Music is the mediator between the spiritual and the sensual life. ~Ludwig van Beethoven

2007-03-26T17:14:00.000-07:00

Check this out!!

http://www.du.edu/~mrobert1/Mackenzie/cool%20violists.htm

Final Project : Elective

2006-12-11T13:47:00.000-08:00

For this project I made an orchestration of Wagner's "Ella's Procession." I tried to aim for high school competency.

THE Movie

2006-11-02T07:06:00.000-08:00

Music Through Audacity

2006-10-19T07:54:00.000-07:00

Finale Project

2006-10-19T06:58:00.000-07:00

Walton Viola Concerto

2006-10-12T07:58:00.000-07:00

MENC Copyright info

2006-10-03T07:22:00.000-07:00

http://www.menc.org/information/mechanicallicensing.html

Marching Trees

2006-10-03T07:20:00.000-07:00

The Viola Bible

2006-09-21T08:41:00.000-07:00

Donald McInnes

Representative List of Viola Repertoire

Please note that although pieces are listed in order of technical difficulty, all are presentable in a concert program.

Level I

Amran, D. The Wind and the Rain
Bach, CPE Solfeggietto
Bach, CPE Sonata in G minor
Bach, JC Concerto in C minor
Bach, JCF Double Concerto in Eb major for Viola & Piano
Bach, JS Air, for Viola & Piano
Bach, JS Aria, "Bist du bei mir", for Viola & Piano
Bach, JS Sinfonia for Viola & Piano from Cantata #29
Bach, JS Jesu, Joy of Man's Desiring
Bach, JS Fantasia in C minor for Violin & Viola
Bach, WF Three Viola Duos
Baker, M. Counterplay
Bartok Forty-four Duos for Two Violas
Beale, J. Ballade, op. 23
Berlioz Aria from Damnation of Faust for Voice, Viola, and Piano
Bizet Adagietto
Bloch Meditation & Processional
Boccherini Sonata in G major
Bohm, C. Perpetual Motion
Brahms Soft Strains of Music Drifting
Brahms Two Hungarian Dances
Bruch Kol Nidrei for Viola & Piano
Campagnoli Theme and Variations for Viola & Piano
Cannabich, C. Six Duos for Viola & Violin
Carter, E. Elegy
Cassado Requiebros
Chopin-Vardi Nocturne in C# minor, op. posth.
Chopin Nocturne in C minor, op. posth.
Chopin Prelude in E minor, for Viola & Piano
Chopin Prelude in Bb major, for Viola & Piano
Collet, H. Rapsodie Castillane for Viola & Orch.
Corelli La Folia for Viola & Piano
Corelli Sonata in D minor, op. 5 #8
Creston Suite
Dargomyzhsky Elegy
Debussy The Girl with the Flaxen Hair
Debussy Beau Soir
Dittersdorf Sonata in Eb major
Dello Joio Lyric Fantasies for Viola & Orch.
Donizetti Romanza for Voice, Viola, & Piano
Dvorak Bagatelle, op. 47 #3
Dvorak Sonatina, op. 100
Dvorak Two Waltzes
Eccles Sonata in G minor
Eichner Six Duets, op. 10, for Violin & Viola
Faure Apres un reve
Faure Elegy
Faure Lamento
Faure Sicilienne
Fick Prelude in C minor for Solo Viola
Fiocco Allegro
Flackton Sonata in G major
Frescobaldi Toccata for Viola & Piano
Gal, H. Suite, op. 102a
Gardano, A. Variations on "The King's Hunting Jigg"
Glazunov Elegie
Glazunov Meditation, op. 32, for Viola & Piano
Granados Orientale
Handel Sonata in E minor
Handel "Where'er you Walk", for Viola & Piano
d'Hervelois La Chambor (Allemande)
Hindemith Meditation
Hindemith Trauermusik
Hoffmeister Concerto in D major
Hovhaness Talin-Concerto for Viola & String Orch.
Howells, H. Elegy for Viola, String Quartet, & St. Orch.
Hummel, B. Sonatina (1971)
Hummel, B. Sonatina No. 2 (1973)
Hummel, J. Sonata in Eb major, op. 5 #3
d'Indy Lied
Joachim Hebrew Melodies, op. 9
Joplin Solace
Kreisler Liebeslied
Kreisler Liebesfreud
Kreisler-Oppelt Preghiera (In the Style of Martini)
Krenek Sonata for Viola & Piano
Leclair Six Sonatas for Two Violas
Liszt Romance Oubliee
Loeffler, Alfred Sonata for Viola & Piano
Loeillet Sonata in F# minor
Marais Five Provencal Dances
Marcello Sonata in G major
Marcello Sonata in C major
Marcello Sonata in F major
Minsky, A. Three American Pieces for Unaccompanied Viola
Moor, E. Prelude, op. 123
Mozart Three Sonatinas, K. 439b
Onslow, G. Sonata in A major, op. 16 #3
Nardini Sonata in F major
Nardini Sonata in F minor for Viola & Piano
Paganini Moto Perpetuo
Paradies Toccata
Piston Interlude
Poulenc Air Grave
Porter, Q. Speed Etude for Viola & Piano
Primrose Londonderry Air for Viola & Piano
Purcell Air & Dances for Viola & Piano
Purcell Sonata in G min for Viola & Piano
Rachmaninoff Vocalise, op. 34 #14
Ravel Pavane for a Dead Princess
Ravel Piece en Forme de Habanera
Ries Perpetuum Mobile
Rimsky-Kors. Dance of the Jester
Roussel Aria
Schubert The Bee
Schubert Litany for All Soul's Day
Schumann Three Romances, op. 94
Serly, T. David of the White Rock
Shostakovich Adagio
Sitt, H. Concertpiece, op. 46
Stamitz, K. Concerto No. 1 in D major
Stamitz, K. Concerto No. 2 in A major
Stamitz, K. Six Duos for Two Violas
Tchaikovsky Nocturne in D minor, op. 19
Tchaikovsky Valse Sentimentale, op.51 #6
Telemann Concerto in G major
Telemann Concerto in G major for Two Violas
Telemann Sonata in D major
Toch Three Impromtus for Solo Viola
Vaughan-Will. Fantasia on Greensleeves
Vaughan-Will. Four Hymns for Voice, Viola, & Piano
Vaughan-Will. Six Studies on English Folk Songs
Veracini Largo
Verrall, J. Sonatina
Vivaldi Concerto in D minor, op.3 #6
Vivaldi Sonata in A major
Walter, D. Hommage to Casals
Level II

Bacewicz, G. Polish Caprice
Bach, JS Brandenburg Concerto #6
Bach, JS Six Cello Suites
Bach, JS Three Gamba Sonatas
Bach, WF Sonata in C minor
Bates, D. Suena, Gestures & Interludes
Bax Legend
Bax Sonata for Viola & Piano
Beethoven Seven Variations from the "Magic Flute"
Beethoven Trio, op. 87, for 3 Violas
Beethoven Two Romances
Beglarian, G. Diversions for Viola, Cello, & Orch.
Benjamin, A. From San Domingo
Benjamin, A. Jamaican Rumba
Berkeley, Lennox Sonata in D min. for Viola & Piano
Biggs, J. Invention for Viola & Tape
Binder, CS Sonata in D major
Bloch Hebraique Suite
Boccherini Sonata in A major
Boccherini Sonata in C min. for Viola & Piano
Borodin Nocturne & Scherzo
Brahms Two Songs
Bruch Double Concerto, op. 88, for Viola & Clarinet
Bruch Romanze, op. 85, for Viola & Orch.
Burkhard, W. Concerto
Burkhard, W. Sonata for Solo Viola, op. 59
Carter, E. Pastoral
Castelnuovo-Tedesco Sonata for Violin & Viola
Castelnuovo-Tedesco "Suite 508" for Viola & Piano
Chailley, Jacques Sonata for Viola & Piano
Chihara, P. Duo Concertante for Violin & Viola
Clarke, R. Sonata for Viola & Piano
Cooley, C. Etude Suite for Solo Viola
Couperin La Precieuse
Dittersdorf Sinfonia Concertante for Viola, Bass, Orch.
Dvorak Romance
Finney, RL Sonata No. 1 in A major
Finney, RL Second Sonata
Freed, I. Rhapsody
Fricker Fantasy for Viola & Piano, op. 44
Gal, H. Divertimento, op. 90 #3 for Violin & Viola
Gal, H. Sonata, op. 101
Gardner, M. Rhapsody for Viola & Orch.
Gardner, M. Tricinium, Sonata for Solo Viola
Glinka Sonata in D minor
Grieg Sonata in A minor, op. 36
Handel, D. Mooncycle for Soprano, Viola & Piano
Handel Concerto in B minor
Handoshkin Concerto in C major
Handoshkin Variations on A Russian Song of Love
Harris, R. Soliloquy & Dance
Haydn Divertimento
Heiden, B. Sonata
Hessenberg, K. Sonata, op. 94
Hindemith Duo for Viola & Cello
Hindemith Sonata, op. 25 #4 (1922)
Holst Lyric Movement for Viola & Small Orch.
Hubay Morceau de Concert for Viola & Orch., op. 20
Hummel Fantasy
Husa, Karel Poem for Viola & Chamber Orchestra
Joachim Variations, op. 10
Jongen, J. Allegro Appassionato, op. 79
Juon, P. Sonata, op. 15
Kabalevsky Improvisation
Kiel, F. Three Romances, op. 69
Kodaly Adagio for Viola & Piano
Kreisler Praeludium & Allegro
Kreisler-Oppelt Tambourin Chinois
Krol, B. Lassus-Variationen, op. 33
Lipinski, K. Impromptu-Etude
Loeffler Quartre Poemes for Voice, Viola, & Piano
Loeffler Two Rhapsodies for Viola, Oboe, & Piano
Marais Suite in D major
Martinu Madrigals for Violin & Viola
Mendelssohn Sonata in C minor
Moussorgsky Hopak
Mozart Two Duos for Violin & Viola, K. 423 & 424
Novacek Perpetual Motion
Persichetti Infanta Marina for Viola & Piano
Piston Duo for Viola & Cello
Pochon, A. Passacaglia for Viola Solo
Porter, Q. Concerto
Porter, Q. Duo for Viola & Harp (or Harpsichord)
Prokofiev Danse de Jeunes Antillaises
Rawsthorne, Alan Sonata for Viola & Piano
Rolla Idylls for Solo Viola
Schumann Adagio & Allegro, op. 70
Schumann Marchenbilder
Senaille Allegro Spirituoso
Shtrum, Haim Invenzione con Spirito, Sonata for Solo Viola (1991)
Simons, N. Songs for Wendy, for Voice & Viola
Spisak, M. Duetto Concertante, for Viola & Bassoon
Stevens, H. Suite (1959)
Stevens, H. Suite (1969)
Suderburg, R. Chamber Music VI, 3 Movements for Viola & Double Bass
Telemann Twelve Fantasies for Solo Viola
Turina, J. Scene Andalouse for Viola, St. Qt., & Piano
Vaughan-Will. Suite (8 mvts.)
Vaughan-Will. Romance
Verrall, J. Sonata No. 1 for Viola & Piano
Vieuxtemps Capriccio for Solo Viola
Vieuxtemps Elegie, op. 30
Villa-Lobos Duo for Violin & Viola
Ward, R. Arioso & Tarantella
Weber, KM Variations for Viola & Piano
Whitaker, Michael "If Buifs" for Solo Viola
Williamson, M. Partita for Viola on Themes of Walton
Wilson, G. Sonata for Viola & Piano
Winters, G. Sonata No. 1, op. 8
Wolf, H. Italian Serenade, for Viola & Orch.
Wranitzky Concerto for Two Violas & Orch.
Level III

Bacewicz Four Capricci
Bach-Kodaly Fantasia Cromatica
Babbitt, M. Composition for Viola & Piano
Beethoven Eyglass Duo for Viola & Cello
Beethoven Notturno
Berkowitz, S. Introduction and Scherzo
Berlioz Harold in Italy
Bliss Sonata for Viola & Piano
Bloch Suite for Viola Solo
Bozza Improvisation & Burlesque
Brahms Sonata in D major, op. 78 (trans.)
Brahms Sonata in F major, op. 120 #1
Brahms Sonata in Eb major, op. 120 #2
Britten Lachrymae
Chihara, P. Redwood, for Viola & Percussion
Cooper, P. Variants II for Viola & Piano
Davies, PM The Door of the Sun, for Solo Viola
Denniston, D. "One Thought Fills Immensity" for Solo Viola
Despic Monologue (1979), op. 66 for Viola Solo
Duisberg Relativity's Rainbow for Viola & Bassoon
Enesco Concertpiece
Finko Concerto for Viola & Orch.
Finko Concerto for Viola, St. Bass., & Orch.
Forsyth, M. Steps, for Viola & Piano
Franck Sonata in A major
Fricker Concerto
Fricker Thee Movements for Solo Viola, op. 25
Fuchs, L. Sonata Pastorale
Gardner, M. Concerto for Violin, Viola & Orch.
Gould, M. Concerto
Handel-Halvorsen Passacaglia for Violin and Viola
Handel-Holvorsen Sarabande with Variations for Violin & Viola
Hindemith Sonata, op. 11 #4 for Viola & Piano
Hindemith Sonata, op. 25 #1 for Solo Viola
Hoddinott, Alun Concertino for Viola & Small Orchestra
Honegger Sonata
Janacek Children's Rhymes for Solo Viola, Choir, & Piano
Kechley, D. Sonata for Viola & Piano
Kimber, Michael Sonata for Solo Viola (1997)
Kornauth, E. Sonata in C# minor, op. 3
Korngold Four Pieces, op. 11 for Viola & Piano
Levin, H. Seven Pieces for Viola & Piano
Martinu Rhapsody-Concerto for Viola & Piano
Martinu Sonata for Viola & Piano
Medins Sonata for Viola & Piano
Milhaud Quatre Visage for Viola & Piano
Milhaud Sonata No. 1 for Viola & Piano
Milhaud Sonata No. 2 for Viola & Piano
Miletic, M. Concerto
Morrill, Dexter Dance Bagatelles for Viola and Piano (1994)
Mozart Sinfonia Concertante in Eb major, K. 354
Mozart Sinfonia Concertante in A major, K. 104
Pasatieri Sonata for Viola & Piano
Pasatieri Windsong, for Voice, Viola, & Piano
Patterson, P. Tides of Mananan, op. 64, for Solo Viola
Penderecki Cadenza for Solo Viola
Persichetti Parable for Solo Viola
Piston Concerto
Porter Suite for Viola Alone
Prokofiev Theme & Processional from "Peter and the Wolf"
Rolla, A. Adagio and Theme with Variations
Reger Three Solo Suites, op. 131d
Rochberg, G. Sonata for Viola & Piano (1979)
Sapieyevski Concerto for Viola & Winds
Schafer, G. Expressioni
Schubert Sonata in A minor "Arpeggione"
Sculthorpe Sonata for Viola & Percussion
Serly, T. Rhapsody on Folk Songs for Viola & Orch.
Shostakovich Sonata, op. 147, for Viola & Piano
Shulman, A. Theme & Variations for Viola and Orch.
Stravinsky Elegie, for Solo Viola
Tircuit, H. Sonata (Homage to Mahler)
Tufts, P. Sonata (1967)
Tufts, P. Suite
Tufts, P. Sonata (1978)
Tufts, P. Three Pieces for Violin & Viola (1981)
Vaughan-Will. Flos Campi for Viola, Ch. Choir, & Ch. Orch.
Verrall, J. Sonata No. 2 for Viola & Piano
Vitali Chaccona for Viola & Piano
Vitetta Etude Caprice, No. 1 in E minor
Weber Andante & Rondo Ongarese for Viola & Orch.
Wellesz Rhapsody for Viola Solo
Wieniawski Alla Saltarella, op. 10 #5
Wieniawski Alla Saltarella, op. 18 #4
Wieniawski Scherzo-Tarantella
Wilson, E. Sonata for Viola & Piano
Wilson, G. Sonata for Viola & Piano
Winters, G. Sonata No. 2, op. 57
Level IV

Bach, JS Sonatas & Partitas for Solo Viola
Bartok Concerto
Bekku Concerto
Benjamin Elegy, Waltz, & Toccata
Benjamin Le Tombeau de Ravel
Benjamin Romantic Fantasy, for Violin, Viola, and Orchestra
Bergsma Fantastic Variations on a themes from "Tristan"
Bergsma Sweet was the Song the Virgin Sung; Tristan Revisited; Concerto for Viola & Orch.
Berio Sequenza
Bloch Suite (1919)
Bozza Parthie
Colgrass Variations for Four Drums & Viola
Dahl, I. Divertimento for Viola and Piano
Draganski Variations for Solo Viola
Epstein, D. Fantasy Variations for Solo Viola
Fink, P. Fantasy for Solo Viola
Friedman, JP Concerto (in the form of Variations) for Viola & Orch.
Ghent, E. Entelechy, Concertpiece for Viola & Piano
Gould, M. Concertette
Hamilton, Iain Sonata for Viola & Piano, op. 9
Hindemith Kammermusik No. 5, op. 36 #4
Hindemith Konzertmusik
Hindemith Der Schwanendreher
Hindemith Sonata op. 11 #5 for Solo Viola
Hindemith Sonata (1939) for Viola & Piano
Jacob, G. Concerto No. 1
Jacob, G. Concerto No. 2
Kelterborn Nine Moments
Mead, A. Sonata for Solo Viola
Milhaud Concerto No. 1
Milhaud Concerto No. 2
Musgrave Elegy for Viola & Cello
Nixon, R. Concerto
Paganini La Campanella
Paganini 24 Caprices
Paganini Caprice #13 for Viola & Piano
Paganini Caprice #20 for Viola & Piano
Paganini Caprice #24 for Viola & Piano
Paganini Sonata for Grand Viola & Orch.
Schuman, W. Concerto on Old English Rounds, for Viola, Women's Chorus, & Orch.
Serly, T. Concerto
Serly, T. Sonata in modus Lascivus for Solo Viola
Starer, R. Concerto for Viola, Strings, & Percussion
Suderburg, R. Solo Music II, Ritual Lyrics and Dances for Solo Viola
Szentkiralyi Monologo for Solo Viola
Verrall, J. Concerto
Vieuxtemps Sonata in Bb major for Viola & Piano, op. 36
Walton Concerto
Zimmerman Sonata for Viola Solo
Zimbalist Sarasateana, Suite of Spanish Dances
Etudes

(In order of difficulty)

Wohlfahrt Foundation Studies for the Viola
Blumenstengel 24 Studies, op. 33
Kayser 36 Studies, op. 20
Mogill Selected Etudes
Schradieck School of Viola Technique
Reher, S. 12 Studies for Viola
Dont 24 Etudes, op. 37
Kruetzer Etudes
Rode 24 Caprices
Rolla Esercizio ed Arpegio
Hoffmeister Viola Etudes
Campagnoli 41 Caprices, op. 22
Fuchs, L. 15 Characteristic Studies
Fuchs, L. 16 Fantasy Etudes
Fuchs, L. Caprices
Palaschko Twelve Studies, op. 36
Palaschko Twelve Studies, op. 55
Kimber, Michael Twelve Caprices
Palaschko Ten Studies, op. 49
Schloming 24 Etudes, op. 15
Paganini 24 Caprices

Primrose is my viola God and McInnes is my viola Jesus

2006-09-21T08:39:00.000-07:00

Donald McInnes

World famous violist and teacher, DONALD McINNES, is known in virtually every corner of the artistic world for his appearances with major orchestras, recitals, chamber music participation, and numerous masterclasses. His affiliation with major schools throughout the world have included The University of Michigan, the College-Conservatory of Music in Cincinnati, and the University of Washington. In 1985, he accepted the appointment as Professor of Viola at the University of Southern California (the position formerly held by his teacher, the famed William Primrose). Presently, he combines a very busy concert schedule with his class of viola students from throughout the world. He has appeared with such orchestras as the New York Philharmonic, Boston Symphony, Orchestra Nationale de France, Pittsburgh Symphony, Zurich Chamber Orchestra, CBC Radio Orchestra, Toronto Symphony, Mexico City Philharmonic, Atlanta Symphony, Seattle Symphony, among many others, and his career included close associations on the platform with such artists as Leonard Bernstein, Yehudi Menuhin, Lynn Harrell, Yo-Yo Ma, Paul Tortelier, Brooks Smith, Martin Katz, Janos Starker, Menahem Pressler, and many other leading artists of our time. Mr. McInnes is also a very active recording artist who can be heard on Columbia, RCA, Deutsche Grammaphone, Angel (EMI), etc. He also introduced many new works for viola including commissions for him by such leading comosers as William Schuman, William Bergsma, Robert Suderburg, Vincent Persichetti, and Paul Tufts. He regularly appears at leading summer music festivals in North America and abroad such as Banff, marlboro, Gstaad, Ambler, Interlochen, the International String Workshop, and the Music Academy of the West. His students received the first three prizes at the 1984 Lionel Tertis International Viola Competition on the Isle of Man, and more recently, two of his students won the first prize at the prestigious Friday Morning Musical Club National Competition at the Kennedy Center in Washington D.C., and the CBC National Competition in Vancouver, British Columbia. Today, throughout the entire world, his students can be found in leading symphony orchestras and teaching at many of the finest conservatories and universities. In addition, Mr. McInnes is a resident member of the Camerata Pacifica in Santa Barbara, CA.

THE NEW YORK TIMES - Harold Schoenberg
"Gorgeous, mellow sound...sensitive musician...fine interpreter."

THE SATURDAY REVIEW - Irving Kolodin
"Produces a superb sound on his instrument."

THE NEW YORK POST - Robert Kimball
"Sensitive musician with a technical command of his instrument...he was able to heighten the emotional impact of the solo passages."

THE NEW YORKER - Andrew Porter
"Eloquent viola soloist."

THE SEATTLE TIMES - Melinda Bargreen
"McInnes is probably the world's premiere violist, occupying a unique niche among performers of that seldom-heard instrument. Last night it was not at all difficult to see how he has attained that pre-eminence."

PRANCE-SOIR - Jean Cotte
"Finally, our strings had a living model before their eyes...Here is a sonority to dream of, with a contagious velvetiness. No vinegar, only honey."

THE PITTSBURGH PRESS - Carl Apone
"Beautiful tone, sensitive phrasing, perfect intonation."

THE VANCOUVER PROVINCE - Lawrence Cluderay
"A most persuasive advocate, producing a marvellously deep, warm tone in the broadly lyrical and darkly elegiac movements and negotiating the virtuoso toccata-like furiously fast section with compelling brilliance."

THE SEATTLE TIMES - Wayne Johnson
"Played a brilliant recital...first-class violist...superb technical command of his instrument. He plays the viola with the ease that comes only with mastery...what a gorgeous sound he creates!...Everything on the program was superbly performed."

THE SANTA BARBARA NEWS-PRESS - Kenneth Brown
"Master violist...complete artistic integrity."

THE ATLANTA JOURNAL - JOHN SCHNEIDER
"A triumph of compelling sensitivity."

Musical America - John Schneider
"McInnes' performance was a triumph of virtuosity and poetic communication."

(http://www.viola.com/teachers/mcinnes.html)

HOTTTT Viola playing!

2006-09-21T08:36:00.000-07:00

If you want to she a girl that really knows her classics, check out Olga's site. I have two of her videos on the sidebar. I will be playing playing the entire Schumann in March for my junior recital.

http://www.olgagoija.com/

2006-09-21T08:27:00.000-07:00

http://nct.digitalriver.com/fulfill/0135.009/download/2006-c7cb8884efe4014d0ad9f01971978c1f-3

Assignment 2 - Song 7: Song for Inga

2006-09-21T07:12:00.000-07:00

How did you create your composition? What was your process?

I used Garageband and their loop files on hand. To get the voices I went to a movie quote soundbyte website and copied the sounds to iTunes and then copied to Garageband. I used loops that were aesthetically pleasing and tried to make it different and unique.

What challenges did you run into when you were composing your piece?

I had trouble copying the sound bytes from The Wizard of Oz onto the computer as a usable resource fro Garageband, but it wasn't that difficult of a fix.

If you had more time, what would you change about your composition (if anything)? Why?

I might play with the sound volumes more and try to add more sounds that would make the song less monotone. I'm just worried that 1) Inga won't like it, and 2) that no one else but me will like it.

What else would you like to know how to do in GarageBand?

Anything else I don't already know.

What would you like input or feedback on from your classmates about your composition?

Song 7: Song for Inga

2006-09-14T08:12:00.000-07:00

New Song

2006-09-07T08:09:00.000-07:00

INTASC 10

2006-08-24T07:51:00.000-07:00

INTASC Standard #10
Partnerships

The teacher fosters relationships with school colleagues, parents, and agencies in the larger community to support students' learning and well-being.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

Effective teachers engage in a variety of experiences within and beyond the school that promote a spirit of collaboration, collegiality, and personal growth. As teachers expand their realm of interactions, they recognize how cultural identity plays an important part in the way others react to the world, how they learn, and how they view themselves. Effective teachers learn how to successfully use churches, civic, and community-based organizations as resources and as ways of motivating and encouraging positive growth in students. Connecting the school and community requires that the teacher integrate multicultural education throughout the curriculum. Teachers must be receptive to moving beyond the walls of the school and opening the door to discover the students' other learning environments.

Teachers can get bored doing the same thing for a long time. That is why I have been trying to network with as many people as possible. As I network with the community, I not only build my own creativity by constantly acquiring new ideas, but my future students can benefit from a different way of learning. Connecting my future students to their environment and community can make them a stronger people because they have a larger support system, but they can obtain more experiences in which to learn from in the future. With that real-life knowledge they can become more educated people and better citizens in society.

INTASC 9

2006-08-24T07:50:00.001-07:00

INTASC Standard #9
Professional Commitment and Responsibility

The teacher is a reflective practitioner who continually evaluates the effects of his or her choices and actions on others (students, parents, and other professionals in the learning community), and who actively seeks out opportunities to grow professionally.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

Many teachers learn as much from kids as the kids learn from themselves. Effective teachers find self-reflection leads to greater knowledge about students, the subject being taught, and the act of teaching. He or she must consider and cultivate strong relationships with parents and educational professionals. Effective reflection means reevaluating the effects of the instructor's decisions. Growing professionally also means learning new ways to make lesson plans, understand subject matter more thoroughly, manage classroom, act critically, etc.

Reflection is one of the many new thoughts of teaching. I wrote a reading log on an article by Arthur Costa and Bena Kallick how to effectively reflect. I have used those philosophies in most if not all of my reflections of any practice teaching I have done. Also, building relationships with coworkers and parent students is important to the health of the effectiveness of my teaching. I work hard to build strong, professional relationships with all parties so as to work together as a unit to teach the students. Teaching is in every situation and therefore it must surround the students to make them effective learners.

INTASC 8

2006-08-24T07:50:00.000-07:00

INTASC Standard #8
Assessment of Student Learning

The teacher understands and uses formal and informal assessment strategies to ensure the continuous intellectual, social, and physical development of the learner.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

The purpose of assessment is to assist students, teachers, schools, and parents in recognizing what students have learned and to identify areas in which students need improvement. Observations, tests on content, and standardized tests are examples of traditional assessment. These may tell little about the depth of knowledge in relation to real-life problems. New approaches of assessment focus on how students can demonstrate that they can perform tasks as giving a speech, playing and instrument or writing a story because they take place in a contrived context. The assessment should be reliable and provide consistent results, the strategies should be valid, fair, impartial, and unbiased.

A sample of traditional assessment that I would probably give my future students would be the written test, maybe multiple choice, fill in the blank, or essay of skills I would teach them. An example of non-traditional assessment that I might use on my future students would be playing tests (individual and sectional) or simple questions to my students about what they understand. I might test the skill level of their peers by requiring sectionals to be student lead. I want to be diverse and creative with my assessment of my future students because I want them to learn while they are having fun and do not realize they are learning.

INTASC 7

2006-08-24T07:49:00.001-07:00

INTASC Standard #7
Instructional Planning Skills

The teacher plans instruction based on knowledge of subject matter, students, the community, and curriculum goals.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

The teacher must have thorough knowledge the subject matter and understanding of teaching methods. Knowing the individual needs of learners he or she should create short term and long term plans. An effective teacher is ready to respond to unanticipated classroom events and ensure progress and motivation. It is also important to be sensitive to the community's beliefs, needs, and resources and reflect on them when making plans.
He or she should have curriculum goals that the give teacher direction in making plans. That will give them a variety of sources while many are provided. Consider the subject matter, local school district goals, current educational issues, legal issues, family and community considerations, public policies, community resources within planning. An effective teacher will tie all of these together with the interests, needs, aptitudes of each student being taught while also being reflective of current practice and open to adjustments and revisions.

An effective teacher must pull a variety of resources while also staying within certain guidelines. In my first microteaching I was apt to staying within the National Standards of teaching and how they applied to my lesson plan. That was an example of how having knowledge of the subject matter and having to be conscious of outside expectations.

INTASC 6

2006-08-24T07:49:00.000-07:00

INTASC Standard #6
Communication Skills

The teacher uses knowledge of effective verbal, nonverbal, and media communication techniques to foster active inquiry, collaboration, and supportive interaction in the classroom.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

Teachers need to supervise their verbal and nonverbal communication so it is contains appropriate grammar, content, syntax, active listening skills, paraphrasing, perception checking and clarifying questions. He or she is to choose, accustom, and create an environment and a wide range of instructional resources that excite the students in clearly understood educational learning there. Teachers should use technology as a tool for learning and as a major communication resource. Overall, he or she must send students clear and coherent information about classroom expectations, goals and challenges.

Communication is vital to the effectiveness of the classroom or teaching environment. I have taught a segment in a leadership course on effective communication. How communication is seventy percent body language and twenty percent visual and ten percent verbal. I try to incorporate all of these factors into my teaching, as an example, I try not to use too many annoying hand movements, frequent how much I involve the students and the use of visuals, and limit the number of filler words like "um" and "uh".

INTASC 5

2006-08-24T07:48:00.001-07:00

INTASC Standard #5
Classroom Motivation and Management Skills

The teacher uses an understanding of individual and group motivation and behavior to create a learning environment that encourages positive social interaction, active engagement in learning, and self-motivation.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

Effective teachers work in many ways to build positive classroom interaction. One must recognize that involving students in this endeavor not only promotes growth in personal and social responsibility but also enhances the development of social values. Teaching and modeling effective problem-solving techniques provide motivation for learning positive social interaction and positive self-esteem. An effective teacher strives to create a learning environment that fosters group decision making, collaboration, individual responsibility, and self-directed learning. Teachers interested in this are aware of the range of behavioral phenomena confronting them. One must rely on his or her own knowledge of the principles and strategies of behavior management and issues related to motivation. With this information on will construct an ever-changing student motivation and management philosophy that considers alternatives and the possible consequences to a given action.

In my internship with my orchestra director, I worked to first build trust in my relationship with my students. I gave them a chance to talk among themselves while listening to see what they were talking about. I tried to teach them to help one another by assigning such tasks to force them to work together civilly. I set up rules which we could all follow, disciplined those who disobeyed and walked in everyday with a smile. I tried to find aspects about the music they might find amusing or interesting. I tried to challenge their individual skill as well as improve ensemble. I tried to always be positive and turn negatives into positives.

INTASC 4

2006-08-24T07:48:00.000-07:00

INTASC Standard #4
Multiple Instructional Strategies

The teacher understands and uses a variety of instructional strategies to encourage students' development of critical thinking, problem solving, and performance skills.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

An effective teacher draws from a wide collection of instructional approaches and illustrations, adjusting his or her choices to meet his or her objectives and needs of students. Learning for understanding often needs trial and error, problem solving, interrelation between teachers and students, and management of physical objects. Teachers should use exploratory learning, cooperative learning, concept acquisition and class discussions. An effective teacher has goals of concepts, generalizations, dispositions and understandings.

As a potential teacher I have put myself in many teaching positions so as to acquire knowledge and practice. This knowledge has expanded my range and ideas of how to teach my students and reach them on their level. For example, in a microteaching I used expository teaching as well as had the students work in groups to discover the meaning of interpreting rhythms in the well-known Shaker hymn, Simple Gifts. I used different language in explaining the concept as well as giving and having the students give their ideas. I also had them use instruments to manipulate the rhythmic structure.

INTASC 3

2006-08-24T07:47:00.001-07:00

INTASC Standard #3
Adapting Instruction for Individual Needs

The teacher understands how students differ in their approaches to learning and creates instructional opportunities that are adapted to diverse learners.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

Students have varied learning styles, diverse cultural backgrounds, and exceptionality in learning. An effective teacher understands how students differ in their development and approaches to learning and is able to adopt strategies and environments to meet specific needs of students. A major role for the teacher is to assess each student's developmental levels and abilities in all areas and match learning environments and experiences appropriately. The teacher is an astute observer who can use observational data to diagnose, guide, and instruct. One must design instruction that helps use students' strengths.

I have had a chance to observe many cultural differences but traveling to Europe on a music tour, studying Germany and its language, and taking a variety of multicultural classes while attending my university. After assessing my students' abilities and learning differences I want to create a variety of teaching tools using my experiences outside the United States and within. I want to diversify my students to help them become more well-rounded people in which will help them with their studies as a musician. They could relate the music they are performing by knowing more about the culture that surrounds that piece.

INTASC 2

2006-08-24T07:47:00.000-07:00

INTASC Standard #2
Knowledge of Human Development and Learning

The teacher understands how children learn and develop, and can provide learning opportunities that support their intellectual, social, and personal development.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

Differing personalities, learning abilities, interests and skills make clear the wide variation in students in the same age group. There are also common characteristics, predictable patterns and sequences to their development. An effective teacher must understand these patterns, sequences, and stages. A teacher's practice must be rooted in the rapidly advancing research and theory of human development and learning so as to make logical hypotheses in how best to understand and thus respond to an individual student or group of students. Two sources are the fields of human development and psychology and one's own observations of students and reflections about one's teaching.

Many students learn in different ways. When I wrote a research paper on the effects of music therapy on autistic children, I used a variety of ways to distribute my information. Power point was used as a visual with pictures and graphs, I verbally recited the information and provided tangible objects to convey my points across. My students will need this kind of variety, even in just the way I verbally give my information.

INTASC 1

2006-08-24T07:46:00.000-07:00

INTASC Standard #1
Knowledge of Subject Matter

The teacher understands the central concepts, tools of inquiry, and structure of the discipline(s) he or she teaches and can create learning experiences that make these aspects of subject matter meaningful for students.

[Headings for INTASC standards are taken from -
Campbell, D.M. et al. (1997). How to develop a professional portfolio: A manual for teachers. Boston: Allyn and Bacon.]

It is important that the teacher gauge resources and curriculum materials for their comprehensiveness, accuracy, and usefulness in representing certain ideas and concepts. The role of the teacher is to help students grow in their knowledge through the materials and engage in meaningful experiences. Exploration allows teachers to involve students in producing knowledge.

The musical material is important to the students growth as musicians and as students. In my experience with eighth graders at New Mark Middle School, the repertoire was very important to how well the students would learn the music. It had to set goals for their progress and also give them experience of the composer and style of piece in their range. It is almost impossible to give public school eighth graders an original Prokofiev unless it was arranged for their age group. The exploration would be in the style, variety, and composer of the piece, but my usefulness lies in giving the students something they can handle and enjoy.

MUSICAL LIFE HISTORY STATEMENT

2006-08-24T07:40:00.000-07:00

I have always had music in my life. When I first entered this world, my father, a retired music teacher, became the stay at home dad for my older brother and me. I grew up listening to his Pavoratti-like voice echoing from the shower and numerous choir rehearsals at local churches. In the car he would switch the radio to NPR (National Public Radio). He and I would listen to the endless classical music. We would play games together while listening to NPR; we had to guess the composer and time period of a piece we heard. Not only did we have to be correct, but also fast.

In the fifth grade, I picked up the viola, an instrument my brother had put down so he could play in the band. I auditioned for the eighth grade honors orchestra when I knew that I wanted to play for more than a couple of years. When I entered high school, I threw myself into numerous orchestras and even took part in one of the local youth symphonies. I tried to expand my mind as much as possible musically; I wanted to be on the fast track to great musicianship.

Music flourished as my new focus and drive in life. I had an experienced and motivational private teacher who pushed me to my limits. He helped me see that I could survive whatever situation. My high school music teacher helped me blossom into the best potential music educator. He showed me many opportunities to help my peers, not only other violists but other instrumentalists. I worked as his intern, librarian, and overall assistant to see the inner workings of the music program. In a high school College Connections course, I acquired the opportunity to write a research paper on the effects of music therapy on autistic children. For this research I visited a local school for disabled children that had a strong program in music therapy and interviewed an instructor there. I also spoke with many University of Missouri - Kansas City professors of music therapy, which furthered my interest in music and widened my perspective of how music affects every walk of life. Currently, I work as a student at Indiana State University in Terre Haute, Indiana. With new, caring, and motivated professors and new angles and perspectives, I have begun my dream of becoming a music educator.