UCC/UGC/ECCC
Proposal for New Course
Please attach proposed Syllabus in approved university format.
1. Course subject and number: MUS 523
2. Units:
See upper and lower division undergraduate course definitions.
3. College:
Arts and Letters
4. Academic Unit:
2
School of Music
5. Student Learning Outcomes of the new course. (Resources & Examples for Developing Course Learning
Outcomes)
Upon successful completion of MUS 523, students will:
 demonstrate and discuss advanced pedagogical approaches specific to a primary
instrument
 discuss and compose an advanced personal teaching philosophy
 create, demonstrate, and teach basic technique exercises specific to a primary instrument
 identify extensive repertoire that showcases basic pedagogical hurdles and foundational
techniques specific to a primary instrument
 analyze, assess, and discuss teaching approaches and techniques from other students’
demonstrations in class
 demonstrate an advanced level of teaching through class discussions and class
demonstrations, as well as use pedagogical scholarship to support choices in instruction
6. Justification for new course, including how the course contributes to degree program outcomes,
or other university requirements / student learning outcomes. (Resources, Examples & Tools for Developing
Effective Program Student Learning Outcomes).
A pedagogy course in each student’s primary instrument is an essential part of any music
performance curriculum. Major Instrument Pedagogy is a requirement in the School of Music
undergraduate degrees, and the lack of a specific class in the MM Instrumental Performance
sub-plan was a major oversight in this degree program. Due to a smaller number of students
in the Instrumental Performance sub-plan of the MM, we used Independent Studies and
Contemporary Development courses to cover this oversight in the past. However, we can coconvene this course with our undergraduate side, which will ensure the sustainability of the
program and benefit both our undergraduate and graduate students’ learning experience.
Co-convening these courses and the number changes more accurately reflects the current
function of these courses. Most undergraduate students are taking this course at the end of
their degrees (juniors and seniors – 400-level work) and graduate students would likely take
this in the first year of their Master's degree (500-level work). Undergraduate students are
utilizing the skills in this course in a timely manner (near the end of their degree) as they
prepare for capstone experiences (recitals and student teaching). Master's candidates would
be using these skills well ahead of advanced performance training in preparation of their
capstone projects (graduate recitals).
7. Effective BEGINNING of what term and year?
Fall 2013
See effective dates calendar.
8. Long course title: MAJOR INSTRUMENT PEDAGOGY
(max 100 characters including spaces)
9. Short course title: MAJOR INSTRUMENT PEDAGOGY
(max. 30 characters including spaces)
10. Catalog course description (max. 60 words, excluding requisites):
Explores and compares different approaches to teaching in a private or group settings on a
student’s major instrument. Studies teaching strategies, goals, and appropriate literature for
these pedagogical approaches. Co convenes with MUS 423. Letter grade only. Course fee
required.
11. Will this course be part of any plan (major, minor or certificate) or sub plan (emphasis)?
Yes
No
If yes, include the appropriate plan proposal.
12. Does this course duplicate content of existing courses?
Yes
No
If yes, list the courses with duplicate material. If the duplication is greater than 20%, explain why
NAU should establish this course.
13. Will this course impact any other academic unit’s enrollment or plan(s)?
If yes, include a letter of response from each impacted academic unit.
14. Grading option:
Letter grade
Yes
Pass/Fail
No
Both
15. Co-convened with:
MUS 423
14a. UGC approval date*:
(For example: ESE 450 and ESE 550) See co-convening policy.
*Must be approved by UGC before UCC submission, and both course syllabi must be presented.
16. Cross-listed with:
(For example: ES 450 and DIS 450) See cross listing policy.
Please submit a single cross-listed syllabus that will be used for all cross-listed courses.
17. May course be repeated for additional units?
16a. If yes, maximum units allowed?
6
16b. If yes, may course be repeated for additional units in the same term?
Yes
No
Yes
No
Admission to the School of Music
as a music major or graduate
18. Prerequisites:
student.
If prerequisites, include the rationale for the prerequisites.
This course will be offered to all graduate students in the School of Music. If we make it a 500level course, we can also make it available to highly qualified senior music undergraduate
students. This may result in a higher enrollment for the course, as well as enhance the
education of our most talented undergraduate performance majors.
19. Co requisites:
If co requisites, include the rationale for the co requisites.
20. Does this course include combined lecture and lab components?
Yes
If yes, include the units specific to each component in the course description above.
All School of Music
21. Names of the current faculty qualified to teach this course: Performance Faculty
No
Answer 22-23 for UCC/ECCC only:
22. Is this course being proposed for Liberal Studies designation?
If yes, include a Liberal Studies proposal and syllabus with this proposal.
Yes
No
23. Is this course being proposed for Diversity designation?
If yes, include a Diversity proposal and syllabus with this proposal.
Yes
No
Scott Galland
Reviewed by Curriculum Process Associate
02/07/2013
Date
Approvals:
Department Chair/ Unit Head (if appropriate)
Date
Chair of college curriculum committee
Date
Dean of college
Date
For Committee use only:
UCC/UGC/ECCC Approval
Approved as submitted:
Date
Yes
No
Approved as modified:
Yes
No
MUS 423/523
Major Instrument Pedagogy
Spring 2014
Credit Hours: 423 1
523 2
Instructors:
Professor David Vining - david.vining@nau.edu
Dr. Jacquelyn Schwandt - jacquelyn.schwandt@nau.edu
Dr. John Masserini - john.masserini@nau.edu
Course Prerequisites:
Music major/minor status, or instructor consent.
Course Description
This course is intended for music majors and is part of the course sequencing for the Bachelor of
Music/Master of Music degree. Unlike other pedagogy classes, this course targets teaching
philosophies, methods, and techniques for studio (private) teaching rather than large ensemble or
classroom teaching.
This will be a seminar-style class where students will discuss different approaches specific to studio
teaching, compile information and resources for a studio specific to your primary instrument, develop
a teaching philosophy, and teach lessons in front of one another with commentary from instructors
and your peers. Students will also explore the business side of launching a private studio and
applying for teaching jobs in the field.
With this seminar you will learn to be a good pedagogue, and begin building a significant background
of knowledge and skills to teach your instrument in a studio setting. However, learning to be a good
teacher is a life-long process; this seminar will lay a foundation of future teaching and learning for
you.
Student Learning Outcomes 423
Upon successful completion of MUS 423, students will:
 demonstrate proper pedagogical approaches specific to a primary instrument
 discuss and compose a personal teaching philosophy
 create, demonstrate, and teach basic technique exercises specific to a primary instrument
 identify repertoire that showcases basic pedagogical hurdles and foundational techniques
specific to a primary instrument
 analyze and discuss teaching approaches and techniques from other students’ demonstrations
in class
Student Learning Outcomes 523
Upon successful completion of MUS 523, students will:
 demonstrate and discuss advanced pedagogical approaches specific to a primary instrument
 discuss and compose an advanced personal teaching philosophy
 create, demonstrate, and teach basic technique exercises specific to a primary instrument
 identify extensive repertoire that showcases basic pedagogical hurdles and foundational
techniques specific to a primary instrument
 analyze, assess, and discuss teaching approaches and techniques from other students’
demonstrations in class
 demonstrate an advanced level of teaching through class discussions and class
demonstrations, as well as use pedagogical scholarship to support choices in instruction
Course Structure and Expectations
423
This is a class that meets only once a week, so it is vital that you attend and participate in class.
Read the materials, contribute to the conversations, and come with questions to spark discussions in
class. If you don’t read the materials and formulate thoughts and opinions before class, we cannot
have a successful seminar discussion. Specific methods, objectives, and outcomes for each weekly
assignment given in this seminar are stated and explained in each project description at the end of
this syllabus. Most assignments will require you to use a music software program such as Finale or
Sibeleus. The computer lab in the Performing and Fine Arts Building has these programs and you
will need to ensure adequate access to these resources so you can complete your assignments.
At the end of the semester we will be teaching students in front of one another and we will have to
work together to find students to teach. I may ask you to use one of your peers as a “student” for our
class. The logistics of this project will be worked out early in the semester, so please start thinking
about who you would like to use and check on their availability.
523
In addition to the above expectations (MUS 423), graduate students enrolled in this co-convened
course will also be required to meet with their major professor once a week for additional
projects/assignments that will be decided upon by the major professor. These projects and
assignments can include (but are not limited to):
 Compiling pedagogy materials for specific age groups and abilities
 Compiling extensive repertoire lists that support particular pedagogical approaches and
techniques
 Focused scholarly reading on instrument-specific pedagogical approaches
 An extensive paper reflecting research for instrument-specific teaching and pedagogical
approaches
 Additional teaching experience with the major professor, either in weekly master classes or in
specific one-on-one teaching situations
Text book, required reading, and other required materials
423/523
 A music software program such as Finale or Sibeleus. The computer lab in the Performing
and Fine Arts Building has these programs and you will need to ensure adequate access to
these resources so you can complete your assignments.
423/523
Focused Reading will be chosen from the following sources:
 Burland, K., & Davidson, J.W. (2002). Training the talented. Music Education
Research, 4
(1), 121-140.
 Charness, N. (1988). Expertise in chess, music, and physics: A cognitive perspective. In L.K.
Obler & D.Fein (Eds.), The exceptional brain. Neuropsychology of talent and special abilities.
New York: Guilford Press.
 Charness, N. (1981). Aging and skilled problem solving. Journal of Experimental Psychology:
General, 110 (1), 21-38.
 Chase, W.G., & Ericsson, K.A. (1982). Skill and working memory. The
Psychology of
Working and Motivation, vol. 16, 1-58. G.H. Bower Ed.
New York: Academic Press.
 Cook, N. (1990). Music, Imagination and Culture. Oxford: Clarendon Press.
 Dowling, W.J, & Tighe, T. J. (1993). Procedural and declarative knowledge in
music
cognition and education, Hillsdale, NJ: L. Erlbaum Associates.
 Ericsson, K. A., Krampe, R. T., & Tesch-Romer, C. (1993). The role of deliberate practice in
acquisition of expert performance. Psychological Review, 100,
363-406.
 Fitts, P.M. (1964). Perceptual-motor skill learning. In A.W. Melton (Ed.). Categories of
Human Learning. New York: Academic Press.
 Lehmann, A. & Ericsson, K. (1997). Research on expert performance and deliberate practice:
Implications for the education of amateur musicians and music students. Psychomusicology,
16(1), 40-58.
 Lehmann, A. C. (1997). The acquisition of expertise in music: Efficiency of
deliberate
practice as a moderating variable in accounting for sub-expert
performance. In I. Deliege,
& J. Sloboda (Eds.), Perception and cognition of music (pp. 161-187). Hove: Psychology
Press.
 Miller, G. A. (1956 [1994]). The magical number seven, plus or minus two: Some limits on our
capacity for processing information. Psychological Review, 101(2), 343-352.
 Morrongiello, B.A. (1992). Effects of training on children’s perception of music: A review.
Psychology of Music, 20, 29-41.
 Palmer, C. & Drake, C. (1997). Monitoring and planning capacities in the acquisition of music
performance skills. Canadian Journal of
Experimental Psychology, 51 (4), 369-384.
 Palmer, C. & van de Sande, C. (1993). Units of knowledge in music
performance.
Journal of Experimental Psychology: Leaning, Memory,
and Cognition, vol. 19 (2), 457470.
 Papageorgi, I., Creech, A., Hadden, E., Morton, F., De Bezenac, C., Himondes, E., Potter, J,
et al. (2009).
 Perceptions and predictions of expertise in advanced musical learners. Psychology
of
Music, 38, 31-66. Doi:10.1177/0305735609336044
 Peretz, I., & Zatorre, R. (2005). Brain organization for music processing. Annual Review of
Psychology, 56, 89-114. Doi: 10.1146/annurev.
Psych.56.091103.070225
 Pomplun, M., & Custer, M. (2005). The construct validity of the Stanford-Binet 5 measures of
working memory. Assessment, 12, 338-346.
 Sloboda, J., Davidson, J., Howe, M., & Moore, D. (1996). The role of practice in the
development of performing musicians. British Journal of Psychology,
87, 287-309.
 Williamon, A., Valentine, E., & Valentine, J. (2002) Shifting the focus of
attention between
levels of musical structure. European Journal of
Cognitive Psychology, 14(4), 493-520.
 Woody, R. H. (2006). Musicians’ cognitive processing of imagery-based instructions for
expressive performance. Journal of Research in Music
Education, 54 (2), 125-137.
523
The major professor will assign additional instrument-specific reading from a list of significant
and peer-reviewed sources.
Course Outline
Monday, January 20
Martin Luther King Day – No Seminar
Monday, January 27
Syllabus Review and create a webpage
Creating an online teaching resource catered to your own teaching studio and pedagogical needs
Reading Assignment: TBA (4xx/5xx)
Monday, February 3
Getting Started
Teaching Philosophy/Approach to Studio Teaching
Learning Styles
Assignment: Write an initial teaching Philosophy
Reading Assignment: TBA (5xx)
Monday, February 10
The Lesson
Pacing and approach to different learning styles
Assignment: Basic Fundamentals – create exercises for problem areas specific to your instrument.
Critique peer work (from previous week) online - ONGOING
Reading Assignment: TBA (4xx/5xx)
Monday, February 17
Application I
Assignment: Find repertoire addressing target problem areas based on exercises created on January
25th.
Beginning/Intermediate/Advanced
Critique peer work (from previous week) online – ONGOING
Reading Assignment: TBA (5xx)
Monday, February 24
“Dos and Don’ts” of teaching
Basic guidelines for effective and efficient instruction
Assignment: Write about your best lesson experiences
Critique peer work (from previous week) online – ONGOING
Reading Assignment: TBA (4xx/5xx)
Monday, March 3
Application II
Professors will teach (demonstration)
Assignments: Create a biography for your webpage and upload a video of yourself demonstrating
your exercises
Critique peer work (from previous week) online – ONGOING
Reading Assignment: TBA (5xx)
Monday, March 10
Preparation for Teaching
Develop a Mater Class topic for your teaching culmination
Critique peer work (from previous week) online – ONGOING
Reading Assignment: TBA (5xx)
Monday, March 17
Spring Break – No Seminar
Monday, March 24
Down to Business I – Possible Guest Lecture
Setting up a studio
Reading Assignment: TBA (5xx)
Monday, March 31
Down to Business II
Opportunities in the field and the tools you need
Interview/Interpersonal skills
Monday, April 7
Culmination I
Lesson Teaching
Monday, April 14
Culmination II
Lesson Teaching
Monday, April 21
Culmination III
Lesson Teaching
Monday, April 28
Culmination IV
Lesson Teaching
Monday, May 5
Conclusion
Teaching Philosophy/Approach to Studio Teaching Revised
Policies
1. Attendance will be taken in each class. It will be very difficult for you to get the necessary
information and materials for success in this course if you do not come to class and arrive to class on
time. It will be noted if you arrive late – three late arrivals will be equivalent to one absence. Every
three unexcused absences will lower your final grade one letter. If there is a valid reason for missing
class, it is your responsibility to contact the current professor teaching the class (no later than one
day after the class has occurred) for an excused absence.
2. Assignments must be completed and posted on the designated dates. If you forget or do not post
an assignment, there will be no make-up offered (extenuating circumstances, of course, will be
considered). If there is an emergency it is your responsibility to come and discuss alternative
arrangements.
3. Office hours are offered on an “appointment basis” for students who would like some extra help or
need something explained again in a different way. You may make an appointment with any of the
instructors for this class via email.
Assessment of Student Learning Outcomes
Professors of record will evaluate students’ success in MUS 423/523 through:
 observation of student’s teaching demonstrations.
 students’ noted participation in class discussions based on reading materials.
 students’ synthesis of reading materials in assignments and teaching demonstrations.
 grading of class assignments and original, composed pedagogical exercises.
Assignments and Final Project
Detailed descriptions, due dates, and guidelines for all assignments and your final project are
attached to this syllabus. Please read and review them carefully. All assignments are to be uploaded
onto your website/blog for review by your peers and grading by the faculty. Late assignments will not
be accepted.
Your semester grade will be based on the following components
Assignments (Exercises and Material Review)
65%
Teaching Preparation and Execution
25%
Participation and Attendance
10%
Grading Scale
100 – 90=A 89 – 80=B
79 – 70=C
69 – 60=D
59 – 50=F
UNIVERSITY POLICY STATEMENTS
SAFE ENVIRONMENT POLICY
NAU’s Safe Working and Learning Environment Policy seeks to prohibit discrimination and promote
the safety of all individuals within the university. The goal of this policy is to prevent the occurrence of
discrimination on the basis of sex, race, color, age, national origin, religion, sexual orientation,
disability, or veteran status and to prevent sexual harassment, sexual assault or retaliation by anyone
at this university.
You may obtain a copy of this policy from the college dean’s office or from the NAU’s Affirmative
Action website http://home.nau.edu/diversity/. If you have concerns about this policy, it is important
that you contact the departmental chair, dean’s office, the Office of Student Life (928-523-5181), or
NAU’s Office of Affirmative Action (928-523-3312).
STUDENTS WITH DISABILITIES
If you have a documented disability, you can arrange for accommodations by contacting Disability
Resources (DR) at 523-8773 (voice)or 523-6906 (TTY), dr@nau.edu (e-mail)or 928-523-8747
(fax).Students needing academic accommodations are required to register with DR and provide
required disability related documentation. Although you may request an accommodation at any time,
in order for DR to best meet your individual needs, you are urged to register and submit necessary
documentation (www.nau.edu/dr) 8 weeks prior to the time you wish to receive accommodations. DR
is strongly committed to the needs of student with disabilities and the promotion of Universal Design.
Concerns or questions related to the accessibility of programs and facilities at NAU may be brought to
the attention of DR or the Office of Affirmative Action and Equal Opportunity (523-3312).
INSTITUTIONAL REVIEW BOARD
Any study involving observation of or interaction with human subjects that originates at NAU—
including a course project, report, or research paper—must be reviewed and approved by the
Institutional Review Board (IRB) for the protection of human subjects in research and researchrelated activities.
The IRB meets monthly. Proposals must be submitted for review at least fifteen working days before
the monthly meeting. You should consult with your course instructor early in the course to ascertain if
your project needs to be reviewed by the IRB and/or to secure information or appropriate forms and
procedures for the IRB review. Your instructor and department chair or college dean must sign the
application for approval by the IRB. The IRB categorizes projects into three levels depending on the
nature of the project: exempt from further review, expedited review, or full board review. If the IRB
certifies that a project is exempt from further review, you need not resubmit the project for continuing
IRB review as long as there are no modifications in the exempted procedures.
A copy of the IRB Policy and Procedures Manual is available in each department’s administrative
office and each college dean’s office or on their website:
http://www.research.nau.edu/compliance/irb/index.aspx. If you have questions, contact the IRB
Coordinator in the Office of the Vice President for Research at 928-523-8288 or 523-4340.
ACADEMIC INTEGRITY
The university takes an extremely serious view of violations of academic integrity. As members of the
academic community, NAU’s administration, faculty, staff and students are dedicated to promoting an
atmosphere of honesty and are committed to maintaining the academic integrity essential to the
education process. Inherent in this commitment is the belief that academic dishonesty in all forms
violates the basic principles of integrity and impedes learning. Students are therefore responsible for
conducting themselves in an academically honest manner.
Individual students and faculty members are responsible for identifying instances of academic
dishonesty. Faculty members then recommend penalties to the department chair or college dean in
keeping with the severity of the violation. The complete policy on academic integrity is in Appendix G
of NAU’s Student Handbook http://www4.nau.edu/stulife/handbookdishonesty.htm.
ACADEMIC CONTACT HOUR POLICY
The Arizona Board of Regents Academic Contact Hour Policy (ABOR Handbook, 2-206, Academic
Credit) states: “an hour of work is the equivalent of 50 minutes of class time…at least 15 contact
hours of recitation, lecture, discussion, testing or evaluation, seminar, or colloquium as well as a
minimum of 30 hours of student homework is required for each unit of credit.”
The reasonable interpretation of this policy is that for every credit hour, a student should expect, on
average, to do a minimum of two additional hours of work per week; e.g., preparation, homework,
studying.
SENSITIVE COURSE MATERIALS
If an instructor believes it is appropriate, the syllabus should communicate to students that some
course content may be considered sensitive by some students.
“University education aims to expand student understanding and awareness. Thus, it necessarily
involves engagement with a wide range of information, ideas, and creative representations. In the
course of college studies, students can expect to encounter—and critically appraise—materials that
may differ from and perhaps challenge familiar understandings, ideas, and beliefs. Students are
encouraged to discuss these matters with faculty.”
Major Instrument Pedagogy – MUS 423/523
Website Design
Due
This assignment will get you started on creating and building your own website to meet your
pedagogical and business needs for your own career development and private teaching studio.
Please follow the directions listed below:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Go to “Wordpress”: http://wordpress.com/
Create your free Blog account.
Select a theme (Dashboard > Appearance > Themes).
Change your tag line (Dashboard > Settings > General > type “Information about my teaching”
in the tag line box > Scroll down and click “save”)
Create the following pages with “coming soon” text (Dashboard > Pages > Add New):
a. Home (you can type “Welcome to my web page” here if you like)
b. Biography
c. Resume
d. Teaching Philosophy
e. Teaching Studio
f. Policies, Procedures, and Lesson Rates
g. Fundamental Exercises (written and demonstrated)
h. Repertoire
i. Solos
ii. Etudes
iii. Methods
Establish your home page (Dashboard > Settings > Reading > “Front Page Displays” a static
page, select “Home”
Create a custom menu (Dashboard > Appearance > Menus > enter name “Main Menu” and
click “Create Menu”
Select all your pages to appear on the main menu (Dashboard > Appearance > Menus > click
on Pages and “select all” > click “add to menu” and click “save menu”)
Create the following widgets (Dashboard > Appearance > Widgets > Drag and drop to primary
widget area):
a. Links
b. Informational Items
c. Search
Major Instrument Pedagogy – MUS 423/523
Teaching Philosophy
Due
This assignment is designed to help you formulate, develop, and articulate your own teaching
philosophy.
While there are many ideas and philosophies that go into a document such as this, below are a list of
ideas and instructions (including, but not limited to) that you will need to consider for this assignment:
• Look at the examples of Teaching Philosophies in the VISTA shell that were uploaded by the
professors in the class
• Formatting your ideas: prose, bulleted list, or a mixture of both
• Expressing the long-term goals you wish for your students to achieve and the short and long-term
techniques you might use to get them there.
• Expressing the ideal teaching and learning environment you would like to create for your student
• Any other important ideals you want to share with your students and how you might accomplish
those ideals
As with all assignments, this needs to be well thought-out and well organized. It must be typed and
no longer than one page.
Major Instrument Pedagogy – MUS 423/523
Creating Exercises Specific to your Instrument
Due
This assignment will enable you to identify “problem-areas” specific to your instrument and develop
exercises to address those areas for your students.
For this assignment:
• You will need to use a music software program such as Finale or Sibeleus
• You will compose/create 3 short exercises that target fundamentals and/or problem areas one
encounters on your instrument:
• One exercise will address tone
• One exercise will address articulation
• One exercise will address particular technical hurdles specific to your instrument
• The exercises should be about 8-16 measures in length with a (typed) explanation below each
exercise
• The explanation will address why you chose this specific fundamental and/or problem area, how
you might execute the exercise with the student, and how this will help them in their overall
development on their instrument
As with all assignments, this needs to be well thought-out, organized, and have a polished,
professional look.
Companion Assignment
Finding Repertoire that showcases/relates to your Exercises
Due
For this assignment:
• You will find repertoire that specifically targets/demonstrates the fundamentals and/or problem
areas that you address in the exercises that you composed/created
• You will find three different levels of repertoire:
Beginning (5th – 8th Grade)
Intermediate (High School)
Advanced (College)
• Extract an 8 – 16 bar excerpt from the repertoire and “cut and paste” the example into a word
document.
• As with the previous exercises, you should have a brief description (typed) that address why you
chose the excerpt and how you would approach teaching it along side the exercise you created to
compliment the excerpt.
As with all assignments, this needs to be well thought-out, organized, and have a polished,
professional look.
Major Instrument Pedagogy – MUS 423/523
Best Lesson Experiences
Due
This assignment is designed to help you articulate what were the best pedagogical strategies you
have experienced in your own lessons and how that might affect your approach to teaching.
Below is a list of ideas and instructions (including, but not limited to) that you will need to consider for
this assignment:
• Identify specific pedagogical approaches that resonated with or work well for your learning style
• Avoid discussing your emotional reactions and how things made you “feel” he/she made me feel
good about myself). Instead, use that experience to target their specific pedagogical approach and
why this was effective
• Discuss how you would make every lesson a valuable experience (from a pedagogical standpoint)
for your students in the future based on your experience.
• You should reference at least three (3) best strategies you witnessed or experienced.
As with all assignments, this needs to be well thought-out and well organized. It must be typed and
no longer than two pages.
Major Instrument Pedagogy – MUS 423/523
Webpage biography, resume, and video
Due
Biography and Resume
This assignment will get you started on creating and building your biography and resume for your
webpage. Please take the time to review the CVs posted on Bb LEARN from your instructors for
ideas on format and content.
Sections of the resume that should be addressed (but not limited to):
• Education
• Teaching Experience
• Performing Experience (Ensembles and Significant Solo experience)
• Honors, Awards, Special Accomplishments (music-related)
• Professional Affiliations (as well as officer positions in these organizations)
• Adjudicating
Video
You will upload a video of yourself demonstrating the exercises you created targeting fundamentals
and “problem areas” for your instrument. You will need to upload it to YouTube and link to
wordpress. You should also explain your approach while you demonstrate; much like an “infomercial
style” demonstration. These videos should not be more than 10 minutes in length. This will be
uploaded into your webpage for your peers to review and critique.
Major Instrument Pedagogy – MUS 423/523
Master Class Topic – Teaching Culmination
Due
This assignment will be the start of your final project for the course: Teaching another peer in front of
a group from the class on a particular topic/subject.
What you will need to do to prepare for this assignment:
• Find someone from your studio to teach (it should not be someone from the class)
• Decide what topic/technique you want to teach your peer and find repertoire appropriate for your
goal
• Give your peer the selected repertoire (half a page to a page maximum) to practice at least one
week prior to your teaching demonstration.
It is important to remember that you will be teaching your peer for a minimum of 20-25 minutes, so
please plan your lesson accordingly. If that means you start with some basics pertinent to the
repertoire before they start the piece you selected, so be it.
Your grade will be based on, but not limited to, the following criteria:
• Pacing of the lesson
• Clarity and quality of Instruction
• Appropriateness of topic/technique for the particular student
• Improvement of student during the lesson
Major Instrument Pedagogy – MUS 423/523
Master Class Topic – Additional Materials for Website
Due
This assignment will assist you to “put the finishing touches” on your website. This will include, but
are not limited to:
• Policies and Procedures for your studio
• Lesson Rates
• Calendar of Events for yourself and your studio
• Internet links
• Sound clips (if possible)
• Photos (if possible)
• Applicable forms (All-Region, Solo and Ensemble, etc…)
• Additional tips for your students