A REVIEW OF BEGINNING BAND METHOD BOOKS … review of beginning band method books for inclusion of comprehensive musicianship and adherence to the national standards for music education

A REVIEW OF BEGINNING BAND METHOD BOOKS FOR INCLUSION OF COMPREHENSIVE MUSICIANSHIP AND ADHERENCE TO THE

NATIONAL STANDARDS FOR MUSIC EDUCATION

Shannon S. Paschall

A Thesis

Submitted to the Graduate College of Bowling Green State University in partial fulfillment of

the requirements for the degree of

MASTER OF MUSIC

August 2006

Committee:

Kenneth Thompson, Advisor

Kevin Schempf, Advisor

Elaine Colprit

Andrew Pelletier

© 2006

Shannon Paschall

All Rights Reserved

iii

ABSTRACT

Kenneth Thompson and Kevin Schempf, Advisors

Research has shown that providing students with a comprehensive music education

produces knowledgeable musicians who perform as well, or better, than students taught only

performance skills (Austin, 1998; Whitener, 1981). The National Standards for Music Education

are a “repackaging” of the ideas of comprehensive musicianship that have been emphasized

since the 1960s (Austin, 1998). Some music educators are required to fulfill the goals of the

National Standards (Hoffer, 2001), and many cite a lack of time and materials necessary to

achieve these goals (Austin, 1998; Byo, 1999). This task could be simplified for beginning band

teachers with the use of a band method that already integrates these concepts.

The purpose of this study was to review five beginning band methods for inclusion of

comprehensive musicianship and adherence to the National Standards for Music Education.

Band Expressions (Smith & Smith, 2003), Essential Elements 2000 Plus DVD (Lautzenheiser et.

al., 2004), Standard of Excellence: Enhanced Comprehensive Band Method (Pearson, 2004), The

Yamaha Advantage: Musicianship from Day One (Clark & Feldstein, 2001), and Accent on

Achievement (O’Reilly & Williams, 1997) were reviewed for inclusion of items, topics, and

musical skills that each should address according to the National Standards for Music Education

as well as books, articles, and studies on comprehensive musicianship. The number of times each

band method addresses a topic cited as a standard in the National Standards and/or included in

comprehensive musicianship was charted. While all five band methods assist directors in

providing comprehensive instruction and adhering to the National Standards, only Band

Expressions integrates all of the topics reviewed in this thesis into the band method.

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Colossians 3:17

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ACKNOWLEDGMENTS

I sincerely appreciate the time, energy, and enthusiasm given by my advisor, Dr. Ken

Thompson, during the past few months. His advice and encouragement have been invaluable. I

am especially grateful to Mr. Kevin Schempf for helping me grow as a musician and for his extra

efforts in serving as co-chair of the thesis committee. I would also like to thank Dr. Elaine

Colprit and Dr. Andrew Pelletier for serving on the thesis committee and sharing their time and

talents. Special thanks to Carl Fischer, Hal Leonard, Alfred, Neil A. Kjos, and Warner Bros.

Publication Companies, the publishers of the band methods reviewed in this thesis, for their

donations of materials. Sample student method books are available by contacting these

publishers. Thanks to my family and friends for their prayers and support throughout all my

academic and musical endeavors.

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TABLE OF CONTENTS

Page

CHAPTER I. INTRODUCTION.......................................................................................... 1

Statement of the Problem........................................................................................... 1

Need for the Study ..................................................................................................... 2

Purpose of the Study .................................................................................................. 2

CHAPTER II. REVIEW OF LITERATURE ....................................................................... 4

MENC National Standards for Music Education....................................................... 4

Comprehensive Musicianship.................................................................................... 8

Existing Reviews of Band Methods........................................................................... 15

Summary of Review of Literature ............................................................................. 18

CHAPTER III. METHODOLOGY ...................................................................................... 21

Selection of Band Methods........................................................................................ 21

Selection of Topics for Consideration ....................................................................... 22

CHAPTER IV. RESULTS.................................................................................................... 25

Comparative Review of Band Methods..................................................................... 25

Structural Methodology ................................................................................. 25

Pedagogical Methodology ............................................................................. 31

Adherence to the National Standards and Inclusion of Comprehensive

Musicianship .............................................................................................................. 40

CHAPTER V. DISCUSSION............................................................................................... 55

Conclusions and Recommendations .......................................................................... 55

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Summary .................................................................................................................... 77

Suggestions for Further Research .............................................................................. 81

REFERENCES ...................................................................................................................... 83

BIBLIOGRAPHY.................................................................................................................. 87

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LIST OF TABLES

Table Page

1 Topics Included in the National Standards and Comprehensive Musicianship......... 23

2 Structural Methodology: Accent on Achievement...................................................... 26

3 Structural Methodology: Band Expressions .............................................................. 27

4 Structural Methodology: Essential Elements 2000.................................................... 28

5 Structural Methodology: Standard of Excellence ...................................................... 29

6 Structural Methodology: Yamaha Advantage ............................................................ 30

7 Pedagogical Methodology: Accent on Achievement .................................................. 33

8 Pedagogical Methodology: Band Expressions .......................................................... 35

9 Pedagogical Methodology: Essential Elements 2000 ................................................ 36

10 Pedagogical Methodology: Standard of Excellence .................................................. 37

11 Pedagogical Methodology: Yamaha Advantage ........................................................ 39

12 Adherence to National Standards and Inclusion of Comprehensive Musicianship:

Accent on Achievement .............................................................................................. 41


Band Expressions....................................................................................................... 43


Essential Elements 2000 ............................................................................................ 47


Standard of Excellence .............................................................................................. 50


Yamaha Advantage .................................................................................................... 52

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Singing ....................................................................................................................... 55


Solos/Duets ................................................................................................................ 56


Varied Repertoire....................................................................................................... 57


Posture ....................................................................................................................... 58


Playing Position ......................................................................................................... 59


Breathing.................................................................................................................... 60


Expression.................................................................................................................. 61


Play by Ear................................................................................................................. 62


Improvisation ............................................................................................................. 63


Composition............................................................................................................... 64


Arranging ................................................................................................................... 65

x


Reading ...................................................................................................................... 66


Notating...................................................................................................................... 67


Listening .................................................................................................................... 68


Form........................................................................................................................... 69


Theory ........................................................................................................................ 70


Evaluating .................................................................................................................. 72


Other Arts................................................................................................................... 73


History ....................................................................................................................... 74


Multicultural .............................................................................................................. 75


Conducting................................................................................................................. 76

1

CHAPTER I

INTRODUCTION

Statement of the Problem

In his introduction to the 1976 publication, Blueprint for Band, Garofalo makes a

statement about the condition of band programs in America.

There are few carefully planned courses of study designed to teach students the

fundamentals of music theory, introduce them systematically to the great composers, or

assist them in comprehending the fascinating metamorphosis of musical form and style

through the broad sweep of man’s history. Instead, our students concentrate on acquiring

the technical competence necessary to play the scores which we decide will make an

interesting program for our next audience or will please our colleagues who will be

judging the next contest (1976, vii).

While most band programs train students to be performers, not all programs provide the

information and knowledge students need to become musically educated adults. Band programs

that aid students in the development of musicality, analysis skills, and aesthetic understanding

should produce adults who are able to make value judgments about music (Culbert, 1974, p. 5).

Garofalo, like Culbert and many other music educators, believes band students should

have a comprehensive music education, which is defined as instruction in performance skills

combined with the acquisition of musical knowledge. Students become musicians through

performing, composing, improvising, arranging, and conducting. Through implementation of a

comprehensive musicianship curriculum, an idea that has been in existence for several decades,

music educators may be able to fulfill the goals of the National Standards for Music Education

published in 1994 by the Music Educators National Conference. The standards specify what

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musical techniques and knowledge every student should possess at the end of grades 4, 8, and

12; the standards apply to all students through grade 8 and to every student enrolled in required

or elective music courses beyond grade 8.

While a comprehensive music education, one that adheres to the National Standards for

Music Education, should begin as soon as students select an instrument, many music teachers

have limited amounts of planning and rehearsal time (Austin, 1998, p. 30; Byo, 1999, p. 112).

Consequently, it would seem logical and efficient for beginning band directors to use a band

method that already integrates the concepts of comprehensive musicianship to aid in fulfilling

the goals of the National Standards. Research on which current band methods meet the

requirements set forth in the National Standards would aid band directors in the task of selecting

an appropriate band method.

Need for the Study

Several studies provide suggestions for selecting an appropriate beginning band method

while others review existing band methods. While these studies are useful and remain relevant,

several new band methods and revised editions of existing band methods have been published;

therefore, several band methods currently in use have yet to be reviewed. In addition, many

current music teachers are required to achieve the goals of the National Standards for Music

Education (Hoffer, 2001, p. 52), and none of these previous studies focus on this concern. For

these reasons, this study is needed to review current band methods for inclusion of

comprehensive musicianship and adherence to the National Standards for Music Education.

Purpose of the Study

The purpose of this study is to review beginning band methods in consideration of their

inclusion of comprehensive musicianship and adherence to the National Standards for Music

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Education. This study is intended to serve as a resource for pre-service teachers and current

music educators by providing a review of five band methods currently in use. If directors were

able to gain insight into new and updated publications and grasp how well new band methods

adhere to the National Standards, promoting comprehensive musical instruction, then band

directors could more easily investigate these methods for themselves in order to enhance music

instruction for their students. This study should be useful to all band directors, especially

beginning teachers who have a limited knowledge of current band methods.

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CHAPTER II

REVIEW OF LITERATURE

MENC National Standards for Music Education

The Yale Seminar on Music Education was held at Yale University from June 17-28,

1963 in order to identify and discuss problems currently facing music education. The participants

examined the K-12 curriculum and questioned why school music programs had not yet been able

to produce a musically literate public (Mark, 1996, p. 34). The Yale Seminar found that while

school instrumental music programs produced competent performers, “superficial showmanship

and mass activity” did little to “increase the musicality and musical appreciation of individual

musicians” (p. 36). Participants agreed that music programs trained students to be performers

rather than knowledgeable musicians. Unfortunately, the Yale Seminar participants were

primarily university faculty and professional musicians who had little direct involvement with K-

12 music education in the public schools. With little representation from music educators or the

Music Educators National Conference: the National Association for Music Education (MENC),

the seminar could not implement any ideas, but instead created an atmosphere that was

conducive to change, in which the music education profession could seriously consider new

methods and materials (p. 37). The Yale Seminar determined that school music programs needed

to teach more than performance skills, but only music educators would eventually be able to alter

the K-12 music curriculum.

To address the problems identified by the Yale Seminar, music education leaders held

their own conference from July 23-August 2, 1967, in Tanglewood, Massachusetts. MENC was

the primary sponsor of the symposium created to “discuss and define the role of music education

in contemporary American society at a time when it was faced with rapid social, economic, and

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cultural change” (Mark, 1996, p. 39). Music educators at Tanglewood agreed that all musical

styles and forms as well as music from diverse cultures and historical periods belong in the

curriculum. They decided music instruction should be available for all age groups and that high

school students needed instruction in the arts. Technology should be applied to music instruction,

and teacher education programs should be expanded and improved. The Tanglewood

Symposium culminated with the writing of The Tanglewood Declaration, a document that

contained a recommendation that music be placed in the core academic curriculum (p. 44).

In 1969, MENC began to implement the suggestions of the Tanglewood Symposium

through the Goals and Objectives (GO) Project. Thirty-five goals and objectives were identified

for MENC to focus on in order to improve music education in America. MENC established the

National Commission on Instruction to implement these goals and objectives. In 1974, the

commission published The School Music Program: Description and Standards. This document

describes an ideal school music program through presentation of standards for instructors,

curriculum, facilities, and equipment, providing teachers with a model for comparison with the

aim that more programs would eventually emulate this model (Mark, 1996, p. 48).

A second edition of The School Music Program: Description and Standards was

published in 1986, presenting specific curriculum goals to be achieved. By 1990, every student

in grades K-12 would have access to music instruction and every high school, college, and

university would require at least one credit in the arts for graduation. The standards published in

both editions of The School Music Program represent the response of the music education

profession to the national movement for increased quality in education, even though the arts

were not considered an essential academic subject at this time (p. 49). While music educators

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were not required to make improvements in the music curriculum, they sought to improve K-12

music education with the belief that music would someday become a core academic subject.

On March 31, 1994, Goals 2000: Educate America Act (PL 103-227) was signed into law

(Mark, 1996, p. 104). This federal law validated and enforced the national movement demanding

increased quality in education by requiring identification of standards and achievement levels in

all core subject areas: English, mathematics, science, foreign languages, civics and government,

economics, arts, history, and geography (p. 106). Identifying the arts as a core subject area

indicated that the arts are as significant as other academic subjects, so identification of standards

and achievement levels were now required for all arts disciplines, and the National Standards for

Arts Education were written in response (p. 107). The National Standards for Arts Education

contain content standards, statements of what students should know and be able to do in each

discipline—dance, music, theater, and visual arts. Each content standard is coupled with an

achievement standard, providing a description of how students are to demonstrate mastery of

each specific content standard (p. 49).

The National Standards for Music Education, as part of the National Standards for Arts

Education, were published in 1994 by the Music Educators National Conference. Developed

under the guidance of the National Committee for Standards in the Arts, they were designed to

represent the views of “educators, parents, artists, professional associations in education and in

the arts, public and private education institutions, philanthropic organizations, and leaders from

government, business, and labor.” The standards specify what musical techniques and knowledge

every student should possess at the end of grades 4, 8, and 12, define music education as a

balanced, complete, and sequential music curriculum, and provide assistance in improving the

school music program. The standards apply to all students through grade 8 and to every student

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enrolled in music beyond grade 8 (Lehman, 2000, p. 2). Students in grades 5-8 use the band

methods reviewed in this thesis, so the music content standards for grades 5-8 are as follows:

1. Singing, alone and with others, a varied repertoire of music

2. Performing on instruments, alone and with others, a varied repertoire of music

3. Improvising melodies, variations, and accompaniments

4. Composing and arranging music within specified guidelines

5. Reading and notating music

6. Listening to, analyzing, and describing music

7. Evaluating music and music performances

8. Understanding relationships between music, the other arts, and disciplines outside the

arts

9. Understanding music in relation to history and culture (MENC, 2005).

These standards provide high expectations to ensure that the music curriculum in every

school provides an optimal learning environment for all students. These are the best practices

currently found in American schools (Lehman, 2000, p. 2). Many states and school districts have

adopted the National Standards, and while some require teaching to fulfill the goals of the

Standards, others simply recommend it (Hoffer, 2001, p. 52). “The Standards do not mean that

every lesson or rehearsal must contain elements of all nine standards, or that every course should

contain equal portions of each standard,” but the topics included in the Standards should not be

omitted in band and choir rehearsals (p. 53). Fulfilling the goals of the National Standards would

be especially important if a student’s only musical experience was participation in a performing

ensemble.

8

Comprehensive Musicianship

In Teaching Music through Performance in Beginning Band, Pearson states, “The

National Standards for Arts Education has . . . identified what all American students ‘should

know and be able to do in the arts.’ In many ways, the Standards have structured what music

educators have for some time called comprehensive musicianship” (2001, p. 58). Many leading

music philosophers and researchers agree that ensemble directors should maximize student

learning through comprehensive musicianship, thus validating music as part of the educational

curriculum by integrating theoretical, historical, analytical, and stylistic aspects of music into the

performance repertoire (Grashel, 1993, p. 38).

Comprehensive musicianship found its roots in the Young Composer’s Project, which

began in 1959. Norman Dello Joio, a prominent composer and pedagogue interested in music

education, suggested an arrangement between composers and public school music programs.

Composers-in-residence, funded by the Ford Foundation, were placed throughout the United

States to write original, contemporary music for public school ensembles (Mark, 1996, p. 29).

The barrier between composers and performers was removed, and students benefited from the

interaction with composers because a great deal of new literature was written for school

performance groups. The project was successful, but composers soon discovered that music

teachers did not have a conceptual understanding of contemporary music techniques and could

not teach these techniques to their students (Bauer, 1987, p. 15).

Given this evident lack of knowledge, the Contemporary Music Project was organized in

1963 to sponsor seminars for music educators to bridge the gap between composers and teachers

(p. 16). This was a time when many musicians, not just music educators, were interested in what

was being taught in public school music programs. There was a shift in focus from what students

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were learning in middle and high school band classes to what future music educators were

learning when preparing to teach (Thomson, 1990, p. 21). The leaders of the Contemporary

Music Project concluded “college music curricula needed to do more to prepare all music

students to deal with contemporary musical literature, indeed a wide variety of literature, and to

bring students from all the music disciplines into a more common frame of reference to facilitate

communication and understanding. Thus, the need emerged for a more comprehensive music

education” (Willoughby, 1990, p. 39).

Participants in the Yale Seminar, also in 1963, concluded that school instrumental music

programs produced competent performers, but the strong emphasis on performance in the K-12

music curriculum did not create knowledgeable musicians with a life-long appreciation for music

(Mark, 1996, p. 36). Music educators responded to the Yale Seminar with the Tanglewood

Symposium, and MENC’s GO Project was initiated to implement the recommendations of this

group. One of the GO Project’s thirty-five objectives states that MENC will “lead in efforts to

ensure that every school system allocates sufficient staff, time, and funds to support a

comprehensive and excellent music program” (p. 47). MENC and leaders in the music education

profession have been advocates for a comprehensive music education since this time.

Comprehensive musicianship is a pedagogical approach that provides a rationale for

performance based ensemble courses to be included as part of the core academic curriculum.

Teaching comprehensively requires directors to teach more than performance skills through

instruction in music history, music theory, analysis, and listening skills. Many ensemble directors

neglect this responsibility because of the inherent pressure of preparing public performances,

lack of planning or rehearsal time, or fear of high attrition rates if ensembles are viewed as

traditional academic classes (Austin, 1998, p. 30; Byo, 1999, p. 112). If teachers select repertoire

10

for its potential to provide opportunity for diverse instruction, students can gain both technical

and conceptual knowledge while learning new music (Grashel, 1993, p. 38).

According to Elliott, comprehensive musicianship is a combination of performance skills

and formal (history, theory, form) and informal (musicality, phrasing) musical knowledge. He

advocates teaching both types of musical knowledge through performing, composing,

improvising, arranging, and conducting. Elliott writes that music educators should teach informal

musical skills and then worry about formal musical knowledge, because if students acquire

musicianship skills, then they have the knowledge required to understand and enjoy music for

life. (1995, p. 32).

Comprehensive musicianship is simply “performance with understanding” (Austin, 1998,

p. 25). Willoughby describes comprehensive musicianship as the “integration of content and

musical experiences,” the teaching of musical skills through performance (1990, p. 39).

“Comprehensive musicianship encompasses all the activities that a musician engages in—

performing, creating, evaluating, listening, conducting, analyzing, and communicating. It is a

method of instruction in which a student functions as a musician in the broadest sense” (Texter,

1979, p. 5).

While the National Standards for Music Education state what students should know and

be able to do, they do not specify how teachers are to meet these objectives with their students

(MENC, n.d., p. 2). Through implementation of a comprehensive musicianship curriculum, an

idea that has been in existence for half a century, music educators will be able to realize the goals

of the 1994 National Standards for Music Education. “The comprehensive musicianship

approach to training instrumentalists has had a positive effect since its development in the 1960s.

11

It centers on choosing quality music for performance and integrating knowledge about the music

within group rehearsals” (Schleuter, 1997, p.11).

William Whitener, in his comparison of two approaches to teaching beginning band,

examined the effects of providing a comprehensive music education for beginning band students.

He studied two beginning bands, one given a comprehensive music education, and one taught

only technical skills necessary for performance. The comprehensive group spent less time

performing due to increased instructional time, but at the end of the study, there was no

significant difference in the performance levels of the two groups as measured by a performance

test score (Whitener, 1981, p. 61). Students taught comprehensively showed significant

differences in scores in the areas of interval (p < .01) and meter discrimination (p < .05) due to

instruction on intervals and meters included in the comprehensive approach. Students in the

comprehensive group were also more sensitive to changes between major and minor modalities

(p < .01). This is the result of an instructional emphasis on the difference between major and

minor sonorities. Students in the comprehensive group also scored higher on an auditory-visual

discrimination test (p < .01) because of instruction in composition (p. 62). In addition, 63% of

the comprehensive group was able to improvise Twinkle, Twinkle Little Star. None of the

performance group subjects could complete this improvisatory task (p. 64).

Austin discovered that the goals outlined in the National Standards “closely resemble

ideas previously developed, implemented, and tested by comprehensive musicianship.” He found

that previous comprehensive musicianship models required a focus on:

1. perception or conception of the “common elements”

2. interdisciplinary study of music theory, history, and performance

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3. involvement of students in the musician’s varied roles as performer, composer,

conductor, listener, and analyst

4. study as well as performance of quality music literature representing diverse genres,

cultures, and historical periods

5. ensemble classes that function as both learning laboratories and rehearsal settings

Only Standard 8, understanding relationships among music, the other arts, and disciplines

outside the arts, has no direct correlation in any comprehensive musicianship model (1998, p.

25).

Austin provides a review and synthesis of several previous studies on the effects of

comprehensive musicianship in public school ensembles. He found that research studies on

comprehensive musicianship have ranged from two weeks to two years in length, and the amount

of time devoted to comprehensive instruction during these studies ranged from a few minutes of

every third rehearsal to half of every rehearsal. Results were positive regardless of how or how

long this approach was implemented (1998, p. 28).

Music achievement scores (reflecting basic knowledge, conceptual understanding, aural

perception, or analytical listening skills) were consistently higher for students taught

using a comprehensive approach and/or also improved significantly over time (Boyle &

Radocy, 1973; Carlson, 1993; Culbert, 1974; Garofalo & Whaley, 1979; Gebhardt, 1974;

Grashel, 1978; Linton, 1967; Sherburn, 1984; Swearingen, 1993; Wentworth, 1978;

Whitener, 1983; Whitlock, 1982).

Specifically, Boyle and Radocy developed and administered tests to students in twelve

different music classes, including band, orchestra, and general music, at the elementary, middle,

and high school levels. Students showed gains in scores in many areas after one year of

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instruction from teachers devoted to the comprehensive musicianship practice. For example,

scores for identifying musical form improved from 30% to 80%, ability to notate scales

increased from 3% to 60%, and rhythmic error detection scores moved from 33% to 83% after

one year of instruction based on comprehensive musicianship (1973, p. 16).

Culbert found that students taught using a comprehensive teaching method performed as

well as students trained through a performance-based approach (1974, p. 74). In addition, the

students in the comprehensive group showed a significant difference in scores on a Music

Achievement Test (p < .05) in the areas of tonal memory, musical style, auditory-visual

discrimination, and melody, pitch, instrument, and chord recognition (p. 73). Devoting 25% of

the rehearsal time to teaching skills in describing music helped students in the comprehensive

group achieve higher scores (p. 74).

Garofalo and Whaley compared the comprehensive unit study and traditional

performance approaches for teaching music to high school band students. Garofalo’s Unit Study

Composition curriculum model provided a “systematic introduction to basic music concepts

related to the structural elements of music and historical styles” for students in the experimental

group (1979, p. 137). One high school band was taught using this method, and another high

school band, taught using a traditional performance approach, served as the control group. After

five weeks of instruction, the students in the experimental group scored significantly higher (p <

.01) on a conceptual knowledge and aural identification test than students in the control group.

The experimental group’s performance ratings were also higher than those of the control group,

and a test given to the experimental group six weeks after the study revealed that these students

had retained the comprehensive knowledge (p. 141).

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Grashel developed and evaluated instructional strategies for teaching musical form to

intermediate band students from four schools. Students received instruction in musical form

either in class, outside of class through the use of supplementary materials, or in class combined

with supplementary materials for use outside of class; one band served as the control group. A

35-question multiple-choice test on musical form was administered at the conclusion of the

study. All three experimental groups scored significantly higher (p < .001) than the control

group, and the knowledge they gained was transferable to unfamiliar band literature (1978, p.

190).

Parker studied two middle school bands, one taught using a comprehensive musicianship

approach, and one taught only performance skills. He found no significant difference (.05 level)

between the scores of the two groups on the Test of Musical Performance Skills. Parker also

found no significant difference (.05 level) in students’ evaluations of the band program based on

the method of instruction (1975, p. 130). Swearingen (1993) and Whitlock (1982), as cited by

Austin, found that students and parents have a positive response to the comprehensive

musicianship approach (1998, p. 28).

Garofalo (1976), Grashel (1993), and Pearson (2001) agree that teaching comprehensive

musicianship requires extra planning time, but they all stress that the extra preparation is worth

the effort. It is critical that a comprehensive music education, one that adheres to the National

Standards for Music Education, begins as soon as students select an instrument, but many band

directors have limited amounts of planning and rehearsal time to find and use alternate materials

to teach composition, improvisation, conducting, etc. (Austin, 1998, p. 31). Consequently, it

would seem logical and efficient to use a beginning band method that already integrates these

concepts.

15

Existing Reviews of Band Methods

Numerous authors (Birdwhistell, 1998; Heavner, 1995; Hock, 1991; Hoffer, 2001;

Kinyon, 1982; Kuhn, 1970; Schleuter, 1997) provide extensive lists of criteria for selecting a

beginning band method. Some of these criteria include music of superior quality, instructions on

playing position and care of the instrument, a simple fingering chart, a glossary, and a consistent

and logical introduction of new notes, rhythms, and musical terms. A method should also contain

instruction on playing musically and expressively as well as reading notation. Specifically, the

studies of Birdwhistell (1998), Heavner (1995), and Hock (1991), which will be discussed later,

review the content, instructional sequence, and inclusion of comprehensive musicianship in

beginning band methods. The following is a more extensive discussion of the ideas of the seven

authors listed above.

Schleuter provides an overview of the pedagogical organization of current band methods.

He believes that instrumental methods are organized by the introduction of rhythmic notation.

Most authors organize rhythmic material according to note values beginning with whole notes

and rests, then progressing through half, quarter, and sixteenth notes and rests. Mathematical and

visual relationships of note values are stressed. Band methods tend to differ in the speed of

introduction of new notes and note values and the amount of material presented that emphasizes

each note value. Notation and counting systems (most often 1-e-and-a) are introduced

simultaneously. Nearly all melodies are in the major mode and limited to a few keys (most often

Bb, Eb, and F), which indirectly facilitate the development of a sense of tonality (1997, p. 8).

Most band methods emphasize “1) the primary association of fingerings with notation rather than

sound; 2) the mathematics of proportional note values; 3) note naming; and 4) a mixture of

technical and melodic material” (p. 9).

16

In his 2001 edition of Teaching Music in the Secondary Schools, Hoffer lists several

criteria to consider when selecting a beginning band method. He insists that a method should

contain instructions on instrument care, illustrations of posture, position, and embouchure, and

“interesting and worthwhile” music. Hoffer states that directions should be clear and simple and

“playing problems introduced in a logical order.” Ensemble music and suggestions on

embouchure, breath support, and counting should be included in the student book, and a

teacher’s edition must be available. Recordings are also essential to provide a good aural model

for students (p. 87).

Kuhn provides criteria for selecting a beginning band method by listing questions to ask

when searching for the appropriate method. He insists that methods should contain music of

superior quality and advises the reader to look for instructions on the care and use of the

instrument, correct illustrations of posture, hand positions, and embouchure, and a fingering

chart. Directions should be clear and concise, musical content should include a variety of styles

and genres, and technical issues should be introduced logically. Ensemble arrangements and a

list of musical terms are essential, the appearance and structure of the book should be pleasing,

and a score or teacher edition must be provided (1970, p. 30).

Kinyon states “great care should be taken in choosing the band method” and it should be

“selected only after a comparative study has been made among several class method books.”

While all band methods intended for class instruction have similar pedagogical sequences, each

method has specific strengths and weaknesses, so it is the band director’s responsibility to select

the method that is best suited for his or her situation. Points of consideration include first note

values because whole notes assist in setting embouchures and quarter notes aid in establishing

rhythm. Students with previous musical experience might begin with whole notes to develop a

17

proper embouchure, while students with no musical background could begin with quarter notes

to focus on music literacy. Range of pitches and introductions of rhythms need to occur in a

practical sequence, and new problems should be isolated and presented in a clear and logical

manner. Pages should be uncluttered, and pictures, a fingering chart, full score, and recordings

allow for ease of use. Number of pages, instruction in musicianship, and a variety of musical

pieces are other items to consider (1982, p. 63).

Birdwhistell’s study is an analysis of five beginning band methods for content,

instructional sequence, and inclusion of comprehensive musicianship methodology. The author

reviewed Essential Elements: A Comprehensive Band Method, Sounds Spectacular, Standard of

Excellence Comprehensive Band Method, Now Go Home and Practice: An Interactive Band

Method for Students, and Belwin 21st Century Band Method. Categories used to analyze the band

methods included: instrumentation, content of introductory material, number of pages, pitches

introduced, writing exercises, enrichment (theory and history), and test materials. She also

reviewed the fingering charts, glossary, supplemental materials, and the teacher edition included

with each method. Results are displayed in tables so readers can easily compare the qualities of

each band method (1998).

Heavner also analyzed current beginning band methods for the previously cited principles

of comprehensive musicianship. He reviewed Standard of Excellence Comprehensive Band

Method, Essential Elements: A Comprehensive Band Method, Mastery Learning, Sounds

Spectacular, Now Go Home and Practice, and Rhythm Master. Heavner compared the structures

of the methods and reviewed each method according to a comprehensive musicianship model.

His model included five categories: content, instructional literature, activities, concepts, and

evaluation. Experienced instrumental music educators completed a survey on how well they

18

thought current band methods covered the principles of comprehensive musicianship. A Chi-

Square Goodness-of-Fit Test was used to determine the difference between what Heavner found

using his comprehensive musicianship model and the ratings of experienced music teachers.

While band methods published prior to the mid-1970s did not integrate the principles of

comprehensive musicianship, results from the test and the author’s analysis indicated that current

beginning band methods provide a comprehensive musicianship curriculum (1995).

Hock’s thesis is intended as a guide for instructing instrumental music educators on

which criteria to consider when selecting a beginning band method. Hock defines these criteria

as full score availability, introductory material, order of presentation, inclusion of a fingering

chart, musicianship instruction, range considerations, warm-ups, intonation exercises, percussion

concepts, and supplementary materials. She used these criteria to evaluate Best in Class by Bruce

Pearson and Band Plus by James Swearingen and Barbara Buehlman. Hock recommends that

music educators base their choice of band method on the criteria presented in the study and on

how well it fits his/her instructional needs (1991).

Summary of Review of Literature

Several authors agree that comprehensive musicianship is the integration of musical

knowledge and skills into performance instruction (Austin, 1998; Elliott, 1995; Garofalo, 1976;

Grashel, 1993; Schleuter, 1997; Texter, 1979; Whitener, 1981; Willoughby, 1990). Austin

(1998) and Pearson (2001) go further, agreeing that the National Standards for Music Education,

published in 1994 by the Music Educators National Conference, are simply a restructuring of the

topics emphasized since the 1960s as comprehensive musicianship. Other authors (Austin, 1998;

Boyle & Radocy, 1973; Culbert, 1974; Garofalo & Whaley, 1979; Grashel, 1978; Parker, 1975;

Whitener, 1981) cite the benefits of providing comprehensive musical instruction, and three

19

authors agree that this takes extra planning time (Garofalo, 1976; Grashel, 1993; Pearson, 2001).

If beginning band directors wish to provide students with comprehensive musical instruction and

fulfill the goals of the National Standards, it would seem logical and efficient to use a band

method that already integrates these topics.

Kinyon states that a band method should be “selected only after a comparative study has

been made among several class method books” (1982, p. 63). If directors need to fulfill the goals

of the National Standards (Hoffer, 2001, p. 52), then topics included in the National Standards

should be considered when comparing band methods. Despite its absence in the National

Standards, a review of the topics included in comprehensive musicianship adds conducting to the

list of topics to consider (Elliott, 1995). Elements of band method structure—number of pages

(Birdwhistell, 1998; Kinyon, 1982), appeal of layout and pages (Kinyon, 1982; Kuhn, 1970), and

inclusion of a fingering chart and glossary (Birdwhistell, 1998; Kuhn, 1970)—are deemed

important. Pedagogical elements such as first note values (Kinyon, 1982), range of pitches

introduced (Birdwhistell, 1998; Hock, 1991; Kinyon, 1982), and method of introduction of new

notes, rhythms, and musical terms should be considered (Hock, 1991; Hoffer, 2001; Kinyon,

1982). Assembly and maintenance instructions (Birdwhistell, 1998; Hock 1991; Hoffer, 2001;

Kuhn, 1970), band arrangements (Hoffer, 2001; Kuhn, 1970), and supplementary exercises or

recordings (Birdwhistell, 1998; Hock, 1991; Hoffer, 2001; Kinyon, 1982) should also be

included. Authors also recommend that the student book contain pictures displaying proper

posture and playing position (Birdwhistell, 1998; Hock, 1991; Hoffer, 2001), a varied repertoire

representing music from many cultures (Hoffer, 2001; Kinyon; 1982; Kuhn 1970), and

instruction in music history and theory (Birdwhistell, 1998).

20

The studies of Birdwhistell (1998), Heavner (1995), and Hock (1991) are similar to this

study because they provide suggestions for selecting an appropriate method while reviewing

several band methods. While these studies remain relevant, several new band methods and

revised editions of existing band methods have been published; therefore, several band methods

currently in use have yet to be reviewed. In addition, many music educators are required to

achieve the goals of the National Standards for Music Education (Hoffer, 2001, p. 52), and none

of these studies focus on this concern. For these reasons, this study will review five band

methods currently in use for inclusion of comprehensive musicianship and adherence to the

National Standards for Music Education.

21

CHAPTER III

METHODOLOGY

Selection of Band Methods

Five beginning band methods that have not been reviewed in previous theses or

dissertations were reviewed in this study: Band Expressions (Smith & Smith, 2003), Essential

Elements 2000 Plus DVD (Lautzenheiser et. al., 2004), Standard of Excellence: Enhanced

Comprehensive Band Method (Pearson, 2004), The Yamaha Advantage: Musicianship from Day

One (Clark & Feldstein, 2001), and Accent on Achievement (O’Reilly & Williams, 1997). Band

Expressions and The Yamaha Advantage are new publications while Essential Elements 2000

and Standard of Excellence are new editions. Accent on Achievement is not a recent publication

but has been included in this thesis because it has not been reviewed in a previous study.

Student books, instead of the teacher editions, were used for the review because a

teacher’s knowledge and materials “have an impact only if they are used in the classroom, and

the impact they have depends on how they are used” (Jackson, 2004, p. 13). If topics are

included in the student book, then topics are made available to students even if instruction does

not occur on a specific topic. In some instances, a teacher could follow the suggestions provided

in the teacher edition to provide instruction on a topic that is not listed in the student book. If this

is a possibility, it will be noted in Chapters 4 and 5. The student clarinet book, specifically, was

used only to determine the range of pitches introduced, the range of the fingering chart, and

assembly and maintenance instructions. This was necessary because clarinet students are

required to learn a greater range of pitches than other beginning students, and the clarinet

fingering chart has the widest range as well as the most variance in fingerings. In addition, the

22

assembly and maintenance instructions in the clarinet book were more detailed than the

instructions for other instruments due to more complex assembly and maintenance processes.

Selection of Topics for Consideration

Review of the band methods began with a comparison of the structural methodology,

defined as the organization and design of the band method, including number of pages, total

number of instructional pieces, instructional pieces per page, appeal/layout of pages, and

inclusion of a fingering chart, practice record, and glossary or index. The pedagogical

methodology of each method was also reviewed. Pedagogical elements consist of the

introductory pitches, first note values, range of notes, key signatures, time signatures, and the

most complex rhythm as well as the method of presentation. Other pedagogical elements include

the method for introduction of new notes, rhythms, and musical terms, and an explanation of

instrument assembly and maintenance. The number of band arrangements included in the method

(Kuhn, 1970), content of supplemental exercises (Hock, 1991), and material included on a CD or

DVD (Hoffer, 2001; Kinyon, 1982) may also enhance instruction; therefore, these items were

included as portions of the pedagogical elements.

The five band methods were reviewed for inclusion of items, topics, and musical skills

that each should cover according to the National Standards for Music Education as well as

previously cited books, articles, and studies on comprehensive musicianship. The number of

times each band method addresses a topic cited as a standard in the National Standards and/or

included in comprehensive musicianship was charted. As displayed in Table 1, many of the

topics presented as comprehensive musicianship are included in the National Standards, so

several of the topics overlap.

23

Table 1

Topics Included in the National Standards and Comprehensive Musicianship Topic National Standards Comprehensive Musicianship Singing (1) Singing alone and with others Performance alone and with

others a varied repertoire Solos/Duets (2) Performing on instruments alone and Performance alone and with Varied Repertoire with others a varied repertoire others a varied repertoire

Posture good posture

Playing Position proper playing position

Breathing breath support

Expression expression Playing musically

Play by Ear playing by ear

Improvisation (3) Improvising melodies, variations, and Improvising accompaniments

Composition (4) Composing and arranging music Composing

Arranging Arranging Reading (5) Reading and notating music Reading music

Notating Notating music

Listening (6) Listening, analyzing, and describing Listening

Form form Form

Theory theory Theory

Evaluating (7) Evaluating music and performances Evaluating music and performances

Other Arts (8) Understanding relationships between music and other arts

24

Topic National Standards Comprehensive Musicianship History (9) Understanding music in relation to Understanding music history Multicultural history/cultures and cultures

Conducting Conducting

Note. (#) = the number of the National Standard.

The results of the study are organized into charts for easy comparison between methods.

The charts display the amount of material each student book provides when addressing a topic in

the National Standards or comprehensive musicianship.

25

CHAPTER IV

RESULTS

Comparative Review of Band Methods

This review of five band methods resulted in three sets of charts: Structural Methodology,

Pedagogical Methodology, and Adherence to National Standards and Inclusion of

Comprehensive Musicianship. One chart for each band method is presented under each of the

three titles.

Structural Methodology

Comparison of the organization and design of the band methods is displayed in Tables 2,

3, 4, 5, and 6 and begins with the number of pages and instructional pieces. Band Expressions

contains 57 pages while the other books all have 48 pages. Band Expressions contains more

pages because the book includes a greater number of instructional pieces than the other band

methods. The number of instructional pieces ranges from 134 in Accent on Achievement to 209

in Band Expressions. The number of instructional pieces per page varies due to the amount of

instructional text on the page and the length of the pieces. Appeal and layout of the pages in the

student book is also described.

Inclusion of a fingering chart, practice record, and glossary or index is also displayed in

Tables 2, 3, 4, 5, and 6. The five band methods contain fingering charts that provide additional,

alternate, fingerings when a note may be played in multiple ways, and as illustrated in Tables 5

and 6, Standard of Excellence and Yamaha Advantage label these fingerings as “alternate.” As

displayed in Table 4, Essential Elements 2000 provides the fingering chart with the greatest

range of pitches. These band methods provide clarinet players with instruction in the largest

26

number of notes as well as the greatest range of pitches, so only the range of the clarinet

fingering chart is listed.

Four of the methods include practice records with space for daily records spanning 36

weeks. Band Expressions does not include a practice record in the student book, but there is a

reproducible weekly practice planner in the teacher resource guide. While Accent on

Achievement and Yamaha Advantage include a glossary but no index, Essential Elements 2000

includes an index but no glossary. Band Expressions contains an index and glossary defining 85

musical terms. Standard of Excellence contains an index and a glossary that identifies or defines

82 composers and musical terms.

Table 2 Structural Methodology

Accent on Achievement

Number of pages

48

Number of instructional pieces 134

Instructional pieces per page Between 4 and 7

Appeal/Layout of pages Pages are colorful with illustrations on most pages. New notes

are introduced in yellow, rhythms in blue, key signatures and

time signatures in green, and musical terms in red or purple.

Pages are full but not cluttered.

Fingering chart Clarinet from D3 to C6, provides more than one fingering

when possible but does not label fingerings as “alternate”

Practice record On page 48, space for daily records for 36 weeks

Glossary/Index Glossary: Page 45; definitions for 69 musical terms

27


Band Expressions

Number of pages

57



Appeal/Layout of pages Pages are colorful and contain real pictures of composers.

Pages are appealing but very full.

Fingering chart Clarinet from D3 to Eb6, sometimes provides more than one

fingering when possible but does not label fingerings as

“alternate”

Practice record Not included in student book; reproducible weekly practice

planner (7 day/one week) included in teacher resource guide

Glossary/ Index Glossary/ Index: Pages 56-57; definitions for 85 musical terms

28


Essential Elements 2000

Number of pages

48



Appeal/Layout of pages There is a lack of color in the book. All new notes, rhythms,

and musical terms are highlighted in gold boxes. Pages are

full, and there is very little space between instructional pieces.

Fingering chart Clarinet from D3 to F6, provides more than one fingering

when possible but does not label fingerings as “alternate”

Practice record Inside front cover, space for daily records for 36 weeks

Glossary/ Index Index: Page 48; lists page numbers for definitions of musical

terms, instructional pieces by specific composers, and

appearance of world music

29


Standard of Excellence Number of pages

48



Appeal/Layout of pages New notes, rhythms, and musical terms are highlighted in a

gold box, and instrument specific exercises are highlighted in

green. More color would make the book more visually

appealing. Pages are not cluttered, but there is little space

between instructional pieces.

Fingering chart Clarinet from D3 to C6, provides more than one fingering

when possible and labels additional fingerings as “alternate”


Glossary/Index Glossary/Index: Page 46; definitions and identifications for 82

composers and musical terms

30


Yamaha Advantage

Number of pages

48



Appeal/Layout of pages Instruction is provided in color-coordinated boxes at the top of

the page: new notes in red, theory related terms in blue, new

rhythms in yellow, and musicianship skills in purple. The

pages are uncluttered and there is ample space between pieces.

Fingering chart Clarinet from D3 to Eb6, provides more than one fingering

when possible and labels additional fingerings as “alternate” in

a different color


Glossary/Index Glossary: Page 45; definitions for 70 musical terms

31

Pedagogical Methodology

Pedagogical elements consist of the notes, rhythms, musical terms, and skills that are

included in the band method as well as how they are presented. The pedagogical elements listed

in the following tables are the instructional fundamentals of each band method. These topics are

not directly related to the National Standards or comprehensive musicianship, but according to

previously cited studies (Hoffer, 2001; Kinyon, 1982; Schleuter, 1997), consideration of these

pedagogical elements aids in determining a suitable band method for a particular class.

Tables 7, 8, 9, and 11 illustrate that four band methods teach D, Eb, and F concert as first

notes, but the order of introduction varies by method. Standard of Excellence, as illustrated in

Table 10, begins instruction with D, C, and Bb concert. It is interesting that Standard of

Excellence begins with pitches lower than those introduced in the other four band methods.

Perhaps the authors believe it is easier for brass players to produce low notes before learning to

tighten the embouchure in order to play higher notes. When beginning with D, C, and Bb concert,

saxophone parts avoid alternation between C and D, and clarinet players may learn proper hand

position quickly because “open G” is not the first note.

Band Expressions, as displayed in Table 8, begins rhythmic instruction with quarter notes

while the other four methods begin with whole notes. Beginning with quarter notes may help

establish rhythm while starting with whole notes may aid in setting a proper embouchure

(Kinyon, 1982). All five methods instruct students in the same range of notes. Clarinet students

learn the greatest range of notes, so the range for clarinet is listed in the tables below.

All of the methods use instructional pieces in the keys of Bb, F, and Eb, but Accent on

Achievement also uses the key of Ab while Band Expressions adds the key of C. These band

methods use 4/4, 2/4, and 3/4 time signatures in the instructional pieces, and all but Band

32

Expressions introduce common time (C) as well. An eighth note is the smallest rhythmic value

introduced in the beginning band methods, and the most complex rhythm in each book contains

an eighth note. The tables below display the most difficult note combinations that each method

contains.

It is necessary to consider how each band method introduces new notes, rhythms, and

musical terms (Birdwhistell, 1998; Kinyon, 1982). Three of the methods introduce an item at the

top of the page and highlight it when it first occurs in an instructional piece. Standard of

Excellence introduces items at the top of the page only and introduces notes to the left of the

instructional piece in which they first appear. Essential Elements 2000 introduces an item in a

gold box above the piece in which the item first occurs and highlights new notes when they first

appear in a piece. Even when items are introduced, defined, or explained at the top of the page,

highlighting these new notes, rhythms, and musical terms when they appear in an instructional

piece may aid in practicing these items while playing an instrument.

While it is the band director’s responsibility to teach students proper assembly and

maintenance of instruments, it is advantageous to include these instructions in a band method to

remind students of proper procedures (Hoffer, 2001; Kuhn, 1970). The assembly and

maintenance instructions in the clarinet book were more detailed than the directions supplied for

other beginning band instruments, so the clarinet book was used to review these topics. While

the five methods contain assembly and maintenance instructions, Band Expressions, as displayed

in Table 8, provides seven steps on instrument assembly and five on disassembly.

Inclusion of band arrangements (Kuhn, 1970), content of supplemental exercises (Hock,

1991), and recordings (Hoffer, 2001; Kinyon, 1982) may also enhance instruction; these items

were also reviewed as part of the pedagogical methodology. All of these methods contain half-

33

page and/or full-page band arrangements. Accent on Achievement contains five full-page

arrangements, and Band Expressions contains six half-page arrangements while the other

methods contain a combination of full and half-page ensemble pieces.

The methods also contain various supplemental exercises not included as instructional

pieces reviewed elsewhere. These supplemental exercises consist of solos with piano

accompaniment, scale sheets, rhythm studies, etc. The tables below list the specific exercises

included in each band method. These band methods also contain a CD with recordings of some

or all of the instructional pieces included in the books. Essential Elements 2000, as illustrated in

Table 9, contains a CD as well as a DVD with an introductory video, play along tracks for all

instructional pieces, Tempo Adjustment (adjustable tempos for tracks when using CD-ROM),

SmartMusic (accompaniment), and Finale NotePad (notation) software, duets and trios, and a

listening library.

Table 7 Pedagogical Methodology


First notes

D, Eb, and F concert on page 6

First note values Whole notes

Range of notes Clarinet from D3 to F6

Key signatures Bb, F, Eb, Ab

Time signatures 4/4, 2/4, 3/4, Common time

Rhythmic complexity Eighth-quarter-eighth

34

Accent on Achievement Introduction of new

notes, rhythms, and

musical terms

Each item is introduced at the top of the page and highlighted when it

first appears in an instructional piece

Assembly 5 step assembly instructions

Maintenance 4 tips on instrument care

Band arrangements Full page arrangements: pages 11, 17, 23, 29, and 36

Supplemental exercises Pages 34-35: solo with piano accompaniment; Page 36: band

arrangement; Page 37: Accent on Scales-concert Bb, F, Eb, and Ab

scales and scales in thirds plus chromatic scale; Pages 38-39: Accent

on Rhythm-20 rhythm exercises, Pages 40-41: Accent on Rests-10

instructional pieces with multiple rests; Pages 42-43: Accent on

Clarinet, etc.-10 instructional pieces designed for each instrument;

Page 44: Accent on Chorales-4 chorales

CD/DVD 2 in 1 CD: audio CD for instructional pieces 1-42 and 5 band

arrangements; interactive CD-Rom provides MIDI accompaniments

for all instructional pieces included in book

35


Band Expressions

First notes

F concert on p.5; D and Eb concert on page 7

First note values Quarter notes


Key signatures Bb, Eb, F


Rhythmic complexity Eighth-quarter-eighth

Introduction of new

notes, rhythms, and

musical terms



Assembly 7 step assembly instructions and 5 step disassembly instructions


Band arrangements Half page arrangements: #s 85, 87, 205, 206, 207, 209

Supplemental exercises Pages 50-51: 2 solos and one duet; Page 52: Rhythmic Rest Patterns;

Page 53: Treasury of Scales-Bb, Eb, F, C scales and chords; homework

assignments listed at the bottom of every other page

CD/DVD 1 CD with 96 accompaniment tracks of various instructional pieces (96

of 209)

36


Essential Elements 2000

First notes

F, Eb, and D concert on page 4





Rhythmic complexity Quarter-eighth rest-eighth note

Introduction of new

notes, rhythms, and

musical terms

Each item is introduced in a gold box above the piece in which the

item first appears; new notes are highlighted when they first appear in

an instructional piece



Band arrangements Half page arrangements: #s 53, 55, 152, 153, 182, 183; Full page

arrangements: page 184

Supplemental exercises Pages 40-41: Rubank® Scale and Arpeggio Studies-keys of Bb, Eb, F,

and Ab with 4 instructional pieces in each key; Pages 42-43: Rhythm

Studies-72 measures of rhythms; Page 44: Creating Music-4

composition exercises and one improvisational exercise

37

Essential Elements 2000 CD/DVD

CD contains soloist and accompaniment tracks for instructional pieces

1-58 and Tempo Adjustment, SmartMusic, and Finale NotePad

software; DVD contains start-up video, play-along tracks for all

instructional pieces, Tempo Adjustment, SmartMusic, and Finale

NotePad software, duets and trios, and a listening library


Standard of Excellence

First notes

D, C, and Bb concert on page 4




Time signatures 4/4, Common time, 2/4, 3/4

Rhythmic complexity Dotted quarter-eighth

Introduction of new

notes, rhythms, and

musical terms

Each item is introduced at the top of the page only; notes are

introduced to the left of the instructional piece in which they first

appear



38

Standard of Excellence Band arrangements

Half page arrangements: page 12, page 21-2 band arrangements; Full

page arrangements: pages 30, 38


arrangement; Pages 39-41: Excellerators-25 exercises written

specifically for each instrument, Page 42: Scale Studies-scales,

arpeggios, and scales in thirds in keys of Bb, Eb, F, and Ab plus

chromatic scale; Pages 43-45: Rhythm Studies-60 rhythm exercises;

Page 47: checklist of skills to master for various instructional pieces;

Page 48: History of the Instrument

CD/DVD 2 CDs with accompaniment recordings for all 155 instructional pieces;

includes Interactive Pyware Assessment Software (iPAS)

39


Yamaha Advantage

First notes

D and Eb concert on page 4; F concert on page 5



Key signatures Bb, F, Eb


Rhythmic complexity Dotted quarter-eighth

Introduction of new

notes, rhythms, and

musical terms



Assembly 3 step assembly instructions, 3 steps for putting reed on mouthpiece


Band arrangements Half page arrangements: pages 11, 19, 27, (2 arrangements on each

page); Full page arrangements: page 39


arrangement; Pages 40-41: 18 rhythm exercises; Pages 42-43: 13

exercises written specifically for each instrument; Page 44: 8 theory

review exercises; Page 48: achievement certificate

CD/DVD 1 CD with accompaniment tracks; supplemental online community at

www.yamahaadvantage.com with play along tracks and assessment

exercises

http://www.yamahaadvantage.com/

40

Adherence to National Standards and Inclusion of Comprehensive Musicianship

Tables 12, 13, 14, 15, and 16 are the results of the review for inclusion of topics that each

band method should contain in order to adhere to the National Standards for Music Education

and the ideas of comprehensive musicianship. The number of times each band method addresses

a topic cited as a standard in the National Standards and/or included in comprehensive

musicianship is listed in the tables below.

As displayed in Table 12, Accent on Achievement does not mention singing, evaluating,

other arts, or conducting in the student book. The teacher edition provides some assistance in

teaching singing and evaluation. Page 10 in the teacher edition instructs directors to have

students sing “occasionally” during band class in order to fulfill the first National Standard. It is

also indicated in the teacher edition that students should sing instructional pieces on pages 55,

92, and 110. Eight questions appear in the teacher edition that may be used to encourage students

to evaluate their performances. Reproducible worksheets appear in the Teacher’s Resource Kit

(sold separately from teacher edition) that may help students relate music to other arts and other

disciplines. Conducting is not mentioned in the teacher edition. While it does not address all of

the National Standards or ideas of comprehensive musicianship in the student book, Accent on

Achievement provides a varied repertoire with music from many cultures and supplies instruction

for an extensive list of theory related topics.

41

Table 12

Adherence to National Standards and Inclusion of Comprehensive Musicianship

Topic

Accent on Achievement Singing

Not mentioned in student book

Solos/Duets Solos: p.34; Duets: #s 11, 16, 28, 39, 45, 50, 68, 79, 82, 93, 111, 113,

117, 120, 127

Varied Repertoire Music from various countries (see Multicultural) and uses of

contrasting genres (folk songs, traditional, Classical, march, Romantic,

blues, Baroque)

Posture Description and picture on page 3

Playing Position Description and picture on page 3

Breathing Explanation on page 4

Expression Breath mark, tie, tempo markings, slur, dynamic markings, ritardando,

fermata, accent, staccato, crescendo, diminuendo

Play by Ear #20

Improvisation #85, 102

Composition #119

Arranging #36, 69

Reading Music reading emphasized throughout the book, new notes and

rhythms introduced at the top of the page and are highlighted when

they first appear in the music

Notating #s 20, 119

Listening #7

42

Topic


Form

Round, variation, 1st and 2nd endings, D.S. al Fine, D.C. al Fine

Theory (instruction not

directly related to

playing)

Staff, treble clef, bar lines, measure, double bar, time signature, ledger

lines, solo, duet, repeat sign, key signature, internal repeat, divisi,

sharp sign, pick-up notes, flat sign, natural, orchestration, multiple

measure rest, syncopation, common time

Evaluating Not mentioned in student book

Other Arts Not mentioned in student book

History Composer dates are listed under the composer’s name

Multicultural England, France, USA, Jamaica, Germany, Czechoslovakia, Mexico,

Italy, Ireland, Hawaii, Ukraine, China, Australia, Israel, Norway,

Canada, Japan, Korea, Russia, Africa, Finland, Scotland

Conducting Not mentioned in student book

43

Band Expressions, as displayed in Table 13, includes instruction related to each of the

National Standards as well as all of the ideas of comprehensive musicianship in the student book.

The teacher edition provides plans for each lesson to aid in fulfilling the goals of the National

Standards. Reminders to have students sing as well as questions to aid students in evaluating

their performances are given throughout the teacher edition. The student book includes an

assignment that requires singing, mentions other arts, and thoroughly covers the majority of

topics displayed below.

Table 13 Adherence to National Standards and Inclusion of Comprehensive Musicianship

Topic

Band Expressions

Singing

Page 4 assignment (lesson 3, activity 2)

Solos/Duets

Solos: #15, p.25 (2 solos), #s 154, 182, p.51 (1 solo);

Duets: #s 24, 27, 28, 29, 30, 38, 40, 137, 160, p. 51 (1 duet)

Varied Repertoire

Music from various countries (see Multicultural) and use of

contrasting genres (traditional, Classical, Romantic, Baroque,

folk songs, popular, jazz, swing, world, musicals, marches, rock)

Posture Description and pictures on page 3

Playing Position Description and pictures on page 3

Breathing Teacher presents breathing; practice exercises on pages 4 and 5

Expression

Breath mark dynamics, legato, staccato, tenuto, crescendo,

decrescendo, tempo markings, accent, ritardando, #s 42, 47, 99,

110, 124, 146, 155, and 183—composition through expression

44

Topic

Band Expressions Play by Ear

Page 15: assignment 2.4, #58, p.21: assignment 2.2, p.39:

assignment 1.2 Improvisation

Pages 40, 41 plus definition

Composition

#s 11, 42, 47, 99, 110, 124, 146, 183

Arranging #s 16, 155

Reading

Music reading emphasized throughout the book, new notes and

rhythms introduced at the top of the page and are highlighted

when they first appear in the music; sight-reading, subdivide, and

rehearsal numbers defined; sight-reading procedure map

presented on page 22

Notating Page 9, #155; exercises listed under composition and arranging

require notation

Listening Intonation, balance

Form

Canon, chorale, phrase, melody, anacrusis, march, ostinato, 1st

and 2nd endings, Da Capo, Dal Segno, Fine, introduction

45

Topic

Band Expressions Theory (instruction not

directly related to playing)

Bar line, fermata, final bar line, flat sign, clef, grand staff,

interval, ledger lines, measure, musical alphabet, rhythm, sharp

sign, time signature, rest, soli, tutti, solo, duet, harmony, key, key

signature, musical line, unison, tempo, chord, accidental, concert

pitch, natural, multiple measure rest, measure repeat sign,,

syncopation, half step, scale, whole step, transposition chart on

page 20

Evaluating Critique, style, p.25: Unit 13 assignment 2.3, p.51: assignment 4

Other Arts

Painting to represent graphic notation (p.5), Korean painting,

African painting

History

John Williams, Percy Grainger, Gustav Holst, Aaron Copland,

mariachi, George Gershwin, drum circle, Duke Ellington, John

Philip Sousa, Johann Sebastian Bach

Multicultural

USA, Germany, England, Wales, Latin America, Africa, Spain,

France, Ecuador, Holland, Czechoslovakia, Scotland, Israel,

Jamaica, Norway, Mexico, Chile, Austria, Russia, Japan, Korea,

China, Puerto Rico, Ghana, Liberia, South Africa, Brazil,

Australia, Italy

Conducting Pages 5, 18, 30 (4/4, 3/4, 2/4)

46

Table 14 illustrates that singing, playing by ear, and other arts are the topics not covered

in the Essential Elements 2000 student book. The teacher edition provides teaching tips above

most instructional pieces, but it provides no additional information to address singing, playing by

ear, or other arts. While the student book provides some instruction in arranging, evaluating, and

playing with a correct posture, Essential Elements 2000 supplies definitions for an extensive list

of theory related terms, provides examples of conducting patterns (2/4, 3/4, and 4/4), and

includes many facts about various composers and musical genres while making connections to

other cultures and historical events.

47


Topic

Essential Elements 2000 Plus DVD Singing


Solos/Duets Solos: #s 118, 185; Duets: #s 22, 30, 53, 79, 103, 109, 131(trio),

177, 186, 187

Varied Repertoire Music from various countries (see Multicultural) and use of

contrasting genres (folk songs, traditional, Classical, marches,

blues, Romantic, Baroque, spirituals, world, jazz)

Posture “Spine straight and tall, Shoulders back and relaxed, Feet flat on

the floor” (Page 2)

Playing Position Description and 2 drawings on page 3

Breathing Breathing process explained on page 2

Expression Breath mark, dynamics, tempo markings, crescendo,

decrescendo, accent, slur, tie, phrase

Play by Ear Not mentioned in student book

Improvisation #85, 1 exercise on page 44 plus definition

Composition #72, 4 exercises on page 44

Arranging #137

Reading Music reading is emphasized throughout the book, new notes and

rhythms are introduced prior to the first appearance in the music

and new notes are highlighted when they first appear in the music

48

Topic

Essential Elements 2000 Plus DVD Notating

#19; exercises listed under composition and arranging require

notation

Listening #s 104, 148, 153

Form 1st and 2nd endings, theme and variations, D.C. al Fine



Music staff, ledger lines, measure, bar lines, beat, rest, double

bar, repeat sign, treble clef, time signature, sharp sign, flat sign,

natural, duet, key signature, fermata, harmony, pick-up notes,

accidental, multiple measure rest, interval, solo, duet, trio, repeat

signs, common time, scale, soli, enharmonics, chromatic scale

Evaluating #104


History History of the instrument on page 1, paragraph history on:

Mozart, Rossini, Stephen Collins Foster, Edvard Grieg, Bach,

Franz Schubert, Haydn, Saint Saens, Beethoven, Tchaikovsky,

Latin American music, Japanese folk music, African American

spirituals, Ragtime, Boogie-woogie, blues, “Hatikvah,” Canadian

National Anthem

Multicultural USA, France, England, Italy, Germany, Canada, Latin America,

Japan, Caribbean, Africa, Norway, Scotland, Czechoslovakia,

Austria, Australia, Finland, Israel, Russia, China, Mexico

Conducting Pages 11, 15, and 26 (2/4, 3/4, 4/4)

49

As displayed in Table 15, Standard of Excellence does not mention singing,

improvisation, arranging, listening, other arts, or conducting in the student book, but the teacher

edition provides additional assistance in teaching these topics. The director is instructed to have

students sing many of the instructional pieces before attempting to play them. The teacher

edition also supplies questions to ask students in order to help them develop listening skills.

Suggestions are made to find recordings of professional musicians on each instrument as well as

recordings of professional ensembles playing “real versions” of instructional pieces. For

example, the teacher could play a recording of the William Tell Overture after students learn to

play Go Tell Bill. This might provide students with a model for proper tone and musical style as

well as an opportunity to hear the piece in its entirety.

Directors are also encouraged to teach students about other arts. When students are

learning music from various musical time periods, directors are encouraged to “compare and

contrast compositions and visual works of art” from that period (p. 168). The author also

suggests teaching conducting patterns to the students, and a reproducible page of conducting

patterns (2/4, 3/4, and 4/4) is included on page 529 of the teacher edition. Pearson describes

improvisation in an appendix section of the teacher edition as a worthwhile addition to the

curriculum (p. 569), but arranging is not mentioned in the teacher edition. While these are

helpful ideas for enhancing instruction, it would take extra time to locate the materials necessary

to integrate these concepts. Standard of Excellence defines only a small number of theory related

terms and contains no instructional pieces related to improvisation; however, this method

provides questions for evaluation under some instructional pieces and supplies many

opportunities for solo performance in the student book.

50


Topic

Standard of Excellence Singing


Solos/Duets Solos: #s 26, 27, 38, 42, 51, 75, p.20, #97, p.36; Duets: #s 13, 24,

32, 77, 119, 121, 135, 138, 144


contrasting genres (folk songs, traditional, Classical, Romantic,

Baroque, spirituals, world, marches)

Posture 5 step process listed with a drawing on page 3

Playing Position 5 step process listed with a drawing of a proper embouchure on

page 3

Breathing “Take a full breath of air.” (page 3)

Expression

Breath mark, phrase, slur, dynamics, accent, tempo markings,

crescendo, decrescendo, ritardando, tie

Play by Ear #60

Improvisation Not mentioned in student book

Composition #s 90, 110, 137, 150

Arranging Not mentioned in student book

51

Topic

Standard of Excellence Reading

Music reading is emphasized throughout the book, new rhythms

are introduced at the top of the page, and new notes are

introduced at the beginning of the line and labeled when they first

appear in the music

Notating #60; composition exercises require notation

Listening Not mentioned in student book

Form 1st and 2nd endings, D.C. al Fine,



Treble clef, time signature, ledger line, bar lines, staff, measures,

solo, soli, tutti, fermata, common time, repeat sign, key signature,

divisi, unison, pick-up note, flat sign, natural, one measure repeat

sign, long rest, sharp sign

Evaluating Assessment questions under some exercises such as “Are you

playing with a good embouchure and hand position?”


History History of the instrument on page 48

Multicultural Wales, England, France, USA, Norway, Mexico, West Indies,

Italy, Germany, Latin America, Australia, Czechoslovakia,

China, Russia, Canada, Japan, Scotland


52

As displayed in Table 16, Yamaha Advantage provides no instruction in singing,

arranging, other arts, or conducting in the student book. These topics could be integrated into the

curriculum, but the teacher edition provides limited assistance. Teaching tips provided on pages

60 and 66 in the teacher edition recommend having students sing in order to develop pitch

accuracy and proper tone quality. Page 136 suggests having students arrange their compositions

for other instruments. The authors also propose working with other teachers to “expand cross-

curricular efforts” (p. 239). Conducting is not mentioned in the teacher edition. The student

method provides a short explanation for breathing and refers to evaluation only once, but

Yamaha Advantage provides four opportunities for playing by ear and includes 16 duets.

Table 16 Adherence to the National Standards and Inclusion of Comprehensive Musicianship

Topic

The Yamaha Advantage

Singing


Solos/Duets Solos: #s 40, 47, 67, 80, p.36 (1 solo), p.38 (1 solo); Duets: #s 13,

20, 26, 31, 37, 43, 49, 61, 85, 93, 105, 118, 124, 131, 144, 151


contrasting genres (traditional, folk songs, Classical, Romantic,

Baroque, world, marches, rock)

Posture Description and picture on page 3

Playing Position Description and picture on page 3

53

Topic

The Yamaha Advantage Breathing

“Take a full breath.” (page 3)

Expression Tempo markings, breath mark, dynamics, crescendo, accent,

staccato, decrescendo, ritardando, legato, tenuto, reminders to

play with dynamics, etc. are given under a few exercises

Play by Ear #s 19, 42, 92, 162

Improvisation #s 104, 137, 156

Composition #s 66, 104, 137, 156

Arranging Not mentioned in student book

Reading Music reading is emphasized throughout the book, new notes and

rhythms are introduced at the top of the page and are highlighted

when they first appear in the music

Notating Composition exercises require notation

Listening Listening warm-up (#80)

Form Introduction, 1st and 2nd endings, round, theme and variations,

phrase, 12 bar blues, Da Capo, Fine, Dal Segno



Time signature, treble clef, ledger line, double bar, bar lines,

measure, repeat sign, duet, multiple measure rest, key signature,

concert key of Bb, scale, solo, soli, tutti, divisi, unison, flat sign,

sharp sign, natural sign, concert key of F, fermata, concert key of

Eb, chord progression, common time, pick-up notes

Evaluating Comparison of performances (#98)

54

Topic

The Yamaha Advantage Other Arts


History Composer dates are listed under the composer’s name

Multicultural USA, England, Germany, Jamaica, Korea, France, Mexico, Italy,

Israel, Native American, Australia, Russia, Wales, Hungary,

China, Japan, Netherlands, India, Scotland


55

CHAPTER V

DISCUSSION

Conclusions and Recommendations

Singing is recognized in the first of the nine National Standards for Music Education and

is considered part of a comprehensive music education. Singing helps students develop pitch

accuracy and proper tone quality (Clark & Feldstein, 2001, p. 60). As displayed in Table 17,

Band Expressions is the only band method reviewed in this study to include singing; however,

Band Expressions requires students to sing in only one assignment. No matter what method used,

fulfilling the requirements of the first National Standard is the teacher’s responsibility. This

could easily be achieved by singing during warm-ups, or as suggested by the authors of Accent

on Achievement, Band Expressions, Standard of Excellence, and Yamaha Advantage, singing

instructional pieces before sight-reading and/or during the learning process.

Table 17

Adherence to the National Standards and Inclusion of Comprehensive Musicianship

Band Method

Singing Accent on Achievement


Band Expressions Page 4 assignment (lesson 3, activity 2)

Essential Elements 2000 Not mentioned in student book

Standard of Excellence Not mentioned in student book

Yamaha Advantage Not mentioned in student book

56

“Performing on instruments, alone and with others, a varied repertoire of music” is the

second National Standard and a fundamental requirement of comprehensive musicianship. All

band methods focus on performance, but the number of solo and duet examples varies greatly

among methods. Table 18 illustrates that Standard of Excellence provides the most opportunities

for solo performance while Yamaha Advantage contains the largest number of duets.

Table 18 Adherence to the National Standards and Inclusion of Comprehensive Musicianship

Band Method

Solos/Duets


Solos: p.34; Duets: #s 11, 16, 28, 39, 45, 50, 68, 79, 82, 93, 111, 113, 117, 120, 127

Band Expressions Solos: #15, p.25 (2 solos), #s 154, 182, p.51 (1 solo); Duets: #s 24, 27, 28, 29, 30, 38, 40, 137, 160, p.51 (1 duet)

Essential Elements 2000 Solos: #s 118, 185; Duets: #s 22, 30, 53, 79, 103, 109, 131 (trio),

177, 186, 187

Standard of Excellence Solos: #s 26, 27, 38, 42, 51, 75, p.20, #97, p.36; Duets: #s 13, 24,

32, 77, 119, 121, 135, 138, 144

Yamaha Advantage Solos: #s 40, 47, 67, 80, p.36 (1 solo), p.38 (1 solo); Duets: #s 13,

20, 26, 31, 37, 43, 49, 61, 85, 93, 105, 118, 124, 131, 144, 151

57

The second standard also requires use of a varied repertoire. As displayed in Tables 19

and 36, all five methods contain music from contrasting genres, but Band Expressions utilizes

music from the greatest number of cultures.

Table 19


Band Method

Varied Repertoire Accent on Achievement

Music from various countries (see Multicultural) and uses of

contrasting genres (folk songs, traditional, Classical, march,

Romantic, blues, Baroque)

Band Expressions Music from various countries (see Multicultural) and use of

contrasting genres (traditional, Classical, Romantic, Baroque, folk

songs, popular, jazz, swing, world, musicals, marches, rock)

Essential Elements 2000 Music from various cultures (see Multicultural) and use of

contrasting genres (folk songs, traditional, Classical, marches, blues,

Romantic, Baroque, spirituals, world, jazz)

Standard of Excellence Music from various countries (see Multicultural) and use of

contrasting genres (folk songs, traditional, Classical, Romantic,

Baroque, spirituals, world, marches)

Yamaha Advantage Music from various countries (see Multicultural) and use of

contrasting genres (traditional, folk songs, Classical, Romantic,

Baroque, world, marches, rock)

58

The following five tables display achievement standards listed as demonstration of

fulfilling the goal of “performing on instruments.” Good posture, proper playing position, breath

support, expression, and playing by ear all help demonstrate the achievement of the second

standard. Essential Elements 2000 provides a limited description of posture (Table 20); the other

methods provide a more detailed description as well as a picture or drawing.

Table 20


Band Method

Posture Accent on Achievement

Description and picture on page 3

Band Expressions Description and pictures on page 3

Essential Elements 2000 “Spine straight and tall, Shoulders back and relaxed, Feet flat on the

floor” (page 2)

Standard of Excellence 5 step process listed with a drawing on page 3

Yamaha Advantage Description and picture on page 3

59

Each method provides at least one picture or drawing of a proper playing position, but

with five pictures of real students, including a close-up embouchure picture, Band Expressions,

as illustrated in Table 21, best displays proper playing position.

Table 21


Band Method

Playing Position Accent on Achievement

Description and picture on page 3

Band Expressions Description and pictures on page 3

Essential Elements 2000 Description and 2 drawings on page 3

Standard of Excellence 5 step process listed with a drawing of a proper embouchure on

page 3

Yamaha Advantage Description and picture on page 3

60

Table 22 displays each method’s explanation of breathing. Essential Elements 2000

provides a list of steps that logically leads students through the breathing process. Band

Expressions provides practice exercises for breathing, but the teacher must provide the

explanation.

Table 22


Band Method

Breathing Accent on Achievement

Explanation on page 4

Band Expressions Teacher presents breathing; practice exercises on pages 4 and 5

Essential Elements 2000 Breathing process explained on page 2

Standard of Excellence “Take a full breath of air.” (page 3)

Yamaha Advantage “Take a full breath.” (page 3)

61

While all five methods present musical terms that aid in expression, Band Expressions, as

illustrated in Table 23, provides eight “Composition through Expression” exercises that require

students to experiment with various expressive musical markings.

Table 23


Band Method

Expression Accent on Achievement

Breath mark, tie, tempo markings, slur, dynamic markings,

ritardando, fermata, accent, staccato, crescendo, diminuendo

Band Expressions Breath mark, dynamics, legato, staccato, tenuto, crescendo,

decrescendo, tempo markings, accent, ritardando, #s 42, 47, 99,

110, 124, 146, 155, and 183—“Composition through Expression”

Essential Elements 2000 Breath mark, dynamics, tempo markings, crescendo, decrescendo,

accent, slur, tie, phrase

Standard of Excellence Breath mark, phrase, slur, dynamics, accent, tempo markings,

crescendo, decrescendo, ritardando, tie

Yamaha Advantage Tempo markings, breath mark, dynamics, crescendo, accent,

staccato, decrescendo, ritardando, legato, tenuto, reminders to play

with dynamics, etc. are given under a few exercises

62

As displayed in Table 24, Band Expressions and Yamaha Advantage provide four

opportunities for students to play by ear.

Table 24


Band Method

Play by Ear Accent on Achievement

#20

Band Expressions Page 15: assignment 2.4, #58, p.21: assignment 2.2, p.39:

assignment 1.2


Standard of Excellence #60

Yamaha Advantage #s 19, 42, 92, 162

63

Both the third National Standard and comprehensive musicianship mandate that band

students be able to improvise. Standard of Excellence is the only band method that does not

include instructional pieces related to improvisation in the student book. The other four band

methods provide a comparable number of instructional pieces on improvisation, but, as

illustrated in Table 25, only Band Expressions and Essential Elements 2000 define the term.

Table 25


Band Method

Improvisation Accent on Achievement

# 85, 102

Band Expressions Pages 40, 41 plus definition

Essential Elements 2000 #85, 1 exercise on page 44 plus definition


Yamaha Advantage #s 104, 137, 156

64

Composition and arranging are significant parts of comprehensive musicianship and

listed as National Standard 4. These band methods contain at least one instructional piece that

focuses on composition, but Band Expressions, as displayed in Table 26, provides the greatest

number of opportunities for student composition.

Table 26


Band Method

Composition Accent on Achievement

#119

Band Expressions #s 11, 42, 47, 99, 110, 124, 146, 183

Essential Elements 2000 #72, 4 exercises on page 44

Standard of Excellence #s 90, 110, 137, 150

Yamaha Advantage #s 66, 104, 137, 156

65

Table 27 displays the number of times three of the methods ask students to arrange.

Standard of Excellence and Yamaha Advantage include no instructional pieces on arranging. It is

suggested once in the teacher edition of Yamaha Advantage.

Table 27


Band Method

Arranging Accent on Achievement

#36, 69

Band Expressions #s 16, 155

Essential Elements 2000 #137



66

Standard five, as well as comprehensive musicianship, requires that students know how

to read and notate music. As written in Table 28, music reading is emphasized in each band

method and new notes and rhythms are introduced and reinforced in a similar manner.

Table 28


Band Method

Reading Accent on Achievement

Music reading emphasized throughout the book, new notes and


they first appear in the music

Band Expressions Music reading emphasized throughout the book, new notes and


they first appear in the music; sight-reading, subdivide, and

rehearsal numbers defined; sight-reading procedure map on page 22

Essential Elements 2000 Music reading is emphasized throughout the book, new notes and

rhythms are introduced prior to the first appearance in the music and

new notes are highlighted when they first appear in the music

Standard of Excellence Music reading is emphasized throughout the book, new rhythms are

introduced at the top of the page, and new notes are introduced at the

beginning of the line and labeled when they first appear in the music

Yamaha Advantage Music reading is emphasized throughout the book, new notes and

rhythms are introduced at the top of the page and are highlighted

when they first appear in the music

67

All five methods provide students with an opportunity to notate music, but as displayed

in Table 29, Band Expressions contains more instructional pieces that deal with notation.

Table 29


Band Method

Notating Accent on Achievement

#s 20, 119

Band Expressions Page 9, #155; exercises listed under composition and arranging

require notation

Essential Elements 2000 #19; exercises listed under composition and arranging require

notation

Standard of Excellence #60; composition exercises require notation

Yamaha Advantage Composition exercises require notation

68

Standard six requires students to listen to, analyze, and describe music. Listening while

performing and studying musical form and theory are important ways to achieve the goals of this

standard. As illustrated in Table 30, Band Expressions explains intonation and balance while

Essential Elements 2000 contains three instructional pieces that ask students to listen for musical

details while playing. While listening is not mentioned in the Standard of Excellence student

book, many questions are listed in the teacher edition to promote development of listening skills.

Table 30


Band Method

Listening Accent on Achievement

#7

Band Expressions Intonation, balance

Essential Elements 2000 #s 104, 148, 153


Yamaha Advantage Listening warm-up (#80)

69

Each band method defines musical terms related to form. Table 31 displays the terms that

each band method defines. Band Expressions provides more definitions than the other band

methods.

Table 31


Band Method

Form Accent on Achievement

Round, variation, 1st and 2nd endings, D. S. al Fine, D. C. al Fine

Band Expressions Canon, chorale, phrase, melody, anacrusis, march, ostinato, 1st and

2nd endings, Da Capo, Dal Segno, Fine, introduction

Essential Elements 2000 1st and 2nd endings, theme and variations, D.C. al Fine

Standard of Excellence 1st and 2nd endings, D.C. al Fine

Yamaha Advantage Introduction, 1st and 2nd endings, round, theme and variations,

phrase, 12 bar blues, Da Capo, Fine, Dal Segno

Band methods provide instruction in music theory by defining several musical terms

(listed in Table 32) and providing corollary exercises. Band Expressions defines the greatest

number of theory related terms while Standard of Excellence defines the fewest.

70

Table 32


Band Method

Theory (instruction not directly related to playing) Accent on Achievement

Staff, treble clef, bar lines, measure, double bar, time signature, ledger lines, solo, duet, repeat sign, key signature, internal repeat, divisi, sharp sign, pick-up notes, flat sign, natural, orchestration, multiple measure rest, syncopation, common time

Band Expressions Bar line, fermata, final bar line, flat sign, clef, grand staff, interval,

ledger lines, measure, musical alphabet, rhythm, sharp sign, time

signature, rest, soli, tutti, solo, duet, harmony, key, key signature,

musical line, unison, tempo, chord, accidental, concert pitch, natural,

multiple measure rest, measure repeat sign, syncopation, half step,

scale, whole step; transposition chart on page 20

Essential Elements 2000 Music staff, ledger lines, measure, bar lines, beat, rest, double bar,

repeat sign, treble clef, time signature, sharp sign, flat sign, natural,

duet, key signature, fermata, harmony, pick-up notes, accidental,

multiple measure rest, interval, solo, duet, trio, repeat signs,

common time, scale, soli, enharmonics, chromatic scale

Standard of Excellence Treble clef, time signature, ledger lines, bar lines, staff, measures,

solo, soli, tutti, fermata, common time, repeat sign, key signature,

divisi, unison, pick-up note, flat sign, natural, one measure repeat

sign, long rest, sharp sign

71

Band Method

Theory (instruction not directly related to playing) Yamaha Advantage

Time signature, treble clef, ledger line, double bar, bar lines,

measure, repeat sign, duet, multiple measure rest, key signature,

concert key of Bb, scale, solo, soli, tutti, divisi, unison, flat sign,

sharp sign, natural sign, concert key of F, fermata, concert key of Eb,

chord progression, common time, pick-up notes

72

Comprehensive musicianship and the seventh standard require students to evaluate music

and music performances. As shown in Table 33, Accent on Achievement does not include

evaluation, and Essential Elements 2000 and Yamaha Advantage refer to it only once. Questions

for evaluation are included in the teacher editions of these methods. Standard of Excellence asks

students to evaluate their performances in some exercises, and Band Expressions gives students

evaluation assignments.

Table 33


Band Method

Evaluating Accent on Achievement


Band Expressions Critique, style, p.25: Unit 13 assignment 2.3, p.51: assignment 4

Essential Elements 2000 #104

Standard of Excellence Assessment questions under some exercises such as “Are you

playing with a good embouchure and hand position?”

Yamaha Advantage Comparison of performances (#98)

73

The eighth standard insists that students demonstrate an understanding of the

relationships between music, the other arts, and disciplines outside the arts. Inclusion of music

from a variety of cultures and historical facts about composers and their works helps students

using these band methods make connections to other subjects (e.g. social studies or history), but

most band methods lack information about other arts. As displayed in Table 34, Band

Expressions is the only method to include any other arts in the student book. The teacher editions

for Accent on Achievement and Yamaha Advantage recommend integrating other arts, and the

Standard of Excellence teacher’s book provides several suggestions for achieving this goal.

Table 34


Band Method

Other Arts Accent on Achievement


Band Expressions Painting to represent graphic notation (p.5), Korean painting,

African painting




74

The final standard calls for students to understand music in relation to history and culture.

Table 35 displays how each method provides instruction on music in relation to history.

Essential Elements 2000 provides a history of the instrument and a paragraph on several

composers and musical cultures.

Table 35


Band Method

History Accent on Achievement

Composer dates are listed under the composer’s name

Band Expressions John Williams, Percy Grainger, Gustav Holst, Aaron Copland,

mariachi, George Gershwin, drum circle, Duke Ellington, John

Philip Sousa, Johann Sebastian Bach

Essential Elements 2000 History of the instrument on page 1, paragraph history on: Mozart,

Rossini, Stephen Collins Foster, Edvard Grieg, Bach, Franz

Schubert, Haydn, Saint Saens, Beethoven, Tchaikovsky, Latin

American music, Japanese folk music, African American spirituals,

Ragtime, Boogie-woogie, blues, “Hatikvah,” Canadian National

Anthem

Standard of Excellence History of the instrument on page 48

Yamaha Advantage Composer dates are listed under the composer’s name

75

Music from various countries is included in each band method. Table 36 illustrates that

Band Expressions includes music from the largest number of cultures.

Table 36


Band Method

Multicultural Accent on Achievement

England, France, USA, Jamaica, Germany, Czechoslovakia,

Mexico, Italy, Ireland, Hawaii, Ukraine, China, Australia, Israel,

Norway, Canada, Japan, Korea, Russia, Africa, Finland, Scotland

Band Expressions USA, Germany, England, Wales, Latin America, Africa, Spain,

France, Ecuador, Holland, Czechoslovakia, Scotland, Israel,

Jamaica, Norway, Mexico, Chile, Austria, Russia, Japan, Korea,

China, Puerto Rico, Ghana, Liberia, South Africa, Brazil, Australia,

Italy

Essential Elements 2000 USA, France, England, Italy, Germany, Canada, Latin America,

Japan, Caribbean, Africa, Norway, Scotland, Czechoslovakia,

Austria, Australia, Finland, Israel, Russia, China, Mexico

Standard of Excellence Wales, England, France, USA, Norway, Mexico, West Indies, Italy,

Germany, Latin America, Australia, Czechoslovakia, China, Russia,

Canada, Japan, Scotland

Yamaha Advantage USA, England, Germany, Jamaica, Korea, France, Mexico, Italy,

Israel, Native American, Australia, Russia, Wales, Hungary, China,

Japan, Netherlands, India, Scotland

76

While conducting is not included in the National Standards, it is a significant requirement

of a comprehensive music education. As Table 37 displays, only Band Expressions and Essential

Elements 2000 provide instruction in conducting. The Standard of Excellence teacher edition

recommends teaching conducting patterns to the students. While teaching conducting may

reinforce meter and help students understand the conductor’s patterns, the authors of the other

methods may consider it a skill that beginning band students will never use and therefore provide

no instruction on the topic.

Table 37


Band Method

Conducting Accent on Achievement


Band Expressions Pages 5, 18, 30 (4/4, 3/4, 2/4)

Essential Elements 2000 Pages 11, 15, and 26 (2/4, 3/4, 4/4)



77

Summary

Research has shown that providing students with a comprehensive music education

produces musicians who are knowledgeable about music history, theory, and musical style, and

who perform as well, or better, than students taught only performance skills (Austin, 1998;

Culbert, 1974; Whitener, 1981). The National Standards for Music Education, published in 1994

by the Music Educators National Conference, are simply a “repackaging” of the ideas of

comprehensive musicianship that have been emphasized since the 1960s (Austin, 1998; Pearson,

2001). Some current music educators are required to fulfill the goals of the National Standards

(Hoffer, 2001, p. 52), but not many actually do. Cargill found that 24% of high school band

directors had access to comprehensive materials, but of that group, only 8% actually used them

in teaching (1987, p. 128). Moreover, while 30% of the directors thought they were teaching

comprehensively, only 15% demonstrated evidence of comprehensive musicianship in their

teaching (p. 129). Band directors cite a lack of planning and rehearsal time as well as a lack of

suitable materials as reasons for not teaching comprehensively (Austin, 1998, p. 30; Byo, 1999,

p. 112), yet this task could be simplified for beginning band teachers with the use of a band

method that already integrates these concepts.

The authors of the five band methods reviewed in this thesis claim to adhere to the

National Standards. While Standard of Excellence, Accent on Achievement, Yamaha Advantage,

and Essential Elements 2000 assist band directors in providing comprehensive instruction and

adhering to the National Standards, each of these methods requires use of supplementary

materials in order to address all of the topics reviewed in this thesis. If a lack of time and

materials inhibits teachers from providing comprehensive instruction and adhering to the

78

National Standards (Austin, 1998, p. 30; Byo, 1999, p. 112), then directors need a band method

that integrates all of these concepts into the student book.

Band Expressions is the only band method reviewed that contains material related to all

21 topics reviewed in this thesis. The authors assert that the “National Standards are the

foundation for every lesson,” and their prescribed curriculum validates this claim. The back

cover of the student book provides the following instructions to students, explaining what they

will be doing as they study an instrument using Band Expressions:

o Play great songs such as “The Hey Song,” “Wipe Out,” and “Celebrate.”

o Listen to and play a variety of styles of music including popular, traditional, classical,

folk, and patriotic.

o Become a well-rounded percussionist by learning to play more than 25 different

instruments.

o Read and write music; compose and arrange music.

o Perform in a concert and play for your family and friends.

o Be a conductor of the band.

o Learn about composers such as John Williams, Percy Grainger, Gustav Holst, Aaron

Copland, George Gershwin, Duke Ellington, and John Philip Sousa.

o Discover how music and art are related.

o Learn about concert bands, marching bands, jazz ensembles, and small ensembles.

o Improvise and play jazz.

o Play music from all around the world, including North America, Europe, Latin

America, Asia, and Africa.

o Play along with professional musicians on the enclosed CD at home and in class.

79

The authors insist that Band Expressions aids teachers in fulfilling the goals of the National

Standards, and the findings of this study agree with the authors’ claims.

Band Expressions contains music from the greatest number of cultures and is the only

band method reviewed that includes singing or other arts in the student book. Band Expressions

contains five pictures of real students displaying the proper playing position that assist students

in learning to hold the instrument properly. This band method requires the use of expression

through composition, introduces conducting patterns, and provides opportunities for arranging

music and evaluating performances. Information about eight composers, as well as pictures of

these musicians is included throughout the student book. Band Expressions also provides

opportunities for students to play by ear and includes information and instructional pieces related

to jazz and improvisation. This band method defines more terms related to formal design,

contains more theory related items, and supplies more opportunities for composition and notation

than the other methods reviewed. The amount of material and number of instructional pieces

related to each topic indicates Band Expressions adheres to the National Standards and helps

provide a comprehensive music education.

While Standard of Excellence claims to be an “enhanced comprehensive band method,”

the student book omits six of the 21 topics relating to the National Standards and comprehensive

musicianship. If directors take time to find supplementary materials in order to implement the

ideas in the teacher edition, however, this method includes all topics except arranging. While this

book provides the most opportunities for solo performance, it contains the fewest number of

theory related terms and is the only method reviewed that does not provide instructional pieces

related to improvisation.

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Accent on Achievement and Yamaha Advantage each omit four of 21 topics in the student

book. Accent on Achievement contains no instructional pieces related to singing, evaluating,

other arts, or conducting, but by implementing additional materials cited in the teacher edition,

only conducting is omitted. This method includes limited opportunities for student

improvisation, composition, and arranging, but it does contain numerous duets and music from

many cultures. Yamaha Advantage does not consider singing, arranging, other arts, or conducting

in the student book. Employing ideas from the teacher’s book would result in instruction in all

topics except conducting. Yamaha Advantage provides poor instructions for breathing, (“Take a

full breath.”), but this method supplies the largest number of duets and provides four

opportunities for playing by ear.

Essential Elements 2000 omits instructional pieces on only three topics: singing, playing

by ear, and other arts, but the teacher edition provides no assistance in implementing instruction

in these topics. This method provides only one opportunity for arranging music but supplies a

clear and concise explanation of breathing. While the book does not ask students to play by ear,

it contains an extensive list of theory related terms, provides numerous musical facts in relation

to history and other cultures, and displays conducting patterns.

This study reviewed five beginning band methods for inclusion of comprehensive

musicianship principles and adherence to the National Standards for Music Education. The

number of times each band method addresses a National Standard or principle of comprehensive

musicianship was charted. The findings displayed in tables throughout this chapter illustrate that

Band Expressions is the only method reviewed that includes all of the topics related to the

National Standards and comprehensive musicianship. If a lack of time and materials prevents

teachers from providing comprehensive instruction and adhering to the National Standards

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(Austin, 1998, p. 30; Byo, 1999, p. 112), the solution would be to use a band method that already

integrates all of these concepts. While band directors can achieve the goals of the National

Standards and comprehensive musicianship by combining their musical knowledge and talents

with any beginning band method, the results of this study show that Band Expressions could

simplify this task.

Suggestions for Further Research

The topics reviewed in this thesis are items band directors should consider when

determining the appropriate band method for a specific class. Although it was beyond the scope

of this project, researchers might also be interested in comparing how various methods provide

instruction for uncommon or more difficult beginner instruments. It is difficult for young

students to begin with oboe because producing accurate pitches with an appropriate sound is a

challenge. Beginning bassoonists have the difficult task of learning awkward fingerings while

beginning horn players are challenged by the note range required to play in unison with the band.

Beginning percussionists are confronted with the challenge of gaining proficiency on more than

one instrument. A future study might review the various methods of instruction for oboe,

bassoon, horn, or percussion to determine which methods allow for the greatest success for these

beginning students. It might be beneficial to compare instruction in the band methods to

instruction provided in instrument specific methods used for private instruction.

It is crucial that band directors approve of the method used to teach their students, but if

students enjoy using the band method required for their class, they might be more motivated to

practice and succeed. Studies on band methods are generally concerned with helping teachers

determine if they would like to use a specific method, but it would be worthwhile to consider the

opinions of beginning band students when determining which book to use. A future study might

82

review how well students learn certain concepts when a specific band method is used for

instruction. A study might also allow students an opportunity to share opinions on how they use

and why they like or dislike a certain method and its supplementary materials.

In 1973, Texter conducted a review of all known beginning band methods published in

the United States. She found that band methods published before 1973 did not facilitate

comprehensive teaching (1975, p. 191). Twenty years later, Heavner’s (1995) review of

beginning band methods found that a comprehensive musicianship curriculum was evident in

band methods in use at that time. The promotion of the idea of comprehensive musicianship

seems to have prompted a change in the content of beginning band methods. A future study

might compare band methods in use before the publication of the National Standards with those

currently in use. An examination of these band methods might reveal whether the National

Standards provoked a change in content and structure.

83

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Documents

A REVIEW OF BEGINNING BAND METHOD BOOKS … review of beginning band method books for inclusion of comprehensive musicianship and adherence to the national standards for music education