MENC: The National Association for Music Education

Curriculum Writing in Music

Author(s): Colleen Conway
Source: Music Educators Journal, Vol. 88, No. 6 (May, 2002), pp. 54-59
Published by: Sage Publications, Inc. on behalf of MENC: The National Association for Music Education
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CURRICULUMWRITING
IN MusIC

a curriculum
formusicclassesi a challenging
Developing
pursuitthatrequires
curriculum
toconsider
ofeducation.
designers
manyaspects

uringmy firstyearof teaching in upstateNew Yorkin

the fallof 1988, I was asked
to participate in a K-12
musiccurriculum
project.In
of
second
my
year teaching,I changed
schooldistricts
and was againaskedto
writecurriculum.
As a result,providwritten
documentation
of what I
ing
did as a musicteacherwas an important part of my induction into the
profession.In the past severalyears,
however,I have come to realizethat
manymusicprogramsdo not have a
writtencurriculum.When I ask studentteachersto cometo theirstudentteachingseminarwith a copy of the
district
musiccurriculum,
veryfeware
able to do so. Most of them report
thattheircooperating
teachersaid that
thecurriculum
is "in his head."There
is a greatneed fortakingthe curriculum thatis in thehead of manymusic
teachersand creatinga musiccurriculum document.There is no one correctway to writea curriculum,and
decisionsabout designdependon the
teachingand learningcontext.Thus,
this articleis an attemptto provide
ratherthan
questionsforconsideration
for
success.1
prescriptions

m
m
cs
a)

r
a

Curriculum
cangive
music
teachers
anopportunity
toshare
andideas.
development
thoughts

In additionto commenting
on con- What
Is a Curriculum?
curriculum
to
state
and
nationscholarsspend much
Curriculum
necting
al frameworks,
thisarticleprovides
a list of their time and energytryingto
of commonkeywordsrelatedto cur- understand what a curriculum is.
riculumstudy.These words lead to Historically,scholarshave disagreed
to consider regardinga working definition of
questionsformusicteachers
as they develop curricula for their "curriculum."
In her chapterentitled
courses.The articleconcludeswitha "Curriculumand Its Study" in the
on Music Teachvarietyof practicalcurriculum-writingHandbookofResearch
Colleen
is assistant
ofmusic tipsthatare basedon myown experi- ing and Learning, Lizabeth Wing
Conway
professor
intheSchool
education
ofMusic
attheUniversityence writingcurriculum,
as well as on opens the discussionwiththe followofMichigan
inAnn
Arbor.
current
educational
research.
ing:
54

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EDUCATORS

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Thereis no "method"of curriculumdiscovery,

anymorethan
the
thereis a methodofexploring
in
love.
There
is
or
jungle falling
just understandingsomething
about jungles,love, and school
and theuse ofa motley
curricula,
collectionof skills,disciplinesof
thought and ideas to make
progressin them. There is no
"conceptualsystem"to guidethe

It is myintention
to provideteachforbeginning
erswithsomeguidelines
to consider the questions posed by
Wing.Becausetherereallyis no single
correctplan forwritinga curriculum,
this articlecan only introduceissues
and questionsthat individualmusic
educators
mustapplyto theirownsituations.

The Written
Document.Although
thisarticlefocuseson thecreationof a
written
writer
decision-making.2
product,thecurriculum
mustremember
thata documentthat
does not addresswhat is taughtand
whatis learnedwill not be usefulfor
teachers
A musiccurricuand students.
lumshouldincludethefollowing:
* musicdepartment
or musicprogramphilosophy-one or two paragraphs
* overall program goals and
beliefs-listofbeliefsaboutmusicand
aboutteaching
* list of developmental skills or
benchmarks
willvary)
(format
* required resources-teaching
needs,equipment,and
spaces,staffing
budget
* sampleteachingstrategies-lesson
plans
* sample assessmentstrategieschecklists,
ratingscales,and rubrics
* suggestedcurricularresourcesseries books, method books, and
Wing goes on to provide information regardingcurriculumas a field of ensembleliterature.
Although many districtsrequire
studywithin education. She continues
fora writtencurricuwith an overview of curriculum-relat- specificformats
lum, if a music curriculumhas the
ed research in music education. She
sections recommendedhere, it can
suggeststhat we need to examine curmostlikelybe formatted
to meetdisricula at the local level:

Thereis no onecorrect
waytowritea
and
curriculum,
decisions
aboutdesign
dependon theteaching
and learning
context.

The profession
[musiceducafromthe
tion]knowsitself
largely
standpointsof statedvaluesand
conductedquantitascientifically
tiveinquiryintosome of itscurriculum efforts.Not much is
knownwithany certainty
about
thepastor whatis reallyhappentodaying in musicclassrooms
forexample,What and how are
teachers
Whatand how
teaching?
are studentslearning?What are
the primaryinfluenceson decisions related to who is taught
what and how? What are the
outcomesof curricular
long-term
experiencesin music?These are
questionscentralto curriculum.3
MAY

trictrequirements.

WhatIs Taught?
One of the issues
thatmustalwaysbe consideredwhen
writingcurriculumis how to assure
thatit will be implemented
by music
teachers.Althoughthisis challenging,
ifcurriculum
writingis tiedcloselyto
teacherin-service
education,thereis a
betterchancethatteacherswillimplementtheideassuggestedin thedocument.Also, ifteachersare partof the
developmentprocess, therewill be
healthydiscussionregarding
teaching,
whichwill affectwhat is includedin
thedocument.Therewillbe a disconnect betweenthe writtendocument
and whatis taughtif teachersare not
part of the curriculumdevelopment
processand iftheyare not givenade-

quate time and in-serviceeducation

fortryingnew ideas suggestedby the
curriculum.
What Is Learned? Most teachers
have had the experienceof thinking
thattheytaughtsomethingverywell
onlyto realizeduringthe nextlesson
thatthe studentsdid not learnwhat
was taught.In orderfora curriculum
documentto be useful,ideasforassessingstudentlearningmustbe included. To explorethisimportant
aspectof
curriculum, see the Resources for
ConnectingCurriculumand Assessmentsidebar.

is
Ifcurriculum
writing
tiedclosely
toteacher
in-service
education,
thereis a better
chance
thatteachers
will
theideas
implement
in the
suggested
document.

Curriculum
Issuesin
Design
Music

One of the greatestdifficulties

for
many teacherswritinga music curriculum is deciding where to start.
The typesof curriculum
listedin this
sectionrepresent
a varietyof starting
places.Thereis no magicformulafor
combining elements from each of
these designs. Decisions regarding
whattypeand how muchof each type
of curriculumto use must be made
withina specificcontext.I providea
briefdescriptionof each typeand a
fewquestionsforcurriculumwriters
to consider.
theGradeLevel When
Determining
the
discussing writingof musiccurricissuesto consideris
ula,one ofthefirst
whatgradelevelto startwith.Willyou
beginwithelementary
generalmusic

2002

55

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Resources
forConnecting
Curriculum
andAssessment
MusicEducators
Assessment,"
JourCope, CarolynO. "StepstowardEffective
nal 83, no. 1 (1996): 39-42.
Farrell,Susan R. Toolsfor PowerfulStudentEvaluation.Milwaukee,WI:
MeredithMusicPress,1997.
Herman,Joan L., Pamela R. Aschbacher,and LynnWinters.A Practical
GuidetoAlternative
Assessment.
VA: AssociationforSuperviAlexandria,
sionand Curriculum
Development,1992.
Lehman,Paul R. "GradingPracticesin Music."MusicEducators
Journal84,
no. 5 (1998): 37-40.
MusicEducators
Journal86, no. 2 (1999): 19-40. Special Issue on Assessment.
MENC Committeeon Performance
Standards.Performance
Standards
for
Music.Reston,VA: MENC, 1996.
Nutter,Kelly."ManagingAssessment."TeachingMusic 7, no. 1 (1999):
26-31, 59.
Assessment
Robinson,Mitchell."Alternative
TechniquesforTeachers."Music
Educators
81, no. 5 (1995): 28-34.
Journal
Winner,Ellen,LyleDavidson,and LarryScripp.ArtsPROPEL: A Handbook
forMusic.Cambridge,MA: HarvardProjectZero and EducationalTestingService,1995.
Wolfe,Dennie Palmer,and NancyPistone.TakingFull Measure:Rethinking
theArts.New York:The CollegeBoard,1991.
Assessment
through
orhighschoolmusic?Ideally,
a curriculumis providedformusiccoursesfrom
kindergarten
throughhigh school. I
believethatit is easiestto writea curriculumin chronological
order.However,where there is no elementary
musicprogram,
it maybe bestto begin
curriculum
forcoursesthatare
writing
alreadybeing taught. On the other
hand,writinga curriculummayprovide the information
needed to start
newmusicclasses.If thecurriculum
is
at
the
music
begun
uppergradelevels,
teacherswho workwithyoungerstuwho has experidents,or a consultant
ence in K-12 curriculumwriting,
shouldbe involved.
Curriculum.
Most
Objectives-Based
teachersare familiarwith an objectives-based
curriculum
model.4This is
a four-phase
that
involves(1)
process
(2)
developingobjectives, sequencing
those objectives(oftenreferred
to as
and
(3)
"scope
sequence"),
designing
56

activities
to meettheobjectives(lesson
and
(4) designingevaluation
plans),
toolsto assurethatlearningtakesplace
(tests).Althoughthismodelhas been
pervasivein curriculum
many
theory,
scholarshave criticizedthis design,
thatit is too linearand that
suggesting
realteachingdoes not occurin sucha
clear-cutline. Good teachersoften
mix up the phasesof thisdesign.For
example, meaningfulassessmentof
studentlearningdoes notalwaysoccur
at the end of a linearprocess;it can
occurthroughout
teachingand learnGood
teachers
do not followa
ing.
restrictive
sequence;rather,
theyadjust
theirteachingto theneedsof a specific context.Real classroomsare multidimensional,and forcingcurriculum
into a linearmodel is a compromise.
the
However,in manyschooldistricts,
for
curriculum
will
guidelines writing
require an objectives-basedmodel.
Music curriculum
writers
who use this

design should be sure to have a

healthycombination of designs to
ensurethat the curriculumis meaningfulto teachers.
Literature-Based
Curriculum.
Some
music educatorshave suggestedthat
the musicliterature
chosenfora class
or an ensembleis thecurriculum.5
In
curriculum
some
general
theory,
scholars recommend a curriculum
based on the projectmethod,6which
could be compared to designing
instruction
aroundparticularmusical
literature.This type of curriculum
worksverywellforperformance-based
courses. However,some of the curriculum should be focused on the
otherdesignsas well.
Skills-BasedCurriculum.A "skills
base" refersto what studentswill do
musically.These skillsshould not be
confused with what they mightbe
expected to know about music
("knowledge base"). Skills include
musicalbehaviors-singing,moving,
or playingon instruments-and
musical conceptssuchas tonality
and meter.
Skills-basedobjectivesdo not include
attitudesor preferences
about music,
butrather
thestudents'
abilitiesto sing,
move,or playwithina specificmusical
context. Assessmenttools must be
designedto measuremusicalskills,as
wellas knowledge.
Curriculum.
Many
Knowledge-Based
music curriculafocusheavilyon the
base (musicalterms,
knowlknowledge
of
music
and
etc.).
theory history,
edge
this
is
an
Although
important
partof
music class, the music curriculum
writershould be carefulto balance
withskills.
knowledge
Curriculum.
One
Grade-Age-Related
importantdecisionthat the curriculum writer must make is how to
sequencethe curriculumdesignsdiscussedabove.Will you suggestcertain
objectives or benchmarksfor each
gradelevel?Do studentsbringsuch a
to the
varietyof different
experiences
classroom that the sequence of
instructionshould be skills-based
insteadof grade-or age-related?
What
can
make
in
yourcursuggestions you
riculumdocument to help teachers
dealwithindividualdifferences
among
studentsin theirclasses?
This listof designissuesis by no
means exhaustive.Other issues may

MUSIC

EDUCATORS

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in
include attitudesand preferences
howmusic and aestheticsensitivity;
ever,thislistmayget the curriculum
aboutthemanyimporwriter
thinking
tantconceptualissuesthatenterinto
the curriculum-writing
process.I recommendchoosinga typeof design,
thatis
thinkingabout the curriculum
some
"in yourhead,"and formulating
ideas. Then, begin to include ideas
fromthe otherdesignareas,and you
willbe on yourwayto a musiccurriculumdocument.

to
Connecting
and
National
Standards
StateFrameworks

Many musicteachersin Michigan

are being asked to develop curricula
thatwillalignwiththeMichiganstate
frameworks
document,whichis based
on the National StandardsforMusic
Education.7 But it is importantto
understandthatthe StandardsthemA middle
selvesare not a curriculum.
told me that
schoolprincipalrecently
in her
she evaluatedthe band director
in
the
same
that
she
evalway
building
uatesall the teachersin the building.
She said, "I watchherteachand then
comparewhatI saw to thecurriculum
is approprito verifythatinstruction
ate." My responsewas, "Great,so you
have an instrumental
music curriculum?"The principalpausedfora conamountoftimeand thensaid,
siderable
"Well, we do not have a curriculum
documentformusic,but she follows
I wantedto ask
thestateframeworks."
thisprincipalifshe couldnameone of
formusic,but
the stateframeworks
decidedagainstit. The pointis, some
and
peopleassumethatstateguidelines
the National Standardsare in themselvesa curriculum.
Theyarenot.
Whenaligninga curriculum
to state
and nationalstandards,
thecurriculum
writershouldwritethe local curricucan go back
lumfirst.
Then,thewriter
the
document
and
through
highlight
wherethe local documentmeetsthe
Whenthemusiccurriculargercriteria.
lum is writtento "match"the other
teachers
maynotbe able to
guidelines,
deliverwhatis suggested.
This is usualto
time
constraints
due
and lack of
ly
in someof
teacherexpertise
or comfort
the contentareas. If it is discovered
thewriting
through
processthatmusic
MAY

Resources
on Curriculum
Concepts
Ability
Grouping
A
Bellanca,James,and ElizabethSwartz,eds. The ChallengeofDetracking:
Collection.
1993.
Palatine,IL: Skylight
Publishing,
Music."DiaConway,ColleenM. "Groupingand Trackingin Instrumental
2
in
Instrumental
Music
no.
91.
22,
(1998):
logue
Azzarra.JumpRight
Gordon,EdwinE., RichardE Grunow,and Christopher
In: TheInstrumental
SeriesTeachers
Guide.2nd ed. Chicago:GIA Publications,2000.
New Haven,
Oakes,Jeannie.KeepingTrack:How SchoolsStructure
Inequality.
CT: YaleUniversity
1985.
Press,

Curriculum
Interdisciplinary
of Collaboration."
MusicEducators
JourMcCoy,ClaireW. "The Excitement
nal 87, no. 1 (2000): 37-44.
Barrett,JanetR., Claire W. McCoy, and Kari K. Veblen. Sound Waysof
New York:Schirmer
Musicin theInterdisciplinary
Curriculum.
Knowing:
Books,1997.
Curriculum:
Jacobs,Heidi Hayes.Interdisciplinary
Designand Implementation.
and CurriculumDevelopment,
Reston,VA: AssociationforSupervision
1989.

Readiness
Azzarra.JumpRight
Gordon,EdwinE., RichardF Grunow,and Christopher
SeriesTeacher's
Guide.2nd ed. Chicago:GIA PubliIn: TheInstrumental
cations,2000.
teachers have not been addressing
manyof thecontentareasof thestandards,thenprofessional
development
must occur beforeteachers can be
expectedto alignto thenewcriteria.

KeyWords

The curriculum
wordsand definitions below were drawn fromJon
Wiles's Curriculum Essentials: A
Resource
whichdiscusses
forEducators,
numerousconceptsrelatedto curricuThis listtoucheson
lumdevelopment.8
To
learn
moreabout these
a
few.
just
on Curricusee
the
Resources
concepts,
lumConceptssidebar.
is definedas "orgaAbility
grouping
into
students
homogeneous
nizing
ability
groupsaccordingto intellectual
If we transfer
forinstruction."9
this
to
music
and
consider
concept
groupwe findthatthis
ingbymusicalability,
practiceis quite common.Although

thereseemsto be no researchon the

effectsof abilitygroupingin music
classes,researchin generaleducation
suggeststhat abilitygroupingis not
helpfulto strongor weak studentsin
mostacademicareas.10EdwinE. Gordon, RichardE Grunow,and ChristopherAzzarrahave suggestedthatstudentslearnbestin instrumental
music
whentheyarein heterogeneous
groups
that mix both abilities and
instruments.11
Shouldwe considerthis
whendesigning
ourmusiccurricula?
refersto "outcome
Accountability
In
orientation
or return
on investment.
theclassroom,
teachers
responholding
sibleforstudentlearning."12
One only
need consultthe dailypaperformore
information
on thisissue.How do we
demonstrate
individualstudentlearnin
music
classes-particularlyin
ing
ensembles?
How do we help our
large
thataccountcommunities
understand
57

2002

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Curriculum
Resources
General
Discussion
Apple,MichaelW. CulturalPoliticsand Education.New York:TeachersCollegePress,1996.
Bruner,
Jerome.TheProcess
ofEducation.Cambridge,MA: HarvardUniversityPress,1977.
Planas Curriculum
Connelly,E Michael,and D. JeanClandinin.Teachers
ners.New York:TeachersCollegePress,1988.
and Education.New York:Macmillan,1916.
Dewey,John.Democracy
and Education.New York:Macmillan,1938.
Dewey,John.Experience
New York:Teachon Curriculum.
Doll, WilliamE. A Post-Modern
Perspective
ersCollegePress,1993.
On theDesignand Evaluationof
Eisner,Elliot.TheEducationalImagination:
SchoolPrograms.
3rded. New York:Macmillan,1994.
Paulo.Pedagogy
New York:Herderand Herder,1970.
Freire,
oftheOppressed.
New York:Macmilon Curriculum.
Jackson,
Philip,ed. HandbookofResearch
lan, 1992.
1893-1958.
Kleibard,Herbert.The Struggle
for theAmericanCurriculum,
London:Routledgeand KeganPaul,1987.
Patrick.Curriculum
Era. New York:
in thePostmodern
Slattery,
Development
GarlandPublishers,
1995.
and Instruction.
Tyler,Ralph W. Basic Principlesof Curriculum
Chicago:
ofChicagoPress,1949.
University
and Aims.3rd ed. New
Walker,DeckerE, and JonasE Soltis.Curriculum
York:TeachersCollegePress,1997.Also see ColleenM. Conway,"Book
Review:Curriculumand Aims."JournalofMusic Teacher
Education8,
no. 1 (1998): 25-26.
Whitehead,AlfredN. TheAimsofEducation.New York:The Free Press,
1929.
A Resource
Essentials:
Wiles,Jon. Curriculum
forEducators.MA: Allynand
Bacon,1999.

inMusic
Curriculum
and RobertH. Klotman.Foundations
Abeles,Harold F, CharlesR Hoffer,
Books,1994. (Chapter
ofMusicEducation.2nd ed. New York:Schirmer
10, pp. 303-41.)
Colwell, RichardJ., and Thomas Goolsby. The TeachingofInstrumental
Music. EnglewoodCliffs,NJ: PrenticeHall, 1992. (Curriculumreferenceson p. 23.)
Elliott,David J. MusicMatters.New York:OxfordUniversity
Press,1995.
10
and
11, pp. 241-95.)
(Chapter
in Rehearsal."MusicEducators
Instruction
Fallis,Todd L. "Standards-Based
4
no.
50.
85,
18-23,
(1999):
Journal
onpage59
continued
58

is not related
abilityformusicteachers
to
musicals
and
half-time
enteronly
tainment
at football
games?
Curriculumalignmentrefersto
"matchingwhat is taughtto what is
tested;activitiesare designedto promote predeterminedoutcome."13I
believethatmostmusicteachersdo a
good job aligningtheircurriculato
meet the predetermined
outcome of
the
literature
well
at conperforming
certs.However,is theconcertliterature
theonlycontentto alignto? How do
we fitin theothercontent,
how do we
testit, and and how do we align the
curriculum
to meetall thegoals?
curriculum
refers
Interdisciplinary
to "combiningtwo or more subjects
into a new and singleorganizational
construct."14Can we accommodate
thisgrowingtrendwithoutsacrificing
the teaching of music for music's
sake?Ifwe areto do it,how?
Readiness refersto "a student
exhibiting a particular behavior
forlearnthoughtto be a prerequisite
What
are
the
for
readinesses
ing."15
success in music? Do we provide
in theseareasin all music
instruction
classes?Do we see to it thatthereis a
place foreverystudentat everygrade
level regardlessof previous musical
in instrumenParticularly
experience?
tal music,do we provideinstruction
in thereadinessareas,or do we allow
studentswithoutthe necessaryreadinessesto drop out? Do we facilitate
communication between music
teachersat variousgradelevelsto discussissuesof readiness?

Process
TipsfortheWriting

Curriculum Committees. It is
ifpossible,forcurriculum
important,
writing to be done by a team of
music educators. Teachers must be
involvedin the curriculumdevelopmentprocessif theyare to takeownershipof the document.Committees
taketime,but theymustbe a partof
theprocessifthewrittendocumentis
goingto interactwithwhat is taught
and whatis learned.
Time and Resources. Do not
thetimeit will taketo
underestimate
writea good curriculumdocument.
Time is needed for brainstorming,
overquestionsof design,
deliberating
issues
reflected
bythekey
considering
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words discussed above, gathering

sample resources,developingassesson the
mentmeasures,and reflecting
process.Teachersshouldbe compensatedforthe timetheyspend in curMusic teachers
riculumdevelopment.
have manyfinancialbattlesto fight,
but compensation for curriculum
workis important.Staffsupportfor
the presentationof the document
shouldbe consideredas well.
Political Nature of Curriculum
Work.Curriculumworkis inherently
political. The decisions about what
getstaughtin anyareaof thecurriculum representa political point of
view. The music teacher must be
aware of the politicalnatureof curriculumwork as well. A good curriculumdocumentcan providesupport for your program and may
demonstratethe need foradditional
resources.However,it is problematic
docifit appearsthatthecurriculum
ument is being providedforpurely
politicalreasons.The musiccurriculum developermustalwaysfocuson
the students and the relationship
between the curriculumdocument
and whatis taughtand learned.

In-Service
Teacher
Education
andCurriculum
Writing

The processof curriculumdevelopmentcan be a valuableprofessional developmentexperienceformusic

teachers.It is often rare for music
teachersto be able to meetand share
their thoughtsand ideas regarding
music teaching and learning. The
teachers that I have worked with
oftencommentthatjust being able
to talk about teaching is a great
forthem.A curriculum
opportunity
documentwill have thegreatestpositive effectif the developmentof the
document is tied to professional
developmentof the musicteachers.I
believethat music teachersmust be
music-related
proactivein suggesting
in-service
ideasso thatin-service
days
and professional
developmentexperiencesareusefulforthem.
See the Curriculum Resources
sidebarfora listof generalresources.
Consideraddingsome of the sources
to your holiday or summerreading
list.Manyoftheauthorslistedin this
sectionmaybe familiarto you-perMAY

Curriculum
Resources,
continuedfrom
page58
Labuta,JosephA., and Deborah A. Smith.Music Education.Englewood
references
on 57-68.)
Hall, 1997. (Curriculum
Cliffs,
NJ:Prentice
Lehman,Paul R. "Curriculumand ProgramEvaluation."In Handbookof
and Learning,editedby RichardColwell,
Researchon Music Teaching
281-94. New York:Schirmer
Books,1992.
Is theCurriculum."
MusicEducators
JourReynolds,H. Robert."Repertoire
nal87, no. 1 (2000): 31-33.
Wells,Richard."DesigningCurriculaBased on theStandards."MusicEducatorsJournal,
84, no. 1 (1997): 34-39.
on
and Its Study."In HandbookofResearch
Wing,LizabethB. "Curriculum
editedbyRichardColwell,196-217. New
MusicTeaching
and Learning,
York:Schirmer
Books,1992.
and
resources
areavailable
on theMENC Web siteatwww.menc.org
Note:Additional
theASCD (AssociationforSupervisionand CurriculumDevelopment)Web siteat

www.ascd.org.

Essentials:
8. JonWiles,Curriculum
MA:
A Resource
Educators
(Boston,
for
and
Bacon,
1999).
Allyn
9. Ibid.,193.
10. Thomas L. Good and Susan
Marshall,"Do StudentsLearnMore in
Heterogeneous or Homogeneous
Groups?" in The Social Contextof
Instruction:
GroupOrganizationand
ed. PenelopeL. Peterson,
Notes
GroupProcess,
1. This articleis based on a paper LouiseC. Wilkinson,and MaureenT.
entitled "Curriculum Writing in Hallinan (New York:AcademicPress,
Music,"presented
bytheauthorat the 1984), 15-38; MaureenT. Hallinan
2000 MidwestClinicin Chicago,IL.
andAageB. Sorenson,
"Effects
ofAbil2. LizabethB. Wing,"Curriculum ityGroupingon Growthin Academic
in HandbookofResearch Achievement,"
AmericanEducational
and ItsStudy,"
on Music Teachingand Learning,ed. Research
Journal23 (1986): 519-42;
RichardColwell(New York:Schirmer JeannieOakes and Martin Lipton,
Books,1992), 196,quotingR. Barrow, "DetrackingSchools: Early Lessons
Giving TeachingBack to Teachers fromthe Field," in The Challengeof
Sussex:Wheatsheaf,
1984): Detracking,ed. JamesBellanca and
(Brighton,
Elizabeth A. Swartz (Palatine, IL:
67.
3. LizabethB. Wing,"Curriculum IRI/Skylight
1994); Robert
Publishing,
211-12.
and itsStudy,"
E. Slavin,"Synthesisof Researchon
4. RalphW. Tyler,
BasicPrinciples
of Grouping in Elementaryand SecCurriculum
and Instruction
(Chicago: ondarySchools,"EducationalLeaderof
Press,
1949).
University Chicago
ship46, no. 1 (1998): 67-77.
11. Edwin E. Gordon,RichardE
5. H. RobertReynolds,
"Repertoire
Is the Curriculum,"Music Educators Grunow,and ChristopherAzzarra,
Series
87, no. 1 (2000): 31-33.
Journal
JumpRightIn: TheInstrumental
6. WilliamH. Kilpatrick,
"The Pro- Teachers
Guide(Chicago:GIA Publicaject Method,"Teachers
CollegeRecord tions,2000).
19 (1918): 319-35.
12. Wiles, CurriculumEssentials,
7. Consortium of National Arts 193.
EducationAssociations,
NationalStan13. Ibid.
dardsforArtsEducation(Reston,VA:
14. Ibid.,194.
15. Ibid.*
MENC, 1994).
haps fromone ofyourundergraduate
educationalpsychologycourses.My
graduate studentswho are experienced teachers tell me that these
sourceshave a much greaterimpact
on their thoughtsnow than when
theywere studentteachers.Best of
luckin yourcurriculum
adventures.

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2002

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