Master Teachers How-To's

Field-Tested and Proven How-To's Included in KMC for Developing Superior Music Students

Teaching students to sing in tune and perform a steady beat are two primary concerns of music teachers.
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The next huge conern of music teachers is what to teach their students; that is, a skill-based, scope-and-sequenced music curriculum, beyond isolated music experiences one after the other.
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After music teachers master the above huge concerns (if they do), many invariably stop there, not realizing that students can be taught to be performing artists of concert quality in any every-day music classroom. And additionly, students can also be taught to advance their skills into the inferential realm of improvising, composing, manipulating, arranging, notating, and so on.
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The Knauss Music Curriculum inherently addresses the above concerns, and makes the seemingly impossible become simple to accomplish. Brief summaries are provided following.

Are There Tone-Deaf or Monotones? NO!
Every Student Can Sing In Tune? YES!

Too many music teachers believe in "talented" and "not talented"--the "have's" and "have not's." But this is not true. We all have music potential within us as we are all made in God's Image. He put music in all our DNAs. While we each may have varying amounts, there's no one in recorded history with an absolute zero. Many automatically connect with their music ability, while others do not and need careful guidance. Likewise, the ability to match pitches is not a matter of talent or tone deafness, as many believe, but a matter of vocal-fold muscular flexibility (or inflexibility). Some automatically connect with their singing voices, while others do not. How can a music teacher remedy the not-yet-connected? Help a student "find" his/her head voice through developing flexibility. Then accurate matching pitches and singing in tune becomes almost instantaneous for the student.

Book 1 of Knauss Music Curriculum, centered on developing rhythm and tonal skills from beginner to expert, reveals tried and true methods from master music teachers from across the nation for teaching ALL students to sing in tune.

Are There Beat-Deficient Students? NO!
Every Student Can Perform a Steady Beat? YES!

Performing a steady beat is a perception matter. A beat is a perceived musical pulse. Steady beats are pulses perceived at predicatable time units. Once a student is taught how to perceive ahead to "feel" a beat, it is no problem teaching him/her how to keep it steady.

Book 1 of KMC, centered on rhythm and tonal skills, features detailed, practical methods from master teachers across the nation for teaching how to perform a steady beat.

Music Has Two Gateway Skills:
Singing in Tune (Tonal) & Performing a Steady Beat (Rhythm)

Once a student learns the two gateway skills of music, singing in tune and performing a steady beat, the whole realm of music participation is opened. In a school setting, all of the Kindergarten year should be focused on practicing these two skills in 100s of different ways, while exposing the student to all musical styles, modes, and meters through the Music Concepts. In a well-planned curriculum, every student should (and CAN) be accomplished in these two skills before entering First Grade. With the gateway skills mastered, the student becomes a life-long Participator in music. Without them, (s)he is confined to being a Spectator! Even music appreciation is greatly diminished without an internalized connection to these two gateway skills.

Books 1 and 1A of KMC sequence, according to music learning research, the two gateway skills of music education--rhythm and tonal.

Spiraling and Cycling Music Curriculum
Core Skill-Based Curriculum Supersedes the Calendar? ABSOLUTELY!

Traditionally, music teachers teach "this" for two weeks, "that" for one week, and "the other" for another two weeks, and so on across the whole year. This is teaching "to the calendar." But students are not a calendar, and nor are they a schedule. They are DYNAMIC human beings! They should learn core skills, succeeding level upon level, and progress ahead only when solid skill mastery at each level is achieved. Teach sequenced skills instead of the calendar. How? (1) Determine the entry levels of your students by "trying out" certain music activities on them. Then assess them--How competent were they? How much did they succeed? How dependent on you were they? What were their frustrations and failures? (2) Then know the sequence of learning skills and choose appropriate activities from a well-planned curriculum repository of 100s of well-focused activities. (3) Progress to the next skill level only AFTER the students have mastered their present one. This is teaching core-based skills to students and dynamically applying a curriculum, instead of a calendar.

Book 2 of KMC is a highly structured spiraling and cycling curriculum in which music skills, understanding, active participation, and artistry are expanded and broadened in each cycle, in which the teacher is a DYNAMIC master adapter and facilitator!

Is Music Not a Performing Art?
Every Music Classroom Can Become a Performing Ensemble? YES!

While many music teachers successfully teach core-based skills to their students as individuals, their students as a corporate whole (classroom ensemble), cannot maintain a corporate ensemble steady beat or consistent meter, or maintain an ensemble consistently accurate tonal center, without direct teacher control. Students are dependent on the teacher's conducting, instead of independent musicians who have the skills internalized.

Book 3 of KMC teaches students to listen to each other while hearing their own parts. Sequenced listening and performance skills turn each classroom into its own performance ensemble. Students are taught to become independent musicians through making their own performance "decisions" while in the act of performing!

Can All Students Be Taught to Improvise and Compose?
Inferential Learning Beyond Discrimination? YES!

Can students be taught to improvise? In the pentatonic? In the diatonic? Compose? In a symmetrical period with a half cadence, melodic linking, and ending on a proper final point? In diatonic major and minor, making tonal sense? How about the blues scale using both major and minor characteristics? Can students audiate the harmonic structure inherent in their improvising and composing? Can students learn to assess and evaluate their own creations with artistic satisfaction and musical accuracy? The answers to these questions and MORE is a resounding YES in Book 4!

Book 4 of KMC is a one-of-a-kind inferential curriculum solidly sequenced and core skill-based on the discrimination learning levels of Books 1-1A-2-3 and sets students free to become creatively proficient!

© 2018 Knauss Curriculum Publishing