowski, B. C. (2012). Understanding and developing rubrics for music performance

assessment. Music Educators Journal, 98(3), 36-42. doi:10.1177/0027432111432524

The article focuses on using rubrics to objectively critique students performance. There are two
types of rubrics can be curtailed to fit the type of assessment needed. The holistic rubric assesses
big picture concepts with non-specific feedback would be assessed in CMP knowledge

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outcomes. The analytic rubric assigns point values and specific criteria students need to reach for
achievement. This rubric would assess CMP skill outcomes.

Wiggins, G. P., & McTighe, J. (2005). Understanding by design. [ebrary]. Retrieved from

http://www.site.ebrary.com

This book helps teachers write curriculum by starting with the end in mind. In this model
teachers start with the outcome of what students should learn through the unit. The book guides
teachers through the process of creating a curriculum that is backward by design. Every chapter
of the book is focused around the preparation before teaching so every element is in place when
students walk through the door. It ensures every lesson is created for understanding.

Wiggins, J., & Wiggins, R. A. (1997). Integrating through conceptual connections: Focusing on

conceptual connections can make it possible for music teachers to develop

interdisciplinary curricula without sacrificing the integrity of their own discipline. Music

Educators Journal, 83(4), pp. 31-41. doi:10.2307/3399040

This argument of this article is to have quality integration music teachers need to make
conceptual connections for students. An example of a connection that is not conceptual is having
a student color in a large number three and claiming math and art are being integrated. This is
defined as a content connection. Instead music teachers should move towards connecting
concepts. The example given is studying consonances, dissonances, and the resolutions along
side the literature class that looks at how authors resolve dissonance between characters.
Knowledge and affective outcomes of CMP focus on conceptual concepts.

Wiggins, R. A. (2001). Integrated curriculum: Music educator concerns: What is

interdisciplinary learning? Does it work better than traditional subject-area learning?

Who really benefits? This article offers some discussion and answers. Music Educators

Journal, 87(5), pp. 40-45. doi:10.2307/3399707

This article makes the argument that there are three concerns when integrating music. The first
concern, theoretical, is defining how integration should be accomplished based upon Howard
Gartners theory of separate subjects juxtaposed to James Beanes theory there should be no
subject definitions. It is concluded that very few professionals have the multidisciplinary skills
required to offer integration but there needs to be more research to support any more claims. The

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Annotated Bibliography
August 4th, 2014

second concern, curricular, is on the methods used for integration. The author breaks down the
quality of integration into five levels. The first three connections used for integration, teaching
tools, topic, content are warned against not being effective. The top to levels, content and
process, promote learning the best because students are making cognitive connections between
subjects. The last concern is instructional, how the lesson will be presented. The author reviewed
three popular texts on integrated lesson plans and found music was not in any of them. This fact
worries the author because it means music education is not conceived to be worthy enough to be
included in the text and therefore will have a diminished roll in education. Relating to CMP,
finding concepts are valid between the disciplines are extremely important to providing a deeper
understanding of school subjects.

Wrigley, W. J., and Emmerson, S. B. (2013). Ecological development and validation of a music

performance rating scale for five instrument families. Psychology of Music, 41, 97-118.

doi:10.1177/0305735611418552

This article examines ways that assessment tools are created to help each instrument family.
Different assessment criteria were identified for piano, strings, woodwinds, and brass winds.
Then each instrument family was assessed on those topics. The study found that breaking down
the instrument family types increased the quality of assessment. The report does say that not all
aspects of music production were calculated, because musical style is subjective.

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