Iowa Comprehensive Musicianship Project
Clinicians: Iowa CMP Team
June 14-17
2 credits available
Class meets 8:30 a.m. – 9:00 p.m. June 14-16
Class meets 8:30 a.m. – 1:00 p.m. June 17
What is CMP?
•a learning community of music educators
•an opportunity to gain tools to foster music learning with understanding
•a planning process that can be applied to any level of music teaching
•an approach emphasizing the interdependence of musical knowledge and musical performance
The CMP process can assist teachers in:
•selecting good repertoire
•planning effective rehearsals, classroom activities, and concerts
*clarifying long-range goals and short-term objectives
•developing new teaching strategies
•applying appropriate assessments of the learning process
•experiencing a high level of personal and professional satisfaction
•building a portfolio
Sponsoring organizations
•Iowa Choral Directors Association
•Iowa Bandmasters Association
•Iowa Music Educators Association
•Iowa String Teachers Association
Clinicians: John Armstrong and Kristin Zaryski
Session I: Bel Canto Solfeggio
June 20-21: Levels I, II & II
1 credit available
Class meets 8:30 to 4:30
This course helps choral directors and general music
teachers learn fundamantal handsign/solfeggio skills with beautiful
tone. The class is offered at three levels to allow teachers to re-take
this course and improve their skills.
• Develop beautiful tone and intonation
• Practice sight-reading with handsign/solfeggio skills “In the Air”, “On the Board” and “From the Page”
• Learn proven techniques for teaching solid rhythm and meter skills
• Learn how to make the most of “The Reading Choir Singer”
• You may take this proficiency course three times for graduate or AEA credit
Session II: Choral Practicum with Solfeggio -
June 22-23: Levels I, II & III
(for those who have completed Bel Canto Solfeggio or any other Armstrong music literacy course)
1 credit available
Class meets 8:30-4:30
We rehearse as a choir, taking selected works from first
read-through to concert-level performance. The choral works are
selected are proven winners in all voicings, recommended by members of
our Solfeggio Support Group, and we rehearse in “Bel Canto Solfeggio”
mode.
• You make take this class up to three times for graduate or AEA credit
• We will practice the Bel Canto process while incorporating each step along the music literacy continuum
• You will experience the complete learning cycle from start to finish
Session III: Symposium: Teaching Music Literacy -
June 24-25: Levels I, II & III
(for those who have completed Bel Canto Solfeggio or any other Armstrong music literacy course)
1 credit available
Class meets 8:30-4:30
In Symposium, we work together to practice integrating
handsign/solfeggio teaching skills in a nurturing environment. You make
re-take this class for graduate or AEA credit also.
• Learn how to navigate the three-step cycle: “In the Air”, “On the Board” and “From the Page”.
• Work on a TEAM to plan and teach each phase of the process
• Master aural, visual, and kinesthetic approaches to help your singers learn to read music with confidence \
• Share creative ideas about “what works - and why” with experienced colleagues
Dr. Hammel, author of Teaching Students with Special
Needs in the Music Room, will address pedagogical techniques useful in
teaching special learners in all music classrooms—band, chorus,
orchestra, general music.
Dwyer, Associate Conductor and Director of Education of
the Indianapolis Children’s Choir, will focus on creative and effective
rehearsal planning, with emphasis on using engaging rehearsal strategies
for choirs at a variety of levels.
Teachers may register for Level I, II, or III.
Participants must present documentation from Level I to register for
Level II; Level II to register for Level III.
Curriculum includes:
•solfege training
•rhythm syllable training
•materials and methodology
•folk song analysis
•Kodaly techniques in the choral setting
•child vocal development
Special topics include:
•early childhood strategies
•Kodaly techniques for church choirs
•Kodaly and Orff can work together
•choral repertoire in public schools
•American folk dances and playparties
|
