Contents
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Music Selection Music Selection
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Criteria for Selecting Musical Material for TBMI Criteria for Selecting Musical Material for TBMI
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Selecting Music for Listening in TBMI Selecting Music for Listening in TBMI
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Selecting Music for Performing Selecting Music for Performing
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Selecting Technological Materials Selecting Technological Materials
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Selecting Software Selecting Software
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Models and Criteria for Software Selection Models and Criteria for Software Selection
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Additional Criteria Additional Criteria
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Selecting Hardware Selecting Hardware
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Summary of Chapter 4 Summary of Chapter 4
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Items for Discussion Items for Discussion
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Chapter 4 Materials for Technology-Based Music Instruction
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Published:May 2013
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Abstract
Nearly all forms of education make use of materials to support student learning. In the case of traditional music education, the type of material that comes to mind most readily is composed music. Since the dominant form of music education in the United States is the traditional ensemble, composed music is a justifiable representation of what most teachers think of as musical material. In this chapter, we will look at a couple of examples of established criteria for selecting musical materials for various types of teaching scenarios. Then, we will imagine how those criteria might be applied to TBMI and address the crossover between the music we use in traditional music teaching and the music that might be used in technology-based music instruction. We will then examine the types of materials that are specifically related to technology (software and hardware) and sort through some processes for evaluating and selecting those materials. Though most teachers do not articulate any kind of formula for music selection, there are certainly criteria by which music can be chosen for the classroom. A well-known treatise on criteria for wind band music selection is a dissertation by Ostling (1978) in which the author spelled out several guidelines for selecting music with “serious artistic merit.” Among Ostling’s suggestions were the following: The composition has form–not “a form” but form–and reflects a proper balance between repetition and contrast. The composition reflects craftsmanship in orchestration, demonstrating a proper balance between transparent and tutti scoring, and also between solo and group colors. The composition is sufficiently unpredictable to preclude an immediate grasp of its musical meaning. The route through which the composition travels in initiating its musical tendencies and probable musical goals is not completely direct and obvious. The composition is consistent in quality throughout its length and in its various sections.
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