Florida Bandmasters Association, Florida Orchestra Association and Florida Vocal Association
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Curriculum
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The music curriculum is a balanced and sequential program as
described in the Curriculum Framework for the Arts, and involves
music performance, music reading, improvisation, composition,
the understanding of cultural and historical contexts of selected
works, analysis and evaluation, and the relationship of music
to the other arts and the world beyond the school setting. All
instructional activities are directed toward achieving the Curriculum
Framework for the Arts.
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Scheduling. |
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The scheduling of music classes allows for access of all students,
whether advanced or remedial in academic areas. Secondary music
classes are scheduled for at least 500 minutes over a two week
period, preferably in daily meetings not less than 50 minutes
in length.
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Staffing
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Vocal and instrumental classes are taught by music educators
who are certified to teach music, have extensive knowledge and
training, and are fully qualified for their instructional assignments
in music. Teacher student ratio is appropriate and allows for
student access to the instructor. The teacher-student load allows
for appropriate supervision and assess-ment opportunities.
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Class
Sizes |
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| Middle School Performance
Ensembles |
#
of Students |
| Beginning Band ** |
25-40 |
| Intermediate Band |
25-60 |
| Advanced Band |
25-75 |
| Beginning Chorus, Treble |
20-40 |
| Specialty Chorus |
12-20 |
| Intermediate Chorus, SA(C) |
20-50 |
| Advanced Chorus, SA(B or
C) |
20-60 |
| Beginning Orchestra ** |
20-40 |
| Intermediate Orchestra |
20-50 |
| Advanced Orchestra |
20-75 |
| - |
- |
| Middle School Development
classes |
#
of Students |
| General Music |
20-35 |
| Guitar |
20-35 |
| Keyboard |
15-30 |
| - |
- |
| High School Performance
Ensembles |
#
of Students |
| Band 1 |
20-60 |
| Band 2,3,4 |
30-80 |
| Stage Band |
15-25 |
| Chorus |
20-60 |
| Specialty Chorus |
12-20 |
| Orchestra, all types |
20-60 |
| - |
- |
| High School Development
Classes |
#
of Students |
| Electronic Music |
* 15-30 |
| Guitar |
20-35 |
| Humanities |
20-35 |
| Keyboard |
* 15-30 |
| Theory |
15-30 |
| - |
- |
| Note: |
These sizes are general approximations
only. Classes may exist with either fewer or greater numbers
of students. For a complete list of DOE approved music
classes, please see Appendix D.
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The number of keyboards or electronic
stations must determine the maximum class size.
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Beginning Band/Orchestra should be 25-50%
of the school’s first year population. For instructional
purposes beginning instrumental music students should
not be grouped in classes larger than 40 students. Efforts
should be made to assist elementary schools to coordinate
beginning music programs, and may be facilitated with
a visit by performance groups to the elementary schools. |
Circumstances which affect class size are the “wheel”
method of scheduling for middle school, instrumentation, and
general scheduling parameters.
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Optimum
Equipment |
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The following equipment lists represent optimum programs. The
numbers of instruments will vary depending on student enrollment.
Life expectan-cies, shown for instruments are the maximum to
be expected. Hard use or poor maintenance may considerably reduce
life expectancy of any instru-ment.
Band, Middle School
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2 Piccolo ** (10), 4 Oboe (15), 4 Bassoon
(15), 35 Bb Clarinet (15), 4 Eb Bass Clarinet (15), 2
Eb Contra-Alto clarinet (15), 2 Tenor Sax (15), 1 Baritone
Sax (15), 35 Bb cornet (15), 4 F Horn (15), 4 F/Bb Double
Horn (15), 6 Euphonium (15), 15 Trombones (15), 2 Bass
Trombone (15), 6 BBb Tuba (15), 3 Timpani-23 ,26 ,29 (20),
1 xylophone (20), 1 Orchestra Bells (20), 2 Snare Drum
(10), 2 Tenor Drum (15), 1 Bass Drum (20), 2 pr Crash
Cymbals (15), 2 Suspended Cymbal (15), 1 set Color Percussion-Bongos,
Woodblock, Cowbell, Claves, Castanets, Maracas, Guiro,
Temple Blocks, Triangles, (10), 1 Studio Upright (acoustic)
Piano (30), 1 Stereo Record/ Playback System (10), 45
Music Stands (20), 1 Conductor Stand (20), 1 Podium (20),
1 Conductor Chair (20), 6 PC/Mac Computer Station (5). |
Chorus, Middle and High School
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1 Grand Piano (studio acoustic piano?)
(30), choral risers (15), 1 Stereo Record/Playback System
(10), 6 Music Stands (20), 1 Conductor Stand (20), 1 Conductor
Chair (20), 6 PC/Mac Computer Station (5), 1 set Color
Percussion + hand drum, sleigh bells |
Orchestra, Middle School
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20 3/4 size Violin (20), 20 4/4 size
Violin (20), 2 14" Viola (20), 4 15" Viola (20),
2 16" Viola (20), 4 3/4 size Cello (20), 4 4/4 size
Cello (20), 4 • size Bass (20), 4 3/4 size Bass (20),
1 Studio Upright (acoustic) Piano (30), 1 Stereo Record/Playback
System (10), 40 Music Stand (20), 8 Bass Stool (15), 1
Conductor Stand (20), 1 Podium (20), 1 Conductor Chair
(20), 6 PC/Mac Station (5), Percussion |
Guitar
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35 Acoustic Guitar (15), 35 Music Stand
(20), 1 Stereo Record/Playback System (10), 1 Conductor
Stand (20), 1 Conductor Chair (20), 2 PC/Mac stations
(5) |
Keyboard
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30 Electronic Keyboard (10), Computerize
System for interconnecting keyboards with teaching station
(5) |
Theory
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1 Stereo Record/Playback System (10),
1 Studio Upright Piano (30), 10 PC/Mac Stations (15) |
Band, High School
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2 Piccolo (15), 1 Alto Flute (20), 1
Bass Flute (20), 4 Oboe (15), 1 English Horn (20), 4 Bassoon
(15), 4 Bb Bass Clarinet (15), 2 Eb Contra-Alto Clarinet
(15), 1 Eb Contra-Bass Clarinet (15), 2 Tenor Sax (15),
1 Baritone Sax (15), 2 Flugelhorn (15), 2 F Horn (15),
6 F/Bb Double Horn (15), 6 Euphonium (15), 6 BBb Tuba
(15), 8 Marching F Horn (10), 6 Sousaphone (10), 4 Timpani
(20), 1 Marimba (20), 1 Xylophone (20), 1 Tubular Chime
(20), 1 Orchestra Bells (15), 2 Snare Drum (10), 2 Tenor
Drum (10), 1 set TomTom (15), 2 pr Crash Cymbal (10),
2 Suspended Cymbal (10), 1 TamTam (15), 1 Trap Set (15),
1 set Color Percussion-Bongos, Timbales, Cowbells, Woodblocks,
Temple Blocks, Claves, Maracas, Guiro, Triangles, Birdwhistle,
Slidewhistle, Finger Cymbals (10), 4 Marching Snare (5),
4 Marching Tenor (5), 5 Tuned Marching Bass Drum (5),
2 Marching Quads (5), 2 Marching Xylophone (5), 2 Glockenspiel
(10), 1 Studio Upright (acoustic) Piano (30), 60 Music
Stand (20), 1 Conductor Stand (20), 1 Podium (20), 1 Conductor
Chair (20), 6 PC/Mac Computer Station (5), 1 Stereo Record/Playback
System (10) |
Orchestra, High School
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20 15" Viola (20), 4 16" Viola
(20), 8 4/4 Cello (20), 6 3/4 Bass (20), 6 Bass Stool
(15), 1 Studio Upright Piano (30), 60 Music Stand (20),
1 Conductor Stand (15), 1 Conductor Chair (15), 1 Podium
(15), 1 Stereo Record/Playback System (10), 6 PC/Mac Station
(5), Percussion
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Walk-Through
Observations |
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Students are engaged in the rehearsal process; posture is good,
with students sitting erect in their chairs (or standing for
chorus), and demon-strating correct finger and instrument position.
The ensemble is reacting as a whole, starting and stopping in
accordance with the direction of the teacher and following verbal,
as well as non-verbal instructions. Students working at computer
stations or in practice rooms are engaged and working on the
assigned task.
The sound of the group is pleasing, even during times of sightreading
new music. Even when wrong notes occur, sounds remain “characteristic”
for each instrument/type of voice and in “control”
(free from obvious blats,splats, screeches).
Students comply with classroom procedures, and the classroom
shows an obvious regard for musical instruments/equipment. Appropriate
visual materials are on display.
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Full
Class
Observations
The majority of
classroom
instruction
should be with
students actually
playing music
Individual
performance tests
should also play
a significant role
in assessment, as
should group
performances.
Budget
Budget monies for
texts should be
appropriately
allocated to the
music program as
well as other
academic areas.
Performances provide students with an opportunity to demonstrate
what has been achieved as a result of classroom lessons and
to learn the skills necessary for performance in a public setting. |
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Planning: Plans should be devised on a unit or concert
basis and may take on varied formats. In any planning method,
there should be evidence of meeting the Sunshine State Standards
as described in the Curriculum Framework for the Arts.
Knowledge of Subject Matter: The teacher describes in
a concise manner the desired musical effect and directs students
to mastery of the skill. There is a fluency in providing instruction,
and feedback to the students. As the teacher addresses the same
problem for the second or third time, there should be a vocabulary
of varying explanations (addressing rhythms, fingerings, balance
or blend, tuning or other musical concerns). The lesson should
be comprehensive, addressing several benchmarks of the Curricu-lum
Framework for the Arts.
Classroom Management: Classroom procedures for equipment,
music folders, storage, etc., should be displayed in the room.
The class begins smoothly, with students getting instruments/music,
being in their proper place with necessary equipment as a matter
of routine. The teacher rehearses the ensemble in a sequential,
congruous manner, keeping the students actively involved. Rehearsals
may involve working with one section of a musical ensemble for
part of the time, but the rest of the class must continue to
be involved in the instruction. Discipline is handled on an
individual basis when possible.
Student/Teacher Interaction: Students demonstrate appropriate
responses to instruction with proper posture, hand and finger
position, rhythmic and pitch accuracy. Responses between teacher
and student should be immedi-ate with appropriate feedback and
positive corrections as necessary.
Technique of Instruction: It is usual for the structure
of the music lesson to begin with “Warm-up” procedures
which should involve techniques for musical and physical development
(i.e. scales, flexibility exercises, breathing exercises, ear-training,
range, etc.). According to the lesson plan, the teacher will
have identified specific selections of music, and specific areas
to improve within each selection.
Observe the teacher to see if he/she moves freely and makes
musically communicative eye contact with the ensemble, without
being “score-bound” (i.e. the teacher isn’t relying
completely on the musical score with eyes focused on it for
the majority of the time). Although, the teacher may start and
stop the playing/singing of the group to make corrections or
give feedback, these times are brief and address specific points.
The majority of classroom instruction is with students actually
playing music, with immediate responses from the teacher when
correction/clarification is required. When new concepts need
to be taught, then different strategies are used which may refocus
the students’ attention from the performance for a brief
period of time.
Assessment of Instruction: Informal assessment should
be continual, with the teacher responding to the performance
of the ensemble and the indi-viduals. Written tests are used
periodically to assess vocabulary, music theory, history relating
to music being played, knowledge of instrument and listening
skills. (Written assignments may be given on a historical, cultural,
or instrumental topic to address FCAT objectives.) Individual
performance tests also play a significant role in assessment,
as do group performances.
An annual budget, provided by the school district for the replacement
of school-owned instruments is equivalent to at least 5% of
the current replacement value of the total inventory of instruments.
The maintenance and repair budget should be equal to at least
5% of the replacement value of the total inventory of instruments.
At least seventy five titles for each performing organization
are provided from district funds for a music library. At least
fifteen new titles for each performing group should be added
annually. The music library for each group needs to be sufficient
in size to provide a folder of music for each student in choral
groups and for each stand of no more than two performers in
the instrumental groups. Care needs to be exercised to avoid
any violation of copyright laws.
A library of small ensemble and solo music should be provided
that contains at least seventy five titles for various types
of small ensembles and solos. At least fifteen new titles are
added each year. The music library contains the “Textbooks”
for music programs, and budget monies for texts are needed for
the music program as well as other academic areas.
An annual budget is provided that provides for the purchase
of CDs, audiotape and videotape; computer and electronic materials;
materials and supplies needed for the teaching of music; and
professional development of district music staff (attendance
at conferences which provide in-service opportunities).
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Appropriate
/ typical
activities in a school
year
For any out-of-school time required for performances, there
should be sufficient advance planning between administrators
and music teachers to allow all academic obligations to be met. |
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Performing groups should present a
series of performances or open rehears-als for parents, peers
and the community. The number of performances ought to demonstrate
the student’s learning experience but not be so great as
to interfere with the learning process, or to reduce the amount
of time available to achieve instructional objectives of the
ensemble.
The music teacher and the school administrator must work together
to provide a focus on actual performance rather than entertainment.
Perfor-mances provide students with an opportunity to demonstrate
what has been achieved as a result of classroom lessons and
to learn the skills necessary for performance in a public setting.
Students should have the opportunity to demonstrate formal performance
behaviors (e.g., following the cues of a conductor) in a formal
setting while actively engaging in music making for the public.
The setting should encourage active listening and quiet attention
given to performances by the audience.
Entertainment, however, involves background music for social
events. The audience is often engaged in talking during the
music and the focus is on the event rather than the student
performance. Entertainment activities are more suited for adults
and professional entertainers. Ethically, the school music program
should never infringe on the employment opportunities for professional
musicians and artists.
Concerts/open rehearsals at least every six weeks, including
participation in Evaluation/Festivals. Small ensembles from
the group may participate in other community-oriented performances,
not to exceed nine in any one semester. Individuals need to
have the opportunity to participate in Solo-Ensemble activities,
and All-State auditions. Following are guidelines to illustrate
appropriate expectations for the major performance groups. The
actual number of performances and events will vary from school
to school and year to year depending on the needs of the students,
campus, commu-nity. If there is a question about the appropriateness
of events, the educa-tional and musical values for the students
should be evaluated.
For any out-of-school time required for performances, sufficient
advance planning between administrators and music teachers must
occur to allow all academic obligations to be met.
High School Band: 10 football game performances, Marching
Evaluation/Festival performance, a Winter/Holiday performance,
early Spring perfor-mance, Concert-Sightreading Evaluation/Festival
performance, late Spring performance, any additional school
community performances such as assemblies, awards ceremonies,
and general community performances in parks, retirement communities,
service clubs, etc.
High School Chorus/Orchestra: a mid-fall performance,
Winter/Holiday performance, Concert-sightreading Evaluation/Festival
performance, additional school performances such as assemblies,
awards ceremonies, and community performance at retirement homes,
service clubs, etc.
Middle School/Junior High Band: a limited number of football
perfor-mances from the stands, pep rallies, Winter/Holiday performance,
Concert-Sightreading Evaluation/Festival, additional school
performances such as assemblies, awards ceremonies, and community
performance at retirement homes, service clubs, etc.
Middle School/Junior High Chorus/Orchestra: a mid-fall
performance, Winter/Holiday performance, Concert-sightreading
Evaluation/Festival performance, additional school performances
such as assemblies, awards ceremonies, and community performance
at retirement homes, service clubs, etc.
Beginning Band or Orchestra (any grade level): the focus
of this class should be on instrumental techniques. A performance
preceding the winter break, and one prior to the end of school
would be appropriate.
While each of these groups may be involved in recruiting at
the elementary, middle school or junior high school, care must
be taken that time out of class, during the school day, is not
excessive. Teachers and administrators must plan activities
that remove students from the class day in advance, and make
certain that such activities are educational in nature.
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Recommended
activities for funding
& fund-raising |
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Fundraising activities should be planned to
meet the needs of a calendar year, and scheduled in accordance
with a secondary campus calendar. Students’ primary focus
must remain on the educational and musical activity. Fundraising
is for “extra” needs of the programs, as all curricular
expectations should be funded through school funds.
Distinctions needs to be made between commercial events and
state sanctioned events for students. All FSMA sanctioned
events (sponsored by the FBA, FOA, and FVA) are coordinated
with Florida Curriculum Framework for the Arts and designed
for the musical and educational benefit of students, teachers,
and schools. Any proceeds derived from FSMA sanc-tioned festivals
are used for Florida music education programs and invested
in the success of Florida students. Commercial music festivals
and other non-sanctioned events operate with a variety of
standards and goals, and may be exploitive of student time
and effort (especially in regard to fundraising).
Major trips may be planned on a three-four year basis, so
that the commu-nity/parents/students are not overburdened
with fundraising activities. Such trips need to be planned
with administrators to minimize any time out of class, and
to ensure that educational/musical opportunities are part
of the event. There are non-musical, educational benefits
of overnight events for music organizations if carefully and
educationally planned.
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Staffing:
Student/
Teacher ratio |
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Generally,
secondary music teachers ought be allocated the same number
of students as any other teacher. For the music program to succeed,
the music instructor should be able to interact with individual
students, and have the same opportunity to get to know his/her
students as individuals, just as any other classroom teacher.
Student access to the teacher, of course, is also most important
to their success.
If the music program exceeds the maximum number of students,
then an assistant music director is necessary for continued
success. With coordina-tion between schools, often an assistant
director may share duties at a middle school and high school,
if a single campus cannot justify a full position.
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Commercial/Private
Music Festivals vs.
State-Sanctioned
Music Festivals
It has been the long-standing philosophy of the Florida professional
music education organizations that the state sanctioned Evaluation/
Festivals are the most beneficial and educationally responsible
for school music students |
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Many
other festivals and contests are commercially driven - meaning
someone is trying to make money from the event. Therefore, quite
often, educational concerns become secondary to the primary
goal of making money. Examples of festivals and contests include
fund-raisers by parent groups, local community events, events
sponsored by travel agencies (state, national and international),
and other primarily commercial ventures. Some of these ventures,
even when using reputable adjudicators, may only have a few
entrants, but will award trophies within “classifications”
to insure that each entrant has a prize to take home. Even though
there is no “national” or “state” music
contest which selects winners, one can occasionally read headlines
in local papers proclaiming a band, chorus, or orchestra as
the “Grand National Champion” of a festival that has
falsely advertised itself as a “national” or state
event.
Contests (commercially, sometimes called festivals) on the other
hand promote head-to-head competition in which a winner must
be named, sometimes regardless of the overall quality of the
groups participating. Moreover, often the sponsoring agent(s)
of a music festival are exploiting the music programs and student/parent
community for profit. Many of the commercial festivals are sponsored
by travel agencies who book the hotels, buses, airlines, amusement
parks, etc. The music educational aspect, in many cases, is
secondary to the profit which may be gained.It has been the
long-standing philosophy of the Florida professional music education
organizations that the state sanctioned Evaluation/Festivals
are the most beneficial and educationally responsible for school
music students, especially as it is usually the primary means
of evaluation for music organizations in the state. Comments
by adjudicators about the perfor-mance include suggestions for
improvement as well as ways to make positive changes. Winners
are not named, but ratings are assigned based on
the level of musical proficiency attained by the performers.
There is competition, but it is against a pre-set musical standard,
rather than pitting school against school. All groups can be
“winners” (i.e., achieve the highest rating) if they
meet those standards. “Losers” are not automatically
created.
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Co-curricular |
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Some extracurricular activities are co-curricular, meaning the
activity is an extension of the classroom curriculum, as defined
in lesson plans for a state approved academic course/elective.
Band, orchestra, and chorus classes are “performance”
classes in which the performance is an important portion of
the assessment for the “unit” taught. (The performance
is equivalent to a unit test.)
Therefore, it is fully appropriate for students who are members
of bands, orchestras, and choruses to study musical selections,
rehearse them in class for a period of time, have individual
assessments, and then a culminating performance as a part of
the evaluation of the student, as well as the progress of the
class.
As the Evaluation/Festivals, sanctioned by the FSMA, are the
culminating activities in the state for marching band, concert
band - orchestra - chorus, where students spend a number of
weeks in preparation; as the Evaluation/Festivals are not competitions,
but are evaluations of music organizations; and as the preparation
for participation in the evaluation/festival does include and
support curriculum as defined in the Curriculum Framework for
the Arts, the performance at these specific events should be
considered co-curricular. |
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Extra-curricular |
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Those activities which are outside the classroom
day, outside the regular curriculum, and do not have a “course
designation” assigned by DOE are fully extra-curricular.
Some music groups meet outside the curricular day, functioning
as adjunct ensembles to a school music program, much as a“club”
and would be considered, in that case, fully extra-curricular.
Some performances of school music groups may also be fully
extra-curricular such as trips to commercial/privately sponsored
music festivals.
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