Dissertation On Study Methods PDF

An Analysis of Select Beginning Band Method Books and the Level to which They
Address the National Standards for Music Education
Dissertation
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy
in the Graduate School of The Ohio State University
By
Kie Watkins, B.M.E., M.A.
Graduate Program in Music
The Ohio State University
2011
Dissertation Committee:
Dr. Jon R. Woods, Advisor
Dr. Daryl Kinney
Dr. T.K. Daniel

Copyright by
Kie Watkins
2011
Abstract
The purpose of this study was to find the level to which selected beginning band
method books addressed the National Standards for Music Education, grades 5-8. Twelve
method books were selected from 1994-2010 that were available nationally and were
currently used in the public and private school systems of the United States.
The beginning band method books were analyzed, and the exercises contained
within them were labeled according to the Content and Achievement Standard they
addressed. The clarinet, book 1 was used for the study as the primary source of
information regarding the method’s addressing of the Standards. Publisher information
regarding supplemental materials was included in the study.
Additional information was provided about the method books, including the date
of publication, names of the authors, and the number of exercises presented. An overview
of each method was given and key features of each method were listed. All method books
studied met at least two Content Standards, with the majority addressing additional
Standards.
ii
Dedication
I would like to dedicate this document to my family. My wife, Hien, and children,
Lilli, Liem, and Li, have been a constant source of encouragement, support, and love. I
hope that this process will serve as an example to our children that anyone can
accomplish something if they put their mind to it.
In addition to my wife and children, I would be remiss if I did not thank my
parents, Jack and Glenda, as well as my sister Marlina and nephew Chase. Throughout
this process, all of the above have been willing to help in any way to make sure I had
time to write my “book.” I cannot thank you enough for your constant support, from my
childhood to today.
I wish to give thanks to two more people besides my parents that gave me the
courage to go beyond my high school diploma. My third grade teacher, Mrs. Jerman, for
always believing in me, and Dr. Louis Barnett for making me promise, as a teenager, that
I would have some sort of doctoral degree by the time I was forty years old.
I have been surrounded by great music teachers all of my life. From Bill Neal and
Ramone Rougier as piano instructors to Clay Bates, Jim Probasco, and Clare Miller as
band directors, my music education was well rounded and full of great experiences. Tuba
and trombone instructors Steve Winteregg, Matt Borger, Robert Leblanc, James Akins,
Gary Carney, and Vaughn Wiester continued to push me towards the point at which I
stand today. Thank you for taking the time to teach me.
iii
Acknowledgments
I would like to take the opportunity to thank Dr. Jon R. Woods for his continual
support from my first day as a seventeen-year-old freshman at Ohio State to the current
educational goal. Dr. Woods has always been available, offering advice, helping to make
decisions, and providing a seemingly unending supply of guidance. He, along with Muge
Galin, Tony Thivener, and Hien Watkins assisted with the editing and formatting of this
document.
Dr. Patricia Flowers was integral to my doctoral studies at The Ohio State
University. Many have always sought after her guidance, but her help in my studies went
beyond what could possibly be expected. Dr. Edwards also gave much more of her time
and effort than any would expect. Dr. Kinney, in addition to serving on my committee,
has given excellent insight in regards to my dissertation topic, and has always been
available and willing to help. I appreciate their help and guidance in this process.
I owe a debt of gratitude to Dr. T.K. Daniel, who was my advisor for my Master
of Arts in Education Administration degree. Dr. Daniel also served on my dissertation
committee. I have learned a great deal from him in regards to educational law. His
guidance and courses taught have enabled me to be successful in the public school
environment. His willingness to teach as well as aid in this process are greatly
appreciated.
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Vita
September 20, 1972......................................................Born-Dayton, Ohio
1994..............................................................................Bachelor of Music Education

Columbus, Ohio
1994-1995.....................................................................Director, Middle School Bands

London Middle School
London, Ohio
1995-Present.................................................................Director of Bands
Grandview Heights High School
Grandview Heights, Ohio
2003..............................................................................Master of Arts
Education Administration
Columbus, Ohio
Fields of Study
Major Field: Music
Studies in Music Education: Dr. Jon Woods, Dr. Jan Edwards, Dr. Daryl Kinney,
Dr. Patricia Flowers
v
Table of Contents
Abstract ii
Dedication iii
Acknowledgement iv
Vita v
Table of Contents vi
List of Tables x
Chapter 1: Introduction 1
1.1 Background of the Study 1
1.2 Statement of the Problem and Research Gap 2
1.3 Objectives of the Study and Research Question 3
1.4 Definition of Key Terms 4
1.5 Limitations and Presumptions of the Study 5
Chapter 2: Literature Review 6
2.1 Introduction of Literature Review 6
2.2 The National Standards for Music Education 6
2.2.1 National Standard #1 10
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2.3 Dissertation Research on Method Books 20
2.4 Review of Texter (1975) 21
2.5 Review of Gage (1994) 23
2.6 Review of Heavner (1995) 23
2.7 Review of Ballard (2007) 25
2.8 Summary 26
Chapter 3: Methodology 28
3.1 Introduction of Methodology 28
3.2 Materials: Method Books Used 28
3.3 The Rubric Used in this Study 30
3.4 Procedure 33
3.5 Data Analysis 34
3.6 Reliability and Validity 34
Chapter 4: Results and Data Analysis 35
4.1 Introduction 35
4.2 Data Retrieved from the Method Books 35
4.3 Method Books Selected for This Study 36
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4.4 Selected Method Books and the National Standards 39
4.4.1 Supplemental Material Provided by the Publishers 39
4.5 Accent on Achievement 40
4.6 Band Expressions 49
4.7 Belwin 21st Century Band Method 63
4.8 Do It! Play in Band (Clarinet) 69
4.9 Essential Elements 2000 82
4.10 Jump Right In 93
4.11 Measures of Success 102
4.12 Now Go Home and Practice! 116
4.13 Premier Performance 122
4.14 Sound Innovations 129
4.15 Standard of Excellence 139
4.16 The Yamaha Advantage 146
4.17 Summary of Chapter 4 156
Chapter 5: Summary, Discussion, Conclusions 157
5.1 Summary: Content Standards 157
5.2 Summary: Achievement Standards 159
5.3 Achievement Standards 1a, 1b, 1c, and 1d 161
5.5 Achievement Standards 3a, 3b, and 3c 162
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5.7 Achievement Standards 5a, 5b, 5c, 5d, and 5e 164
5.9 Achievement Standards 7a and 7b 168
5.10 Achievement Standards 8a and 8b 169
5.12 Conclusions 172
5.13 Suggestions for Future Research 174
References 178
Appendix A: General Information about the Method Books 182
Appendix B: Content Standards and Achievement Standards Rubric 186
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List of Tables
Table 1. Method Book General Information 37
Table 2. Method Book General Information 38
Table 3. Content Standard and Achievement Standards 2
Accent on Achievement 45
Table 6. Content Standard and Achievement Standard 4
Band Expressions 56
Band Expressions 56
Band Expressions 57
x
Band Expressions 58
Band Expressions 58
Band Expressions 59
Band Expressions 60
Band Expressions 61
Band Expressions 61
Band Expressions 62
Belwin 21st Century Band Method 67
Do It! Play in Band (Clarinet) 75
xi
Essential Elements 2000 88
xii
Jump Right In 98
Jump Right In 99
Jump Right In 100
Jump Right In 101
Measures of Success 109
xiii
Now Go Home and Practice! 120
Now Go Home and Practice! 121
Premier Performance 126
xiv
Sound Innovations 134
Standard of Excellence 143
xv
The Yamaha Advantage 151
Table 75. Percent of Content Standards Met by all Method Books 158
Table 76. Percentage that Addressed Specific Achievement Standards 160
xvi
Chapter 1: Introduction
1.1 Background of the Study
Beginning band method books provide an educational pathway for first-year
instrumentalists. Students often receive the majority of their first-year musical instruction
from their method book. At this level, they traditionally do not perform ensemble music
until the end of the school year, if at all, during their first year of instruction. The method
book provides instrument assembly instructions, fingering charts, and introduces students
to note reading for their instrument.
Beginning band method books have a lengthy history in music education in the
United States. According to a dissertation on the topic (Texter, 1975), the earliest method
book written specifically for band was Band Training Series: Reed, Brass and Drum
Ensemble by Louis M. Gordon in 1926. Since then, a number of method books for
beginning band have been published for heterogeneous and homogeneous
instrumentation as well as a combination of both formats. These books are intended to
cultivate skills in melodic and rhythmic sight-reading, as well as developing technical
mastery of the instrument.
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The U.S. National Standards for Music Education were released in 1994. They
provided a framework for learning in the arts to be used in educating students in a
thorough and complete manner. These Standards address music teaching from
kindergarten through the twelfth grade. They are divided into three sections: grades K-4,
5-8, and 9-12. If teachers use the Standards to guide their teaching and curriculum, it
would be valuable if instrumental method books would present the purpose and
importance of each of the National Standards.
1.2 Statement of the Problem and Research Gap
Because the beginning band method book accounts for the majority of
instructional material used for the first year of instrumental instruction, it is crucial that
these method books attempt to address some of the nine Content Standards, as well as
their accompanying Achievement Standards. Texter (1975) stated in her dissertation that
method books prior to 1973 did not contain elements of Comprehensive Musicianship
through Performance, also known as CMP. CMP was one of the precursors to the
National Standards. Heavner (1995), stated in his dissertation that method books written
after 1975 and before 1995 did contain some elements of CMP.
To date, no study has fully investigated beginning band method books’ level of
engagement with the National Standards for Music Education between 1994 and 2010.
Several master’s theses have addressed beginning band method books for content, layout,
and other items specific to the research (Birdwhistell, 1998; Brewer, 2000; Paschall,
2005; Robinson, 1980; Tullberg, 1992). Each author chose specific method books and
had a narrow scope of research in regard to the data collected and reviewed. Dissertations
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regarding beginning band method books (Gage, 1994; Heavner, 1995; Morris, 2000;
Texter, 1975) have addressed some portion of Comprehensive Musicianship in their data
collection. Only one dissertation (Ballard, 2007) directly addressed the National
Standards for beginning methods. The beginning method books reviewed by Ballard were
for beginning piano instruction, not beginning band. Ballard only reviewed the selected
piano methods for adherence to National Standards 2, 3, 4, and 5.
Heavner (1995) called for further research of method books for inclusion of
Comprehensive Musicianship principles after 1995. Master’s theses reviewed call for a
variety of research options, though none reviewed specifically called for the study of the
National Standards as researched in this dissertation. To fill this research gap, this study
was used to investigate beginning band method books from the post-Standards portion of
wind band history.
1.3 Objectives of the Study and Research Question
This study had two main objectives. First, I reviewed beginning band method
books published in the United States from 1994 to 2010 to find the level to which they
address the National Standards for Music Education, grades 5-8. Exercises in each
method book were examined to provide future readers a sound reference for beginning
band method books and the level to which they address the National Standards for Music
Education, specifically in grades 5-8. I focused exclusively on the clarinet book, as it is
typically the method book that publishers make available to band directors for review. A
second objective was to provide detailed information about the most current beginning
band method books in regard to the number of exercises, number of pages, and claims of
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educational interest from publishers. The data presented gives future beginning band
educators a full spectrum of information regarding their method book choice in light of
the National Standards. The data collected was used to answer the following research
question: To what level do the beginning band method books address the National
Standards for Music Education?
1.4 Definition of Key Terms
For the sake of understanding terminology throughout this document, a list of key
terms and their definitions are included below.
Achievement (Standards) – The subsets of each content Standard are specific benchmarks
under the nine Content Standards published by the Music Educators National
Conference (MENC, 1994).
Beginning Band Method Book– Instructional books presented by publishing companies
representing beginning instrumental texts written for class instruction.
Content (Standards) – The nine Content Standards as published by MENC (1994). These
Standards provide specific guidelines for teaching particular areas of music
education deemed important for study in all grades of public and private school
music instruction.
Exercise – Any entry in a beginning band method book that teaches the student a new
skill or that reviews a skill previously mentioned in the text.
National Standards for Music Education – The 1994 document published by MENC,
which serves as a set of guiding principles for music education in grades K-12 in
the United States.
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1.5 Limitations of the Study
The following list represents the limitations of this study and the presumptions
made by the researcher. These findings should not be generalized to method books
beyond the scope of this study.
1. Only the nine National Standards for Music Education, grades 5-8 and their
Subset Achievement Standards were used to evaluate the beginning band
books.
2. Ideology of the Comprehensive Musicianship movement not directly
addressed in the National Standards was not considered in this study.
3. Only method books that were both widely known and published in between
the 1994-2010 timeframe were used for this study.
4. Analyses were completed only for the clarinet Book I in each
method book series, as this is most often the book sent as a preview
copy to band directors.
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Chapter 2: Review of the Literature
2.1 Introduction
The National Standards for Music Education (MENC, 1994), along with writings
from two authors of significant holding in the field (Reimer, 2003; Elliot, 1995) are
discussed in this chapter. Following these discussions are relevant reviews of
dissertations that provided data for the current research document.
2.2 The National Standards for Music Education
The National Standards for Music Education are a list of nine competencies
MENC Identifies as important for all students to know in grades K-12. The Standards,
listed below, are meant to provide a broad framework to follow in creating and
implementing curricula related to music in the schools. (MENC, 1994):
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.
6
These Standards are purposefully broad, allowing the music educator to touch upon all of
the items in any given school year, and quite possibly in one concert or project. The
separation of singing and performing on instruments is thought to be purposeful, as all
students should learn to read, sing, and play music during their K-12 music education
experience.
Each of the National Standards is capable of standing alone as a unit of study
within a broad music education curriculum, as is described by many who write
philosophies of music education, notably including Bennett Reimer (2003, 2004) and
David Elliott (1995). The National Standards embody both the aesthetic and the praxial
views of both writers listed above but most importantly, do not rely on each other for
completion. In fact, it would be possible to teach the National Standards from a
performing group, just as easily as it would be to teach them from a general music course
or music appreciation course.
There are currently two major theoretical models regarding the definition of a
quality music education. Though there are many who write on behalf of the often-
opposing sides of the issue, this portion of my research will focus on the writings of
David Elliott (1995) and his praxial philosophy as well as Bennett Reimer (2003, 2004)
and his aesthetic philosophy.
Bennett Reimer first wrote A Philosophy of Music Education in 1970. His views
on music education center on the “aesthetic” in that what one feels when one listens to or
creates music is of the greatest importance. Reimer feels that students of music should be
subjected to a wide variety of music styles and genres. Teachers of music, under
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Reimer’s philosophy, should teach for deeper musical understanding so that a person may
perceive and react to the beauty of music.
Reimer sees the current National Standards for Music Education as a two-part
enterprise containing both Musicianship Roles and Listenership Roles (Reimer, 2003, p.
253). He recognizes that the Standards are currently split between these areas and overall,
feels that the “non-performing” Standards, which relate to listening, analyzing,
composing, evaluating, and making cross-curricular connections deserves a larger share
of instructional time. Reimer feels, overall, that most higher grade level students are
subject to National Standards one and two (Singing, alone and with others, and
Performing on instruments, alone and with others) so much so that the remaining
Standards are not adequately addressed due to class time constraints. In the current
edition of his book, Reimer thoroughly discusses each Standard and its importance to an
overall comprehensive music education. While he mentions that he is unsure if Standard
5 (reading and notating music) should be its own Standard (2003, p. 61), he does give
specific information on how each Standard should be attempted, and how they can be
integrated into a “whole child” philosophy of music education.
David Elliot prescribes another approach to Reimer’s aesthetic-laden one which is
encased in his praxial philosophy of music education. In his book Music Matters (1995),
he claims that most of what constitutes music study is that of an artistic, not aesthetic
quality.
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In his delineation of the study of melody, harmony, and other musical patterns, he states:
”..are rightly called artistic qualities is that music is a performing art. Each and
every aspect of a musical work that we listen for is always the result of an
individual or collective interpretation and performance of a composer’s musical
design, or an improvised design, or a performer’s rendition of a remembered
design.” (Elliott, 1995, p. 91).
Elliott believes that performance is not only integral to music study, but it is fundamental
in the path of musical understanding, or aesthetic appreciation.
Elliott has crafted words for those involved in music. “Musicers” are those who
perform. “Musicing” is the art of performing music. These are important words in light of
the fact that the aesthetic camp feels that the study of music is often heavily weighted in
favor of performance. Elliot firmly disagrees; even going so far in his book as to suggest
that true understanding of music requires a certain level of performance understanding
and participation (1995, p. 128). Elliott’s views consider that the level of musicianship
one has attained is in direct correlation to the individual’s ability to understand a variety
of musical arts (1995, p. 129). In summation, one who has not studied music at a
performance level would have a far more difficult time understanding the performance of
music (listening) since they had not worked with the music on an intense performance
based level.
Both Reimer and Elliott agree that music study is a vital part of developing the
“whole” child in education. Both theorists agree that the study of the construct of music
is of vital importance to understanding its role in society, as well as its role in self-
development. Reimer feels that more study in the theoretical will achieve the most
results. Elliott believes that study in the practical will enable a sort of “empathetic”
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listener, which will be more informed and knowledgeable in what he or she consumes in
music. Both theorists’ ideas are encapsulated in the National Standards for Music
Education.
The National Standards (nine) include four, which are of the praxial theory:
singing, performing on instruments, improvising, and reading and notating music. The
National Standards include four which are of the aesthetic theory: listening and analyzing
music, evaluating music and music performance, understanding relationships between
music and disciplines outside the arts, and understanding music in relation to history and
culture. The fourth Standard relates to composing and arranging music. This Standard
bridges the two philosophies in that one would need a solid theoretical background in
listening and analyzing music to write music. Yet, writing music would most certainly be
for a performance, in order for the listener to hear and interpret the work; a praxial
ideology.
2.2.1 National Standard #1
Content Standard #1 indicates that students should learn by “Singing, alone and
with others, a varied repertoire of music” in grades 5-8 (MENC, 1994). Standard #1 has
five underlying Achievement Standards.
Achievement Standard 1a. Students sing accurately and with good breath control
throughout their singing ranges, alone and in small and large ensembles.
Achievement Standard 1b. Students sing with expression and technical accuracy
a repertoire of vocal literature with a level of difficulty of 2, on a scale of 1 to 6,
including some songs performed from memory.
Achievement Standard 1c. Students sing music representing diverse genres and
cultures, with expression appropriate for the work being performed.
10
Achievement Standard 1d. Students sing music written in two and three parts.
Achievement Standard 1e. Students who participate in a choral ensemble sing

with expression and technical accuracy a varied repertoire of vocal literature with
a level of difficulty of 3, on a scale of 1 to 6, including some songs performed
from memory.
For the purpose of this study, Achievement Standard 1e was not used. The words
“Students who participate in a choral ensemble” delineate this Standard from those
dealing with all students. As band method books are designed for wind band instrument
study, they would not be used in a choral education setting.
The four remaining Achievement Standards under National Standard #1
encourage students to sing at all levels of music education within the 5-8 grade range.
Achievement Standards 1a and 1b focus on the proper technique of singing and set the
level of where students should be in a scale of difficulty. Achievement Standards 1c
gives the suggested areas from where to choose the literature used in the instruction.
Achievement Standard 1d suggests students be able to sing in more than a unison format
in their music education.
Content Standard #2 indicates that students should learn by “Performing on
instruments, alone and with others, a varied repertoire of music” in grades 5-8 (MENC,
1994). Standard #2 has five underlying Achievement Standards, like Standard #1.
Achievement Standard 2a. Students perform on at least one instrument (e.g.,

band or orchestra instrument, keyboard instrument, fretted instrument, electronic
instrument) accurately and independently, alone and in small and large ensembles,
with good posture, good playing position, and good breath, bow, or stick control.
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Achievement Standard 2b. Students perform with expression and technical
accuracy on at least one string, wind, percussion, or classroom instrument a
repertoire of instrumental literature with a level of difficulty of 2, on a scale of 1
to 6.
Achievement Standard 2c. Students perform music representing diverse genres

and cultures, with expression appropriate for the work being performed.
Achievement Standard 2d. Students play by ear simple melodies on a melodic

instrument and simple accompaniments on a harmonic instrument.
Achievement Standard 2e. Students who participate in an instrumental ensemble

or class perform with expression and technical accuracy a varied repertoire of
instrumental literature with a level of difficulty of 3, on a scale of 1 to 6, including
some solos performed from memory.
Similar to Standard #1, the fifth Achievement Standard was deleted from the
research model. I felt that Achievement Standard 2e was not appropriate for beginning
band students as it asked for musicians to read and perform at a level three out of six, as
well as to perform solos from memory. The memory performance was deemed as not
appropriate for beginning instrumentalists.
The first two Achievement Standards under Standard 2 were written to mirror the
first Achievement Standards under Standard 1. Achievement Standard 2a contains
standards relating to posture and playing position, yet also adds the request for
independent and ensemble playing. Achievement Standard 2b is used to set the difficulty
level at two out of six, as does Achievement Standard 1b. Achievement Standard 2c is
identical to Achievement Standard 1c. The divergence between the two Standards occurs
at Achievement Standard 2d. In this area, the students are asked to play by ear
melodically and harmonically when accompanying others. Achievement 2c is used to
make a careful distinction of playing by ear, rather than improvising. Improvisation or
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the spontaneous composition of a melody or harmonic accompaniment is covered in
National Standard #3.
Content Standard #3 says that students should spend instructional time
“Improvising melodies, variations, and accompaniments” in grades 5-8 (MENC, 1994).
Content Standard #3 has three underlying Achievement Standards, listed below, and all
were used in evaluating the method books.
Achievement Standard 3a. Students improvise simple harmonic accompaniments.
Achievement Standard 3b. Students improvise melodic embellishments and

simple rhythmic and melodic variations on given pentatonic
melodies and melodies in major keys.
Achievement Standard 3c. Students improvise short melodies, unaccompanied

and over given rhythmic accompaniments,
each in a consistent style, meter, and tonality.
Improvisation is broken down into three distinct areas under this Standard.
Harmonic accompaniments and melodic embellishment along with melodic and rhythmic
variation are separated from the more commonly known improvisation of short melodies.
This three-pronged approach to improvisation education gives students an opportunity to
play alone, and with groups, as proposed by Standard 2. The approach also gives students
the opportunity to provide harmonic accompaniment to existing melodies, along with
modifying those melodies and creating supplemental ones, all under the same
overarching Standard of music education.
13
Content Standard #4 indicates that all students should learn by “Composing and
arranging music within specified guidelines” (MENC, 1994) in grades 5-8. Content
Standard #4 has three underlying Achievement Standards, as listed below and were all
used to evaluate the method books.
Achievement Standard 4a. Students compose short pieces within specified

guidelines (e.g., a particular style, form, instrumentation, compositional
technique), demonstrating how the elements of music are used to achieve unity
and variety, tension and release, and balance.
Achievement Standard 4b. Students arrange simple pieces for voices or

instruments other than those for which the pieces were written.
Achievement Standard 4c. Students use a variety of traditional and nontraditional

sound sources and electronic media when composing and arranging.
Students are encouraged to compose, arrange, and use a variety of instrumentation
in their studies. Composing, as referenced by Achievement Standard 4a is separate from
arranging, as presented in Achievement Standard 4b. The medium is independent of the
music source, whether it is composition or arrangements of existing compositions. In
Achievement Standard 4a, students are given guidelines for their compositions in
reference to style, form and instrumentation. The compositional technique referenced in
Achievement Standard 4a offers further guidance for students as they begin to compose.
Achievement Standard 4b defines the term “arranging” by explaining to students that the
procedure involves not composition, but writing existing melodies and harmonies for
instruments that differ from the original source of music. Achievement Standard 4c opens
the doors for students to compose and arrange outside of the existing beginning band
instrumentation, encouraging all sources of sound producing instruments.
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Content Standard #5 says that all students should learn by “Reading and notating
music” in grades 5-8 (MENC, 1994). Content Standard #5 has five underlying
Achievement Standards, like Standards #1 and #2, which are listed below and, unlike the
other two sets of Achievement Standards, were all used to evaluate the method books.
Achievement Standard 5a.Students read whole, half, quarter, eighth, sixteenth,

and dotted notes and rests in 2/4, 3/4, 4/4, 6/8, 3/8, and alla breve meter
signatures.
Achievement Standard 5b. Students read at sight simple melodies in both the
treble and bass clefs.
Achievement Standard 5c. Students identify and define Standard notation

symbols for pitch, rhythm, dynamics, tempo, articulation, and expression.
Achievement Standard 5d. Students use standard notation to record their musical
ideas and the musical ideas of others.
Achievement Standard 5e. Students who participate in a choral or instrumental

ensemble or class sight-read, accurately and expressively, music with a level of
difficulty of 2, on a scale of 1 to 6.
The underlying Achievement Standards break down reading and notating music
into separate sections for the purpose of raising the individual importance of each area.
Achievement Standard 5a gives the required note lengths student should learn and the
proper time signatures in which to learn them. Achievement Standard 5b suggests that all
students should be able to read music in treble and bass clef. Achievement Standard 5c is
a continuation of Achievement Standard 5a in that it sets the level of competence in
regard to notation symbols learned in the grade band it represents. Achievement Standard
5d speaks to Content Standard 4 (composition) and gives the suggestion that Standard
15
notation be used when completing the composition portions of a student’s music
education.
Achievement Standard 5e sets an end level of sight reading capability for students
in the grade band. I used specific criteria to delineate level one from level two, as seen in
the individual method book research portion of this document. The sight-reading level is
one below the level presented in Content Standards 1e and 2e; neither of which were used
in this study. It could be postulated that beginning band students sight read their
exercises in each learning situation for the first time, and that, using my system of
separating level one from level two, the students would have the ability to meet this
Achievement Standard.
Content Standard #6 indicates that all students should learn by “Listening to,
analyzing, and describing music” in grades 5-8, (MENC, 1994). Content Standard #6 has
four underlying Achievement Standards which are listed below and were all used to
evaluate the method books.
Achievement Standard 6a. Students describe specific music events (e.g., entry of
oboe, change of meter, return of refrain) in a given aural example, using
appropriate terminology.
Achievement Standard 6b.Students analyze the uses of elements of music in aural

examples representing diverse genres and cultures.
Achievement Standard 6c. Students demonstrate knowledge of the basic

principles of meter, rhythm, tonality, intervals, chords, and
Achievement Standard 6d. -harmonic progressions in their analyses of music.
16
Achievement Standard 6a diverges from the earlier Achievement Standards in
that it asks students to listen for musical events that are not mentioned previously.
Students are asked to learn the items listed in this Achievement Standard, and incorporate
them into their music education. Achievement Standard 6b references both Achievement
Standards 1c and 2c in giving an aural extension to the areas. Achievement Standard 6c
expands the students’ knowledge of Achievement Standard 5a in demonstrating their
knowledge of meter and rhythm.
Achievement Standard 6c also can be used to expand students’ understanding of
Content Standard 3 in its entirety, as it would be understood that students would have to
attain some level of competency in tonality, intervals, and chords to be able to improvise
harmonically and melodically. Achievement Standard 6d is an extension of Achievement
Standard 6c, adding harmonic progressions to the list of items students should learn under
the Content Standard. Achievement Standard 6d stands alone, as harmonic progressions
are not mentioned in any of the earlier or later Content or Achievement Standards.
Content Standard #7 indicates that all students should be able to learn by
“Evaluating music and music performances” in grades 5-8, (MENC, 1994). Content
Standard #7 has two underlying Achievement Standards, and both were used in the
evaluation of the method books.
17
Achievement Standard 7a. Students develop criteria for evaluating the quality
and effectiveness of music performances and compositions and apply the criteria
in their personal listening and performing.
Achievement Standard 7b. Students evaluate the quality and effectiveness of their
own and others' performances, compositions, arrangements, and improvisations
by applying specific criteria appropriate for the style of the music and offer
constructive suggestions for improvement.
Achievement Standard 7a offers new educational possibilities to students in music
programs. The idea of developing criteria for listening to music is not referenced in the
earlier Standards. It is understood that students would be able to satisfy several of the
Achievement Standards for Content Standard 6 while satisfying Achievement Standard
7a. Achievement Standard 7a simply refers to the action of developing criteria for this
action. Achievement Standard 7b brings elements of Content Standards 1, 2, 3, 4, 5, and
6 in that their products are all referenced. It is understood that students would use the
criteria developed in Achievement Standard 7a while satisfying Achievement Standard
7b.
Content Standard #8 indicates that all students should learn by “Understanding
relationships between music, the other arts, and disciplines outside the arts” in grades 5-8,
(MENC, 1994). Content Standard #8 has two underlying Achievement Standards, which
are listed below. All were used to evaluate the method books.
Achievement Standard 8a. Students compare in two or more arts how the
characteristic materials of each art (that is, sound in music, visual stimuli in visual
arts, movement in dance, human interrelationships in theatre) can be used to
transform similar events, scenes, emotions, or ideas into works of art.
18
Achievement Standard 8b. Students describe ways in which the principles and
subject matter of other disciplines taught in the school are interrelated with those
of music (e.g., language arts: issues to be considered in setting texts to music;
mathematics: frequency ratios of intervals; sciences: the human hearing process
and hazards to hearing; social studies: historical and social events and movements
chronicled in or influenced by musical works).
Content Standard 8 seeks to make connections from within the arts and outside of
the arts by splitting the two into separate Achievement Standards. Achievement Standard
8a asks students to compare within the arts, where as Achievement Standard 8b asks
students to look to their other coursework for connections. The Achievement Standards
listed under Content Standard 8 are written to give students the opportunity to look at the
music and music performances, as well as improvisations and compositions from an
alternate perspective, relating them to other areas inside and outside the arts from a
logical perspective of comparison.
Content Standard #9 indicates that all students should learn by “Understanding
music in relation to history and culture” in grades 5-8, (MENC, 1994). Content Standard
#9 has three underlying Achievement Standards. All were used to evaluate the method
books.
Achievement Standard 9a. Students describe distinguishing characteristics of

representative music genres and styles from a variety of cultures.
Achievement Standard 9b. Students classify by genre and style (and, if

applicable, by historical period, composer, and title) a varied body of exemplary
(that is, high-quality and characteristic) musical works and explain the
characteristics that cause each work to be considered exemplary.
19
Achievement Standard 9c. Students compare, in several cultures of the world,
functions music serves, roles of musicians (e.g., lead guitarist in a rock band,
composer of jingles for commercials, singer in Peking opera), and conditions
under which music is typically performed.
Content Standard 9 continues ideas presented earlier in Achievement Standards 1c
and 2c. As those Achievement Standards ask for students to be presented with a wide
variety of multicultural music, Content Standard 9 seeks to relate this music back to its
roots in history. Achievement Standard 9a furthers Achievement Standards 1c and 2c by
asking students to describe the music presented in the lessons studied. Achievement
Standard 9b further asks students to describe and classify music by historical period and
style, again referencing the requests of Achievement Standards 1c and 2c. Students
should be able to explain these classifying items and what makes the piece unique as a
result of them. Achievement Standard 9c seeks to complete the strand on multicultural
music, asking students to look beyond the music and focus on those producing the music
from a global perspective. Students learning under Achievement Standard 9c would look
at the musicians, the positions they occupy, and in what context the music is performed.
2.3 Dissertation Research on Method Books
In researching master’s theses and dissertations on beginning band method books,
I found several from 1968 to 2005. Most documents written prior to 1994 dealt with the
deficiencies of method books for beginning band. The dissertations largely provided a
view into either the historical nature of the method books researched or a detailed
analysis of their contents.
The release of the National Standards for Music Education (1994) serves as a
dividing point, historically, in that dissertations after 1994 did mention them in their
20
research. Method book theses and dissertations written after 1994 either did not address
all of the Content and Achievement Standards or did not relate directly to beginning band
method books. The research dealt with either Comprehensive Musicianship principles or
other guiding questions not directly related to the National Standards. To date, no
dissertations have been found that directly addressed all Content and Achievement
Standards in relation to beginning band method books.
2.4 Texter (1975)
Texter (1975) proposed a three-pronged approach to method books written
specifically for wind and percussion classes. Her objectives were: “(1) to locate all
known method books published in the United States for public school, heterogeneous
class instruction of beginning wind and percussion students; (2) to analyze these books in
terms of physical features, musical content, and pedagogical content; and (3) to trace the
development of the school band method book from its origins in the early twentieth
century to the present time” (Texter, 1975, p. 3).
Texter researched method book entries, theses, and dissertations related to method
books, and music magazine entries related to method books in the library catalogues of
schools of music at the University of Michigan, The Ohio State University, Oberlin
College Conservatory, University of Maryland, Michigan State University, University of
Arkansas, and the Lincoln Library of Lake Erie College. She also researched method
book entries at the Cleveland, Ohio, New York, New York, and Columbus, Ohio Public
Libraries. The author also consulted the Historical Center at MENC and the Library of
Congress for additional entries.
21
Texter (1975) researched the history of the band in the public school in
conjunction with the historical timeline of the beginning band method book. The
historical timeline of the band movement provides valuable insight into the need for the
creation of beginning band method books in the early part of the 20th century. The author
analyzed each method for historical importance as well as for its own unique physical
makeup. She presented information about each author, as well as the contents of the
method book. As Texter (1975) states, “about 800 instrumental instruction books were
studied” (p. 84) and of those, 64 met the study qualifications to be considered as method
books. Many books that were excluded were either not widely available or did not
provide instruction for all common band instruments.
It was not stated in Texter’s (1975) research whether a specific instrument’s
method book was sought, though in a series of charts she provided the clarinet and
trumpet ranges of each method (p. 112-125). Texter spent a considerable amount of time
reviewing the list of included texts to maintain as complete a list as possible. She gave a
rubric for measuring each method book beneath the subject heading of Musical Content:
Instrumentation; Note and Rest Duration; Range; Scales and Keys; Meter Signatures;
Rhythmic Patterns; Unison and Harmony; and Melodies and Studies.
Each method analyzed by Texter was accompanied by a large amount of
information about the composer, the physical features of the book, and in the appendix,
the location where each method book was found.
Overall, Texter’s review provided a tremendous amount of information on
method books that were written two decades prior to the publication of the National
22
Standards. As one of the first studies that discussed Comprehensive Musicianship in
relation to the beginning band method books, Texter’s (1975) dissertation served as
inspiration for this study.
2.5 Gage (1994)
Gage (1994) reviewed four method books (from the early 1960s through 1993) for
their rhythmic educational strategies. Fourteen method books were selected, of which
eight were chosen as popular, based on sales data; and finally, four were chosen for their
attention to rhythmic sequencing. The four method books reviewed were Yamaha Band
Student, Do it!, Standard of Excellence, and First Division Band Method. Gage (1994)
concerned himself only with the structure of rhythm introduction and reinforcement
within the method books. The author also postulated a self-devised program of
systematically introducing and reinforcing rhythmic pedagogy in beginning band method
books called the “Generalizable Rhythm Instruction System” or GRIS throughout the
text.
Gage (1994) created a matrix of the content analysis performed on the four
method books and used the matrix as the basis of his GRIS model. The author also noted
that while all four method books were adequate in presenting the proper rhythmic
pedagogy to beginning band students, they lacked a sequence of rhythmic instruction
between the methods, thus necessitating the creation of the GRIS model.
2.6 Heavner (1995)
Heavner (1995) created a “Theoretical Comprehensive Musicianship Curriculum
Model” by which to ultimately compare a total of six current beginning band method
23
books. The five categories of the theoretical model were concepts, content, activities,
instructional literature, and evaluation. The method books that he reviewed were all
published between 1990 and 1994 and were analyzed by a panel of experts for inclusion
of principles compatible with the author’s model. These included the following texts:
Sound Spectacular, Essential Elements, Mastery Learning, Now Go Home and Practice!,
Rhythm Master, and Standard of Excellence.
Of particular interest is Heavner’s (1995) curriculum model, in addition to the
review of the beginning band method books. His model included the majority of the
Comprehensive Musicianship principles later found in the National Standards for Music
Education. Although the order of information is different in Heavner’s model, he gives
an informed representation of the National Standards that were published a year before
his dissertation.
In the first stage of his research, Heavner (1995) conducted a survey in which he
asks an expert panel to review the given texts for adherence to the curriculum that he
devised. In the second stage of his research, he centered on the location of the exercise
and how it related to each subsection of his proposed curriculum. Readers of Heavner’s
dissertation could pinpoint exactly where items related to his curriculum as well as the
guiding principles of Comprehensive Musicianship can be found.
Heavner’s study covered method books written in a limited span of time, only
four years, ending in 1994; this study cover 16 years, beginning in 1994. The tables that
Heavner created provided a good foundation for the current study, as they aligned each
important exercise to his proposed curriculum.
24
2.7 Ballard (2007)
Ballard (2007) reviewed ten piano method books for direct inclusion of National
Standards for Music Education numbers 2, 3, 4, and 5. She posed the following research
questions to guide her study:
1. What is the percentage of repertoire in each of the following categories:
author composed non-author pedagogical, Western art music, folk and
traditional, nursery and play, multicultural, religious, and popular?
2. What are the percentages of solo and duet repertoire?
3. What is the percentage of music content devoted to creating music
(improvising or composing)?
4. What is the variety of keys and meters being experienced through music
reading activities?
5. What technology is available to support performance and musicianship?
6. How do these methods rate in variety of repertoire, inclusion of music
creating activities, and variety of reading experiences directly related to
elements of both key and meter? (Ballard, 2007, pp. 7-8).
In addition to these questions, Ballard (2007) supplied two separate charts to be
filled in with the answers to the above-mentioned questions. The charts identified
exercises in beginning band method books that relate to the National Standards for Music
Education.
Ballard (2007) gave specific ratings for the books that provide exercises
consistent with the Standards. She found that Hal Leonard: Piano Lessons as well as The
25
Music Tree provided the largest variety of repertoire and related to the majority of the
Standards used to guide the study. Ballard also mentioned in her study that there was no
consistency with technology provided in the ways of accompaniment CDs or MIDI
applications for the method books.
Ballard’s primary complaint about the current piano methods available was the
overabundance of author-composed melodies for the exercises. The author felt that with
a disproportionate number of author-composed melodies throughout all method books
studied, there was left little room for exposure to music from around the world. Ballard’s
secondary criticism was the lack of cohesion from one set of method books to the next,
showing a lack of consistency across the available texts. She was also concerned by the
lack of a consistent technology supplement as all method books claimed to reach the
same results with students.
Focusing on piano method books, Ballard’s (2007) study provides a solid
framework for research on beginning band method books and the level to which they
address the National Standards for Music Education, using the clarinet book as a
reference. I referred to Ballard’s charts for measuring method books’ level to which they
address the Standards.
2.8 Summary
All studies reviewed sought to answer specific questions about method books
used in instrumental music education. The research from each author gave insight as to
specific criteria in regard to the method books, with all but Ballard (2007) focusing on
items other than the National Standards for Music Education. Each dissertation reviewed
26
provided guidance as to format and creation of a data collection model. Ballard’s (2007)
dissertation provided a clear pathway for the current research on beginning band method
books. She was able to take a specified number of method books and compare the
exercises within to the National Standards for Music Education.
27
Chapter 3: Methodology
3.1 Introduction
In order to examine twelve beginning band method books for the level to which
they addressed the National Standards for Music Education, grades 5-8, the study was
used to compare the exercises in the method books to the requirements of both the
Content and Achievement portions of the National Standards. Results from each method
book were then compared to one another to find consistencies between the various
methods studied.
3.2 Materials: Method Books Used
Twelve beginning band method books were selected for use in this study. The
parameters for acceptance centered on two criteria: their latest publication date and their
level of availability to a national consumer base. The method books selected were
published between 1994 and 2010. The year 1994 was used as the beginning year since
this was also the year the National Standards were released. The year 2010 was used to
purposefully preclude any method books that may have been published after research for
this document had begun. Further research was completed to insure that no other method
books were printed and distributed on a national level other than those used for this study.
28
The teacher edition and the technology supplements were not reviewed for this
study as they required either additional instruction from the teacher or required the use of
a playing device to be used in practice. Every method book reviewed had some form of
technology, whether it was a compact disc, a DVD, or in some cases both. The
instructions for using the technology are clearly stated in each book. Students in today’s
beginning bands are accustomed to using these forms of technology in their classroom
studies and often in their home practice. It was surmised that using the technology in the
manner requested by the authors could yield a different result as opposed to using the
method book alone. The selected method books are listed below.
Accent on Achievement (O’Reilly & Williams, 1997)
Band Expressions (Smith, & Smith, 2003)
Belwin 21st Century Band Method (Bullock & Maiello, 1996)
Do it! Play in Band (Froseth, 1997)
Essential Elements 2000 (Lautzenheiser, Higgins, Menghini, et al., 1999)
Jump Right In (Grunow, Gordon, & Azzara, 2000)
Measures of Success (D. Sheldon, Balmages, Loest, R. Sheldon, 2010)
Now Go Home and Practice (Probasco, Grable, & Meeks, 1994)
Premier Performance (Sueta, 1999)
Sound Innovations (R. Sheldon, Boonshaft, Black, & Phillips, 2010)
Standard of Excellence (Pearson, 1993/2006)
The Yamaha Advantage (Feldstein & Clark, 2001)
29
The method books were either purchased by or were donated to the study by the
publishers, as stated in the data collection portion of this document. The clarinet, book
one, was used throughout to assure a consistent comparison between the methods. The
rationale for using the clarinet book relates to the fact that most promotional copies of
method books given to directors are the clarinet book.
It should be noted that Sound Innovations (2010) and Measures of Success (2010)
were not yet released when I started to research for this document. However, I obtained a
promotional copy of Sound Innovations, and a promotional copy of Measures of Success
from the publisher. Finally, Standard of Excellence carries two publishing copyrights
(1993 and 1999). The second copyright date is five years after the release of the National
Standards, and was used to place this method book in the study. Now Go Home and
Practice! was released the same year as the National Standards. It was included in this
study as a point of reference as to the transitional time between the pre-Standards
education environment and the current system.
3.3 The Rubric Used in this Study
The rubric that was used in this study was adapted from the National Standards
for Music Education (MENC, 1994). It was standardized so that the information
collected from the different method books would be cohesive and easily recognizable.
The actual Content and Achievement Standards data was placed directly into the
spreadsheet used for data collection. If an exercise addressed a particular Achievement
Standard, it catalogued as to exercise and page number. A brief description was written
30
about the exercise. If one Achievement Standard was addressed, I considered the Content
Standard met.
Data collection sheets from the four primary source documents (Texter, 1975;
Gage, 1994; Heavner, 1995; Ballard, 2007) were used in developing the final draft of the
rubric. Each author had a unique approach to data collection and analysis, which was
examined for their relevance and usefulness to this study. The content reviewed by these
authors also helped me make decisions regarding what data would be collected about the
method books in regard to number of pages, layout, types of exercises, and other items.
These are reviewed below.
Texter (1975) used several data collection sheets for her dissertation on the
history of method books. Her dissertation contained tables for both general knowledge
about the selected method books and tables for specific content discovered in the texts.
Of particular interest is her Table #3 (Texter, 1975, p. 112) labeled “musical content.”
This table had a space for the author and date of publication along with columns for
information about average note duration, average rest duration, prominent rhythmic
patterns, clarinet and cornet range, whether the book began with harmony or unison
playing, and the number of key centers presented in the method.
Texter’s Table #4 (Texter, 1975, p. 134) is labeled “pedagogical content” and
along with providing a column for the author and date, provides columns for directions
from the publisher, a miscellaneous column, and a final column for stated objectives of
the method book. Her tables served as a guide for Appendix A of this study regarding the
31
general information for each of the 12 method books, independent of the Standards-based
rubric.
Gage (1994) provided a wealth of tables for presenting information regarding the
method books reviewed. Of interest for this study was his Appendix A (pp. 199-204),
which is where the information for the majority of the rhythmic data was collected. His
model of data collection contained a column for each of the GRIS principles outlined in
his research and rows to enter each method book as well as what exercise and page
number complies with his model. Gage’s (1994) GRIS model followed a similar pattern
to the National Standards, although it did not contain the same directives. His tables in
appendix A provided a structural base for this my research.
Heavner (1995) created a Comprehensive Musicianship model very similar to the
National Standards for Music Education released one year prior to his study. Of interest
is Heavner’s (1995) Figure #1 (p. 40), where his model was in chart form. His table
contained columns for concepts, content, activities, instructional literature, and
evaluation. These charts were the major subject headings of his research toward the
comprehensive model by which he evaluated the method books.
Ballard (2007) used several tables to place data retrieved from the piano method
books she researched in her study. Of interest to me are two tables, labeled Appendix A
(pp. 99-104) and Appendix C (p. 105). These tables, in addition to several others, are
most closely aligned with this my research format. Ballard’s (2007) Appendix A gives a
set of rows for general information regarding each method book. A second table in
Appendix A provides columns for page number, repertoire, key center, meter, lyrics,
32
duet/solo, reading, improvisation, and composition. The ideology behind Appendix A is
similar to my contention that the final product of research should be easily disseminated
into tables and charts that can be used as a quick reference for directors seeking guidance.
Appendix C (Ballard, 2007, p. 105) is titled “Elements for Music Skill
Development” and provided a column for the method title and author name. In the
subsequent rows, Ballard provided space for data to be entered regarding key center,
transposition exercise, meters, rhythm exercise, exploration, pre-staff, single staff, grand
staff, reading, improvising, composing, solos, duets, lyrics, and the use or non-use of
technology. It is surmised that a reader searching for the data returned from Ballard’s
(2007) study could collect the table presented in Appendix C for all ten method books
reviewed for a quick analysis.
3.4 Procedure
Using the rubric (see Appendix B) of this document, the 12 method books were
examined in their entirety to determine the level to which they addressed the National
Standards for Music Education, grades 5-8. Each method book was thoroughly reviewed
and charted (see Appendix B). The exercises in the selected method books were judged
by two criteria. First, I determined what the exercise attempted to teach. Second, each
exercise was examined through the lens of the National Content Standards for Music
Education and all of the underlying Achievement Standards. Each Content Standard has
at least two Achievement Standards, with some containing as many as five, which were
used as a benchmark to determine the level to which the method books addressed the
National Standards. The method books’ data was examined in regard to the overall
33
amount of content relating to the National Standards material found within the clarinet
book one.
3.5 Data Analysis
I organized the method book data to look for trends in which Standards were
generally met. The 12 method books’ data were generalized so I could show what
content was met in the first year of instrumental music instruction. These analyses were
used to draw conclusions as to which Content and Achievement Standards may need to
be addressed in future years of instruction.
Data retrieved from the 12 method books was placed in appropriate tables for the
purpose of displaying the level to which they addressed the National Standards for Music
Education. In addition to these tables, the information retrieved was cross-compared
among the individual method books. Trends were noted across the method books in an
attempt to discover a generalized curriculum followed by the various publishers and
authors of beginning band method books.
3.6 Reliability and Validity
This study worked directly with two items: the Content and Achievement
Standards, and the exercises presented in the twelve selected method books. The
exercises were categorized by Achievement Standard. I made no attempt in this study to
question the author’s rationale for including specific exercises in their method book.
Exercises that did not address an Achievement Standard were not included. The choices
as to what the exercise intended to measure were obvious to any reader familiar with
beginning band instruction in regard to method book use.
34
Chapter 4: Results and Data Analysis
4.1 Introduction
This chapter begins with a restatement of the research question formulated for the
purpose of this study: To what level do the beginning band method books address the
National Standards for Music Education? This question was researched prior to this study
using beginning piano books (Ballard 2007). Ballard’s research model was used as a
guide for this study. Using the National Standards for Music Education (MENC, 1994) as
a guideline, each method book was studied individually. Each exercise in a method book
was carefully categorized into the nine National Standards and their subsequent
Achievement Standards.
4.2 Data Retrieved from the Method Books
In addition to the research question, answers were sought in this chapter about the
method book’s layout, number of pages, number of exercises, and print quality. It should
be noted that in some cases, the director book covers Standards not met by the student
version of the method book. I felt that studying the student version of each method book
would provide a clear viewpoint on the materials in the hands of the students. I did not
wish to present the opinion that items not covered in the student book were absent from
daily instruction. Compact discs, DVDs, and supplemental texts were often provided with
35
student versions of the method books in an attempt to completely cover the nine
Standards. Since this study focused on the method book used, there was no information
given on the supplementary materials. However, within the review of each method book,
under the heading “Key Features of the Method,” the publisher’s information regarding
supplemental materials was presented.
4.3 Method Books Selected for This Study
The method books used for this study are listed alphabetically in Tables 1 and 2,
which provides the publisher, composer, and most recent publication date along with the
title. All method books presented were either purchased from a local music store or
donated by the publisher for the purpose of this study. This table is augmented in the
appendices to include the number of pages and number of exercises each book provides
to the student.
36
Name of Method Publisher Authors Publication
Date
Accent on Achievement Alfred J. O’Reilly, 1997

Publishing M. Williams
Company
Band Expressions Warner R. Smith, 2003

Brothers S. Smith,
Publications M. Story,
G. Markham,
R. Crain,
L. Gammon,
J. Campbell
Belwin 21st Century Belwin-Mills J. Bullock, 1996

Band Method Publishing A. Maiello
Company
Do It! Play In Band GIA J. Froseth 1997

(Clarinet) Publications
Essential Elements Hal Leonard T. Lautzenheiser, 1999

2000 Corporation J. Higgins,
C. Menghini,
P. Lavender,
T. Rhodes,
D. Bierschenk
Jump Right In! GIA R. Grunow 2000

Publications E. Gordon
C. Azzara
Table 1. Method Book General Information
37
Name of Method Publisher Authors Publication
Date
Measures of Success FJH Music D. Sheldon, 2010
Company B. Balmages,
T. Loest,
R. Sheldon,
D. Collier
Now Go Home and Heritage Music J. Probasco, 1994

Practice! Press D. Grable,
D. Meeks,
J. Swearingen
Premier Performance Ed Sueta Ed Sueta 1999

Publications
Sound Innovations Alfred Publishing R. Sheldon, 2010
Company P. Boonshaft,
D. Black,
B. Phillips
Standard of Excellence Neil A. Kjos Music B. Pearson 1993/2006

Company
The Yamaha Advantage Carl Fischer Music S. Feldstein, 2001

L. Clark
Table 2. Method Book General Information, continued
38
4.4 Selected Method Books and the National Standards
In the following sections, each method book was examined completely,
discussing the National Standards and their accompanying Achievement Standards. It
was to be understood that only the Content and Achievement Standards met are included
in this section. Preceding each list of Standards met by a particular method book is a brief
description of the method followed by a discussion of key features, which also contains
information provided by the publisher on supplemental items. Following the list of
Standards met is a series of tables listing how each Content and Achievement Standard is
met by the method book.
4.4.1 Supplemental Material Provided by the Publishers
A sound argument could be made that areas not addressed in the method books
could be covered by the classroom teacher, using the method book as guide for
instruction, not a complete curriculum. It is probable that the teacher version of the
method book contains lesson plans to cover these Content Standards more fully for all
instruments. One also needs to keep in mind that the method books reviewed for this
study are intended for beginning band students, most often in the 5th grade. The National
Standards used in this study are representative of what students should know and be able
to do by the end of the 8th grade. All method books reviewed for this study fully met at
least two of the National Standards, with many books going well beyond this threshold.
39
4.5 Accent on Achievement (1997)
J. O’Reilly, M. Williams
Standards Met: 2 (a, b, c, d), 3 (b, c), 4 (a), 5 (a, b, c, d, e)
Overview of the Method
Accent on Achievement was released three years after the National Standards for
Music Education. The method makes efforts to teach more than just note and rhythm
reading, as many methods had done prior to the release of the National Standards in
1994. Students are given opportunities to learn more about the music than merely its
melodic and rhythmic makeup.
The method book is presented in color, with concepts blocked inside colored
boxes at the top of the page. Each concept is listed in its own, differently colored box.
Concepts are presented sequentially, and in line with other method books studied.
Students are given a page of music theory information prior to their first note. Students
are taught their first note on the first page of exercises and progress from this page to the
end, learning new notes, rhythms, and musical expression ideas.
The method book authors take the entire back cover of the book to write about the
technology enclosed and its uses. The authors also give students the opportunity to read
about the other books that are meant to be an expansion of what is learned. Inside the
back cover, students are given the track list for the enclosed CD. At the front of the
method, students are given a page, in color, specific to their instrument, giving
information on embouchure formation and placement, hand position, and other viable
pieces of information needed to play the instrument.
40
Key Features of the Method
Students are given the ability to improvise and compose their own music.
Students are given three exercises to either rhythmically or melodically improvise. They
are also given one exercise to try their hand at composition.
The layout, as mentioned earlier, is easy for students to understand. All key
concepts are clearly marked and reinforced with exercises on the same page. If an item
needs to be reinforced in an exercise, the item is highlighted in the same color as the topic
it relates to at the top of the page. The sequencing of the book follows a logical
progression, and is laid out in a useable fashion.
There are several supplemental items available from the publisher to be used in
conjunction with Accent on Achievement. The student is provided with a play-a-long CD.
Another book, titled Accent on Ensembles, Book 1 is available to be used with Accent on
Achievement for students to focus on heterogeneous performance. The Teacher’s
Resource Kit includes the following: In class assessment exercises, music theory
worksheets, music history worksheets, sample letter to parents, rhythm flashcards, and a
listening CD which has full orchestral listening examples of works presented in Accent
on Achievement.
National Standard #2
Students are given twenty-three duets to perform, in addition to the five pieces
written for full beginning band. The method book meets Achievement Standard 2b by
teaching musical expression early in the method (page 15), and continues to teach the
topic throughout the method. Students are exposed to music of level two of six by page
41
nineteen. By this page, students are exposed to all musical expression items requested by
the National Standards for this grade band.
Students are given a wide variety of music to perform from many different
countries and genres, satisfying Achievement Standard 2c. Forty-six exercises are
presented in this method book from countries other than the United States that are also
not composed by the book authors. Music is provided from the following countries, in
order of appearance in the method book: England, France, Israel, Jamaica, Austria,
Germany, Czechoslovakia, Mexico, Norway, Italy, Ireland, Ukraine, China, Australia,
Canada, Japan, Korea, Russia, Africa, Finland, and Scotland. All genres are represented
from folk music of each country. Music is presented from the Baroque, Romantic, and
20th Century genres of classical music.
Students satisfy Achievement Standard 2d, which asks students to perform music
by ear. The method provides an exercise on “Mary Had a Little Lamb.” The exercise is
early in the method book on page 8.
Students are given two opportunities to improvise embellishments of a melody,
both rhythmically and melodically. Students have one exercise late in the method book
on page twenty-six, where they are given five pitches for use in improvising a short
melody.
42
The method book meets National Standard 4 with one exercise in which the
students are to compose a melody within a pre-defined framework. This exercise is
presented late in the book on page 30.
This Standard is met along with every accompanying Achievement Standard,
though 5d is met by completing 4a and 5e is met by completing 2b. Achievement
Standard 5d asks students to use Standard notation in their composition exercises and 5e
asks students to sight read on a difficulty level of two of six. As students commonly sight
read their exercises in class, this is met simply by playing the exercises outlined in
Achievement Standard 2b.
Students are able to meet Achievement Standard 5a by reading their exercises in
class. Five a is met with the following exceptions: students are not exposed to 6/8, 3/8 or
alla breve meters, nor are they exposed to sixteenth notes or rests. Students are exposed
to all other items requested by Achievement Standard 5a. Students are able to meet
Achievement Standard 5b in much the same manner as they meet 5e, as they both request
students to read on sight. Five e assigns a final level of sight-reading, where 5b initiates
the concept.
The method book gives students the opportunity to meet Achievement Standard
5c throughout the method book, where students are exposed to pitch and rhythm reading,
as well as dynamics, articulation, tempo, and expression. All of these items are taught
early in the method and are reinforced through the end of the book. All items in
43
Achievement Standard 5c are presented for the students to learn throughout their year of
study in the method book.
44
Content Page(s) Exercise Name or Number and Description
Standard Met
#2:
Achievement Solo: All exercises can be performed as solos.

Standard pp.
2a. 6-44
Group exercises start in 2 parts on page 7.
Group: (11, 16, 21, 24, 28, 39, 45, 50, 51, 53, 68, 79, 82, 83, 93, 99, 111, 113, 117, 120,
pp. 122, 127, and To a Wild Rose)
7-36
Group exercises containing individual parts for specific instruments start on page
11.
(Holiday Sampler, Eagle Summit March, Galactic Episode, When the Saints Go
Marching In, and Sousa Spectacular)
Achievement pp. Expression markings are introduced on p. 15 (dynamics) and are continually
Standard 15-36 represented throughout the method (see Content Standard 5). All exercises after
2b. #50.
Level 2 after exercise #69.
Accent on Achievement
45
Standard Met
#2:
Achievement p. 8 17: English, 18:French Folk Songs

Standard p. 9 25: Jewish Folk Song
2c. p. 10 29: Jamaican, 31: French Folk Songs
p. 12 35: Austrian Classical, 36: German Folk Song
p. 13 39: English, 40: Czech Folk Songs
p. 14 46: Austrian Romantic, 47: Mexican Folk Song
p. 15 51: French Folk Song, 52: Norwegian Romantic
p. 16 55: Italian Folk Song
p. 18 61: Irish Folk Song, 62: German Romantic, 63: Hawaiian, 64: Ukrainian,
67: Chinese Folk Song
p. 19 72: Austrian Classical, 73:Mexican Folk Song
p. 21 83: Australian Folk Song, 84: French Romantic
p. 22 88: Italian Romantic, 89: Israeli National Anthem,
p. 24 90: German Baroque 93: Italian Romantic, 94: French-Canadian Folk Song,
p. 25 95: Japanese, 96: Irish, 100: Korean Folk Songs, 101: German Romantic
p. 26 104: Czech Romantic, 105: Russian Folk Song,
p. 27 107: German Romantic, 111: English Baroque
p. 28 116: African Folk Song, 118: Finnish Romantic
p. 30 120: English, 121: Australian Folk Songs
p. 31 126: Russian 20th Century, 127: Scottish Folk Song
p. 32 132: Russian Romantic, 133: Mexican Folk Song,
p. 33 134: English Romantic
Achievement p. 8 20: Students play “Mary Had a Little Lamb” by ear.

Standard
2d.
46
Standard Met
#3:
Achievement p. 12 36
Standard p. 22 85
3b.
Achievement p. 26 102
Standard
3c.

Standard Met
#4:
Achievement p. 119 Students compose a short melody to contain “a balance of unity and variety.”
Standard
4a.
47
Standard Met
#5:
Achievement pp. 6-44 All exercises after page 6.

Standard
5a. Students are not exposed to 6/8, 3/8, or alla breve.
Students are not exposed sixteenth notes or rests.

Standard
5b. Students are shown their particular clef on page 5.
All student exercises are in the clef of their instrument.

Standard
5c. Pitch/Rhythm-pp. 6-44. Dynamics-pp. 15-36, 44.
Articulation-p. 14-36, 42-44.
Tempo-p. 10-36, 44. Expression-p. 15-36, 44.
Achievement See 4a. See 4a.

Standard
5d.
Achievement See 2b. Students are expected to sight-read exercises prior to practicing them at home. I
Standard place a break between level one and level two at page 28. At this page, students
5e. should have been introduced to all Achievement Standards under Content
Standard 5.
48
4.6 Band Expressions (2003)
R. Smith, S. Smith, M. Story, G. Markham, R. Crain, L. Gammon, J. Campbell
Standards Met: 1 (a), 2 (a, b, c), 3 (c), 4 (a), 5 (a, b, c, d, e), 7 (b), 8 (a), 9 (b)
The layout of the Band Expressions is unique and colorful. All pages are printed
in color, and each unit within the method is color-coded. The method features the
instrument of the student on the front cover, making it easy to find on a music store shelf.
The method has a high number of exercises (212), as related to the other method books
reviewed.
Students are given information about composers, artists, and music from around
the world. Students are encouraged to compose and arrange music while studying their
instrument. It is interesting that this method uses unit one and two to prepare students to
play their instrument. Before the first sound is created, students are given the proper care
and handling of their instrument. Students are given a basic set of musical terms and
procedures with visual aids accompanying the words used. Before students are shown
how to read music they are given their first pitch (G), and presented with five exercises
promoting breath support and articulation.
The method book authors make connections for the student, both in music and to
the outside world. Students are given several opportunities to make these connections
with the composers and various artists. At the end of each unit, students are given
homework titled “Band at Home.” These practice lessons reinforce what was taught in
49
the unit and often expands on the information given in order to provide a more well
rounded experience for the student.
A feature of this method is that it meets at least one Achievement Standard under
nearly every Content Standard. The authors purposefully included singing in the
beginning band method. Improvisation and composition are concepts taught in this
method book.
Students are given the opportunity to sing, play alone and in groups, improvise,
write, and arrange music. Students are encouraged to learn about various composers as
well as three artists whose significant works are displayed in color within the method
book. Students are encouraged to analyze and share their own compositions and
performances with their families and fellow students. It should be noted that this method
book gives students nine different opportunities to compose or arrange music.
As mentioned earlier, the color-coding of units gives the students a visual
progression of lessons learned and those yet to be studied. New material is presented at
the beginning of each unit, not in the middle of the exercises like some methods
reviewed. Reinforcement exercises are always presented at the end of each unit, with the
idea of expanding on the student’s knowledge learned from the unit. A glossary is
presented at the end of the unit.
Students are provided with a CD/DVD in their method book. In addition to the
discs, the Teacher Kit contains a curriculum pack, which includes supplemental and
related activities and lessons.
50
Band Expressions is one of a few method books reviewed that employs singing in
the course of instruction. Students are given three opportunities to sing in this method
(pages 4, 15, and 41). In the first instance, students are asked to sing before they learn to
play their instrument (page 4). Students are asked to sing rhythmically using “toh” or
“doh” along with a recording of “One Note Rock.” In the exercise, students are asked to
make up their own rhythms to sing. In the other two instances of vocalizing in the
method, students are given the words to the exercise and encouraged to sing. Students are
asked to teach the songs to their family and ask them to sing along with their instrumental
performance.
Students are given twenty-six exercises for either duet or full group performance.
Students are not given the opportunity to perform in a three or four-part setting. Nine
exercises are for duet performance with the remaining seventeen devoted to full band
performance. The number of exercises is adequate for student growth, and they are varied
in genre and location of origin.
Students are taught about musical expression early in the text (page 14), and this
knowledge is expanded and reinforced throughout the method. Students are given a
combination of English and foreign language tempo and expression terms throughout the
method, along with dynamics. Standard 2b (expression) is closely related to those found
in Content Standard 5 and is addressed there in more detail.
51
Given its American slant towards composers and their works, it comes as a
pleasant surprise that the authors have included music from twenty-five countries from
around the world. Music is provided in the folk song genres of Whales, Latin America,
Spain, France, Ecuador, Holland, England, Czechoslovakia, Scotland, Israel, France,
Jamaica, Norway, Mexico, Chile, Austria, Russia, Japan, Korea, China, Puerto Rico,
Ghana, Liberia, South Africa, Australia, Germany, and Brazil. Exercises given also cross
several timelines from Baroque, Classical, and Romantic Eras. The number of melodies
from the many African nations sets this method book apart from the others. There is a
depth of variety employed in this method book in regards to melodic selection.
Band Expressions meets Content Standard 3 by satisfying Achievement Standard
3c. Students are given three pitches with which to improvise a four-measure song.
Students are given nine opportunities to either compose or arrange music in this
method book. The number of opportunities is far higher than in many other methods.
Students are asked to compose an eight-measure piece using just their starting note.
Students are given a piece entitled “Jaws” and asked to write their own “shark” song.
Students are asked to compose a four measure piece using both quarter notes and eighth
notes. Students are asked to complete the song “Mary Had a Little Lamb.” Students are
also asked to compose an eight measure rhythmic composition with tempo markings. A
culmination exercise is presented in which students write a piece in 2/4 time, using eighth
notes and rests, repeat signs, and all of their learned pitches.
52
There are two “creative expression” worksheets on composition that are provided
in the director’s book but not in the student’s book. Finally, students are asked to
compose an eight measure piece using all pitches and rhythms. Following their last
composition listed in the text, another worksheet from the director’s book is referenced
whereby the students are asked to write a warm-up exercise lasting eight measures.
Students are fully immersed in the ideology of Achievement Standard 4a.
Achievement Standard 4c is met when students are asked to compose a four-
measure piece of music written for body percussion. Little information is given in the
method about body percussion and its uses. It is possible that this information is either
given by the director or the reference CD.
This Standard is met along with every accompanying Achievement Standard. As
the basic principle of Standard #5 is reading and notating music, students who complete
the method as well as the exercises mentioned in 4a will automatically meet all criteria
for this Standard. Reading music is the cornerstone of beginning band instruction, and the
pedagogy used in this method is sound and researched based.
Students meet 5a with the following exceptions: they are not exposed to 6/8, 3/8,
or alla breve meters, and are not exposed to sixteenth rests. Students are exposed to
sixteenth notes on two occasions in the method book. Students are not shown any clef
other than their own for the duration of the method, which is requested by Achievement
Standard 5b, yet are encouraged to sight read simple melodies. Students meet
53
Achievement Standard 5c simply by completing the method book. Students are exposed
to all items requested by this Achievement Standard at some point in the method book.
Students are able to meet Achievement Standards 5d and 5e from earlier Content
Standards. Students meet 5d by satisfying 4a. Students meet 5e by satisfying 2b.
Students are easily able to meet all Achievement Standards under Content Standard #5,
mostly by participating in class and practicing at home.
Content Standard #7 asks students to develop criteria for evaluating music
performances (7a) and asks them to evaluate the performances of themselves and others
(7b). On two separate occasions students are asked to record their own performance and
critically analyze. It is understood that, in order for this Achievement Standard to be met,
the director of the ensemble would need to intervene and instruct the students on the
proper way to complete the exercises.
The method book meets Content Standard #8 by meeting Achievement Standard
8a. Students are asked to “read” a painting by Paul Giovanopoulos as if it were notation.
This exercise is presented to the students before they are taught to read Standard musical
notation. The exercise is unique and sets this method book apart from the others in the
fact that students are immediately asked to find relationships between music and the other
arts. Later in the method, students are shown a painting by Charles Searles, which depicts
a drum circle. Students are asked to form their own drum circle with family and friends.
54
Content Standard #9 involves understanding the characteristics of music genres
and styles from multiple cultures. Though similar to Achievement Standard 2c, the
difference lies in the depth from which students are to understand the historical
connections presented in their method book. Achievement Standard 9b is met with an
abundance of information about both composers and artists. The composer list contains
five American composers and three non-American composers. Students are taught, in
general, about the music of Latin America and the music of Asia. In each instance,
students are given a few paragraphs about either the region or the composer, along with
useful knowledge about the music studied. Students are given information about a
Korean artist as well as a Latin American artist. In both instances, the paintings are
directly related to the music studied by the student in the method book. These lessons are
presented at the beginning of eleven units. Students are given a wealth of knowledge
about art and composers in this method book.
55
Standard Met
#1:
Achievement p. 4 L1: One Note Rock: Students are asked to sing rhythmically using
Standard “toh” or “doh.”
1a.
p. 15 55: Words are provided to sing, as well as play the exercise.
p. 41 168: Words are provided to sing, as well as play the exercise.
Band Expressions

Standard Met
#2:

Standard pp. 6-53
2a.
Group: Group exercises start in 2 parts on page 10.
pp. 10-53 (24, 28, 29, 30, 40, 137, 154, 182, Music for the Royal Fireworks)
Group exercises containing individual parts for specific instruments appear to start
on page 22.
(80, 81, 82, 83,84, 85, 86, 87, 88, 205, 206, 207, 208, 209, Eine Kleine
Nachtmusic)
Achievement pp. 14-51 All exercises after exercise 48.

Standard
2b. Expression markings are introduced on p 14. (dynamics) and are continually
represented throughout the method (see Content Standard 5).
Level 2 after exercise 69.
Band Expressions
56
Standard Met
#2:
Achievement p. 11 30: German Classical

Standard p. 12 34: English Folk Song
2c. p. 13 39: Welsh Folk Song
p. 15 51: Latin American, 53: Spanish Folk Songs
p. 16 57: French, 59: Ecuadorian Folk Songs
p. 17 62: Hollander, 63: English Folk Songs
p. 19 67: Czech, 69: Scottish Folk Song, 70: English Hymn
p. 21 78: Israeli Folk Song
p. 24 85: English, 87: French Carols
p. 25 NN: Scottish Carol
p. 26 91: Jamaican Folk Song
p. 27 98: French Romantic
p. 29 108: Norwegian Folk Song
p. 30 113: Spanish, 114: Mexican, 117: Chilean Folk Songs
p. 31 119: Ecuadorian, 121: Latin American, 122-123: Mexican Folk Songs
Band Expressions
57
Standard Met
#2:
Achievement p. 32 125: Austrian Baroque, 126: Russian Folk Song

Standard p. 33 129: Russian Romantic, 131: English Folk Song, 132: French Romantic
2c.
p. 34 135-137: Japanese Folk Songs
p. 35 140/142: Korean, 141/145: Chinese Folk Songs, 144: Czech Romantic
p. 38 157: Jamaican, 158: Puerto Rican Folk Songs

p. 39 160: Ghanaian, 161: Liberian, 163: South African Folk Songs
p. 42 174: English, 175: Jamaican, 178: African Folk Songs
p. 43 179: Chinese, 180: Australian, 181: Brazilian Folk Songs
p. 44 188: Russian Romantic
p. 47 201: English Folk Song
p. 49 206: Korean Folk Song, 208: German Hymn
p. 50 NN: Austrian Classical
p. 51 NN: English Classical
Band Expressions

Standard Met
#3:
Achievement p. 41 Lesson 3.2: Students are given three pitches with which to improvise a four-
Standard measure song.
3c.
Band Expressions
58
Standard Met
#4:
Achievement p. 7 11: Students compose an eight measure piece using their starting note.
Standard p. 13 42: Students compose a short piece similar to the “Jaws Theme” using all of
4a. the notes they have learned prior to exercise #42.
p. 14 47: Students compose a four measure piece using eighth and quarter notes.
p. 16 58: Students complete the song “Mary Had a Little Lamb.”
p. 27 99: Students compose an 8 measure rhythmic composition with tempo
markings.
p. 31 124: Students compose a piece using 2/4 time, eighth notes and rests, repeat
sign, and use any pitches used prior to exercise 124.
p. 35 3.2Students are asked to complete a “creative expression” worksheet on
composition that is not presented in the student book.
p. 37 3.2: Students are asked to complete a “creative expression” with regards to
arranging worksheet on composition that is not presented in the student book.
p. 43 183: Students compose an 8 measure piece using all pitches and rhythms prior
to #183.
p. 45 3.3: Students compose an 8 measure warm-up on a worksheet that is not
presented in the student book.
Achievement p.8 16: Students compose a four measure cannon for body percussion.
Standard
4c.
Band Expressions
59
Standard Met
#5:

Standard
5a Students are not exposed to 6/8, 3/8, or alla breve.
Students are not exposed sixteenth rests.

Standard

Standard
5c. Pitch/Rhythm-pp. 6-53. Dynamics-pp. 14-51. Articulation-pp. 17-51.
Tempo-pp. 26-51 Expression-pp. 34-51

Standard
5d.
Achievement See 2b. Students are expected to sight-read exercises prior to practicing them at
Standard home. I place a break between level one and level two at page 19, exercise
5e. 69. At this page, students should have been introduced to all Achievement
Standards under Content Standard 5.
Band Expressions
60
Standard Met
#7:
Achievement p. 25 13, 2.3: Students record their own performance and critically analyze.
Standard p. 51 1.4: Students record their own performance and critically analyze.
7b.
Band Expressions

Standard Met
#8:
Achievement p. 5 3.3: Students “read” a painting by Paul Giovanopoulos as if it were notation.

Standard
8a. pp. 2.2: Students are presented with a painting titled “Celebration” by Charles
38- 39 Searles that depicts a drum circle. Students are asked to form their own drum
circle with family and friends.
Band Expressions
61
Standard Met
# 9:
Achievement p. 12 Unit 7: John Williams, his history and his music.

Standard p. 16 Unit 10: Percy Grainger, his history and his music.
9b. p. 18 Unit 11: Gustav Holst, his history and his music.
p. 28 Unit 20: Aaron Copland, his history and his music.
p. 30 Unit 21: Picture of Mariachi Cobre band and Latin American Music.
p. 34 Unit 23: Korean Painting by Kim Junkeun, Asian Music.
p. 36 Unit 24: George Gershwin, his history and his music.
p. 40 Unit 27: Duke Ellington, his history and his music.
p. 46 Unit 30: John Philip Sousa, his history and his music.
p. 48 Units 31-32: Johann Sebastian Bach, his history and his music.
Band Expressions
62
4.7 Belwin 21st Century Band Method (1996)
J. Bullock, A. Maiello
Standards Met: 2 (a, b, c), 4 (a), 5 (a, b, c, d, e)
This method book was published two years after the introduction of the National
Standards for Music Education. The method book’s cover is in color and the inside pages
are all printed in black and white. The exercises are organized by unit, and are not
sequentially numbered throughout the book. The method appears to include more music
from the United States than others reviewed for this study. Students are given one page of
specifics on how to read music before being introduced to their first music reading
exercise. A note for this method is the reoccurring section called “Songs for the Fun of
It” which gives students several melodies to learn at the end of their unit. The authors
content that there is enough music throughout the method to play three concerts with full
band.
The method reviewed gives the students a solid foundation for music reading.
Units are logically laid out with the idea of student progression firmly intact. Students are
given a variety of melodies to study that are presented in a manner that would facilitate
success in reading and performing music. Exercises are presented neatly, and with few
graphics or other items that may obscure the students’ view of the material given for
study.
The front cover of the method provides all of the information students would need
to navigate the CD provided with the book. The track listing chart provides the students
63
with the track number, page number, lesson number, and the name of the exercise or song
represented. The authors provided a page for use as a practice log and gives the students a
very quick, one page lesson on reading music before starting their journey to becoming
music reading musicians. The fingering chart is in the back of the book, as well as a one-
page glossary of musical terms.
Students are provided with a CD/DVD in their method book. The publisher makes
available a Teacher Book, and states to the directors that the materials provided within
this book, supplemental items, and the teacher manual will cover all nine of the National
Standards.
Students are given an adequate amount of group performance opportunities in this
method book. Thirty-five exercises are either written in duet form or are written for large
ensemble. As the authors portend on the back cover of the method, there is an abundant
amount of music for large group with ten pieces presented for the opportunity of large,
heterogeneous instrumental performance.
Students are taught about musical expression later in the method than others
studied. Students learn about dynamics on page twenty and other expression related
items are taught from that point forward. Standard 2b (expression) is closely related to
those found in Content Standard 5 and is addressed there in more detail.
Multicultural music exposure is present in this method book. Students are given
the opportunity to study music from fourteen countries or regions including: France,
Germany, Kashmir, Belgium, Israel, Argentina, England, Mexico, Latin America,
64
Austria, Italy, Hungary, Russia, and Portugal. Thirty of the method book’s 160 exercises
are from other countries. The music presented to the students covers time periods from
the Renaissance to the 20th century. The pieces selected for performance are similar to
those chosen in other method books of the time period immediately before and after the
introduction of the National Standards.
National Standard 4 is met by Achievement Standard 4a. In meeting that
Standard, students are given one exercise on page twelve of the method book to compose
two measures in 3/4 time and two measures in 4/4 time.
the basic principle of Standard 5 is reading and notating music, students who complete
the method as well as the exercises mentioned in Achievement Standard 4a will
automatically meet all criteria for this Standard. Reading music is the cornerstone of
beginning band instruction, and the pedagogy used in this method, like others studied is
sound.
Students meet Achievement Standard 5a with the following exceptions: they are
not exposed to 6/8, 3/8, or alla breve meters. Students are not exposed to sixteenth notes
or rests. Students meet Achievement Standard 5b simply by learning to read music in the
class. They are not shown any clef other than their own for the duration of the method,
which is requested by Achievement Standard 5b.
65
Students meet Achievement Standard 5c in that they are exposed to Pitch and
Rhythm (pp. 4-31), Dynamics (pp. 20-31), Articulation (pp. 20-31), Tempo (pp. 18-31),
and Expression (pp. 20-31). These items are presented sequentially and logically
throughout the method book. Students are given an adequate number of exercises through
which to practice these important items in music education. As mentioned under National
Standard 2 (2b, expression,) Achievement Standard 5c covers much of the same areas as
2b. In this method, students are able to meet all of the requests of Achievement Standard
2b and Achievement Standard 5c.
Students meet Achievement Standard 5d by meeting Achievement Standard 4a, as
5d is the method they would use to record their musical ideas, espoused by Achievement
Standard 4a. Students meet Achievement Standard 5e by completing Achievement
Standard 2b.
66
Standard Met
#2:
Achievement pp. 4-31 All exercises can be performed as solos.

Standard
2a. Group: Group exercises start in 2 parts on page 5.
pp. 8-31 (5-8, 6-6, 7-5,6, 11-4, 5, 12-5, 13-6,7, 14-6, 20-2,3,4,5, 21-3,4, 22-6,7, 23-4,5,
and 25-3,4,5,6).
Group exercises containing individual parts for specific instruments start on

page 9.
(Alpha March, Arroro Mi Nino, Jolly Old St. Nicholas, The Saints Go
Marching In, Theme From The Surprise Symphony, Aura Lee, The Carnival
of Venice, Folk Dance, Chorale and Variants, and Commencement)
Achievement pp. 20-31 Expression markings are introduces on p. 20 (dynamics) and are continually
Standard represented throughout the method with the notable absence of teaching
2b. accents (see Content Standard 5).
Level 2 after exercise 1, page 20.
Achievement p. 5 7: French Folk Song

Standard p. 6 3: German, 4: Kashmiri, 5: Belgian Folk Songs
2c. p. 7 7: Israeli Folk Song
p. 9 Arroro Mi Nino: Argentinian Folk Song
p. 10 2: French, English Folk Song
p. 11 3: French Folk Song
p. 12 1: Mexican, 4: English Folk Songs
p. 14 2: German Romantic, 4: Latin American Folk Song
p. 15 2, 3: English Folk Songs
p. 16 Theme from Symphony No. 1: German Romantic
Rockin’ Old Mac: English Folk Song (adaptation)
p. 17 Theme from the Surprise Symphony: Austrian Classical
The Carnival of Venice: Italian Folk Song
Folk Dance: Hungarian 20th Century
p. 18 5: German Romantic
p. 19 2: English Madrigal, 5: Russian 20th Century
p. 23 1: Austrian Romantic
p. 24 3: Hungarian Romantic
p. 25 3: Portuguese, 4, 5: German Folk Songs
p. 26 Danny Boy: English Folk Song
p. 27 La Bamba: Mexican Folk Song
Belwin 21st Century Band Method
67
Standard Met
#4:
Achievement p. 12 6: Students compose two measures in 3/4 and two measures in 4/4 time.
Standard
4a.

Standard Met
#5:

Standard
5a. Students are not exposed to 6/8, 3/8, or alla breve
Students are not exposed to sixteenth notes or rests.

Standard
Achievement pp. 4-31 Pitch/Rhythm-pp. 4-31. Dynamics-pp.20-31. Articulation- pp.20-31.

Standard
5c. Tempo-pp.18-31. Expression-pp.20-31.

Standard
5d.
Achievement pp. Expression markings are introduces on p. 18 (tempo) and are continually
Standard 20-31 represented throughout the method. It should be noted that accents are not
5e. introduced in this method book.
Level 2 after p. 20, exercise 1.
68
4.8 Do It! Play in Band (Clarinet) (1997)
J. Froseth
Standards Met: 1 (a, b, c, d), 2(a, b, c, d), 3 (b, c), 5 (a, b, c, e), 6 (b, c, d), 7 (b), 9 (a, b)
Do It! Play in Band was reviewed from the Do It! Play Clarinet version of the
method book that was provided by GIA Publications, Inc. for the purpose of this study.
The book was written with an emphasis on style education and improvisation. Students
are given twenty-five opportunities to improvise melodies or melodic embellishments
throughout the method book. Students are also introduced to a wide variety of musical
styles, many of which are not presented in any other method book studied.
In addition to the heavy emphasis on musical styles and improvisation, students
are encouraged to sing throughout the text. Students are given seventy-eight
opportunities to sing their exercises prior to performance. Of particular interest is that
Dr. Froseth gives the words to the melody. Giving the words to the exercises also
provides depth of understanding in regards to the nature of the exercise and its history.
Do It! Play Clarinet also gives students rhythmic pedagogy in both duple and
triple meter. Triple meter exercises are scattered throughout the text. Students are given
exercises in 4/4, 3/4, and 2/4 time signatures prior to learning about triple meter. In
regards to rhythm education, the “You Can Look it Up” section of the book gives
students a complete rhythmic breakdown of both types of duple meter as well as triple
meter.
69
Students are given ample opportunity to learn the basic language of music in the
“You Can Look it Up” section of the method prior to the start of note reading. All
information needed to read notation is presented in a logical fashion, with rhythms shown
from the whole note down to the sixteenth note. Students are shown what a slur, tenuto,
staccato, and accent, are even though they are not represented in the performance section
of the method book. In the pages prior to this section, students are given a two-page
explanation with sketches on how to put their instrument together and how to hold their
instrument properly. More attention is spent on this topic in this method than any other
method book studied.
Students are given a multitude of opportunities to sing and improvise in a variety
of styles. The author of the method book has made it clear that in learning music through
an instrument, students should have plenty of opportunity to learn about the music as well
and how to play the music. Students are given opportunities to sing in multi-part
situations and are given the opportunity to improvise in more than just a jazz setting.
These two items make this method unique in the field of methods studied.
Students are given an abundance of opportunities to play music “by ear.” These
exercises allow the student to play a familiar melody without the aid of written music.
Often times, the author gives the students either the starting pitch or the first few notes of
the song. These exercises are not present in the other methods studied.
70
Students are provided with a CD of play-a-long tracks for their use during their
time with the method. In addition to the CD, the publisher offers a Complete Teacher
Resource, which is stated by the publisher to cover all National Standards.
Students are given seventy-eight opportunities to sing their exercises, satisfying
Achievement Standard 1a in a manner unlike any other method book studied. Students
are able to learn material to satisfy Achievement Standard 1c by learning the melodies
given under Achievement Standard 1a. Students are given five sets of exercises where the
melodies and words are provided in either duet or trio form. Students can sing or play in
harmony with one another. These exercises satisfy Achievement Standard 1d.
Students are given an abundance of exercises to learn in both solo and group
arrangements. Of the 181 exercises provided in the method book, 80 are written in two,
three, or four parts, or are part of a large group work, which satisfies Achievement
Standard 2a. Students are given opportunities to perform in a variety of settings as well as
a variety of styles.
Achievement Standard 2b deals with expression and technical accuracy in regards
to the student’s musical education provided by the method book. Students are introduced
to dynamics early in the method book. As Achievement Standard 2b is closely related to
Content Standard 5, it will be discussed in more detail there. Of interest with this method
book is that accents are not taught at any point in the exercises.
71
Achievement Standard 2c asks students to explore music from a variety of genres
and cultures. Students are given the opportunity to learn melodies from the following
countries: England, France, Jamaica, Germany, Israel, Russia, Ireland, Whales, Mexico,
Hungary, Poland, and Japan. Music is presented from the Renaissance through the
Twentieth century in a variety of genres.
Students are given the opportunity to play music “by ear” as requested by
Achievement Standard 2d. Ten exercises are given for students to play “by ear.” The
author of the method gives students the opportunity to play songs “by ear,” though many
of the melodies are presented earlier in the method, or at times, on the same page.
Students are able to play the style “by ear” and modify the melody to fit the particular
style learned.
Students are given thirteen opportunities to satisfy Achievement Standard 3b,
which asks students to improvise melodic embellishments. These exercises are style-
based or rhythmic based improvisation exercises. Students are asked to improvise short
melodies in twelve exercises. Students can satisfy Achievement Standard 3c, which
requests such actions by improvising melodic content after being given a few notes to
start their melody.
This Standard is met by all Achievement Standards except 5d, which requests
students to use Standard notation in their own music writing. As the basic principle of
Standard 5 is reading and notating music, students who complete the method will
72
automatically meet all criteria for Achievement Standards 5a, 5b, 5c, and 5e, with certain
exceptions.
In regards to Achievement Standard 5a, students are not exposed to 3/8 time.
Students are not exposed to alla breve meter. Students are not exposed to sixteenth notes
or rests. That being said, in the “You Can Look it Up” section of the book, alla breve, as
well as sixteenth notes and rests are presented, though no exercises in the method book
address this information.
Achievement Standard 5b is met as mentioned earlier, simply by completing the
method book and its exercises with one exception; students are only shown their
instrument’s clef. In regards to Achievement Standard 5c, students are exposed to pitch
and rhythm, dynamics, articulation, tempo and expression throughout the method book.
Students can meet Achievement Standard 5e by completing Achievement Standard 2b.
Standard 6 refers to listening, analyzing and describing music. Students meet
Achievement Standard 6b by completing Achievement Standard 3b in this particular
method book. The exercises in 3b are specifically written to fulfill both Achievement
Standards.
Achievement Standard 6c relates to students’ ability to show knowledge of meter,
rhythm, tonality, intervals and chords in their analysis of music. Students are exposed to
meter and rhythm throughout the method book. Students are exposed to tonality at an
early point in the method (page nine). Students are not exposed to interval study.
Students are exposed to chords on page thirteen of the method book. Achievement
73
Standard 6d is a continuation of 6c, and asks that students be educated in harmonic
progressions while learning to analyze music. Students are given the harmonic
progression of the piece to be performed on two separate occasions (page thirteen,
numbers one and five, and page twenty-five, numbers four and five).
This method book is one of only a few studied that meets Standard 9.
Achievement Standard 9a asks students to describe distinguishing characteristics of
musical genres. Students are able to do this on nine separate occasions in the method
book. While students are asked to improvise, they are always given a style in which to
do so. Students have the opportunity to learn and express themselves in the following
styles: Honky Tonk, Rock and Roll, Reggae, Jazz, Blues, and Gospel. It should be noted
that all styles listed above, with the exception of Reggae, are American in origin.
Achievement Standard asks that students study music from a variety of styles and
cultures. The argument could be made that there are a variety of cultures within the
United States from which these styles came.
74
Standard Met
#1:
Achievement Students sing each exercise before performing it on their instrument.

Standard
1a. p. 6 1, 2, 3, 4
p. 7 1, 4, 5
p. 8 1, 2, 3, 4, 5
p. 9 1, 2, 3, 4
p. 10 1, 2, 3, 4, 5
p. 11 1, 2, 4
p. 12 1, 2, 4
p. 15 1
p. 16 1
p. 17 1, 3, 4, 5, 6
p. 18 1, 2
p. 19 1, 6
p. 20 1, 2, 3, 5
p. 21 1, 3, 6
p. 22 1, 3, 4
p. 23 1, 2, 3, 4, 6
p. 24 1
p. 25 1
p. 26 1
p. 28 1, 2, 3
p. 29 1, 3
p. 30 1
p. 31 1, 2, 3
p. 32 1
p. 33 1, 4
p. 34 1, 5
p. 35 9
p. 36 1, 2
p. 37 4
p. 38 1, 2, 3
p. 39 1
Do It! Play in Band (Clarinet)
75
Standard Met
#1:

Standard
1c.
Achievement Exercises are written for vocal or instrumental performance by part. Words are
Standard provided for each part.
1d.
p. 8 3, 4
p. 10 2, 3
p. 15 1, 2, 3
p. 17 4, 5, 6
p. 21 3, 4
76
Standard Met
#2:
Standard pp. 6-41
2a. Group exercises start in 2 parts on page 8.
Group: (8-3, 4, 10-2, 3, 10-8, 9, 11-7, 14-5, 17-4, 18-1, 4, 5, 19-5, 6, 20-3, 4,
pp. 8-40 21-1, 2, 3, 4, 6, 22-1, 2, 3, 4, 23-1, 4, 5, 6, 25-4, 5, 28-3, 4, 29-1, 2, 30-5, 6,
31-3, 4, 32-4, 5, 34-5, 37-1, 2, 4, 38-3, 40-1)
Group exercises start in 3 and 4 parts on page 15.

(15-1, 2, 3, 4, 19-1, 2, 3, 4, 27-1, 2, 3, 4, 5, 6, 30-1, 2, 3, 4, 32-1, 2, 3,
36-2, 3, 4)

page 16.
(16-1, 2, 3, 26-1, 2, 3, 4, p.39-1, 2)
Achievement pp. 13-41 Expression markings are introduced on p.13 (dynamics) and are continually
Standard represented throughout the method (see Content Standard 5).
2b.
Accents are not presented for study in this method.
Level 2 after exercise 23-1
Achievement p. 7 1: English Folk Song

Standard p. 8 1, 2: French Folk Songs
2c. p. 9 1: French, 2, 4: English Folk Song
p. 10 1, 2: English Folk Songs
p. 11 1: Jamaican Folk Song
p. 12 1: German Folk Song
p. 18 1, 2: German Folk Songs
p. 19 6: Hebrew Folk Song
p. 20 3, 4: Russian Folk Song
p. 21 1, 2: German, 6: French Folk Song
p. 22 3: French, 4: German Folk Songs
p. 23 3: English, 4, 5: Irish Folk Songs
p. 24 5: Hebrew Folk Song
p. 25 1: Welsh, 2: English Folk Songs
77
Standard Met
#2:

Standard p. 27 1: Mexican Folk Song
2c. p. 28 2: French Folk Song
p. 31 3: Hungarian Folk Song
p. 32 1: German, 4: French Folk Songs
p. 33 4, 5: English, 6: Russian Folk Songs
p. 35 1: Polish Folk Song
p. 37 1: German Romantic, 4: English Renaissance
p. 38 1: Hungarian, 2: English Folk Songs
p. 40 1: Japanese Folk Song
Achievement p. 7 3: Students are asked to play a familiar melody “by ear” with notation.
Standard p. 10 6: Students are asked to play a familiar melody “by ear” with notation.
2d. p. 12 3: Students are asked to play a familiar melody “by ear” without notation.
p. 14 4: Students are asked to play a familiar melody “by ear” without notation.
p. 15 5: Students are asked to play a familiar melody “by ear” with notation.
p. 18 3: Students are asked to play a familiar melody “by ear” with notation (p8).
p. 25 2, 3: Students are asked to play a familiar melody “by ear” with notation
(pp. 7 and 10).
p. 33 2: Students are asked to play a familiar melody “by ear” with notation.
p. 37 3: Students are asked to play a familiar melody “by ear” without notation.
78
Standard Met
#3:
Achievement p. 7 2, 3, 6: Style-based improvisation on a given melody.

Standard p. 10 6, 7: Style-based and rhythmic based improvisation on a given melody.
3b. p. 11 3, 6: Rhythmic improvisation on a given melody.
p. 13 2, 3: Style-based and rhythmic based improvisation on a given melody.
p. 15 5: Style-based improvisation on a given melody.
p. 24 2: Rhythmic improvisation on a given melody.
p. 33 3: Rhythmic improvisation on a given melody.
p. 36 5: Style-based improvisation on a given melody.
Achievement p. 12 5: Improvise melodic content using four notes.

Standard p. 13 5: Improvise melodic content using four notes.
3c. p. 17 2: Improvise melodic content using the D Minor Pentatonic Scale.
p. 21 5: Improvise melodic content using five notes (p.11).
p. 24 3, 4: Improvise melodic content using the A Minor Pentatonic Scale and using
the A Dorian Scale.
p. 24 6: Improvise melodic content using five notes.
p. 25 6: Improvise melodic content using the D Dorian Scale.
p. 29 4, 5: Improvise melodic content using four notes and five notes.
p. 32 6: Improvise melodic content using the D Dorian Scale.
p. 36 6: Improvise melodic content with only a starting pitch.
79
Standard Met
#5:

Standard
5a. Students are not exposed to alla breve.
Sixteenth notes and rests are presented in the forward matter of the text.

Standard
Achievement pp. 6-41 Pitch/Rhythm-pp. 6-41. Dynamics-pp. 13-41

Standard
5c. Articulation-pp. 13-41 Tempo-pp. 7-41
Expression-pp. 7-41
Achievement See 2b. See 2b.

Standard
5e.
80
Standard Met
#6:
Achievement See 3b. All style based exercises in 3b.

Standard
6b.

Standard Met
# 9:
Achievement p. 7 2: Honky Tonk, 3: Rock and Roll, 6: Reggae styles

Standard p. 10 6: Jazz style
9a. p. 13 5: Call and Response, in Jazz style
p. 29 4, 5: Call and Response, in Blues Rock style
p. 36 5, 6: Gospel style
*Students describe the distinguishing characteristics by performing the works.

*All styles are of American origin.

Standard
9b. For this particular method book, students are able to meet 9b by proxy with 2b
since each unit gives specific classification information on the styles and genres
covered.
81
4.9 Essential Elements 2000 (1999)
T. Lautzenheiser, J. Higgins, C. Menghini, P. Lavender,
T. Rhodes, D. Bierschenk
Standards Met: 2 (a, b, c), 3 (c), 4 (a), 5 (a, b, c, d, e), 8 (b), 9 (b)
Essential Elements 2000 was released in 1999, five years after the release of the
National Standards for Music Education. This version updates a previous one from 1991
and more fully embraces the Standards. The updates are not specified in the current
version, and since the original version fell outside the scope of this research, it was not
examined.
The method book is printed in color, with new concepts and information
presented with a yellow background. The musical exercises are printed in black. Of
particular interest in the printing portion of the book is that from a side-glance of the
method book, you can see tab-like printing, which shows the student where every new
note is listed in the method book. Similar to a few method books reviewed, the method
starts the student in a faux notation style, where the student is given their first note and a
version of a whole and quarter note. This type of printed notation continues for two
pages.
Students progress through a wide variety of musical exercises and are given
historical perspective on composers and in some cases, the time period in which the
composer lived. Students are given the opportunity to read, write, and improvise music
and are provided an acceptable amount of exercises in each case.
82
A legend is printed on the back of the book, letting students know which device
should be used for which lesson or activity. The method has a full fingering chart,
instrument care reminders, and a glossary of terms at the end of the book. Of particular
note is a page at the very end of the method that gives students an in-depth opportunity to
create music and to review key concepts learned in their studies aside from learning to
play their instrument. The front of the method contains a brief history of the clarinet, and
two pages on the assembly and care of the instrument in addition to information on how
to actually play the instrument.
The method meets more Achievement Standards than most of its late 20th century
counterparts. National Standards 8 and 9 are met with single Achievement Standards, yet
the information is valuable to the students, and unfortunately, not present in many
methods of the late 1990’s. Students receive a multitude of information about composers,
time periods, and the functions of these musicians within the time periods.
Students are able to read, perform, write, and improvise music. Students do get
the opportunity to read and play music in all method books, but the author’s decision to
add items fulfilling Standards 3, 8, and 9 are unique to a select few methods studied.
The layout of the method is carefully divided into new material and supporting
exercises for this information. The student does not need to “jump around” within the
method book to find all correlating exercises. The sequence is logical, and moves at a
reasonable pace from beginning to end. At the end of the book, students have a page
83
devoted to creating music, as well as several technique-based exercises and rhythmic
exercises for further development.
A CD/DVD is provided with the student version of the method book. The DVD
contains a Band Music Listening Library. The CD contains play-a-long tracks for the
student. A supplemental method book titled Essential Concepts for Band- Fundamental
Level, gives students more opportunities to meet the National Standards. The publisher
also provides a Teacher Resource Kit with additional materials, and a Band Director’s
Communications Kit.
Students are given a moderate amount of exercises in two and three parts. While
the vast majority of exercises in the book are for one player, students have the
opportunity to play 12 duets, one trio, and 12 pieces for large group. The number of large
group performance pieces is indeed higher than most method books reviewed.
Expression in music is introduced very early in this method, on page nine, and
reinforced throughout the method. As Achievement Standard 2b closely aligns with
National Standard 5, it will be discussed in more detail in that section.
Multicultural experiences are available in this method book with music from
countries other than the United States. Music from twenty countries or regions is
represented in this method book from folk music to the Baroque, Classical, Romantic and
20th Century time periods. Music is presented from the following countries or regions:
France, England, Austria, Israel, Italy, Germany, Canada, Norway, Latin America, Japan,
84
Hungary, the Caribbean, Czechoslovakia, Africa, Australia, Finland, Russia, China, and
Mexico.
Students are able to meet Achievement Standard 3c with two exercises presented
in the method book. Students rhythmically improvise over give pitches in one exercise.
In the last improvisation exercise, students are asked to improvise over a pentatonic scale.
This exercise is presented on one of the last pages of the book entitled “Creating Music.”
Standard 4 is met by a trio of exercises under Achievement Standard 4a. In all
instances, students are able to compose short pieces within the guidelines presented in the
Standards. In one exercise, students finish the last two measures of a four measure
composition. In the second exercise, students compose the rhythmic value of pre-
determined pitches, loosely composing a piece. The final exercise in composition is on
the page mentioned under improvisation, one of the last pages in the book entitled
“Creating Music.” Students are able to complete a theme and variation, complete a phrase
of music, and complete a separate theme and variation exercise.
Each Achievement Standard under Content Standard 5 is met, with noted
exceptions. As Standard 5 refers to reading and notating music, students automatically
meet most Achievement Standards by completing the method. Students meet
Achievement Standard 5a, yet are not exposed to 6/8, 3/8, or alla breve meter. Students
are not exposed to sixteenth notes or rests. Students meet Achievement Standard 5b, yet
85
are not exposed to any clef other than their own. Achievement Standard 5c requests that
students be able to identify and define items related to pitch, rhythm, dynamics,
articulation, tempo, and expression. Students are able to meet these requests.
Achievement Standard 5d is met by meeting Achievement Standard 4a. Achievement
Standard 5e is met after page 19, exercise 94.
Students are given several opportunities to meet Content Standard 8 through
exercises relating to Achievement Standard 8b. Essential Elements 2000 is one of a few
method books reviewed that provides such lessons. Students are given information about
a variety of composers and time periods together. Information is given about Stephen
Collins Foster, Edvard Grieg, Antonin Dvorak, Camille Saint-Saens, Ludwig van
Beethoven, Peter Illych Tchaikovsky, and Wolfgang Amadeus Mozart. In many cases,
students are also given information about the time period in which these composers lived,
and information about other events occurring at the same time of the composer’s lives.
Students are also given explanations of the African-American Spiritual, Ragtime, Boogie-
Woogie, and an explanation of the song “Hatikvah.” These explanations are not in-depth,
but provide students with a wealth of information outside of learning to play their
instrument. Several of these items double in meeting Achievement Standard 9b.
Students are given several opportunities to classify music by genre or other
historical period, and by composer as mentioned by 9b. Students are exposed to
information about Gioacchino Rossini, Johann Sebastian Bach, Franz Peter Schubert,
86
John Philip Sousa, and Franz Josef Haydn in addition to composers mentioned under
Achievement Standard 8b. Along with the genres and styles mentioned above in
Achievement Standard 8b, students are given information about the Canadian National
Anthem. These sets of information give the students an opportunity to meet Achievement
Standard 9b by allowing them to compare several cultures, as well as roles of musicians
in society.
87
Standard Met
#2:

Standard pp. 4-41
2a.
pp. 7-36 (22, 30, 53, 54, 79, 103, 109, 118, 177, 185, 186, and 187)
Group exercise in 3 parts on page 25.

(131)

page 7.
(24, 53, 55, 56, 57, 58, 77, 152, 153, 182, 183, and 184)
Achievement pp. 9-39 Expression markings are introduced on p. 9 (dynamics) and are continually
2b.
Level 2 after page 19, exercise 94.
Achievement p. 8 28: French Folk Song, 30: English Folk Song, 31: Austrian Classical
Standard p. 9 39: Jewish Folk Song
2c. p. 10 45: Italian Romantic
p. 14 60: French-Canadian Folk Songs
p. 15 68: French Romantic, 69: Norwegian Romantic, 71: Latin American Folk Song
p. 16 77: Japanese Folk Song
p. 17 81: Hungarian 20th Century
p. 18 89: German Baroque, 91: Caribbean Folk Song
p. 20 103: German Baroque
p. 22 113, 114: English Folk Songs, 117: Scottish Folk Song
p. 23 118: Czech Romantic
p. 25 131: African Folk Song
Essential Elements 2000
88
Standard Met
#2:
Achievement p. 26 133: Austrian Folk Song, 134: Australian Folk Song,

Standard p. 28 136: Finnish Romantic
2c. p. 30 150: Austrian Classical
p. 31 157: Israeli National Anthem
p. 33 167: Canadian National Anthem
p. 35 175: French Romantic, 176: Chinese Folk Song, 177: German Romantic
p. 37 183: Latin American Folk Song
p. 39 185: Austrian Classical
187: Mexican Folk Song

Standard Met
#3:
Achievement p. 17 85: Rhythmic improvisation over given pitches.

Standard p. 44 5: Improvisation over given pentatonic scale.
3c.
89
Standard Met
#4:
Achievement p. 15 72: Students compose the last two measures of a four measure piece.
Standard p. 26 137: Students take given pitches and vary the rhythmic values of each.
4a. p. 44 2, 3, 4, 5: Theme and variation completion, phrase completion, and
theme and variation composition exercises.

Standard Met
#5:
Achievement pp: 4-44 All exercises after page 4.

Standard
Achievement pp: 4-41 Students are shown their particular clef on page 5.
Standard
5b. All student exercises are in the clef of their instrument.
Achievement pp: 4-44 Pitch/Rhythm-p.4-41, 44. Dynamics-p. 9-39. Articulation-p. 15-39.

Standard
5c. Tempo-p. 11-39. Expression-p. 11-42.
90
Standard Met
#5:

Standard
5d.
Achievement pp: 19-39 Students are expected to sight-read exercises prior to practicing them at home.
Standard I place a break between level one and level two at page 28. At this page,
5e. students should have been introduced to all Achievement Standards under
Content Standard 5.

Standard Met
#8:
Achievement All items are unnumbered in the method book:

Standard
8b. p. 14 Music of Stephen Collins Foster and World history of the time period.
p. 15 Music of Edvard Grieg and World history of the time period.
p. 19 Explanation of African-American Spirituals and Ragtime.
p. 21 Explanation of Boogie-Woogie and World history of the time period.
p. 23 Music of Antonin Dvorak and World history of the time period.
p. 30 Explanation of “Hatikvah.”
p. 34 Music of Camille Saint-Saens and Ludwig van Beethoven.
p. 35 Music of Peter Illych Tchaikovsky.
p. 38 Music of Wolfgang Amadeus Mozart.
91
Standard Met
# 9:
Achievement p. 10 Music of Gioacchino Rossini.

Standard p. 14 Music of Stephen Collins Foster.
9b. p. 15 Music of Edvard Grieg. Explanation of Latin American Music.
p. 16 Explanation of Japanese Folk Music.
p. 19 Explanation of African-American Spirituals and Ragtime.
p. 20 Music of Johann Sebastian Bach.
p. 21 Music of Franz Peter Schubert, Explanation of Boogie-Woogie.
p. 23 Music of Antonin Dvorak.
p. 28 Music of Franz Josef Haydn.
p. 30 Explanation of “Hatikvah.”
p. 32 Music of John Philip Sousa and explanation of Canadian National Anthem.
p. 34 Music of Camille Saint-Saens and Ludwig van Beethoven.
p. 35 Music of Peter Illych Tchaikovsky.
p. 38 Music of Wolfgang Amadeus Mozart.
92
4.10 Jump Right In (2000)
R. Grunow, E. Gordon, C. Azzara
Standards Met: 1 (a), 2 (a, b, d), 3 (a, b, c), 5 (a, b, c, e)
Jump Right In was reviewed from a promotional copy donated by GIA
Publications, Inc. The method, published ten years previous to this study, is unique in a
number of ways, largely due to its layout. The exercises are grouped together under major
headings, and a pattern of melody-harmony-bass-variation-improvisation-variation
number two is presented for every unit. Students have the opportunity to play with groups
or alone, with all of the above presented for the songs presented for study. Improvisation
is a large part of the method, with nearly every third page providing the opportunity for
students to create their own music.
The book uses solfege to teach the students their notes in small groupings. The
fingering chart in the front and another in the back are presented in solfege. The book’s
authors instruct the students to sing the exercises with “tonal syllables” at the start of
each unit. It is during these exercises that the students not only learn new notes but also
are given small amounts of music theory including the function of dominant chords in
major and minor tonalities. The tonic-dominant relationship is explored each time
students are given new notes to learn, and those notes are then used in the melodic
examples later in the unit.
Students are shifted from solfege learning to enhanced rhythm reading
approximately half way through the method. At this time, students are introduced to 3/8
93
time as well as more complicated duple-based rhythms including sixteenth notes. In the
next to last unit, students are asked to sight-sing the beginning exercises on a neutral
syllable, moving away, temporarily, from the solfege system. Students still use solfege in
review and in their “musical enrichment” unit at the very end of the book.
The number of songs learned in this method is at a minimum compared to the
other methods studied. The learning of multiple melodies is relegated to an additional
method book within the series. Students learn a total of nine songs, with variations on
these presented as unit titles throughout the method. The impetus is not on learning a
large body of songs; it is to learn how to play the instrument from a music theory
perspective. Students learn their dominant and subdominant functions along with the
solfege names for their notes. Students also learn their rhythms to the sixteenth
subdivision in both duple and triple meter.
Jump Right In teaches rhythms at an accelerated rate as compared to other
methods included in this study. Students are exposed to duple and triple meter within the
first two lessons of the method. This rhythmic model can serve students well as it is
uncomplicated with melodic study while the meter styles are studied. Students are taught
2/4 alongside 6/8 as well as 3/4 alongside 3/8. In the same manner, 4/4 is taught
alongside alla breve. Students are exposed to sixteenth notes in both duple and triple
form.
Students are encouraged to sing as well as chant their rhythmic and melodic
exercises. This is of particular benefit to students as well as the intense use of solfege
94
throughout the method. Students are given an adequate explanation of macrobeats and
microbeats throughout the method. The musical enrichment exercises at the end of the
method present possibilities for the students to use solfege as well as the opportunity to
sing familiar songs prior to playing them by ear.
Improvisation is presented in this method as merely another step towards mastery
of the instrument. Improvisation is used in every unit in conjunction with the nine
melodies used for the method. Students are given ample opportunities to perform either
independently or collectively in relation to the melodies presented in the method. The
musical enrichment exercises at the end of the book also provide space for improvisation
on each of the twelve familiar songs presented.
The publisher provides a play-a-long CD for students to use in their practice time.
The publisher also makes available two additional books to be used in conjunction with
the method: Solo Book 1A and 1B, both of which contain play-a-long CD’s. Along with
the Solo Books 1A and 1B, the publisher created a third book to be used in conjunction
with the root method titled Creativity in Improvisation to enable students to work further
on National Standard 3. Finally, the publisher makes available a Teacher’s Guide, which
contains more materials to be used in the classroom.
Standard #1 is met by one Achievement Standard (1a). The method’s authors
have students either sing pitches using solfege syllables or chant them using rhythm
syllables. Students are asked to use solfege on eight pages in the exercise. They are
asked to chant patterns using rhythm syllables on fourteen pages. Singing, for this
95
method, is considered the normal activity in the pathway to learning to both read music
and learn to play an instrument.
Jump Right In employs a unique system of learning when a song is presented. The
student is given the melody, along with a harmony and bass line accompaniment.
Students are also given two variations on the melody that can be performed as harmonic
parts. Finally, for each song, the chord structure is presented for the students to improvise
their own melody. The consistency of improvisational opportunities is unique to this
method.
Students are introduced to dynamics on page 12 and they are continually in use to
the end of the method. Unlike the other methods studied, Jump Right In does not teach
accents, slurs, or other expression markings until the very last unit in the method. The
method does, however, teach 6/8 time, and does so early in the method on page 13.
Rhythmically, the method reaches level two far earlier than the other methods studied,
while expression is not at that level until the last unit.
Students are asked to play twelve songs by ear in the last unit. Given that students
are improvising from page 12 onward, asking students to play common songs by ear is
not a far-reaching goal within this method. The last unit, on page 47, gives a variety of
musical enrichment activities in addition to playing by ear. The last unit could be seen as
a culmination of most of the Standard #2 goals.
96
Standard #3 is met by all accompanying Achievement Standards. As stated above,
students are expected and encouraged to improvise each time a new song is presented.
Students have the opportunity to improvise simple harmonic accompaniments (3a) along
with improvising melodic embellishments (3b). Students are encouraged to improvise
melodies similar to the one presented at the beginning of the unit (3c). In short, it is
possible to use the improvisational exercise in three different ways to satisfy all three
Achievement Standards.
Standard #5 is met with all Achievement Standards except 5d that relates to
students writing down their own musical ideas. In meeting 5a, students are given the
rhythmic education equivalent to most book two or possibly book three in any other
method book currently available. Students are exposed to both duple and triple meter.
Jump Right In was the only method studied that taught 3/8 time, as well as the only
method that taught sixteenth note subdivision in both duple and triple meter.
Students are shown their particular clef before the exercises get started in the
method, and are shown rhythms from page 11-46. Students are shown dynamics on page
twelve along with tempo markings. Other expression markings are omitted from the
method until the very last unit. Achievement Standard 5e calls for students to sight read
at a level “two.” This method, in my opinion, starts at a level “two” given the music
theory and solfege use.
97
Standard Met
#1:
Achievement All exercises on pages listed below.

Standard
1a. p. 10 Students use Solfege to sing chord pitches.
p. 11 Students chant patterns using rhythm syllables.
p. 19 Students use Solfege to sing chord pitches.
p. 46 Students sing and chant melodic sight reading activities.
p. 47 Students sign twelve songs as part of a musical enrichment exercise.
Jump Right In
98
Standard Met
#2:

Standard pp. 10-46
2a.
Group: On all group pages, the melody, two harmony parts, bass line are presented
pp. 12-43 for the students to play. The melody has chord progressions that relate to the
unit. Students are also given an improvisation line as part of the group unit.
Achievement pp. 12-47 Expression markings are introduces on p.12 (dynamics) and are continually
2b.
It should be noted that accents, slurs, and other expression techniques are not
taught until the last page of the method. Page 13 introduces 6/8 time, which
certainly would be considered a level two, if not level three item.
Achievement p. 47 All exercises:

Standard
2d. Students play twelve common tunes by ear as instructed.
Jump Right In
99
Standard Met
#3:
Achievement All exercises for the following contain jazz “slashes” and chord symbols.
Standard Students can improvise melodic, rhythmic, or harmonic ideas with these
3a. exercises.
p. 12 5
p. 14 5
p. 16 5
p. 18 5
p. 21 2 of 3, 3 of 4
p. 23 5
p. 24 5
p. 28 4 of 5, 4 of 5
p. 29 4
p. 30 3
p. 34 4
p. 35 4 of 5, 4 of 5
p. 38 4
p. 39 4
p. 42 3
p. 43 4
p. 47 All

Standard
3b.

Standard
3c.
Jump Right In
100
Standard Met
#5:

Standard
5a. Students are exposed to 2/4 time, quarter and eighth notes on page 11.
Students are exposed to 6/8 time and dotted quarter notes on page 13.
Students are exposed to 4/4 time, alla breve, and half notes on page 15.
Students are exposed to 3/8 time, 3/4 time, and dotted half notes on page 17.
Students are exposed to sixteenth notes on page 25.
Students are exposed to rests of duple and triple meter throughout the
method.

Standard

Standard
5c. Pitch/Rhythm-pp.11-46. Dynamics-12-46. Articulation-p. 46.
Tempo-pp.12-46. Expression-p.46.
Achievement pp. 12-46 Students are expected to sight-read exercises prior to practicing them at
Standard home. I place a break between level one and level two at page 12. At this
5e. page, students should have been introduced to all Achievement Standards
under Content Standard 5.
Jump Right In
101
4.11 Measures of Success (2010)
D. Sheldon, B. Balmages, T. Loest, R. Sheldon, D. Collier
Standards Met: 1 (a), 2 (a, b, c, d), 3 (c), 4 (a), 5 (a, b, c, d, e), 6 (a, c), 8 (a), 9 (b)
Measures of Success was reviewed from a preview edition provided by the
publisher, as the final edition had yet to be released at the time of research for this
document. Similar to Sound Innovations, the method book teaches from a Standards
based model, with nearly every Standard addressed by at least one achievement Standard.
From reviewing the method book, its overall structure is similar to the more popular
method books available currently, but has additional exercises that satisfy the particular
Standards that are not met by them, specifically Standards 3 and 6, 8, and 9.
The method’s layout is easy to learn and logical. Each unit is comprised of twenty
to forty exercises and is self-contained. Each chapter is titled “Opus” with the
corresponding number to the unit. New information and supplementary exercises are
printed in the order they are needed, and in a shaded box for ease of discovery. The units
are full of information about composers, music theory, and practical exercises that help
reinforce the goals of the “Opus.” The glossary is also of particular interest. Though only
one page (most method’s glossary, if present, is over two pages), the glossary is sectioned
off for easier use. Students are given a “terms” section, a full listing of composers, a full
listing of world music, and finally, a list of holiday selections presented in the text. This
glossary is helpful not only to the students but also the parents, as they can use it in
practice and in review for the next lesson.
102
The method is unique in that the first thing the student is asked to do is to play
familiar songs (Bingo, Jingle Bells, etc). with only the mouthpiece, reed, and barrel. The
authors use this opportunity to teach proper articulation, since the pitch is constant
without the rest of the instrument. Students are asked to do this with six familiar songs
before learning their first note. Following this exercise, students are given their first three
notes. Students are then asked to perform four pieces, with the notation missing, leaving
only the note names spaced as quarter notes and half notes. Finally, before students are
taught how to use the music staff, they are asked to compose their first piece of music.
The first composer’s corner asks them to write a piece using the first three notes learned.
In short, this method book touches upon over half of the National Standards on the first
page.
The method contains a pre-note reading unit titled “Prelude.” Students begin
making music before they learn to read Standard notation. This idea is unique to this
method, as compared to others studied. As mentioned earlier, students are asked to make
music with the mouthpiece and barrel of their clarinet before learning their first three
notes. Once the first three notes are learned, the students are still kept from learning
Standard notation until they learn a visualization of note lengths. Students are taught the
visualization of quarter, half, and whole notes. Finally, students are asked to compose a
piece using pre-notation ideology.
Students are given not only the history of their instrument, but a system of daily-
weekly-monthly-yearly maintenance. Students are also given a list of “nevers” in regard
103
to their instrument. These two items are of high value to the student, teacher, and parent.
Students are given an abundance of information about what they are about to attempt
(playing an instrument and reading music), before having to learn how to read the
language of music notation.
The method is one of only a few studied that met Standard #1. In addition to
meeting Standard #1, this method is one of only a few studied that met Standards #8 and
9. Composers chosen for further study are of proper merit. Worthy of notice is this
method book authors’ treatment of the composer in his or her time period. Students are
given cultural and historical information about the composer’s time period.
This method is also in the minority with those studied in regard to teaching
improvisation (Standard #3). Only one exercise is specifically given for improvisation,
but it would be possible for students to use their composition assignments for
improvisation purposes. Students are also given the opportunity to analyze performances
(Standard #6) in several exercises presented by the authors. These exercises, listed under
“Interpretation Station” are unique to this method book, and along with the “Composer’s
Corner” and “History” sections, provide the student with a well-rounded music education
in beginning band.
The publisher makes available a CD for students to use in their home practicing.
Also available is a Parent/Guardian Guide and a Teacher’s Manual. The Teacher’s
Manual provides supplemental materials for in-class instruction.
104
Standard #1 is met by Achievement Standard 1a. Measures of Success is one of
the few method books reviewed that employs singing of any kind for beginning band
method teaching. Three exercises are presented to the students throughout the book
(pages 15, 40, and 47) that use singing.
Students are given the opportunity to sing in the “Simon Sez” exercise subgroup
of the method. In each instance, students are asked to listen to the track corresponding to
the exercise on their method book recording (not reviewed for this study). Students are to
listen, then sing, then find the pitches for the song on their instrument. This three-step
method of learning the song is unique to this method book among those studied. The
natural direction for this skill would be towards improvisation in later units of study in
instrumental music.
Group exercises are a large part of the method book. Students are given thirty-
three exercises that are either written in two-part instrumentation or are written for large
ensemble. Students are taught about musical expression on page twelve (dynamics)
which falls into the typical range of most method studied. Standard 2b (expression) is
closely related to those found in Content Standard 5, and is addressed there in more
detail.
Students are given a large amount of music from other countries and cultures as
represented in Achievement Standard 2c. Fifty-Four exercises contain music from
countries other than the United States. Music is provided in the song genres of England,
105
France, Germany, Silesia, Austria, Israel, Indonesia, Ghana, Jamaica, Russia, Italy,
Mexico, Whales, Scotland, Canada, the Caribbean, the Czech Republic, China,
Argentina, Belgium, Korea, and other unnamed African countries. The music presented
to the students is largely of the folk genre, with other exercises being drawn from the
Middle Ages, as well as the Baroque, Classical, and Romantic eras.
Students are given ample opportunity to satisfy Achievement Standard 2d.
Students are asked to “play by ear” on five different occasions. These exercises are in
addition to those mentioned earlier, where on the first page of the method, students are
asked to rhythmically sound out, “by ear” six different melodies on their mouthpiece and
barrel. The amount of music played “by ear” is substantial in comparison to other
methods in this study.
This Standard is met by an exercise in the method book where the students are
given five notes and an ostinato pattern for a friend to play while they improvise.
This Standard is met by Achievement Standard 4a. Students are given the
opportunity to write their own music on five separate occasions in the method. Each
instance is labeled as “Composer’s Corner.” In the first instance, students are asked to
use the first three notes they have learned and to write a composition using only the note
names. In the next three instances, students are asked to complete a melody provided to
them, using only the notes they have learned to that point in the method book. The final
106
composition opportunity gives the students a well-known melody and asks them to
arrange it in a different meter than presented.
This Standard is met along with every accompanying Achievement Standard.
Since the basic principle of Standard #5 is reading and notating music, students who
complete the method as well as the exercises mentioned in 4a will automatically meet all
criteria for this Standard. Reading music is the cornerstone of beginning band
instruction, and the pedagogy used in this method is sound and researched based.
Students meet 5a with the following exceptions: they are not exposed to 6/8, 3/8
or cut time, and are not exposed to sixteenth notes or rests. Students meet 5b simply by
learning to read music in the class. They are not shown any clef other than their own for
the duration of the method. Students meet 5d by completing 4a. Students meet 5e by
completing 2b.
This Standard is met by two of its Achievement Standards. Unlike many methods
studied, this method does cover musical description at the beginning band level. Students
are given six exercises under the heading “Interpretation Station.” In the first
“Interpretation Station”, students are given an aural example and are asked to describe the
music and how it made them feel. In the next exercise, students are given two
performances to compare and contrast. In the next three exercises, students are asked to
listen and to either discover the meter, decide the proper tempo marking, or decide the
107
proper articulation. The final “Interpretation Station” asks the student to decide if the
piece is scale based or arpeggio based.
This Standard is met by Achievement Standard 8a. In meeting 8a, students are
given no less than fourteen composer’s information as their music is presented in the
method book. The composer information is listed under “History” in each instance.
Students are not only given the composer information, but are also supplied with Art and
World history of the composer’s particular time period. This unique way of presenting
composer data sets this method book apart from the others, in that it meets National
Standard 8, and does so in a consistent way throughout the method. Students have a basic
understanding of the artist in his or her time, and can make their own inferences as to
how the piece presented may have fit into that era.
This National Standard is met by Achievement Standard 9b. This Achievement
Standard is met in this case by meeting 8a (as mentioned above). In short, National
Standard 9 is indirectly met by meeting National Standard #8 (8a).
108
Standard Met
#1:
Achievement Simon “sez” Students are asked to sing along with a reference recording (not reviewed )
Standard Simon “sez” prior to learning to play the songs by “ear.”
1a. Simon “sez”
Measures of Success

Standard Met
#2:

Standard pp. 5-51
2a.
Group: Group exercises start in 2 parts on page 8:
pp. 8-50 (1.20, 1.31, 2.10, 2.15, 2.25, 3.17, 3.24, 3.35, 3.36, 4.8, 4.16, 4.30, 4.33,
5.17, 5.24, 6.19, 6.24, 6.29)
Group exercises containing individual parts for specific instruments starts

on page 16:
(2.26, 2.27, 2.28, 2.29, 2.30, 2.31, 3.38, 3.39, 4.31, 4.32, 5.31, 5.32, 6.26,
6.27, 6.28)
Achievement pp. 12-50 Expression markings are introduced on p. 12 (dynamics) and are
Standard continually represented throughout the method (See Content Standard 5).
2b. All exercises after page 12, exercise 2.7.
Level 2 after page 32, exercise 4.3.
Measures of Success
109
Standard Met
#2:
Achievement p. 7 1.14: English Folk Song

Standard p. 8 1.16: French Folk Song
2c. p. 9 1.27: English Folk Song
p. 11 2.1: German Romantic, 2.5: Silesian Folk Song
p. 12 2.7: Austrian Classical, 2.9: English Folk Song
p. 13 2.11: Hebrew Folk Song
p. 15 2.22: Indonesian Folk Song
p. 16 2.27: Ghanaian Folk Song
p. 17 2.30: Jamaican Folk Song
p. 20 3.15: Russian Folk Song
p. 21 3.24: French Folk Song
p. 22 3.29: English Baroque
p. 24 3.36: Hebrew Folk Song
p. 25 3.38: Italian Romantic
p. 26 4.3: Mexican Folk Song
p. 27 4.6: German Baroque, 4.7: Mexican Folk Song, 4.8: Austrian Romantic
p. 28 4.11: Russian, 4.12: French Romantic, 4.13: Scottish Folk Song
p. 29 4.19: Welsh Folk Song
p. 30 4.21: French-Canadian, 4.22: Caribbean Folk Songs, 4.23: Czech Romantic
p. 31 4.29: Austrian Romantic
p. 32 4.30: Israeli Folk Song
p. 33 4.31: Chinese Folk Song
p. 34 4.33: English Baroque
Measures of Success
110
Standard Met
#2:
Achievement p. 35 5.9: French Folk Song

Standard p. 36 5.14: Hebrew, 5.16: Japanese Folk Songs
2c. p. 37 5.17: German Romantic, 5.20: German Baroque
p. 38 5.23: Argentinean Folk Song
p. 39 5.26: Austrian Classical, 5.27: French Romantic
p. 40 5.30: Scottish Folk Song
p. 41 5.31: Flemish Renaissance, 5.32: Russian Folk Song
p. 42 6.5: Russian Romantic, 6.6: Korean Folk Song
p. 43 6.7: Italian Romantic
p. 44 6.11: African Folk Song, 6.13: Israeli National Anthem
p. 45 6.19: Israeli, 6.20: English Folk Songs
p. 46 6.21: Italian Middle Ages, 6.24: French Romantic
p. 47 6.25: Canadian National Anthem
p. 48 6.26: German Baroque
p. 50 6.29: French Romantic
Achievement All exercises below are titled “Simon Sez” in the method book.
Standard
2d. p. 10 Student “echos” what is performed for them by the director on their
instrument.
p. 15 Student plays the melody given on the CD by ear.
p. 24 Students play the melody given on the CD by ear.
Measures of Success
111
Standard Met
#3:
Achievement p. 47 The exercise below one of many titled “Composer’s Corner” in the method
Standard book.
3c.
Students are given 5 notes and an ostinato pattern for a friend to play while
they improvise.
Measures of Success

Standard Met
#4:
Achievement The following five exercises are entitled “Composer’s Corner”:
Standard
4a. p. 4 Students use the three notes they have learned, and write the note names in
compositional style.
p. 10 Students are given a partially completed melody to finish using only the notes
they know.
they know.
they know.
p. 32 Alouette in Two: Students are given a known melody and are asked to
“arrange” it in a different meter.
Measures of Success
112
Standard Met
#5:

Standard

Standard

Standard
5c. Pitch/Rhythm: 5-51. Dynamics: 13-50. Articulation: 14-50.
Tempo: 27-50. Expression: 22-50

Standard
5d.
Standard home. I place a break between level one and level two at page 26, after
5e. exercise 4.3. At this page, students should have been introduced to all
Achievement Standards under Content Standard 5.
Measures of Success
113
Standard Met
#6:
Achievement All exercises below are titled: “Interpretation Station” in the method book.
Standard
6a. p. 10 Students are given an aural example and asked to describe the music and how
it made them feel.
p. 15 Students are given two performances to compare and contrast.
p. 24 Students are given a set of aural examples and are asked to discover the meter.
p. 32 Students are given a set of aural examples and asked to decide the proper
tempo marking.
p. 40 Students are given a set of aural examples and asked to decide the proper
articulation marking
p. 47 Students are given a set of aural examples and asked to decide if they are scale
or arpeggio based.
Measures of Success
114
Standard Met
#8:
Achievement All exercises below are titled: “History” in the method book.
Standard
8a. p. 9 Music of Stephen Collins Foster, Art and World history of the time period.
p. 11 Music of Ludwig van Beethoven, Art and World history of the time period.
p. 12 Music of Wolfgang Amadeus Mozart, Art and World history of the time
period.
p. 22 Music of George Frederic Handel, Art and World history of the time period.
p. 27 Music of Gustav Mahler, Art and World history of the time period.
p. 28 Music of Pyotr Ilyich Tchaikovsky, Art and World history of the time period
p. 28 Music of John Philip Sousa, Art and World history of the time period.
p. 30 Music of Antonin Dvorak, Art and World history of the time period.
p. 37 Music of Johannes Brahms, Art and World history of the time period.
p. 37 Music of Johann Sebastian Bach, Art and World history of the time period.
p. 39 Music of Franz Joseph Haydn, Art and World history of the time period.
p. 39 Music of Paul Abraham Dukas, Art and World history of the time period.
p. 43 Music of Giuseppe Verdi, Art and World history of the time period.
p. 46 Music of Georges Bizet, Art and World history of the time period.
Measures of Success

Standard Met
# 9:

Standard
9b.
Measures of Success
115
4.12 Now Go Home and Practice! (1994)
J. Probasco, D. Grable, D. Meeks, J. Swearingen
Standards Met: 2 (a, b, c), 5 (a, b, c, e)
The method book was published in the same year the National Standards for
Music Education were released (MENC, 1994). This book compares more with those
prior to 1994. In 1994, the State of Ohio (where the authors were employed at the time)
did not yet have Standards for music education. The method book is skill driven in that
learning how to play the instrument takes prominence over any overarching Standards for
music education at-large.
Now Go Home and Practice! stresses a regular practice time for students,
reminding the young musicians that 15 minutes per day is sufficient to achieve mastery as
presented by the method as stated on the inside cover (Probasco, 1994). The method
encourages students to take private lessons and continually stresses parent involvement in
the instrument learning process. These tenets are common in beginning band instruction
across the country, yet are presented as important in the text as they are outlined on the
inside cover of the book.
Probasco (1994) places a “parent pointers” text box at the bottom of each page. As
Probasco makes it clear throughout the book, parent involvement is considered a key to
success with beginning band instrumentalists. Each “parent pointers” box thoroughly
explains the page’s exercises and gives parents enough information to provide guidance
for their child as they learn the lessons presented.
116
Each page that contains only exercises also contains a “Now Go Home and
Practice” text box. In this box, the parent and director check off each exercise after it has
been performed to satisfaction. This addition to the method book gives the student a
visual cue as to which exercises still need work and which exercises are mastered. Many
method books prior to Probasco’s (1994) provided a checklist at the front or at the back
of the book. With the addition of this text box on each page, students can keep track of
their mastered exercises and both parent and teacher are equally informed of the students’
successes.
In addition to the exercises, Probasco also includes group songs to be played in a
heterogeneous or homogeneous setting. The large group pieces serve two purposes; one
is to get the students used to performing in a heterogeneous setting. The second purpose
is to give students an opportunity to evaluate their own performance in addition to those
around them.
Probasco (1994) provides a section called “Fun and Games” at regular intervals to
reinforce items such as note names, note values, musical terms, and music theory items.
Probasco uses cross word puzzles, word finds, and fill in the blank methods to help
students remember what has been taught. Each “Fun and Games” page comes after
several pages of exercises and can be used as homework for the students, or completed in
class.
Now Go Home and Practice! contains a double paged “pull-out” with all of the
notes students need to master by the end of the book. The “pull-out” is instrument
specific and gives the note name and position on the staff. Students can use these as flash
117
cards for fingering memory. The “pull-out” provides yet another opportunity for parents
to become involved with their child’s learning. Students are also given a musical terms
glossary at the end of the book to use as continual reference during their instrument
learning program.
Now Go Home and Practice! is presented to students with a CD of play-a-long
tracks. The cassette version is still available at many music stores. In addition to a
Teacher’s Book, the publishers also provide an Assignment Book, to further the idea of
individual student practice for better results.
Students are given an exceptional amount of group exercises in addition to their
individual exercises presented in the method. Twenty-two exercises are for more than one
person, with five of these exercises written for more than two players. The method
provides all parts for these exercises, so each student can experience the melody,
harmony, and bass line.
Students are taught about musical expression early in the text (page 15), as is
common with most methods reviewed. Students are taught about accents on page 17,
crescendo and decrescendo on page 22, and slurring on page 23. Students are given
tempo information in Italian and in English throughout the method.
Of the exercises given to the students for study, fifteen were from countries other
than the United States. Music was provided from the following countries: Germany,
England, France, Mexico, Israel, Switzerland, Ireland, and Australia. It should be noted
that many of the exercises in the book were not marked for multicultural discovery,
118
meaning there may have been more presented that was recorded. A high number of
American works were presented in this method. Music was presented from the folk music
of these countries, as well as Classical and Romantic eras.
Standard five centers on reading and understanding written music and its
accompanying language. Students are exposed to written notes and rhythms throughout
the method book from the beginning to the end. Students are taught dynamics early in the
method, as well as articulation and tempo. Students are taught about expression later in
the book, yet still have over twenty pages in which to practice this part of Achievement
Standard 5c. Achievement Standard 5e calls for students to be able to sight read at a
difficulty level of two (on a scale of 1-6). This method book meets this Achievement
Standard early, on page 27 (of 46). This method gives students an exclusive opportunity
to read melodies on a consistent basis from page to page and unit to unit.
As suggested by Achievement Standard 5a, this method does not touch upon 3/8,
6/8, or alla breve meters. The method does not cover sixteenth notes or rests. Students
are not shown melodies in a clef other than their own (5b). This method is similar to
others reviewed in relation to compliance with Standard 5, as it relates to note reading,
rhythm recognition, and the learning of the language of music in addition to these two
items.
119
Standard Met
#2:
Achievement Solo All exercises can be performed as solos.
Standard pp. 7-46
2a.
Group: Group exercises start in 2 parts on page starts on page 10:
pp. 10-46 (p. 10-6, p.15-5, p.18-1, p.28-6, p.31-2, 34-7, 35-1, 41-You’re a Grand Old
Flag, 45-2).
Group exercises start in 3 parts with all parts on one page on page
12: (12-Premier March, 13-Lightly Row, 20-Rockin’ the Old Man, 21-
America, 44-3).
Group exercises containing individual parts for the specific instrument starts
on page 27: (27-Theme from First Symphony, 33-When the Saints, 33-Aura
Lee 38-Band Ole, 38-Amazing Grace, 46-Chester, 46-Strut Your Stuff).
Achievement pp.15-46 Expression markings are introduced on p. 15 (dynamics) and are continually
2b.
Level 2 after page 27, exercise “Theme from First Symphony.”
Achievement p. 10 2: German Classical, 6: English Folk Song

Standard p. 15 4: French, 5: English Folk Songs
2c. p. 17 5: Mexican Folk Song
p. 22 3: Israeli National Anthem
p. 27 German Romantic-Theme from First Symphony,
French Folk Song
p. 31 2: Swiss Folk Song, 4: French Romantic
p. 31A 4: Irish Folk Song
p. 44 1: Irish, 2: Australian, 4: English Folk Songs
p. 45 1: French, 3: Irish Folk Songs
It should be noted that very few of the above exercises were actually labeled
as to the country of their origin. The author made a minor attempt to retrieve
the origin of these items via the internet.
Now Go Home and Practice!
120
Standard Met
#5:

Standard
5a. Students are not exposed to 6/8, 3/8, or cut time.

Standard
5b. Students are shown all clefs on p. 6.
All student exercises are in the clef of their instrument

Standard
5c. Pitch/Rhythm-p.7-46. Dynamics-p. 15-46. Articulation-p. 17-46.
Tempo-p. 18-46. Expression-p. 22-46.
Achievement pp. 27-46 Students are expected to sight-read exercises prior to practicing them at home.
Content Standard 5 (see 2b).
Now Go Home and Practice!
121
4.13 Premier Performance (1999)
E. Sueta
Premier Performance was released in 1999, five years after the release of the
National Standards for Music Education. The back cover of the method gives highlights
of the program, including the number of lessons for beginning students, the number of
full band arrangements, additional pages for specific instruments, and gives information
about the play-along CD included with the book.
The book is printed in color, with new information presented at the top of each
page in two-colored blue boxes. The titles are also printed in blue. The notes, staves, and
information inside the information boxes are printed in black. The layout of the method is
spacious, with exercises easily read by the performer. The book is full of opportunities
for the student to play, with 230 total items for performance.
The beginning of the method provides two pages with color pictures of a student
playing the instrument, with specific objectives for the student on instrument assembly,
care, embouchure formation, and posture. This section also provides a legend for the
instrument, where each section is adequately described. The back of the book provides a
brief history of the instrument, fingering chart, and a musical glossary that provides terms
as well as symbols learned in the method.
Students are given an abundance of material to play as they learn their specific
instrument. As the author mentions, french horn and clarinet have extra pages added for
122
specific learning objectives. In the clarinet book reviewed, there are 29 exercises for the
clarinet prior to the official start of the method. The end of the book provides 22
additional exercises for the clarinet, followed by 46 scale and rhythm exercises. Students
should have no issue following the pattern of instruction laid out by the author of the
method. Each exercise is easy to read, chronologically presented, and reinforced either
with prior information or expanded upon in later exercises.
A CD full of play-a-long tracks is provided for the student to use with their
individual method book. In addition to the CD and the method book, the publisher also
provides a Teacher’s Guide, which contains more information and activities for the
students to use in their daily classes and home practice.
As stated throughout this method book review, the number of exercises given to
the student is high. There are more exercises in this method book than most studied.
Students are exposed to duet playing early in the method on page eight, and are given
twelve opportunities to play with one other person. Students are given the opportunity to
play six pieces in full band settings, and are given one more duet in the “clarinet only”
section of the method. Students are given a reminder of proper posture, as requested by
Achievement Standard 2a.
Students are introduced to musical expression late in this method, on page 19. As
Achievement Standard 2b more closely relates to National Standard 5, the contents will
be discussed later in this study. Students are given 48 exercises at level one. Level two
123
performance begins at a point in the method where all items under both Achievement
Standard 2b and all of National Standard 5 have been met.
Music from 18 countries other than the United States is presented to fulfill
Achievement Standard 2b. Students learn music from the folk genres of several countries,
as well as music from the Classical and Romantic time periods. Students are exposed to
music from the following countries: France, Ukraine, Germany, Mexico, England,
Russia, Estonia, Canada, Portugal, Austria, Australia, Italy, Netherlands, Czechoslovakia,
Spain, Ireland, Hungary, and Argentina.
Standard 4 is met by Achievement Standard 4a, where the author provides the
opportunity for students to compose music during their instrumental music study.
Students compose a rhythmic exercise, compose a melody, complete a well-known
melody, and complete a composition that had been started by the author. These four
exercises are all given to the students within a twelve-page span of the method book.
Standard 5 is met by all underlying Achievement Standards, with exceptions.
Students are given the opportunity to meet Achievement Standard 5a throughout the
method, though they are not exposed to 6/8, 3/8, or alla breve time signatures. Students’
rhythmic instruction does not include the study of sixteenth notes or rests. Students are
given exercises to meet Achievement Standard 5b with the exception that their exercises
are only presented in their instrument’s clef. Students have exercises in the method to
meet Achievement Standard 5c, including information on pitch, rhythm, dynamics,
124
articulation, tempo, and expression. It should be noted that with the exception of pitch
and rhythm, all other sub-indicators of 5c are taught later in the method, starting on page
eighteen. Students meet Achievement Standard 5d by meeting Achievement Standard 4a,
and likewise meet Achievement Standard 5e by meeting Achievement Standard 2b.
125
Standard Met
#2:

Standard pp. 6-45
2a.
pp. 8-40 (22A/B, 27A/B, 36A/B, 40A/B, 44A/B, 49A,B, 53A/B, 95A/B, 100A/B,
126A/B, Minuet, 9A/B*
Group exercises in 3 parts start on page 14.

(31A/B/C, 59A/B/C, and 72A/B)

page 24.
(March to the Dry Gulch, Chi Chi Cha Cha, Lake Station March,
Tyrannosaurus Rex Stomp, Commodore March, and Alpine Overture)
* 9A/B is contained in the “clarinet only” portion of the book at the end of the
large group section. This section re-starts numbering at 1.
Achievement pp.19-45 Expression markings are introduced on p. 15 (accents) and are continually
2b.
Premier Performance
126
Standard Met
#2:
Standard p. 12 21: French Folk Song
2c. p. 13 26: French Folk Song
p. 19 52: Ukrainian, 53: German Folk Song
p. 20 57: Mexican Folk Song
p. 21 60: English Folk Song, 60: Russian Romantic
p. 25 74: Estonian Folk Song
p. 26 80: French-Canadian Folk Song
p. 29 95: Portuguese Folk Song
p. 30 100: German Folk Song
p. 32 109: Austrian, 110: Australian Folk Songs
p. 34 115: Canadian Folk Song, 116: Austrian, 117: French Classical
p. 36 126: Italian Romantic
p. 38 Minuet: Austrian Classical
p. 39A 3: Dutch Folk Song, 4: German Romantic, 5: Austrian Classical
p. 39B 6: Czech Romantic, 7: Spanish, 8: Irish, and 9: Italian Folk Songs
p. 39C 15: Hungarian, 16: Russian Folk Songs
p. 39D 17: French, 20: Argentinean Folk Songs
Premier Performance

Standard Met
#4:
Achievement p. 13 29: Students compose a rhythmic work within specific guidelines.

Standard p. 14 33: Students compose a melody within specific guidelines.
4a. p. 17 46: Students complete a well-known melody.
p. 25 77: Students complete a composition that has been started by the author.
Premier Performance
127
Standard Met
#5:

Standard
Achievement pp. All exercises after page 6.

Standard 6-41,
5b. 44-45 Students are shown their particular clef on page 5.
All student exercises are in the clef of the instrument.
Achievement pp.6-45 All exercises after page 6.

Standard
5c. Pitch/Rhythm-pp.6-45. Dynamics-pp. 19-41. Articulation-pp.18-41
Tempo-pp.19-41 Expression-pp.15-41
Achievement See 4a See 4a

Standard
5d.
Achievement See 2b See 2b

Standard
5e.
Premier Performance
128
4.14 Sound Innovations (2010)
R. Sheldon, P. Boonshaft, D. Black, B. Phillips
Standards Met: 1 (a), 2 (a, b, c), 3 (c), 4 (a), 5 (a, b, c, d, e), 6 (c), 7 (a,), 9 (b)
Sound Innovations was reviewed from a preview edition provided by the
publisher, since the final edition had yet to be released at the time of research for this
document. The method book attempts to teach from a Standards based platform, as
mentioned on the back cover. Given the number of Achievement Standards met by the
method, I agree with those people who wrote the book as to the level of study given the
National Standards for Music Education. This method is carefully thought out through
the lense of the National Standards, with the key concepts well organized.
According to the back cover of the method book, it is available in two versions.
The first version (as reviewed) is the Standard version. A second version or “director’s
version” is available. In the “director’s version”, the teacher designs the method book
either from scratch, or from templates provided by the publishers. This customization
allows teachers to select starting pitches as well as specific songs they may wish to add to
the method book.
The method introduces note names, note lengths, sharps, flats, and accidentals all
on the same page. On that page is also information about the instrument’s clef, the
definition of a bar line, the definition of a measure, and the student’s first time signature
(4/4). The authors present the student with a practice philosophy along with introducing
the student to the CD to be used for practice.
129
This method is one of only a few studied that met Standard #1. In addition to
meeting Standard #1, this method is one of only a few studied that met Standard #9.
Information about composers is important to young learners, and the composers chosen
for further study are of significant merit. This method is also in the minority of those
studied relative to teaching improvisation. Though this method only gives one exercise
on improvisation, it does give clear directions for students to start their exploration on
this topic.
The layout of the method is particularly unique in that there is plenty of space
between the exercises. All important information is placed above the exercise in which it
is first used, rather than always being at the top of the page. All instructions are written
in italics, allowing them to stand out on the page. The sequence of the book is similar to
most methods studied, and progresses through the ability levels of its audience.
In addition to the fully customizable nature of the method book, a CD/DVD is
also provided for the student. The nature of a fully customizable method book would lend
itself to be fully capable of teaching all nine National Standards, with CD and Teacher
Manual, or without. The discretion would, in this case, be up to those whom write the
custom version of the method.
Sound Innovations employs a “clap-sing-play” pedagogy for eight exercises in the
book. While the author does not ask the students to use this method with every exercise,
it is feasible to assume the process could be replicated for the remaining exercises.
Standard #1 is met, in that students are asked to sing for the aforementioned exercises. It
130
is of particular interest that the singing requested by the authors is not a stand-alone
request, but is a part of a three-layer method for reading and performing music.
Group exercises make up a significant amount of the method. Students are given
thirty-seven exercises in the method that are written for two parts, three parts, or large
ensemble. Of these exercises, nineteen are duets, two are trios, and sixteen are for large
heterogeneous ensemble. Sound Innovations gives the individual student a wide variety
of exercises in all possible mediums of rehearsal and performance.
Students are taught about musical expression early in the text on page 15, and this
knowledge is expanded and reinforced throughout the method. Students are given a
combination of English and foreign language tempo and expression terms throughout the
book, along with dynamics. Standard 2b (expression) is closely related to those found in
Content Standard 5, and is addressed there in more detail.
This method gives the students a wide variety of multicultural music to study. Of
the exercises given to the student, forty-nine are from countries other than the United
States. Music is provided in the folk song genres of England, France, Israel, the
Caribbean, Germany, China, the Czech Republic, Mexico, Norway, Italy, Whales, the
Middle East, Korea, Canada, Russia, and Ireland. Exercises given also cross several
timelines from the Baroque, Classical, and Romantic Eras. The music is diverse and
interesting for the students as they progress from one level to the next.
131
The Standard is met with an exercise in the method book where the students are
asked to improvise their own melody after playing the melody provided. The exercise is
the last one in the book.
Students are given the opportunity to write their own music on three separate
occasions in the method. Satisfying Achievement 4a, students are asked to write their
own variation on “Hot Cross Buns” on page eighteen. Students are asked to finish a
composition started by the authors on page thirty. Also on page thirty, the students are
given eight blank measures in which to write their own composition. Using knowledge
learned in the method previous to this exercise, students are asked to write their own clef,
meter, key signature, tempo, and style. Students are asked to use articulations and
dynamic markings in their piece. Finally, they are given no parameters for their
composition; the piece is intended to be completely original.
the basic principle of Standard #5 is reading and notating music, students who complete
the method as well as the exercises mentioned in 4a will automatically meet all criteria
for this Standard. Reading music is often a large part of beginning band instruction, and
the pedagogy used in this method is sound and researched based.
Students meet 5a with the following exceptions: they are not exposed to 6/8, 3/8
or cut time, and are not exposed to sixteenth notes or rests. Students meet 5b simply by
132
learning to read music in the class. They are not shown any clef other than their own for
the duration of the method. Students meet 5d by completing 4a. Students meet 5e by
completing 2b.
Students are given a basic rubric for evaluating performances in an exercise on
page 30. Students are given information on concert etiquette. On this same page, students
are given cues for evaluating performances. Using the exercise “Sailor’s Chantey”,
students are to perform for one another and to listen for rhythm, intonation, tone,
dynamics, phrasing, and expression. It is gathered from the method that this should be
employed in future exercises performed in class. This set of exercises satisfied
This National Standard is met by Achievement Standard 9b. Students are given
historical information about nine famous composers throughout the method. In each case,
the composer’s name, dates, and genre are stated. Information about the composer ranges
from famous works to incidental information about their lives. The delivery of
information in relation to the composers varies depending on the use of the information.
The composer’s dates are often the only item in the description that relates their works to
significant historical events.
133
Standard Met
#1:
Achievement p. 7 In each instance, the author instructs the students to clap, then sing, then play
Standard p. 8 the exercise.
1a. p. 9
p. 11 12, 15,16, 25, 37, 46, 82, 107
p. 13
p. 22
p. 27
Sound Innovations

Standard Met
#2:

Standard pp. 5-44
2a.
pp. 7-44 (14, 27, 29, 32, 33, 36, 44, 57, 62, 63, 64, 76, 118, 120, 123, 151/152, 173,
174)
Group exercises start in 3 parts on page 40.

(175, 182)

page 10.
(32, 48, 49,50, 71, 72, 73,105, 108, 165, 171, 172, 183, 184, 185, 186, 187)
2b.
Sound Innovations
134
Standard Met
#2:
Achievement p. 8 18: English Folk Song

Standard p. 9 24: French, 28: English Folk Songs
2c. p. 10 31: Hebrew Folk Song
p. 11 35: Austrian Classical, 38: English Folk Song
p. 12 42: Caribbean, 44: German Folk Songs
p. 17 64: French, 66: Chinese Folk Songs
p. 19 71: Austrian Classical, 73: German Romantic, 74: Czech Folk Song
p. 22 82: Mexican Folk Song, 83: French Romantic, 84: Norwegian Romantic
p. 25 97: French, 100: Japanese Folk Song
p. 27 107: German Romantic, 108: Scottish Folk Song
p. 28 113: Welsh Folk Song, 115: Italian Romantic
p. 29 117: Arabic Folk Song
p. 31 126: Russian, 127: Welsh, and 128: Korean Folk Songs,
129: German Baroque, 131: Russian Romantic
p. 32 134: French-Canadian Folk Song, 135: Israeli National Anthem,
136: Russian Romantic
p. 38 169: Austrian Romantic, 171: German Baroque, 172: Russian Romantic
p. 40 175: Irish Folk Song
Sound Innovations
135
Standard Met
#3:
Achievement p. 42 183: An exercise is repeated six times. Students improvise with five given
Standard pitches over the form of the song.
3c.
Sound Innovations

Standard Met
#4:
Achievement p. 18 70: Students are asked to write their own variation on “Hot Cross Buns.”
Standard p. 30 124: Students are asked to finish a composition started by the authors.
4a. Music My Way: Students are asked to write a piece from the beginning, using
clef, meter, key signature, tempo and style of their choice. Students are asked
to include articulations and dynamics.
Sound Innovations
136
Standard Met
#5:

Standard
5a. Students are not exposed to 6/8, 3/8, or alla breve meter signatures.

Standard

Standard
5c. Pitch/Rhythm-pp.5-44. Dynamics-pp.15-44. Articulation-pp.17-44.
Tempo-pp.19-42. Expression-pp. 21-42

Standard
5d.
Achievement pp. 24-44 Students are expected to sight-read exercises prior to practicing them at home.
Content Standard 5.
Sound Innovations
137
Standard Met
#7:
Achievement p. 31 130: Students develop criteria for listening in class and use number 130 as a
Standard guide for their listening critiques.
7a.
Sound Innovations

Standard Met
# 9:
Achievement p. 19 71:Wolfgang Amadeus Mozart, his history and his music.

Standard p. 19 73: Johannes Brahms, his history and his music.
9b. p. 20 76: Stephen Foster, his history and his music.
p. 22 84: Edvard Grieg, his history and his music.
p. 26 104: Antonin Leopold Dvorak, his history and his music.
p. 27 107: Ludwig van Beethoven, his history and his music.
p. 37 166: Franz Joseph Haydn, his history and his music.
p. 38 171: Johann Sebastian Bach, his history and his music.
p. 38 172: Modest Petrovich Mussorgsky, his history and his music.
Sound Innovations
138
4.15 Standard of Excellence (1996/2006)
B. Pearson
This method book has a high number of exercises, with a total of 266 individual
opportunities for students to play their instrument. Students are started in a manner
similar to other method books studied. The sequence of learning is similar to most
method books of this time period. The book is printed in color, with sharp red lines
separating the exercises from the new content to be learned on each page. New content is
clearly stated at the top of the page, and adequately reinforced in the exercises that
follow.
The method contains a section for the specific instrument at the beginning of the
book, and each unit has at least one exercise specifically written for the student’s
instrument. At the end of the book, there are supplemental exercises to those in the body
of the method that are written for the student’s instrument. In addition to rhythmic studies
at the back of the book, students are given a glossary with both terms and figures, along
with their definitions. Students are also given a brief history of their instrument, as well
as care instructions. The care instructions are also placed at the beginning of the book,
along with information on making the first sounds on the instrument.
Standard of Excellence is very well organized, printed in color, as mentioned
earlier, and follows a traditional path to follow in order to complete a first year program
on a band instrument. The method provides a large number of exercises. These exercises
139
are presented in a multi-cultural format, and vary amongst each other to a high degree.
Students are given a large number of group exercises, from duets to full band pieces.
The amount of exercises written just for the student’s instrument is high in
comparison to other methods researched for this study. Students are given traditional
exercises, then expansion exercises for their specific instrument at the end of the book.
This system is consistent throughout the method, and gives the student an opportunity to
continue learning after their class session has ended.
Students are provided with a play-a-long CD from the publisher. In addition to the
CD, the publisher also makes available an Enhancer Kit, which provides more
opportunities for students to meet the National Standards. Students are given the
publisher’s proprietary software “iPas” for use during their time using the method book.
Students are given abundance of exercises to play, and within that core of
exercises, there are 29 works written for duet, and seven pieces written for full band. The
concept of a duet is presented on the second page of the full group portion of the method
book. The thirteenth exercise of the method book is a duet, which is early in relation to
other methods studied.
Students are taught about musical expression a few pages later than other method
books studied. Page seventeen contains the first mention of musical expression
(dynamics) in the method book. Students are not given foreign language or English
definitions of tempo until page 28, which falls later than most method books studied. As
140
2b falls more in line with National Standard 5, it will be addressed in more detail under
that heading.
Standard of Excellence provides students with an adequate amount of exercises
containing music from around the world. Students are exposed to music from twenty
countries or regions around the globe. Music is provided in the folk genre, as well as the
Renaissance, Baroque, Classical, and Romantic time periods. The exercises are based on
music from the following countries, regions, or continents: Whales, England, France,
Norway, Mexico, West Indies, Italy, Germany, Austria, Latin America, Australia,
Czechoslovakia, China, Russia, Belgium, Canada, Japan, Scotland, Israel, and Africa.
Students are not given the opportunity to learn melodies “by ear” as called for by
Achievement Standard 2d.
Students are given six opportunities to compose music in this method book. The
first three exercises vary in depth of concept in regards to composition. One offers two
measures, one offers one beat, and the third offers multiple partial measures of
composition. The fourth example is a rhythmic composition exercise. The final two
composition exercises contain four measures of writing opportunity for the students.
Standard five is met by all underlying Achievement Standards with noted
exceptions. Students who complete all exercises and assignments in the method will fully
meet National Standard 5. Students meet Achievement Standard 5a with the following
exceptions: students are not exposed to 6/8, 3/8, or alla breve meters. Students are also
141
not exposed to sixteenth notes or rests. Students meet Achievement Standard 5b with the
following exception: students are shown their particular clef on page 4 and no exercises
are written in any other clef throughout the method. Students fully meet Achievement
Standard 5c, learning pitch, rhythm, dynamics, articulation, tempo, and expression
throughout the method book. Students meet Achievement Standard 5d by meeting
Achievement Standard 4a, earlier mentioned. Students meet Achievement Standard 5e
after page 29, under the assumption that they sight read their exercises in class prior to
taking them home to practice for performances or playing tests.
142
Standard Met
#2:

Standard pp. 4-42
2a.
pp. 7-38
(13, 16, 24, 32, 37, 45, 47, 50, 52, 69, 71, 77, 80, 81, Sawmill Creek, 108,
110, 112, 113, 114, 119, 121, 123, 135, 138, 144, 147, 154, Musette)

page 12.
(Balance Builder, Jingle Bells, Motego Bay, Regal March, Balance Builder,
Trumpet Voluntary, Rockin’ Rondeau)
Achievement pp. 17-38 Expression markings are introduced on p. 17 (dynamics) and are continually
2b.
Achievement p. 7 12: Welsh Folk Song

Standard p. 8 16: English, 17: French, 20: English Folk Songs
2c. p. 9 26: English, 27: Norwegian Folk Songs
p. 11 38: West Indies Folk Song
p. 13 48: Italian Romantic
p. 15 57: German Romantic, 60: Austrian Classical
p. 17 71: Latin American, 72: Australian, 73: Czech Folk Songs
p. 19 80: Mexican, 81: French Folk Songs, 82: Norwegian Romantic,
83: Chinese Folk Song
p. 25 109: Russian Folk Song, 111: Flemish Renaissance
p. 26 115: Welsh, 116: French-Canadian Folk Songs
p. 27 121: English Baroque
p. 29 131: German Romantic,, 133: German Folk Song
p. 31 135: Japanese Folk Song, 137: Austrian Classical
p. 34 148: Scottish, 149: Hebrew Folk Songs
p. 35 153: African Folk Song, 154: German Canon
p. 36 Musette: German Baroque
Standard of Excellence
143
Standard Met
#4:
Achievement p. 9 28: Two measures of composition on existing theme.

Standard p. 15 60: One beat of composition for twelve measures.
4a. p. 22 90: Multiple partial measures of composition on existing theme.
p. 25 110: Rhythmic composition to complete duet form.
p. 31 137: Four measures of variation writing to complete form.
p. 34 150: Four measures of writing to complete the melody.
144
Standard Met
#5:

Standard

Standard

Standard
5c. Pitch/Rhythm-p.4-42. Dynamics-p. 17-42. Articulation-p. 15-42.
Tempo-p. 28-42. Expression-p. 28-42.

Standard
5d.
Standard home. I place a break between level one and level two at page 28. At this
5e. page, students should have been introduced to all Achievement Standards
under Content Standard 5.
145
4.16 The Yamaha Advantage (2001)
S. Feldstein, L. Clark
Standards Met: 1 (a), 2 (a, b, c, d), 3 (b, c), 4 (a), 5 (a, b, c, d, e)
The Yamaha Advantage was published seven years after the release of the
National Standards, and its content reflects this fact. The authors show their support of
the Standards on the back cover of the method book, and attempt to meet a majority of
them during the first year of instrumental music instruction. The book is printed in color,
and each page, as the authors state, is designed to look like a computer screen. The pages
are designed with boxes at the top of the page that are made to look like drop down
menus. In each drop down menu, a new concept is presented to the student. The drop-
down menus are color coded, with red representing new notes, blue representing music
theory, orange representing rhythm, and purple representing musicianship. Not all areas
are covered on each page. When a drop down area is not covered, it is left blank.
Students are provided, according to the authors, with seventeen duets, seven
pieces for full band instrumentation, and eight chorales for study in addition to the
regular exercises. The authors also mention an online community created just for students
of the method, where play-along tracks, games, quizzes and assessment exercises are
available. The authors also provide two ways to begin teaching every instrument, with
three ways available for horn and oboe.
The Yamaha Advantage provides students with a very easy layout to follow, as
mentioned earlier. Students are given the opportunity to meet five of the nine National
146
Standards. Students are given a wide variety of music to perform, and are exposed to the
traditional songs found in method books similar to it along with some that are unique to
this method book.
Most importantly, students are given more than songs to play in a sequential
order. The method gives students the opportunity to read, write, and improvise melodies.
Students are given the opportunity to sing in their instrumental music class; something
that is not provided in all of the methods studied. In addition to singing, students are also
exposed to harmonic progressions in the course of their music study in this text.
Students are provided with a play-a-long CD to use in conjunction with their
method book. Yamaha also provides an online community for the student user of the
method to join, connecting them with others using the method. Available for download
from the method book website are: Music Guide, Composer Biographies, and Music
Theory Worksheets. The publishers also have made available a method supplement
entitled Correlated Band Music for Book 1. These additional items likely increase the
student’s ability to work more fully within the National Standards for Music Education.
Standard 1 is met by Achievement Standard, 1a. Students are given three
opportunities to sing a rhythmic exercise after clapping it, and before playing the
exercise.
Students are given the opportunity to meet all applicable Content Standards under
National Standard 2. Students are given a multitude of exercises to perform alone. They
147
are given thirty-five exercises for group playing, and seven pieces for their full band to
play. It should be noted that the first piece written for full band is early in this method
book, starting on page 11.
Students perform with expression after page twelve, which is three pages earlier
than most methods studied. As Achievement Standard 2b closely relates to Content
Standard 5, it will be addressed there more fully. Students are given the opportunity to
fulfill Achievement Standard 2c as the authors provide a wide variety of music from
different cultures and genres. Music is presented from twenty-two different places around
the world. Music is provided from the following countries: England, Germany, France,
Korea, Austria, Mexico, Italy, Hungary, Israel, Norway, Australia, Russia, Whales,
Canada, Africa, Czechoslovakia, China, Japan, The Netherlands, West Indies, and
Scotland. Music given in the method covers genres from the Baroque, Classical,
Romantic, Twentieth Century, and several folk song time periods.
This method book is one of only a few studied that gives students the opportunity
to learn songs “by ear” as requested by Achievement Standard 2d. Students are given
four well-known songs to learn by ear; “Lightly Row”, “London Bridge”, “Twinkle
Twinkle Little Star”, and “Michael Row the Boat Ashore.” In each one of these
instances, notes are given as prompts, and then students are encouraged to figure out the
remaining parts of the melody. This concept is presented in a unique way throughout the
method.
148
Students are given three opportunities to improvise melodies as requested by
Achievement Standards 3b and 3c. Students are given a rhythmic improvisation exercise
that satisfies Achievement Standard 3b. In this exercise, students are given base pitches
and rhythms and are asked to improvise rhythmically. Students are given two separate
opportunities to improvise short melodies, as requested by Achievement Standard 3c. In
both cases students are given melodically. In the second exercise, students are also asked
to improvise rhythmically.
The method book meets this Standard with Achievement Standard 4a. Students
are given four separate exercises for music composition in this method book. One
exercise involves students completing a work using only the notes they had learned thus
far. The other three compositional exercises are previously referenced in Achievement
Standards 3b and 3c and written to satisfy both the improvisational and compositional
needs of the student.
Standard 5 is met by all accompanying Achievement Standards with exceptions.
In meeting Achievement Standard 5a, students are exposed to reading music, yet are not
exposed to 6/8, 3/8, or alla breve meter. The method meets Achievement Standard 5b,
yet does not show music in any other clef than the one for the specific instrument. The
authors give students the opportunity to meet Achievement Standard 5c completely,
exposing students to pitch and rhythm, dynamics, articulation, tempo, and expression.
149
Students are able to meet Achievement Standard 5d by meeting Achievement Standard
4a. Achievement Standard 5e requests students should be able to play at a level two of
six. This method provides level two learning approximately one third of the way into the
text.
150
Standard Met
#1:
Achievement p. 9 25: Students sing a rhythmic exercise.

Standard p. 14 48: Students sing a rhythmic exercise.
1a. p. 18 72: Students sing a rhythmic exercise.
The Yamaha Advantage

Standard Met
#2:

Standard pp. 4-44
2a.
pp. 7-39 (13, 20, 26, 31, 37, 38, 43, 44, 49, 55, 56, 61, 67, 73, 79, 80, 85, 93, 99,
101, 105, 108, 112, 118, 124, 128, 129, 131, 132, 138, 144, 145, 151, 157,
158, 163, 168, Jupiter)

page 11.
(The Victors, When the Saints Go Marching In, Carnival of Venice,

Conquest, Shaker Settings, Sousapalooza, Genesis)
2b.
151
Standard Met
#2:
Achievement p. 8 18: English, 19: German Folk Songs

Standard p. 9 21, 24: English Folk Songs, 26: German Romantic
2c. p. 12 37: German Romantic
p. 13 39: French Classical Study, 41: Jamaican, 42: English,
43: Korean Folk Songs
p. 16 58: French Romantic, 61: Austrian Romantic
p. 17 64: German Romantic, 65: Mexican Folk Song, 67: German Romantic
p. 18 70: German Baroque, 73: French Folk Song
p. 19 Carnival of Venice: Italian Folk Song
p. 20 77: Hungarian 20th Century, 79: Israeli Folk Song
p. 21 83: Italian Baroque, 85: German Romantic
p. 22 89: German Romantic, 91, 92: Austrian Classical
p. 23 95: Austrian Classical, 96: Norwegian Romantic,
97: French Romantic, 99: Australian Folk Song
p. 24 100: German Baroque, 102: Russian Romantic, 103: Italian Romantic
p. 25 109: Welsh, 110: Russian Folk Songs
p. 26 115: French-Canadian, 116: African Folk Songs
p. 28 121: French Romantic Study, 122: English Folk Song,
124: Austrian Romantic
127: Italian Romantic, 128: Hungarian Folk Song, 131: Czech Romantic
p. 29 132: English Renaissance, 134: German Romantic,
p. 30 135: Jewish Folk Song, 136: Chinese Folk Song
141: Japanese, 142: Mexican Folk Songs, 144: German Romantic
p. 31 145: German Romantic, 148: African, 149: German Folk Songs,
p. 32 151English Baroque
p. 33 152: German Classical Study, 154: German Baroque,
155: Cajon Folk Song,
p. 34 158: Netherlands Folk Song, 160, 161: Austrian Classical,
162: West Indian Folk Song
p. 35 166: Scottish Folk Song, 168: Austrian Classical
p. 36 Jupiter: English 20th Century
152
Standard Met
#2:
Achievement p. 8 19: Students play “Lightly Row” by ear.

Standard p. 13 42: Students play “London Bridge” by ear.
2d. p. 22 92: Students play “Twinkle Twinkle” by ear.
p. 34 162: Students play “Michael Row the Boat Ashore” by ear.

Standard Met
#3:
Achievement p. 24 104: Students are given base pitches and rhythms and are asked to improvise
Standard rhythmically.
3b.
Achievement p. 30 137: Students are given six notes and a rhythmic guide. Students are asked to
Standard improvise using the notes and rhythms.
3c. p. 33 156: Students are given base pitches and are asked to improvise melodically
and rhythmically.
153
Standard Met
#4:
Achievement p. 17 66: Students are given some pitches, and are asked to complete the work with
Standard notes and rhythms they have already learned.
4a. p. 24 104: Though referenced in 3b, this exercise can also double as a
compositional exercise, as explained by the method book author.
p. 30 137: Though referenced in 3c, this exercise can also double as a
p. 33 156: Though referenced in 3c, this exercise can also double as a
154
Standard Met
#5:

Standard

Standard

Standard
5c. Pitch/Rhythm-pp.7-44. Dynamics-pp.12-44. Articulation-pp.16-44.
Tempo-pp.11-44 Expression-pp.16-44
Achievement See 4a See 4a

Standard
5d.
Achievement pp.16-39 Students are expected to sight-read exercises prior to practicing them at home.
Content Area 5.
155
4.17 Summary of Chapter 4
All twelve method books were examined to find exercises that satisfied both the
Content and Achievement Standards (MENC, 1994). All method books examined were
able to meet at least two Content Standards without supplemental activities and
worksheets from the teacher’s version of the method. They were also able to meet a
minimum of two Content Standards without the aid of their CD or DVD. The information
was presented only on the Content and Achievement Standards met by the individual
method books. A full, blank rubric containing all nine Content Standards and their
Achievement Standards is available in the appendices of this document.
In several cases, the teacher can augment the teaching of the Standards by using
materials presented in the student edition as a starting point for their work. This is
especially true for those method books which were able to meet many but not all of the
Achievement Standards under a particular Content Standard.
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Chapter 5: Summary, Discussion, and Conclusions
5.1 Summary: Content Standards
The primary research question for this document was: To what level do the
beginning band method books address the National Standards for Music Education? This
question was answered with the data presented in Chapter 4, where each method book
was investigated independently from its supplemental materials and teacher book. The
clarinet, book 1 version of the method was used for an equal comparison of all of the
twelve method books selected for this study. The data in Chapter 4 presented the
opportunity for analysis of trends within the group of method books in relation to the
National Standards. This chapter sought to draw general conclusions as to the level that
method books reviewed addressed the National Standards for Music Education.
Considering that all twelve method books were able to meet at least two National
Standards, the discussion in this chapter centers on the areas where the method books, as
a whole, were strong in addressing the Standards, and in what areas there were fewer
examples. For example, all twelve method books met Content Standards 2 and 5. On the
other end of the spectrum, only two method books met Content Standard 8. The
discussion that follows provides information about the percentage of Content Standards
met as well as the percentage of methods that met each individual Achievement Standard.
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Below is a table showing the percentage of method books that met each Content
Standard.
1 2 3 4 5 6 7 8 9
50 100 66 75 100 25 25 25 41
Table 75. Percent of Content Standards Met by All Method Books
For the purposes of this study, a method book was able to meet a Content
Standard by meeting only one Achievement Standard. Since there was little prior
doctoral research on the topic, I felt that any method book making any attempt to meet a
Content Standard would be beneficial to the student. In some cases, as referenced in
Chapter 4, some Content Standards were met by a single exercise, and with one
Achievement Standard. In these cases, I felt the “spirit” of the particular Standard was
met, given the confines of the school year, the age group of the students served, and the
overall size of the method book itself.
In a general summation, at least 50% of the method books reviewed for this study
met the first five Content Standards. Content Standards 2 and 5, mentioned earlier, were
met by 100% of the method books. Content Standard 1, which requires students to sing,
was met by 50% of the method books reviewed. Content Standard 3, which calls for
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students to improvise in their music education, was met by 66% of the method books
reviewed. Content Standard 4, which exposes students to some form of composition, was
met by 75% of the method books. Students studying from one of these twelve method
books were most often given the opportunity to sing, perform on instruments, improvise
melodies, compose and arrange music, and read and notate music.
The level to which the method books addressed the Standards is different after
Content Standard 5. Students were given the opportunity to listen to, analyze, and
describe music, as suggested by Content Standard 6 in only 25% of the method books
reviewed. Students had the same opportunities, statistically, to meet Content Standards 7
and 8 which ask students to evaluate music, and to understand the relationship between
music, the other arts, and disciplines outside the arts, respectively. Content Standard 9
was met by 41% of the method books studied, and asks students to be able to understand
music within the relationship it has with history and culture.
5.2 Summary: Achievement Standards
The ability for a method book to address the Content Standards separate from its
supplemental texts, play-a-long CD, instructional DVD, and teacher resource manual was
presented in the section previous to the current section. This portion of the research
document focuses on general trends relating to the underlying Achievement Standards.
The twelve method books chosen for this study were analyzed using thirty of the
Achievement Standards. The rubric used for this study is available for review in the
appendices of this document. The Achievement Standards data by method book is
available in Chapter 4 of this document.
159
The table presented following this paragraph represents the percentage of method
books that addressed specific Achievement Standards with the student book independent
of supplemental materials.
Achievement Standard Percentage Met by Method Books

1a 50
1b 8
1c 8
1d 8
2a 100
2b 100
2c 91
2d 41
3a 8
3b 33
3c 66
4a 75
4b 0
4c 0
5a 100
5b 100
5c 100
5d 75
5e 100
6a 8
6b 8
6c 25
6d 8
7a 8
7b 16
8a 16
8b 8
9a 8
9b 41
9c 0
Table 76. Percentage of Method Books that Addressed Specific Achievement Standards
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5.3 Achievement Standards 1a, 1b, 1c, and 1d
The Standard calls for students to sing in their music education classes, regardless
of whether it is a general music, instrumental music, or choral music experience.
Teachers are directed by the standards to give the opportunity to learn about proper
singing technique, learn about proper vocal expression, experience high quality music
from this country and others, and sing in two and three parts.
Students were given the opportunity to sing “accurately and with good breath
control...” (MENC, 1994) in 50% of the method books reviewed. All method books that
addressed Content Standard 1 did so with Achievement Standard 1a. The method of
delivery differed, in that some methods asked students to sing on rhythm syllables, where
others printed words beneath songs for students to sing.
Achievement Standards 1b, 1c, and 1d were addressed by eight percent of all
method books reviewed for this study. Those Achievement Standards addressed a level of
difficulty of two on a scale of six, as well as requested students sing music representing
diverse genres, and to do so in two and three part writing. Though singing in general was
met by a larger number of method books (six methods), only one representing eight
percent addressed the remaining Achievement Standards under Content Standard #1.
All method books reviewed for this study met Content Standard #2. As this
Standard relates directly to performing on instruments “alone and with others” (MENC,
1994), it stands to reason that this Standard would be met even with the absence of
supplementary material. Achievement Standards 2a and 2b were met by 100% of the
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method books studied. Achievement Standard 2a addresses students performing on an
instrument, and Achievement Standard 2b addresses the expression and technical
accuracy portions of the students’ music education through instrumental music.
Ninety-one percent of the method books studied addressed Achievement Standard
2c. This Achievement Standard speaks to the diversity of the material presented in the
text. Taking into account the supplemental materials presented in the “Key Features”
portion of each method book, using supplemental materials from outside of the method
book would bring the percentage of methods to address the Standard from 91% to 100%.
Achievement Standard 2d asks students to play music “by ear” and to play
“simple accompaniments on a harmonic instrument” (MENC, 1994). Forty-one percent
of the method books studied contained some exercise or exercises that addressed the
playing “by ear” portion of this Achievement Standard. As the method books are written
for specific instruments (in this case, clarinet), I did not attempt to categorize method
books based on their attention to the latter part of this Achievement Standard that dealt
with simple accompaniments.
5.5 Achievement Standards 3a, 3b, and 3c
As stated earlier, sixty-six percent of all method book studied addressed Content
Standard #3. The same percentage of method books specifically addressed Achievement
Standard 3c, which asks students to improvise melodies “unaccompanied and over given
rhythmic accompaniments” (MENC, 1994). In fact, the same method books that met the
Content Standard also met at least Achievement Standard 3c. Many of those same
method books also met Achievement Standards 3a and 3b. No method book studied
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covered Achievement Standards 3a and/or 3b without also covering Achievement
Standard 3c.
Achievement Standard 3a addresses similar issues to Achievement Standard 2d,
in that it asks students to “improvise simple harmonic accompaniments” (MENC, 1994).
Eight percent of the method books, or one method book, met this Achievement Standard.
One could make the argument that this Achievement Standard is one that may not be met
by beginning band in any form, regardless of which method book is chosen. This is due
to the fact that students are primarily engaged in learning their wind band or percussion
instrument, and not necessarily spending class time on chordal instruments.
Achievement Standard 3b moves away from melodic improvisation and towards
melodic and rhythmic embellishment. Thirty-three percent of the method books reviewed
addressed this Achievement Standard. As mentioned earlier, no method book met
Achievement Standard 3b without also meeting Achievement Standard 3c.
Content Standard #4 presents the opportunity for students to compose and arrange
music, as well as to experiment with a variety of instrumental voices in their studies. As
seventy-five percent of all method books addressed at least one Achievement Standard
under Content Standard #4, the data point to an interesting split in which Achievement
Standards were explored. Of the seventy-five percent of studied method books, one
hundred percent met Achievement Standard 4a. This Achievement Standard asks students
to “compose short pieces within specified guidelines...” (MENC, 1994) All method books
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that addressed Achievement Standard 4a did so with at least one exercise, often more
than one.
No method book studied addressed Achievement Standards 4b or 4c. The former
asks that students be able to arrange music for “voices or instruments other than those for
which the pieces were written” (MENC, 1994). Achievement Standard 4c asks students
to consider a wide array of voice and instrument options in their composing and
arranging. As beginning band pedagogy is strongly centered on teaching students to play
their instrument while balancing the remaining Content Standards, it stands to reason that
arranging music and venturing outside of their primary instrument would be two tasks
that are beyond the scope of the course. It is, however, possible for students to experience
these two Achievement Standards by the end of eighth grade. It is admirable that
beginning band method book writers and publishers would include composition in the
curriculum for the beginning band instrumentalist, as it gives the students a different
perspective on the music they will learn.
5.7 Achievement Standards 5a, 5b, 5c, 5d, and 5e
One hundred percent of the method books studied met Content Standard #5. All
method books studied also met Content Standards 5a, 5b, 5c, and 5e, with seventy-five
percent meeting Achievement Standard 5d. This Standard correlates directly with
Content Standard 4, as it asks students to use Standard notation in their composition and
arranging studies. All method books that offered composing or arranging did so within
the guidelines set forth by Achievement Standard 5d.
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Achievement Standard 5a sets the minimum level of note reading competency for
student exiting the 8th grade. It is impressive that all method books studied met this
Achievement Standard with few notable exceptions. The Achievement Standard asks
students to be able to read in duple and triple meter. All but two method books did not
address triple meter. Achievement Standard 5a also asks students to be able to read in cut
time, and to be able to read rhythms and rests to the sixteenth note. Though a few method
books did offer this level of instruction, the majority of method books stayed within the
duple meter parameter and ventured only to the eighth note level of note and rest reading.
Most students in instrumental music are taught these additional meters and rhythms in
later method books (Book II, Book III, etc). Given the large amount of information
students absorb in beginning band, I feel these items could be best served in later grades
of band instruction.
Achievement Standard 5b asks students to be able to read in treble and bass clef.
All method books were written in the clef of their instrument. Though some did mention
another clef, there were no exercises in any method that clearly spoke to both clefs being
represented. Again, as mentioned for Achievement Standard 5a, it is not likely that
students in beginning band would learn to read in multiple clefs during their first year of
instrumental music education. It stands to reason that all exercises stayed in the clef of
the student’s instrument for at least the first method book in their studies.
All method books met Achievement Standard 5c with few exceptions as to the
introduction of expression. Though one method book did not use dynamics, all other
portions of Achievement Standard 5c were met, though it was addressed at different
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places in each method. Some method books felt it necessary to introduce expression,
tempo, and dynamics much earlier than others. The end-result was the same for all
method books in regards to Achievement Standard 5c; it was addressed fully throughout
the material.
All method books studied were able to move students from a difficulty level of
“1” to a difficulty level of “2” through their sound pedagogical approaches. As
Achievement Standard 5e was closely worded to match Achievement Standard 2b, it is
often referenced in the data. Achievement Standard 2b asks students to perform at a level
two. Achievement Standard 5e asks students to sight read at a level two. I feel that all
method books addressed these Achievement Standards quite well, and actually enabled
the students to achieve far more than asked from the Grades 5-8 National Standards. In
fact, most of the Achievement Standards under Content Standard #5 were met essentially
three years early using any of the studied method books.
Content Standard #6 was not addressed as fully by the methods studied as the
previous five Content Standards. Twenty-five percent, or three methods addressed this
Content Standard, with one method addressing Achievement Standards 6a and 6c, one
addressing Achievement Standard 6c, and a third addressing Achievement Standards 6b
and 6c. In numbers, 8% addressed Achievement Standard 6a, with the same percentage
addressing 6b. Twenty-five percent of the method books studied addressed Achievement
Standard 6c. Eight percent of methods studied addressed Achievement Standard 6d
separately from 6c.
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The goal of Content Standard #6 is to engage students in “listening to, analyzing,
and describing music.” (MENC, 1994) Achievement Standard 6a presents the descriptive
piece, and Achievement Standard 6b addresses analysis. Achievement Standard 6c
references Content Standard #5 in that students are asked to demonstrate knowledge of
meter and rhythm along with fresh concepts in tonality, intervals and chords. The fact
that one in four method books addressed any portion of the Standard may be influenced
by the general structure of instrumental music classes.
Students are constantly listening in their classes, and often have the opportunity to
discuss their instrument along with others. The director normally describes the music to
the students as it is learned. I feel that Content Standard #6 and Achievement Standards
6a, 6b, and 6c are likely covered fully in the classroom with the effort of the director, and
possibly the use of supplemental material, as provided by the publisher.
Achievement Standard 6c and 6d are concepts more suited to higher grade levels,
again, due to the large amount of material that needs to be covered in the beginning band.
These Achievement Standards are connected, and fully address the concepts of “meter,
rhythm, tonality, intervals, chords, and harmonic progressions...” (MENC, 1994) Though
these items can be taught at the beginning band level, they would obviously be taught
after the student learns to read music (Content Standard #5), plays music from diverse
cultures on their instruments (Content Standard #2) and are beginning to learn about
improvisation (Content Standard #3). I feel most beginning band directors would not
attempt Achievement Standards 6c and 6d in the beginning band class, and if they did, it
would be part of a unit, not the main idea of the unit.
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5.9 Achievement Standards 7a, and 7b
Content Standard #7 has only two underlying Achievement Standards. This
Standard works off of the assumption that students are actively engaged in Achievement
Standard 6a, as students would first have to be able to describe what they are hearing in
order to evaluate the subject. Content Standard #7 was met with similar results to Content
Standard #6 with one in four methods providing some kind of instruction or exercise.
One book gave specific instructions for developing listening criteria for young music
learners. It would stand to reason that this activity may very well be completed by the
director, using currently offered exercises in the book and providing their expertise to
help students develop this behavior. Supplemental activities, DVDs, CDs and directions
in the teacher manual would likely provide support for this Content Standard. I feel it
would be unfair to penalize a method book for not containing specific instructions on
evaluating music for beginning band students. At this time in their education, they are
struggling to learn to read music and play their instrument. It would be up to their
director to use supplemental materials to address these Achievement Standards.
Achievement Standard 7a, which was addressed by 8% of the methods studied,
directly asks students to be able to develop a listening criteria. Achievement Standard 7b
then asks students to take their developed criteria and apply it to their own performance,
their own compositions, and those of others. Achievement Standard 7b, addressed by
16% of the method books studied brings evaluation to every measurable Content
Standard listed by MENC, including arranging and improvisation, asking students to be
mindful of the style and background of the piece. Achievement Standard 7b is the only
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Achievement Standard that could be suggested as the tenth Standard in future revisions.
Its overarching message touches all pertinent areas of music production for students in
grades 5-8, meaning it relates to Content Standards #1, #2, #3, #4, and #5.
5.10 Achievement Standards 8a, and 8b
Content Standard #8 was addressed by twenty-five percent of the methods, similar
to Content Standards #6 and #7. The message of Content Standard #8 is that students
should understand the relationship between music and other arts, and music and subjects
outside of the arts. This area is likely covered in more detail in the later grades of
instruction, though it does have a place in beginning band classes to a certain degree.
Students do need to understand their art in relation to other courses they may be studying
in school, yet I do not necessarily feel the method book itself is the only place students
can learn this concept. Many instances of learning in this area may occur outside of their
music classes, or in discussions related to a particular exercise with their class. In any
case, students should understand the concept, though I feel it should be completed by the
end of eighth grade, not necessarily by the end of their first year of instrumental music
instruction.
Two method books addressed Achievement Standard 8a, represented in 16% of
the methods studied, which asks students to “compare in two or more arts how the
characteristic materials of each art....can be used to transform similar events, scenes,
emotions, or ideas into works of art” (MENC, 1994). This idea indeed is a lofty goal for
young instrumentalists, and I feel it is entirely possible to address this Achievement
Standard in any of the method books studied, provided the director takes the initiative to
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bridge the gap between what is studied in the method book and what may be studied in
other arts courses.
One method book directly addressed Achievement Standard 8b (8% of all
studied), which asks students be able to “describe ways in which the principles and
subject matter of other disciplines taught in the school are interrelated with those in
music” (MENC, 1994). This Achievement Standard takes the ideas of Achievement
Standard 8a and superimposes them onto the other courses students may be taking in their
early middle school career. It is common for music teachers to make connections to other
core courses in the educational path of students. Many times, music teachers are forced to
do so in order to substantiate their existence as a core course in the curriculum. This
Achievement Standard adds validity to the teaching across the curriculum model that
many music educators work under in the public and private schools. I feel that all method
books reviewed could be used, either with supplemental materials or the using the
expertise of the classroom teacher and music director to establish these inner-curricular
connections.
Content Standard #9 was directly addressed by 41% of the methods selected for
this study. The remaining methods likely have supplemental materials to help directors
with the historical significance of the music studied. All method books reviewed
contained enough music from diverse sources to give directors plenty of places to build a
historical timeline. Achievement Standards below Content Standard #9 ask students to
describe, classify, and compare. I feel most directors would take the opportunity to relate
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the historical significance of an exercise to the students whether it was purposefully
presented as an activity or not within the method book.
The method book writers and publishers, no doubt, thought presenting music from
a wide variety of historical time periods was important. In most all method books, music
was presented from as early as the Middle Ages to music of the 20th Century. While some
methods pointed out the historical significance of a variety of works in their exercises, it
stands to reason that any well-educated director could draw these inferences from the
wealth of exercises presented in each book.
Students were presented direct options to work with material under Achievement
Standard 9a in 8% of the method books studied. As the Achievement Standard asks that
students “describe distinguishing characteristics of representative music genres and
styles...” (MENC, 1994), it would suggest that some sort of paper and pencil activity
would be needed. All method books reviewed gave some sort of information about an
exercise, as to its title, composer, the composer’s dates, and other important information
relating to the specific work. I feel that the lack of a paper and pencil activity to reinforce
this Achievement Standard does not mean the concept was not taught using the method
book alone. It is probable that directors would take notice of these basic music facts and
pass them along to the students.
Achievement Standard 9b asks students to “classify by genre and style” the music
they are studying in beginning band. Though the data say that 41% of the methods
addressed this Standard, further reading into the meaning of this pedagogical area would
lead to the conclusion that this discussion in class would be led by the teacher, not the
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text. All method books provided some information on the exercises to be learned, with
certain method books giving more information about the composer and his or her
historical data than others in the study. Asking students to classify, again would suggest
some sort of activity for the student to be a part of in order for the Achievement Standard
to be fully addressed. I do not feel this is the only way for students to be able to
demonstrate knowledge acquired in regards to the historical significance of a composer or
their works. All method books selected for this study presented an acceptable format
whereby this Achievement Standard could be met with supplemental materials, lectures
from the director, all used in direct relation to the exercises already provided in the
method book.
No method book selected for this study addressed Achievement Standard 9c using
only the method itself. Students are not generally given content in their textbook (in this
case their method book) to make extraneous connections to other subject areas or parallel
subject areas in their discipline. Beginning band method books are no exception. While
the content message of Achievement Standard 9c is valid, it would be my suggestion that
these types of conversations, as well as those under Content Standards #6 and #7 occur at
higher grade levels, leaving the beginning band experience to focus more on the
remaining National Standards.
5.12 Conclusions
This study sought to find the level to which current band method books addressed
the National Standards for Music Education, grades 5-8. Through the data presented in
this document, it is obvious that all of the methods researched for this document address
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at least some of the National Standards, often addressing multiple Achievement
Standards in the process. Method books published after the National Standards contain
exercises and activities in the student book alone to completely satisfy two Content
Standards, with some method books addressing all or nearly all during the course of the
year. As each method book is accompanied by a teacher manual or teacher packet as well
as a multitude of supplemental supplies, activities, and even further method books, it is
possible that beginning band students are able to address a large portion of their music
education in their first year. It is my hope that this education would be further expanded
in their future years in music education.
In regard to content, students in beginning band are sometimes learning to read
music for the first time along with learning the basic operation of their instrument. The
fact that all method books studied gave students access to Standards-based learning is to
be noted. Method books from the previous generation had very little multicultural content
and did not often explain the many opportunities to study music such as analysis,
evaluation, making connections. In today’s method books, students are taught where the
music came from, what was important about the composer, and how to make their
understanding deeper while making their performances stronger.
Students are given opportunities in all method books to explore music education
beyond the operation of their instrument and basic note and rest reading. The method
books selected for this study go far beyond these two basic tenets of beginning band and
give students a chance to learn about music from a different perspective than their
predecessors. Music study in beginning band is a larger part of the overall objective, with
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the other being the learning of an instrument. Students are given multiple opportunities in
all of the selected method books to learn music beyond the printed music and the
instrument in their hands.
From the data, it might be suggested that method books pay more homage in the
future to National Standards 6, 7, 8, and 9. I do not fully agree with this statement. While
all music students should have the opportunity to sing, play instruments, improvise,
compose, arrange, analyze, evaluate, and make connections with their music, all of this
does not need to be completed in the first of what is typically a four-year unit of study
(grades 5-8). Beginning band is a course that gives students an abundant curriculum,
where they can explore their options in music while learning an instrument. Students
have three, or at the least, two more years to gain access to the remaining National
Content Standards.
Beginning band method books are one tool that students, parents, and teachers can
use in a student’s music education. The method book, combined with supplemental
materials and the expertise of the instructor give limitless curricular pathways. Students
can use their method book as the only method of instruction, but as the publishers stated
for their particular method books, the supplements and the teacher round out the
offerings, regardless of which book is chosen.
5.13 Suggestions for Future Research
There are many options to continue the study of beginning band, and the materials
used for instruction. A study of beginning band classes could be constructed where
multiple programs using different method books could be researched, analyzed, and
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compared. The researcher would need to account for the expertise level of the teacher,
since this level could affect any results found.
A study of Standards addressed in grades 5-8 would also be of interest. In a study
of this type, the researcher would not look specifically at the method books or literature
used as a sole source. In the study, the researcher would keep track of Content and
Achievement Standards addressed from all music experiences in the four years from fifth
through eighth grade. In this type of study, the researcher could show trends in specific
schools, have schools self-report, or compare schools from around the State or nationally.
Studies on implementation of the National Standards for Music Education the
similar to McMurtrie (2005) could be written with a focus on the literature and method
books used in the classroom. An article by Byo (1999), which focuses on teachers’
perception on their own ability to work with the Standards could be used as a research
guide for such studies. The connection between the material and the teachers’ ability and
confidence to work within the constructs of the Standards would make for an acceptable
research platform.
Several studies of wind band literature have been completed for either high school
or college ensembles (Darling, 2001; Gilbert, 1993; Greig, 2003; Hayward, 2004; King,
2001; Markoch, 1995; Milton, 2006; Robblee, 2009; Young, 1998). These studies, all
directly or indirectly reference a landmark study completed by Ostling in 1978 which
sought to recognize what could generally thought to be quality literature for the medium.
Though the dissertations do not all replicate Ostling’s research, their focus is on wind
band literature at either the high school or college level. Such a study, to my knowledge,
175
has yet to be completed on a scale such as this for ensembles in grades 5-8. The body of
literature is sizeable for what has evolved into four separate leveled ensembles during this
portion of students’ music education. A study of the music performed by middle school
musicians would be of great value to all students, parents, and educators involved.
Finally, since the method book approach is used throughout the middle school
music programs with great success in addressing the National Standards, it would be of
interest to me if this trend were more fully continued at the high school level. The
majority of non-literature based instruction materials for the high school level still
involve chorales and technical studies, similar to beginning band methods from the time
period between Texter’s (1975) study and 1994, when the National Standards for Music
Education were introduced. It would be my hope that a study would be conducted similar
to this one at the high school level with specific future research ideas centering on
creating a method book at that level.
Students in today’s beginning bands are fortunate to be able to study out of any
method book selected for this study. With the large amount of Standards data covered
just in the first year, it could be surmised that the next level of these books (often called
book II) or levels beyond this would fully address the students’ needs in relation to the
National Standards. A study following a smaller group of method books from their first
to last middle school level could give a clear picture as to what students are able to learn
in grades 5-8, as the current study only focused on the first year. The researcher could use
a smaller selection of books by moving away from the release date of the National
Standards, and possibly targeting method books written within two or three years of the
176
study date. In this way, the data could be more manageable for the researcher, and
provide information on method books currently used in a large percentage of classrooms
around the United States.
177
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Allen, M. (2006). An Index of Wind Band Literature Analyses from

Periodicals and University Research. Unpublished Doctoral Dissertation,
Ohio State University. Columbus, Ohio.
Ballard, J. A. (2007). An Analysis of the Music Content in Ten Piano

Methods (1994-2006) for the Elementary-Aged Beginning Piano Student for
MENC National Standards Based Elements (Unpublished doctoral dissertation).
University of Southern California. Retrieved June 10, 2010, from Dissertations &
Theses: A&I. (Publication No. AAT 3283734).
Birdwhistell, E. H. (1998). A Content Analysis of Five Beginning Band Method Books

(Unpublished master's thesis). University of Louisville. Retrieved April 17,
2010, from Dissertations & Theses: A&I. (Publication No. AAT 1391751).
Brewer, J. A. (2000). A Method Book for the Teaching of Beginning Combo Instruments
Based on a Survey of Beginning Band Methods (Unpublished master's thesis). The
University of Texas at El Paso. Retrieved June 5, 2010, from Dissertations &
Theses: A&I. (Publication No. AAT EP05465).
Bullock, J., Maiello, A. (1996). Belwin 21st Century Band Method. Alfred Publishing
Company. Van Nuys, California.
Byo, S. J. (1999). Classroom Teachers’ and Music Specialists’ Perceived Ability To

Implement the National Standards for Music Education. Journal of Research
in Music Education 47 (2). 111-123.
Darling, J. A. (2001). A Study of the Wind-Band Music of Frank Ticheli With an

Analysis of Fortress, Postcard, And Vesuvius. Unpublished Dissertation,
Ohio State Univeristy, Columbus, Ohio. Retrieved May 2, 2009 from
http://www.ohiolink.edu/etd/send-pdf.cgi/Darling
%20John%20A.pdf?acc_num=osu1224192963
Elliott, David. J. (1995). Music Matters. Oxford: Oxford University Press.
Feldstein, S., Clark, L. (2001). The Yamaha Advantage. Carl Fischer Music.
New York, New York.
178
Froseth, J. (1997). Do It! Play in Band (Clarinet). GIA Publications.
Chicago, Illinois.
Gage, S. L. (1994). An Analysis and Comparison of Rhythm Instructional

Material and Techniques for Beginning Instrumental Music
Students. (Unpublished doctoral dissertation). University of Illinois at Urbana-
Champaign. Retrieved March 4, 2010, from Dissertations & Theses @ CIC
Institutions (Publication No. AAT 9512364).
Gilbert, J. (1993). An Evaluation of Compositions for Wind Band According to

Specific Criteria of Serious Artistic Merit: A Replication and
Update. Unpublished Doctoral Dissertation, Northwestern University,
United States -- Illinois. Retrieved February 23, 2010, from
Dissertations & Theses @ CIC Institutions.(Publication No. AAT
9334685).
Greig, T. R. (2003). Selection Criteria Ratings of Performed Music by High School

Band Directors in the State of Pennsylvania, and a Comparison of Ratings
by Collegiate Band Directors of Selected Works. Unpublished Doctoral
Dissertation, Kent State University, Kent, Ohio.
Grunow, R., Gordon, E., Azzara, C. (2000). Jump Right In. GIA Publications.
Chicago, Illinois.
Hayward, C.M. (2004). A Course in Band Literature Based on a

Standard Repertoire Developed From the Opinions of Selected Collegiate
and Secondary School Band Directors. Unpublished Doctoral Dissertation, Ohio
State University. Retrieved April 10, 2009 from http://rave.ohiolink.edu.proxy.lib.
ohio-state.edu/etdc/view?acc_num=osu1085879695
Heavner, T. L. (1995). An Analysis of Beginning Band Method Books

for Principles of Comprehensive Musicianship (Unpublished doctoral
dissertation). University of Northern Colorado. Retrieved March 4, 2010, from
Dissertations & Theses: A&I. (Publication No. AAT 9542099).
King, R. E. (2001). The Quality and Technical Difficulty of Repertoire Performed

By Non-Auditioned, Small College Bands and the Criteria Considered
in the Selection of the Literature. Unpublished Doctoral Dissertation, Ohio
State University, Columbus, Ohio.
Lautzenheiser, T., Higgins, J., Menghini, C., Lavender, P., Rhodes, T.,
Bierschenk, D. (1999). Essential Elements 2000.
Hal Leonard Corporation. Milwaukee, Wisconsin.
179
Markoch, J. R. (1995). An Approach to the Musical Analysis of Wind-Band
Literature Based on Analytical Modes Used by Wind-Band Specialists
and Music Theorists. Unpublished Doctoral Dissertation, Louisiana
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and National Standards Among High School Band Directors in the
State of Ohio. Unpublished Masters Thesis, Kent State University,
Kent, Ohio.
Morris, C. N. (2000). The Use of Pestalozzian principles of Music Education in Selected

Beginner Band Method Books (1996-1999) (Unpublished doctoral dissertation).
The University of Southern Mississippi. Retrieved June 9, 2010, from
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New Vision (National Standards for Arts Education). Retrieved April 21, 2009,
from http://www.menc.org/resources/view/the-school-music-program-a-new-
vision
O’Reilly, J., Williams, M. (1997). Accent on Achievement. Alfred Publishing

Ostling, A.E., Jr. (1978). An Evaluation of Compositions for Wind Band According
to Specific Criteria of Serious Artistic Merit. Unpublished Dissertation,
University of Iowa. University Microfilms International number 7822438.
Paschall, S. S. (2005). A Review of Beginning Band Method Books for Inclusion of

Comprehensive Musicianship and Adherence to the National Standards for Music
Education (Unpublished master's thesis). Bowling Green State University.
doi: <http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1147303027>
Pearson, B. (1993/2006). Standard of Excellence. Neil A. Kjos Music Company.

San Diego, California.
Probasco, J.,Grable, D., Meeks, D. Swearingen, J. (1994). Now Go

Home and Practice! Heritage Music Press. Dayton, Ohio.
Reimer, Bennett. (2003) A Philosophy of Music Education: Advancing the Vision.

New Jersey: Prentice Hall.
Robblee, T. J. (2009). Examination of the Impact of the Contemporary Music Project

on Wind Band Repertoire and Performance in Oregon. Unpublished Doctoral
Dissertation, University of Minnesota, Duluth, Minnesota.
180
Robinson, D. S. (1980). An Evaluative Investigation of Beginning Band Method Books
for Heterogenous Wind and Percussion Instrumental Music Classes (Unpublished
master's thesis). University of Louisville. Retrieved April 16, 2010, from
Sheldon, D., Balmages, B., Loest, T., Sheldon, R., Collier,D. (2010)
Measures of Success. FJH Music Company. Fort Lauderdale, Florida.
Sheldon, R., Boonshaft, P., Black, D., Philips, B. (2010).

Sound Innovations. Alfred Publishing Company.
Van Nuys, California.
Smith, R. Smith, S., Story, M., Markham, G., Crain, R., Gammon, L.,
Campbell, J. (2003). Band Expressions. Alfred Publishing
Sueta, E. (1999). Premier Performance. Ed Sueta Publications.

Rockaway, New Jersey.
Texter, M. E. (1975). A Historical and Analytical Investigation of the

Beginning Band Method Book (Unpublished doctoral dissertation). The Ohio
State University, Columbus, Ohio.
Tullberg, D. G. (1992). A Comparative Review of Five Beginning Band

Methods (Unpublished master's thesis). University of Louisville. Retrieved May
1, 2010, from Dissertations & Theses: A&I. (Publication No. AAT 1348170).
Young, C.S. (1998). The Quality of Repertoire Chosen by High School Wind
Band Conductors and the Resources and Criteria Used to Choose This
Literature. Unpublished doctoral dissertation, Ohio State University
Retrieved March 4, 2009, from http://rave.ohiolink.edu.
/etdc/view?acc_num=osu1236265759
181
Appendix A: General Information about the Method Books
182
Name of Publisher Authors Publication Number Number of
Method Date of Pages Exercises
Accent on Alfred J. O’Reilly, 1997 47 134 sequentially

Achievement Publishing M. Williams numbered,
Company 55 non-
sequentially
numbered.
Band Alfred R. Smith, 2003 55 212, sequentially

Expressions Publishing S. Smith, numbered.
Company M. Story,
G.
Markham,
R. Crain,
L. Gammon,
J. Campbell
Belwin 21st Alfred J. Bullock, 1996 32 160, sequentially

Century Publishing A. Maiello numbered by
Band Company unit.
Method
Do It! Play GIA J. Froseth 1997 48 181, sequentially

In Band Publications numbered by
(Clarinet) unit.
Appendix A: General Information about the Method Books (1-4)
183
Essential Hal Leonard T. 1999 48 187,

Elements Corporation Lautzenheiser, sequentially
2000 J. Higgins, Numbered, 39
C. Menghini, post-method
P. Lavender, Sequentially
T. Rhodes, numbered and
D. Bierschenk un-numbered.
Jump GIA R. Grunow, 2000 49 53, non-

Right In Publications E. Gordon, sequentially
C. Azzara numbered by
unit with several
sub-unit
exercises.
Measures FJH Music D. Sheldon, 2010 56 192,

of Success Company B. Balmages, sequentially
T. Loest, numbered by
R. Sheldon, unit.
D. Collier
Now Go Heritage J. Probasco, 1994 47 140,

Home and Music Press D. Grable, sequentially
Practice! D. Meeks, numbered by
J. Swearingen unit.
184
Premier Ed Sueta Ed Sueta 1999 48 29 sequentially

Performance Publications numbered, 6 un-
numbered, 127
sequentially
numbered, 22
instrument
specific,
sequentially
numbered, 46 un-
numbered and
sequentially
numbered post-
method.
Sound Alfred R. Sheldon, 2010 48 187, sequentially

Innovations Publishing P. numbered.
Company Boonshaft,
D. Black,
B. Phillips
Standard of Neil A. Kjos B. Pearson 1993/2006 48 14 pre-exercises,

Excellence Music 155 sequentially
Company numbered
exercises, seven
non-numbered
exercises, 25
supplemental
exercises, 65 post-
exercises.
The Yamaha Carl Fischer S. 2001 47 169, sequentially

Advantage Feldstein, numbered, plus
L. Clark sixteen pre-
numbered and 39
post-numbered
exercises.
185
Appendix B: Content Standards and Achievement Standards
186
Content Standard 1: Singing, alone Page(s) Met Exercise Name or Number and Description
and with others, a varied repertoire of
music.

Students sing accurately and with
good breath control throughout their
singing ranges, alone and in small
and large ensembles.

Students sing with expression and
technical accuracy a repertoire of
vocal literature with a level of
difficulty of 2, on a scale of 1 to 6,
including some songs performed
from memory.
Achievement Standard 1c.

Students sing music representing
diverse genres and cultures, with
expression appropriate for the work
being performed.
Achievement Standard 1d. Students

sing music written in two and three
parts.
Achievement Standard 1e. N/A N/A

Not evaluated as it relates only to
choral group settings.
Appendix B: Content Standard and Achievement Standards 1
187
Content Standard #2: Performing Page(s) Met Exercise Name or Number and Description
on instruments, alone and with
others, a varied repertoire of music.

Students perform on at least one
instrument (e.g., band or orchestra
instrument, keyboard instrument,
fretted instrument, electronic
instrument) accurately and
independently, alone and in small
and large ensembles, with good
posture, good playing position, and
good breath, bow, or stick control.

Students perform with expression
and technical accuracy on at least
one string, wind, percussion, or
classroom instrument a repertoire
of instrumental literature with a
level of difficulty of 2, on a scale
of 1 to 6.
188
Content Standard #2: Performing Page(s) Met Exercise Name or Number and Description
on instruments, alone and with
others, a varied repertoire of music

Students perform music representing
diverse genres and cultures, with
expression appropriate for the work
being performed.

Students play by ear simple melodies
on a melodic instrument and simple
accompaniments on a harmonic
instrument.
Achievement Standard 2e. N/A N/A

Not evaluated as it applies to students
beyond their first year of study in
instrumental music.
189
Content Standard #3: Improvising Page(s) Met Exercise Name or Number and Description
melodies, variations, and
accompaniments.

Students improvise simple harmonic
accompaniments.

Students improvise melodic
embellishments and simple rhythmic
and melodic variations on given
pentatonic melodies and melodies in
major keys.

Students improvise short melodies,
unaccompanied and over given
rhythmic accompaniments, each in a
consistent style, meter, and tonality.
190
Content Standard #4: Composing and Page(s) Met Exercise Name or Number and Description
arranging music within specified
guidelines.

Students compose short pieces within
specified guidelines (e.g., a particular
style, form, instrumentation,
compositional technique), demonstrating
how the elements of music are used to
achieve unity and variety, tension and
release, and balance.

Students arrange simple pieces for
voices or instruments other than those
for which the pieces were written.

Students use a variety of traditional and
nontraditional sound sources and
electronic media when composing and
arranging.
191
Content Standard #5: Reading and Page(s) Met Exercise Name or Number and Description
notating music.

Students read whole, half, quarter,
eighth, sixteenth, and dotted notes and
rests in 2/4, 3/4, 4/4, 6/8, 3/8, and alla
breve meter signatures.
Students read at sight simple melodies
in both the treble and bass clefs.

Students identify and define standard
notation symbols for pitch, rhythm,
dynamics, tempo, articulation, and
expression.

Students use Standard notation to
record their musical ideas and the
musical ideas of others.
Achievement Standard 5e.

Students who participate in a choral or
instrumental ensemble or class sight-
read, accurately and expressively,
music with a level of difficulty of 2, on
a scale of 1 to 6.
192
Content Standard #6: Listening to, Page(s) Met Exercise Name or Number and Description
analyzing, and describing music.

Students describe specific music
events (e.g., entry of oboe, change of
meter, return of refrain) in a given
aural example, using appropriate
terminology.

Students analyze the uses of elements
of music in aural examples
representing diverse genres and
cultures.

Students demonstrate knowledge of
the basic principles of meter, rhythm,
tonality, intervals, chords, and

-harmonic progressions in their
analyses of music.
193
Content Standard #7: Evaluating Page(s) Met Exercise Name or Number and Description
music and music performances.

Students develop criteria for
evaluating the quality and
effectiveness of music performances
and compositions and apply the
criteria in their personal listening
and performing.

Students evaluate the quality and
effectiveness of their own and
others' performances, compositions,
arrangements, and improvisations
by applying specific criteria
appropriate for the style of the
music and offer constructive
suggestions for improvement.
194
Content Standard #8: Understanding Page(s) Met Exercise Name or Number and Description
relationships between music, the other
arts, and disciplines outside the arts.

Students compare in two or more arts
how the characteristic materials of
each art (that is, sound in music, visual
stimuli in visual arts, movement in
dance, human interrelationships in
theatre) can be used to transform
similar events, scenes, emotions, or
ideas into works of art.

Students describe ways in which the
principles and subject matter of other
disciplines taught in the school are
interrelated with those of music (e.g.,
language arts: issues to be considered
in setting texts to music; mathematics:
frequency ratios of intervals; sciences:
the human hearing process and
hazards to hearing; social studies:
historical and social events and
movements chronicled in or
influenced by musical works).
195
Content Standard #9: Page(s) Met Exercise Name or Number and Description
Understanding music in relation to
history and culture.

Students describe distinguishing
characteristics of representative
music genres and styles from a
variety of cultures.

Students classify by genre and style
(and, if applicable, by historical
period, composer, and title) a varied
body of exemplary (that is, high-
quality and characteristic) musical
works and explain the characteristics
that cause each work to be considered
exemplary.

Students compare, in several cultures
of the world, functions music serves,
roles of musicians (e.g., lead guitarist
in a rock band, composer of jingles
for commercials, singer in Peking
opera), and conditions under which
music is typically performed.
196

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An Analysis of Select Beginning Band Method Books and the Level to which They

Address the National Standards for Music Education

Kie Watkins, B.M.E., M.A.

Graduate Program in Music

The Ohio State University

Dr. Jon R. Woods, Advisor

Dr. Daryl Kinney

Dr. T.K. Daniel

information regarding the method’s addressing of the Standards. Publisher information

regarding supplemental materials was included in the study.

accomplish something if they put their mind to it.

In addition to my wife and children, I would be remiss if I did not thank my

of Arts in Education Administration degree. Dr. Daniel also served on my dissertation

September 20, 1972......................................................Born-Dayton, Ohio

1994..............................................................................Bachelor of Music Education

1994-1995.....................................................................Director, Middle School Bands

Major Field: Music

1.1 Background of the Study 1

1.2 Statement of the Problem and Research Gap 2

1.3 Objectives of the Study and Research Question 3

1.4 Definition of Key Terms 4

1.5 Limitations and Presumptions of the Study 5

Chapter 2: Literature Review 6

2.1 Introduction of Literature Review 6

2.2 The National Standards for Music Education 6

2.2.1 National Standard #1 10

2.2.2 National Standard #2 11

2.2.3 National Standard #3 13

2.2.4 National Standard #4 14

2.2.6 National Standard #6 16

2.2.7 National Standard #7 17

2.2.8 National Standard #8 18

2.2.9 National Standard #9 19

2.3 Dissertation Research on Method Books 20

2.4 Review of Texter (1975) 21

2.5 Review of Gage (1994) 23

2.6 Review of Heavner (1995) 23

2.7 Review of Ballard (2007) 25

3.1 Introduction of Methodology 28

3.2 Materials: Method Books Used 28

3.3 The Rubric Used in this Study 30

3.5 Data Analysis 34

3.6 Reliability and Validity 34

Chapter 4: Results and Data Analysis 35

4.2 Data Retrieved from the Method Books 35

4.3 Method Books Selected for This Study 36

4.4.1 Supplemental Material Provided by the Publishers 39

4.5 Accent on Achievement 40

4.6 Band Expressions 49

4.7 Belwin 21st Century Band Method 63

4.8 Do It! Play in Band (Clarinet) 69

4.9 Essential Elements 2000 82

4.10 Jump Right In 93

4.11 Measures of Success 102

4.12 Now Go Home and Practice! 116

4.13 Premier Performance 122

4.14 Sound Innovations 129

4.15 Standard of Excellence 139

4.16 The Yamaha Advantage 146

4.17 Summary of Chapter 4 156

Chapter 5: Summary, Discussion, Conclusions 157

5.1 Summary: Content Standards 157

5.2 Summary: Achievement Standards 159