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Creating Curriculum in Music

Creating Curriculum in Music is the result of a project supported by the Ford Foundation to develop a comprehensive approach to general music instruction. While the initial project was designed for the Reykjavik Children's Music School in Iceland, where Stefan Edelstein is director, the book should serve as a guide for curriculum development by music educators in every country. The purpose of any curriculum guide is to provide the basis for the development of sequenced learning experiences leading toward specific educational goals. The complex "framework" that the authors have developed is designed to clarify the relationship between long range goals and daily classroom practice while avoiding the traps of vagueness and specificity into which many curriculum guides have fallen. Chapter nine, "Planning For Learning," was most helpful in deciphering how the framework was constructed and how it might serve as a guide for curricular planning and implementation. According to the authors, planning for learning occurs on three levels, beginning with the identification of broad concepts and long range goals. An extensive list of concepts (principles or generalizations) has been grouped into eight areas: duration, linear pitch, vertical pitch, form, timbre, dynamics, tempo, and style. For each area, concept statements are provided. Concepts, when possessed, allow the learner to make appropriate responses when confronted with a concept example. Verbalization of concepts is always a difficult task because the mental possession of a concept is essentially nonverbal, although most have been represented with a verbal symbol. The value of the concept statement is to provide the instructor with information on the nature of the essential attributes that must be stressed in order to help the learner gain the aural concept and associate it with the correct verbal symbol. Statements such as "Many smaller musical works are binary or ternary in form. Binary and ternary structures are often incorporated in larger forms" may summarize important information but do not qualify as concept statements. These statements merely identify the verbal symbols "binary" and "ternary" for which the learner must acquire a concept. In order for a concept statement to serve as guide to instructor or learner, it must identify the aural attributes that allow an individual to confront a music example, apply the principle, and then designate the form as binary, ternary, or neither. For each broad concept in the book, parallel goals are identified as a part of planning at the first level. Educational goals, by definition, are general in order to encompass categories of subsidiary objectives. Goals that state "Students will ... develop sensitivity to ..." do satisfy this re quirement for generality. However after the dozenth repetition of the same phrase, a sense of deja vu descends, followed by curiosity as to why the twenty-five separate goals were not combined into a few stronger comprehensive statements. This might combat the feeling of fragmentation and lack of synthesis that pervades the book. Once goals and broad concepts have been determined, the first level of planning must be completed by OVERTURE LA FORZA