In the 1960's, major efforts to change competition based music educational practice occurred.
The Yale Seminar, 1963, sponsored by the U.S. Office of Education, met to both broaden the music repertoire and deepen the musical experience in schools . The seminar was attended by 31 music educators, composers, theorists, and musicologists across the United States. Here are 5 important contributors to the Yale Seminar. One important outcome by this and other music seminars of the 1960’s, was birth of the term “comprehensive musicianship”.
The Contemporary Music Project (1963-69), the Seminar on Comprehensive Musicianship at Northwester University (1965), the Manhattanville Music Curriculum Project (1965-71), and the Tanglewood Symposium (1967) all worked through their own initiatives to transform music education into a more “comprehensive” approach to teaching and learning. Projects such as The Hawaii Curriculum Project (1967-72), Teaching Musicianship in the High School Band by Joseph Labuta (1972), and Blueprint for Band by Robert Garofalo (1976) amplified the call for reform in school ensembles.
Source: Laura K.Sindberg, “The Evolution of Comprehensive Musicianship through Performance (CMP) A Model for Teaching Performing with Understanding in the Ensemble Setting”, Contributions in Music Education (2009), 36:1
The Yale Seminar, 1963, sponsored by the U.S. Office of Education, met to both broaden the music repertoire and deepen the musical experience in schools . The seminar was attended by 31 music educators, composers, theorists, and musicologists across the United States. Here are 5 important contributors to the Yale Seminar. One important outcome by this and other music seminars of the 1960’s, was birth of the term “comprehensive musicianship”.
The Contemporary Music Project (1963-69), the Seminar on Comprehensive Musicianship at Northwester University (1965), the Manhattanville Music Curriculum Project (1965-71), and the Tanglewood Symposium (1967) all worked through their own initiatives to transform music education into a more “comprehensive” approach to teaching and learning. Projects such as The Hawaii Curriculum Project (1967-72), Teaching Musicianship in the High School Band by Joseph Labuta (1972), and Blueprint for Band by Robert Garofalo (1976) amplified the call for reform in school ensembles.
Source: Laura K.Sindberg, “The Evolution of Comprehensive Musicianship through Performance (CMP) A Model for Teaching Performing with Understanding in the Ensemble Setting”, Contributions in Music Education (2009), 36:1
In 1977, at Lawrence University in Appleton, Wisconsin, a group of music educators met to examine, discuss, and re-envision school music ensembles. This meeting resulted in the development of Comprehensive Musicianship through Performance (CMP) which is defined as a program of instruction which emphasizes the interdependence of musical knowledge and musical performance by involving students in a variety of roles including performing, improvising, composing, transcribing, arranging, conducting, rehearsing, and analyzing music.
In the CMP model the five components are equally important. The selection of music is often a starting point for planning but may be based on assessment of student needs. Outcomes may be identified through assessment or may be stated in a curriculum guide. Analysis leads to determining the music elements that need to be taught. Strategies are the ways in which the teacher brings students toward quality performance and meaningful learning. This holistic approach to music education was developed to deepen students’ musical experiences and increase students’ musical understanding rather than merely perfecting a musical performance.
Source: Sindberg, L., & National Association for Music Education. (2012). Just good teaching: Comprehensive musicianship through performance (CMP) in theory and practice. Lanham, Md.: Rowman & Littlefield Education.
Even though both the learner and music are central to CMP, learning experiences are designed, directed, and controlled solely by the teacher rather than shared by students. Student-centered learning in a democratic environment may not be guaranteed. The Curious Collaborative Creativity model provides a more inclusive and cooperative model for musical exploration.
In the CMP model the five components are equally important. The selection of music is often a starting point for planning but may be based on assessment of student needs. Outcomes may be identified through assessment or may be stated in a curriculum guide. Analysis leads to determining the music elements that need to be taught. Strategies are the ways in which the teacher brings students toward quality performance and meaningful learning. This holistic approach to music education was developed to deepen students’ musical experiences and increase students’ musical understanding rather than merely perfecting a musical performance.
Source: Sindberg, L., & National Association for Music Education. (2012). Just good teaching: Comprehensive musicianship through performance (CMP) in theory and practice. Lanham, Md.: Rowman & Littlefield Education.
Even though both the learner and music are central to CMP, learning experiences are designed, directed, and controlled solely by the teacher rather than shared by students. Student-centered learning in a democratic environment may not be guaranteed. The Curious Collaborative Creativity model provides a more inclusive and cooperative model for musical exploration.
