An Analysis of Resources to Use for the First Year of Teaching Elementary Band

Stephen J. Russell
Ithaca College
Entering the first year of teaching music can be stressful for multiple reasons: there may

be no knowledge of the students backgrounds, there may be no set curriculum in place, or there

may even be a teacher who is tasked with beginning an entire band program from scratch. Even

with adequate preparation and schooling, the music educator emerging right out of college may

not know what is required of them in their first year on the job.

This annotated bibliography is designed to provide a list and analysis of resources for

educators who are experiencing their first year of teaching beginning band. These sources

include scholarly articles, books, band methodologies, and doctoral dissertations. Within

multiple books and articles are case studies, in which new educators document their experiences

from their first year teaching. The dates of publication for a majority of these sources have

occurred within the past twenty-five years; this is because elementary music pedagogy

dramatically shifted towards the end of the twentieth century. This source selection discusses the

most recent learning theories and methodologies so it is relatable to current teachers-in-training.

The topics discussed in these sources encompass multiple topics regarding beginning band

pedagogy such as curriculum design, recruitment strategies, appropriate music selection, and

ideas for student retention. Due to the scope of research on all music classes and ensembles

being too broad, this bibliography will specifically reference beginning band.

The purpose of this annotated bibliography is to provide numerous resources that can

help prepare new band educators for their first year of professional teaching and answer any

questions relevant to their experiences. The listed sources will be analyzed by subject content

and relevance to preparation strategies for new elementary band teachers.

Abrahams, F., & Head, P. D. (2005). Case studies in music education. Chicago, IL: GIA.
Abrahams and Heads compiled work is, as the title suggests, a list of case studies detailing
common issues faced by new music educators. Each study contains an introduction, dialogue
from the story, corresponding questions with the dialogue, strategies for alleviating the
problem(s), and follow-up questions. While each case discusses prominent issues that occur
during the first year of music teaching, the study on assessment and grade inflation (p. 74) is
especially relevant. It discusses the experiences of a student whose parents were shocked to
discover that he had received an A+ in his first semester of band as a freshman in high school.
While it does not discuss elementary band, it highlights the concept of grade-inflation and
questions the validity of grading based on effort versus achievement. While there is no concrete
answer on how to assess, new elementary band teachers can use the information from this case
study to determine assessment procedures for their class.

Abril, C. (2010). Opening spaces in the instrumental music classroom. In A. C. Clements,

Alternative approaches in music education: Case studies from the field (pp. 3-14).
Lanham, MD: Rowman & Littlefield Education.
Abrils case study highlights the challenges of incorporating cultural diversity into an
instrumental music curriculum. The study focuses on a teacher who is trying to incorporate a
mariachi band into her music program. She faced challenges regarding finding repertoire for the
group, culturally insensitive questions, and assumptions being made about the lifestyles of
culturally-diverse students. At the conclusion of the chapter, Abril gives advice to the reader on
how to avoid these issues from occurring. While most music teachers in the United States are
prepared to teach at all grade levels, they are not always taught about inclusion of less-traditional
music ensembles to accommodate different cultural practices (p. 3). This chapter gives a new
band teacher insight to a situation where someone was able to successfully incorporate cultural
diversity into their curriculum through music ensembles. The number of students who were born
outside of the United States is greater now than it was decades ago, and many districts are
making changes in their curricula to [serve] as a valid and respectful representation of specific
cultural groups (p. 4). The information can be used to help new teachers creatively develop a
curriculum at relates to multiple cultures.

Albert, D. J. (2006). Strategies for the recruitment and retention of band students in low
socioeconomic school districts. Contributions to Music Education, 33(2), 53-72.
Retrieved from http://www.omea-ohio.org/v3_resources/v3_resources/cme.html
Daniel Alberts article is useful for teachers who are beginning their first year in band at a school
with low income. His article is a brief study of the effects of economic status and social aspects
on the childrens desire to participate in band. It contains a review of literature, procedure, data
collection, and conclusions based on results. The data is collected through interview processes
with teachers, parents, and students. The findings were validated using triangulation (p. 59).
Comparisons were made between the answers of the participants and related to prior research.
According to Albert, the most significant impacts on the childrens desire to join band were
exposure to the band program and potential for doing popular music. The final questions of the
interview involve the participants giving suggestions for ways to increase recruitment. In all, the
study is very useful and provides new teachers with opinions and ideas from the students and the
community surrounding them.

Aldi-Snow, L. (2012). Your musical voyage: A noteworthy navigation. Schenectady, NY: Snow
Music Press.
Lenore Aldi-Snows band method book is a unique resource for new music teachers who will be
teaching at schools incorporating Edwin Gordons Music Learning Theory. The method begins
with rote songs, then it introduces note reading immediately afterward. The rote songs are
learned through solfege syllables, and the process for rote songs are outlined in six steps. Upon
introducing note reading, a seven-step process incorporating singing, chanting, and playing the
instrument is introduced. For each instrument, new fingerings are located at the top of the
lessons. Definitions of music terms are included at the top of the page as well. A third section of
the book encompasses composition, in which students complete eight-measure phrases through
question and answer (p. 39). Some of these features are not commonly located in many
traditional method books, but they are essential components of Gordons Music Learning
Theory. New beginning band teachers may find themselves in a school district that emphasizes
rote learning, audiation, and other concepts associated with Music Learning Theory. This book is
designed to be an effective band method that incorporates all of these concepts while teaching
children how to play an instrument.

Anzalone, V. (1958-1959). Breeze-easy method for clarinet. New York, NY: M. Witmark &
Sons.
Anzalones method book is a very popular choice by elementary band educators in the United
States. The first few pages of the book are dedicated to the basic procedures of beginning on an
instrument (in this case, the clarinet). Instrument maintenance, hand positions, and posture are all
referenced. Following the instructional pages are lessons increasing in complexity as the student
progresses throughout the book. New concepts are introduced at the top of the page, and the
exercises on the page correlate with each new concept. These include rhythms, fingerings, key
signatures, expression markings, and time signatures. The bottom of the page features a brief
assessment of the lesson, listing excellent, good, and fair as indicators of student
achievement. This comprehensive band method allows teachers to monitor their students
progress throughout the year. The reason for its popularity is that it encompasses nearly all of the
essential elements of learning the instrument.
Battisti, F., & Garofalo, R. (1990). Guide to score study for the wind band director. Ft.
Lauderdale, FL: Meredith Music.
As stated by Garofalo in the preface, This guide to score study was written especially for
students who aspire to be wind band conductors (p. iii). While it specifically references
advanced works for high school and collegiate ensembles, the principles for score study can be
applied to the elementary band classroom. New beginning band teachers will likely have to lead
an ensemble. In order to successfully guide their students through new pieces, the teachers must
be able to understand and dissect every aspect of the score. Chapters on score orientation,
reading, analysis, and interpretation are given; a summary of these chapters are provided on page
69. The remainder of the book contains appendices on clefs, transpositions, score markings, and
a bibliography. When working with multiple instruments and transpositions, the new elementary
band instructor can especially use the information given in the appendices to understand their
students parts.

Choksy, L. (1991). Activities through which children learn music: Playing instruments. In L.
Choksy (Ed.). Teaching music effectively in the elementary school (47-59). New Jersey:
Prentice-Hall.
The fifth chapter of Choksys book discusses methods and activities that can be utilized for
instrumental ensembles. While the majority of the activities listed are intended for Orff
instruments and non-pitched percussion, some of the written concepts can be applied to
beginning band. For example, students can create rhymes that pair with rhythms and melodies of
familiar songs (p. 48). Some of the content concerning the condition of primary band programs is
outdated. For example, Choksy states, In many schools, there is no elementary instrumental
program of any kind (p. 58). This is not to say that all elementary schools have an
instrumental program, but there has been an increase in participation since the time of this
publication. New beginning band teachers can use this chapter to create a variety of engaging
activities for their students.

Colwell, R. J., & Wing, L. B. (2004). An orientation to music education: Structuring knowledge
for teaching music. Upper Saddle River, NJ: Pearson/Prentice Hall.
Colwells and Wings book allows a teacher to look beyond the scope of teaching responsibilities
and view music education from a much broader scope. They discuss topics such as the
educational landscape, the shifting values in music education, and self-perception as a teacher
(pp. vii-viii). A majority of the work is based in the findings and theories of psychologist Jerome
Bruner. According to the authors, The book presents many of the issues that require decisions
by the music teacher (p. 2). There is a reference guide, appendix, and index following the
text. While this does not specifically reference beginning band, it is a great supplemental read
that new teachers can use whenever they need to take a step back and analyze situations from a
much broader perspective. They can use information in this book to figure out solutions within
the department, school district, and surrounding community, all essential components of music
education in the twenty-first century.

Conway, C. M. (2003a). What do we know about beginning music teachers? In C. M. Conway

(Ed.). Great beginnings for music teachers: Mentoring and supporting new teachers (pp.
3-8). Reston, VA: MENC, The National Association for Music Education.
While not directly related to elementary band, this chapter provides an overview of various
issues faced by beginning music teachers. These issues cover events occurring in the classroom
as well as events that teachers are not initially trained for (Jones, 1977). Such problems include:
isolation, loneliness, culture shockfeelings of failuredealing with parents[and] feeling
threatened, insecure, and vulnerable (p. 3). A brief literature review is given of Joness
dissertation is given, and Conway additionally provides an overview of case studies. Endnotes
are given at the end of the chapter. The chapters purpose is to prepare new teachers for issues
that they were not trained to face during their first year of teaching. While it does not go
completely in-depth to some of these issues, it is a helpful introduction to them.

Conway, C. M. (2003b). School district-sponsored induction programs. In C. M. Conway

(Ed.). Great beginnings for music teachers: Mentoring and supporting new teachers (pp.
35-55). Reston, VA: MENC, The National Association for Music Education.
Another chapter in Conways compiled book discusses induction programs, rather programs in
which beginning teachers are given support through preparation programs (p. 35). She begins the
chapter by providing numerous case studies of true teacher experiences. She then discusses why
the teachers in each of the case studies were dissatisfied with the district-sponsored induction
programs. She cites lack of communication and busy schedules as reasoning for why the
programs did not support the new teachers (p. 38-39). While not necessarily band-focused, new
teachers can use the information from this article to gain insight to true events that happened to
educators who went through these programs. In the chance that a new teacher is given a district-
sponsored induction program, they can use the information in this chapter to be more prepared
for said program.
Conway, C. M., & Hodgman, T. M. (2006a). Early fieldwork. In C. M. Conway, &
T. M. Hodgman (Eds.). Handbook for the beginning band teacher (pp. 15-24). Chicago,
IL: GIA.
This chapter in Conway and Hodgmans book discusses the prepatory procedures beginning
teachers must undertake before beginning the school year. In this chapter, certain responsibilities
are discussed, including the first visit to the school, observation preparation, and working with
other colleagues from the same program. Two vignettes are also included in the chapter; they
describe experiences in which student teachers had to overcome the transition between the
collegiate setting and fieldwork. Tips on professionalism and dress are given, and Conway
argues that, The earlier you begin to think and act like a teacher, the easier the transition to
real teaching will be (p. 16). While this does not specifically reference elementary band, his
chapter serves as an excellent guide to prepare incoming teachers for the first few weeks of
school.

Conway, C. M., & Hodgman, T. M. (2006b). Guides for observation in a music

setting: Beginning band. In C. M. Conway, & T. M. Hodgman (Eds.). Handbook for the
beginning band teacher (pp. 34-41). Chicago, IL: GIA.
The third chapter in Conways and Hodgmans book provides observation templates that new
teachers can use to prepare accordingly for teaching observations. Questions concerning the
appearance of the room, rehearsal techniques, and performed pieces are listed in the examples.
Each guide pertains to a specific age range and ensemble (beginning band, for example). As a
whole, the templates are more extensive than most observations. It is assumed that Conway and
Hodgman provide as many questions as possible to help the incoming teacher prepare
accordingly and avoid any possible mistakes. Because of its breadth, new elementary band
teachers can use this specific resource to adequately prepare for their first teaching observations.

Conway, C. M., & Hodgman, T. M. (2006c). The job search. In C. M. Conway, &
T. M. Hodgman (Eds.). Handbook for the beginning band teacher (pp. 165-176).
Chicago, IL: GIA.
While other sections of the book focuses on situations occurring during the first year of teaching,
the eighth chapter in Conways and Hodgmans book focuses on the process of interviewing and
acquiring a teaching job. Instructions on how to create cover letters, resumes, and application
forms are discussed in this chapter. Tips on how to prepare for the first, second, and third
interviews are also given. While this does not specifically reference elementary band, the
principles for interviewing and submitting applications can be followed at all grade levels. This
chapter is meant primarily for the teacher who is fresh out of college and attempting to land a
professional teaching job. The content is very thorough, and the reader is given a substantial
amount to information to help prepare them for the interviewing and application processes.

Dvorak, T. L., & Byrd, J., & Ticheli, F., & Margolis, B. (2005). Best music for young band.
Brooklyn, NY: Manhattan Beach Music.
As listed by Dvorak in the introduction, the book is a list of compiled works that he deems
suitable for young bands (p. 11). He initially lists criteria for music selection and grade level in
regards to meter, range, tonality, keys, etc. For each grade level (ranging from 2-3.5), he
provides a list of correlating works. For each work, he gives the highest notes for the brass
instruments, percussion requirements, and a brief description. The purpose of this book is to
provide beginning band teachers with access to information on quality band literature (as
considered by the author[s]). The concern with it is that it does not say what standards the grade-
point scale is referencing (due to the location of the books publication, NYSSMA is assumed).
Aside from that issue, the book gives a detailed description of wind band literature that new
teachers can use to determine if said literature is appropriate for their band. Even if it is not
suitable for their band, beginning teachers can also mimic the research template provided by
Dvorak when analyzing works that are not listed in the book.

Emmons, S. (2001). Technology for beginning band. In R. Miles, & T. Dvorak (Eds.). Teaching
music through performance in beginning band: Grade 1 (pp. 81-88). Chicago, IL: GIA.
Emmonss chapter in Miless and Dvoraks compiled book discusses the multiple benefits of
utilizing technology in the beginning band classroom. He then discusses its relevance to national
performance, creativity, and knowledge standards. Following his discussion are examples of
utilizing technology for both performing and creating. Each example contains a brief lesson plan
containing materials, procedures, and follow-up information. The end of the chapter provides a
list of recommended readings as well as bibliographic citations. The entire book is intended for
specifically beginning band, and this chapter discusses a topic that is becoming more inclusive in
the music classroom. Many districts are trying to keep up to date with technology, and a new
beginning band teacher can use the examples in this chapter to integrate technology into class.

Feldman, E., & Contzius, A., & Lutch, M. (2011a). Classroom management. In E. Feldman, &
A. Contzius, & M. Lutch. Instrumental music education: Teaching with the musical and
practical in harmony (pp. 79-99). New York: Routledge.
The seventh chapter of Feldmans, Contziuss, and Lutchs book discusses utilizing behaviorist
concepts (operant conditioning) in order to improve classroom management. The authors
describe how to properly apply positive and negative reinforcement in order to maximize student
participation and retention of subject material in class (p. 80). They also mention how to
establish appropriate rules and regulations for the class. A significant discussion in this chapter is
on how to maintain and enforce procedures (p. 91). The authors emphasize using repetition and
practice to enforce positive behavior, and examples of actions and phrases are given to
demonstrate. Classroom management is a topic that is often mentioned, but not always
thoroughly examined. This chapter of the book outlines common issues, procedures, and
solutions regarding classroom management. The beginning band teacher can apply these ideas to
their practice in order to help them control their classroom.

Feldman, E., & Contzius, A., & Lutch, M. (2011b). Planning and managing the concert. In E.
Feldman, & A. Contzius, & M. Lutch. Instrumental music education: Teaching with the
musical and practical in harmony (pp. 298-313). New York: Routledge.
When discussing concert preparations, Feldman, Contzius, and Lutch include schedules for the
beginning of the year, weeks before the concert, and the day of the concert. The schedules
include checklists for room sign-outs, invitations, concert program ideas, and setup among other
procedures. A discussion on etiquette (stage presence, attire, bows, etc.) is included as well. An
interesting section of this chapter not only discusses program notes, but also gives suggestions on
aurally presenting them to the audience. Like the other chapters in this book, the seventeenth
chapter is very thorough and can be used by new elementary band teachers to prepare for
concerts.

Feldman, E., & Contzius, A., & Lutch, M. (2011c). Repertoire. In E. Feldman, & A.
Contzius, & M. Lutch. Instrumental music education: Teaching with the musical and
practical in harmony (pp. 135-158). New York: Routledge.
The ninth chapter of the Feldmans, Contziuss, and Lutchs book discusses how to select
appropriate repertoire for ensembles. In this chapter, the authors discuss suggestions for selecting
both enjoyable and educational music. Also provided is a list of reputable publishers that are
frequently considered when purchasing ensemble music. An intriguing section of the chapter
discusses the importance of incorporating popular music into the curriculum. The authors argue
that including popular music will keep students engaged and eager to participate in the
instrumental program. They then give examples of how to use popular music to teach musical
concepts such as phrasing, pitch centers, etc. (pp.153-154). This chapter provides a useful and
detailed discussion of inclusion of educational and popular music in the instrumental curriculum;
new elementary band teachers can also use the list of publishers to purchase music.
Fisher, D. W. (2008). Beginners or musicians: The risk/reward of musicianship. In R. Miles
(Ed.). Teaching music through performance in beginning band: Volume 2 (pp. 51-61).
Chicago, IL: GIA.
Fishers chapter in Miless edited work discusses an interesting topic concerning elementary
bands. On page 54, he mentions the idea of creating style and musical personality beyond the
notes. In this section, he advocates for teaching students about phrasing, ear-mapping,
dynamics, articulation, and interpretation. He then discusses each term in-depth, giving examples
of classroom exercises that help teach these concepts to the students. The importance of this
chapter is that many beginning band programs teach strictly technique and physical features of
performing on the instrument. While these features are necessary for musical development, some
programs neglect the abstract features of music. This chapter not only reminds the beginning
band teacher to have their students play musically, but it also provides numerous examples on
how to accomplish that.

Froseth, J. O., & Weaver, M. A. (2008). Music teacher self-assessment: A diagnostic tool for
professional development. Chicago, IL: GIA.
Froseths and Weavers book, as suggested by the title, is a test booklet for teachers to assess
themselves. The book is paired with a DVD that has Froseth and Weaver discussing suggestions
on applying reinforcement and engaging positive student behavior. The pages in the book are
outlined by charts with implied questions that teachers commonly ask themselves. For example,
Is the teacher providing appropriate verbal and nonverbal communication with the students?
(p.13). Sample answer sheets are given, and additional sheets are provided for the teacher to use.
This booklet and corresponding instructional video are great self-assessment tools that can a
beginning band teacher can utilize. It requires recording technology, so as long as it is available,
teachers can record and observe videos of themselves. From there, they can use the information
to evaluate their own teaching and make improvements as needed.

Gammon, L. J. (2008). Great beginnings: Warm-up strategies for success. In R. Miles (Ed.).
Teaching music through performance in beginning band: Volume 2 (pp. 72-88). Chicago,
IL: GIA.
As indicated in the title, the fifth chapter of this compilation series features Gammon discussing
suggestions for elementary band warm-up routines. She gives suggestions on how to set up the
classroom before the first note, breathing techniques, singing examples, and scalar patterns.
Tuning and rhythm exercises are also given at the end of the chapter. A useful feature of this
section is that Gammon discusses the importance of both individual and ensemble tuning. She
then gives examples of how to accomplish both individual and ensemble tuning, and she justifies
why she uses them. While there are lots of helpful exercises listed in this chapter, the incoming
band teacher must be wary of the time constraints of ensemble rehearsals. If there is enough time
given for all of these warmups, a new teacher/conductor would benefit from these exercises.

Glover, J., & Young, S. (1999a). Books and resources. In J. Glover, & S. Young (Eds.). Primary
music: Later years (p. 221). London, UK: Falmer Press.
While this segment of the book is labeled as a chapter by Glover and Young, it is, more or less, a
bibliography. The reasoning for including this chapter as a separate source lies within the
content of the source list. Some of the resources, such as Cottons Agogo Bells to Xylophone: a
Friendly Guide to Classroom Percussion Instruments are methodologies on specific instruments.
Others, such as Pughs Women in Music encompass cultural aspects that are taught through
music. The list encompasses a broad spectrum of topics related to beginning instrumental music
education. There are also sources, including Henneseys Co-ordinatng Music across the Primary
School, that discuss the relationship between elementary music classes and other disciplines. If a
new beginning band teacher is reading through this book and wants to search for follow-up
material, they can utilize this list. The teacher can then see why Glover and Young chose these
sources and referenced them in their book.

Glover, J., & Young, S. (1999b). Music for instruments. In J. Glover, & S. Young (Eds.).
Primary music: Later years (pp. 74-107). London, UK: Falmer Press.
Glovers and Youngs book is aimed for teaching music to children aged between seven and
eleven years old. There is an entire chapter dedicated on preparation for band students in their
first year of class. In that chapter, they give suggestions on objectively preparing students for
choosing and learning instruments. Notes on solo and ensemble performance, curricular
planning, and engaging classroom activities are also noted. One specific section of the chapter
discusses the idea of composing and arranging music for students in order to accommodate
certain needs. This is a feature not found in other sources so far, and it introduces a unique
concept that could actively engage all students in the learning process. It is ideas like this one
that provide beginning teachers with new and uncommon concepts that could stimulate their
creativity when preparing for their first year of teaching beginning band.

Haack, P. (2003). Challenges faced by beginning music teachers. In C. M. Conway

(Ed.). Great beginnings for music teachers: Mentoring and supporting new teachers (pp.
9-24). Reston, VA: MENC, The National Association for Music Education.
Haacks chapter is aimed at understanding both the usual and unusual challenges faced by
teachers in their first year of teaching. He references the studies of DeLorenzo and Kruger while
collecting data on these issues. He also made comparisons between concerns of new teachers
from the early nineteen-nineties and early two-thousands. He noticed that over time, teachers
became less concerned with technology-based issues and more concerned with their
supplemental instrumental skills (conducting, piano, composing, etc.). Specifically mentioned is
the issue of self-perception, in which Haack advises the reader to view themselves as more of a
music educator than a band director (p. 23). The chapter discusses the causes and potential
solutions of these problems; it goes more in-depth with the solutions than Conways chapter, and
beginning band teachers can use the chapter to better prepare themselves to fix certain issues.

Holz, E. A., & Jacobi, R. E. (1966a). Posture and breathing. In E. A. Holz, & R. E. Jacobi. (Eds.)
Teaching band instruments to beginners (pp. 62-66). Englewood Cliffs, NJ: Prentice-
Hall.
The ninth chapter of Holzs and Jacobis book discusses how to properly teach elementary band
students posture while playing the instrument sitting down and standing up. They also discuss
instructional strategies for setting up the correct embouchure and breathing properly. This is
highlighted through a five-step process in which the students are instructed to breathe through
their diaphragm (p. 65). Holz and Jacobi explain that maintaining proper posture and breathing
correctly are essential elements of performing on a wind instrument. This chapter provides new
elementary band teachers with a step-by-step guide on how to properly teach these components
of playing on a wind instrument.

Holz, E. A., & Jacobi, R. E. (1966b). Scheduling instrumental music in elementary schools. In
E. A. Holz, & R. E. Jacobi (Eds.). Teaching band instruments to beginners (pp. 31-39).
Englewood Cliffs, NJ: Prentice-Hall.
This chapter in Holzs and Jacobis compiled book discusses the difficulty of having to schedule
instrumental music classes in elementary schools. Throughout the chapter, they provide various
scenarios that instrumental music teachers commonly face when scheduling classes. Such cases
include scheduling between multiple schools, scheduling against other extracurricular classes,
and starting new students over the summer with private lessons. In these descriptions, they
explain the teachers role in this process while subsequently giving sample schedules to
accommodate the aforementioned scenarios. In the elementary school, it is very common for
scheduling conflicts to occur. New band teachers can use the information from this chapter to
prepare for said possible scheduling conflicts.
Kearns, R. E. (2011). Developing an elementary band program. In R. E. Kearns (Ed.), Quick
reference for band directors (pp. 89-99). Lanham, MD: Rowman & Littlefield Education.
Kearnss book contains a useful reference guide for music educators of all levels. Within the
guide are chapters focusing on common aspects of teaching that occur on a daily basis. These
include creating lesson plans, developing support systems, organizing ensembles, and classroom
management amongst others. While sections of the book are geared towards issues that occur
during class/rehearsal, Kearns also focuses on the duties that are required of the teacher outside
of the music classroom. An entire chapter is devoted to starting a beginning band program. It
contains suggestions for recruiting students, helping them choose instruments, and selecting band
method books. At the end of the chapter, Kearns provides a list of thirteen popular beginning
band method books along with their publishers. This chapter, albeit brief, serves as a useful
pedagogical tool for educators who are beginning their first year of teaching.

Kraemer, J. M., & Kraemer, M. (2016). The band directors guide to success: A survival guide
for new music educators. New York, NY: Oxford University Press.
The Kraemers book is intended for students who are aiming to become music educators. It is not
specifically geared towards experienced teachers. Their book highlights multiple issues that the
first-year band director faces. With these issues, they give examples of scenarios experienced by
either their colleagues or them during the first year of teaching. Key features of teaching (lesson
planning, budgeting, organization) are focused on as well as methods for maintaining a healthy
lifestyle (time to relax, personal days, etc.). After the chapters are complete, multiple appendixes
are listed in the back of the book. These appendixes contain sample lesson plan templates,
information sheets, and budget plans. The Kraemers book can serve as a useful reference when
trying to create one of the above-mentioned sheets.

Lautzenheiser, T., & Rapp, W. (1999). Essential elements 2000: Comprehensive band method:
Book 1, percussion. (n.p.): Hal Leonard.
Essential Elements is another comprehensive band method that is used widely throughout the
United States. The opening pages of the book discuss percussion grips, posture, and setup of the
instrument. Similarly to Breeze Easy Band Method, Essential Elements lists the new concepts at
the top of each lesson, and the exercises in the lesson contain said concepts. Brief excerpts on
music theory and history are also included in the lessons. For the percussion book, the first half
of the book focuses on snare drum rudiments, while the second half focuses on mallet
instruments (xylophone, marimba, etc.). The unique and useful feature of Essential Elements is
that the exercises in one instrument book correlate exactly with the same exercises in the other
books. For example, Jingle Bells is exercise number 37 in all of the Essential Elements books,
regardless of instrument. The significance of this is that new elementary band teachers can use
this book in both private lesson and ensemble settings.
Lindeman, C. A. (1992). Teaching about women musicians: Elementary classroom strategies.
Music Educators Journal, 78(7), 56-59. doi:10.2307/3398362
Many instrumental music programs are being required to include cultural elements in their
curricula. Lindemans article focuses on this cultural aspect, or lack thereof. She highlights the
fact that women composers are not often discussed with students in an elementary music setting.
After discussing the issue, she gives examples of women composers and how to incorporate
them into a lesson plan. Different ideas include a composer-of-the-month, decorating bulletin
boards to show women composers/instrumentalists, and putting up posters of female performers
as well as male. Sample strategies/lesson plans are listed in the article for further clarification.
This article draws attention to a glaring issue in the music community, and new band educators
can use the information from this article in order to provide a variety of cultural aspects in their
curricula.

Lindeman, C. A. (2003). Benchmarks in action: A guide to standards-based assessment in music.

Reston, VA: MENC, The National Music Educators Conference.
As indicated in the preface, this book focuses on selected achievement standards from each of
the nine content standards in the National Standards [for Music Education] (p. vii). Examples of
fourth-grade responses are given and are categorized into basic, proficient, and advanced
responses. The unique feature of this book is that it provides insight into the work of the students
in relation to each of the content standards. The reason for its existence is that The National
Association for Music Education sought to develop standards for the arts, and they began to do
so by creating K-12 Music Standards (p. vii). A new elementary band teacher can read through
the fourth-grade responses to the Standards questions and use the responses to shape their
curricula accordingly. Many public schools require their students to perform in accordance with
the National Standards, and this source allows direct insight to the Standards.

Lombard, P. C. (1994). Fingering practice for beginning bands. Portland, ME: J. Weston Walch.
As described in To the Teacher, Lombards book is specifically used for the first and second
years of instruction (p. v). The book contains fingering charts for all woodwind and brass
instruments. In the second half of the book, exercises are given in which the fingering charts are
not filled in. These exercises are intended to be used as a worksheet in which the students fill in
the empty fingering charts. Instructions on how to assign the worksheets to a class are given as
well. The purpose of this book is to ensure that both teachers and students have a firm
understanding of the correct fingerings on each instrument. It may seem obvious that a teacher
need to know the fingerings, but there are multiple scenarios in which it is possible for them to
forget fingerings in the moment. For example, it is easy for a teacher to forget fingerings if they
have to balance lessons across band, orchestra, and choir. This book serves as a reminder and
helpful guide for new teachers who may initially struggle with remembering certain fingerings.
Mason, N. F. (2012). The effects of Orff Schulwerk instruction on rhythmic achievement in
beginning band (Doctoral dissertation). Retrieved from ProQuest Dissertations and
Theses database. (UMI No. 3579344)
In her study, Mason aimed to determine the extent to which Orff Schulwerk instruction affected
the rhythmic comprehension of students (p. 3). Her dissertation began with a description of Orff
Schulwerk and general rhythmic instruction in beginning instrumental ensembles. Data was
gathered and measured using a questionnaire. The questions on the survey discussed the
students attitudes towards their rhythmic comprehension. A pre-test and post-test were also
given to measure the students rhythmic comprehension. The results of Masons study
determined the following:
Students in the experiment group who received treatment of Orff Schulwerk-adapted
curriculum for band scored higher, with statistical significance, on the dependant variable
Rhythmic Achievement at posttest than students who received traditional band using the
method book, Accent on Achievement, after eight weeks of instruction. (p. 62)
The findings from Masons study can be used by new teachers who are interested in applying
Orff instruments into their band curriculum. The studys noticeable success in improving student
rhythmic comprehension makes it serve as a valuable source of information for teachers who
were unsure of the effects of Orff-based instruction.

McCormack, I., & Healey, J. (2008). Inclusion. In I. McCormack, & J. Healey (Eds.). Getting
the buggers in tune (pp. 76-91). London, UK: Continuum.
McCormacks and Healeys chapter discusses how to utilize inclusion in music ensembles.
Specifically, they reference gifted students and students with learning difficulties. They discuss
the difficulties of including instruction for these types of students in a typical music classroom.
When discussing solutions to these issues, McCormack and Healey mention a device called
Soundbeam, in which physical movements are converted into sound (p. 85). They discuss how
using the device supports inclusion of students with disabilities in the music classroom.
Guidelines for teaching students respect for everyone are also given. This chapter is especially
useful for a new band teacher who has never worked with gifted students and/or students with
disabilities. They can use the information from this article to better understand and utilize
inclusion in their classroom.

MENC Committee on Performance Standards. (1996). Performance standards for music:

Strategies and benchmarks for assessing progress toward the national standards. Reston,
VA: Music Educators National Conference.
This book presents national standards for student achievement for all grade levels in the United
States. Recommendations for how to accomplish this are given, citing specific repertoire,
exercises, and teaching strategies. The formatting of the book is as follows: each grade
level/grouping is given all National Performing Arts Standards. For each standard, assessment
strategies and corresponding responses are given. The descriptions of the responses are further
divided into basic, proficient, and advanced levels of understanding. This book was created with
the intention of assisting teachers in developing a curriculum that best adheres to the National
Performing Arts Standards. While the National Standards (as a whole) have changed since the
creation of this book, many individual standards are still the same. New elementary band
teachers can look at the sections of the book correlating to the grade level which they are
teaching and use the examples listed to structure their lesson plans accordingly.

Millican, J. S. (2012a). First sounds on wind instruments. In J. S. Millican (Ed.), Starting out
right: Beginning-band pedagogy (pp. 51-82). Plymouth, UK: Scarecrow Press.
The third chapter in Millicans compiled work focuses strictly on the first few woodwind and
brass lessons. The purpose of the chapter is to provide teachers with the knowledge and
pedagogical skills to lead their students through the first few weeks of learning their instruments.
Excerpts on posture, breathing, and instrument maintenance are discussed throughout the
reading. Following said excerpts are descriptions on correctly setting up embouchure and
properly articulating on the instrument. A unique feature of this work is it thoroughly examines
the differences between instrument size and make-up. Articulation on a single-reed woodwind is
going to be vastly different from a brass instrument, and Millican describes these differences in
relation to breathing, instrument position, and articulation. Additionally, specifics for each
instrument are given for the previously-mentioned concepts. Because of the vast amount of in-
depth information given, this chapter serves as an accurate guide for new teachers preparing for
the first few lessons with new students.

Millican, J. S. (2012b). Music and materials for young bands. In J. S. Millican (Ed.), Starting out
right: Beginning-band pedagogy (pp. 131-140). Plymouth, UK: Scarecrow Press.
While most band pedagogy resources discuss selecting appropriate music for ensembles, the
sixth chapter of Millicans book discusses choosing appropriate beginning band method books.
The purpose of this chapter is to help beginning elementary teachers decide what method books
are appropriate for their band program. Rather than giving a list of recommended works,
Millican presents a list of common pedagogical issues found in a majority of method books. He
included problems relating to aural skills, rhythm, muscle-memory, and style. While describing
each issue individually, he also provides examples of possible solutions. It is important to note
that the book emphasizes rote learning, so the examples given directly reference the process of
rote learning. Regardless if a teachers district emphasizes rote learning, the issues discussed
relate to all band method books. The chapter provides a beginning band teacher with the
framework to assess the quality of band methods and determine if they are suitable for their
program.
Millican, J. S. (2012c). Selecting great equipment. In J. S. Millican (Ed.), Starting out right:
Beginning-band pedagogy (pp. 223-244). Plymouth, UK: Scarecrow Press.
The eleventh chapter of Millicans book discusses strategies for selecting proper band equipment
for the classroom. It begins with a short vignette describing the difficult situation of having
students use damaged or poor-quality equipment due to expenses. A detailed description of the
parts of woodwind, brass, and percussion instruments are given. An emphasis is placed on the
significance of each part of the instrument, explaining how it helps to produce sound from the
instrument. Diagrams are provided to enhance the readers understanding of the instruments
anatomy. Lists of popular instrument, mouthpiece, reed, stick, and drum brands are provided
throughout the chapter as well. At the end of the chapter, Millican lists websites of
manufacturers as well as critical thinking questions relating to the readers field experience (p.
242). When given a certain budget, new band teachers need to know the quality of the
instruments that they intend to buy. Using the information from this chapter, new elementary
band teachers can decide what brands of instruments to buy for their program.

Mills, J. (2009). Music in the primary school (3rd ed.). New York, NY: Oxford University Press.
Millss revised book focuses on areas of early instrumental music education that are not typically
mentioned in many other sources. For example, there are two chapters in the book that focus
strictly on traditional classroom games and composition. She then explains useful musical
concepts that can be taught through these games, such as involving multiple senses in music (not
just hearing), recovering from mistakes, and working cohesively with a group (p.12). The second
half of the book is devoted to framework and curriculum development. In that section, she
presents ideas of how to include those games in lesson plans. Millss book is a great resource that
can be used to help new teachers create innovative classroom activities with their bands.

Mixon, K. (2005). Building your instrumental music program in an urban school. Music
Educators Journal, 91(3), 15-23. doi:10.2307/3400071
Mixons article is a basic guide for educators who are not experienced with teaching in urban
school districts. He highlights common issues facing students in low-income neighborhoods,
including instrument cost and family/parental support. He then offers suggestions on how to cope
with these issues, often giving examples from his personal experiences. An interesting feature he
mentions in the article is how to act in non-teaching situations. Mixon stresses building rapport
with students by communicating with them outside of band class and planning periods. Within
each sub-section of the article, he places resources pertaining to the subject of the sub-section.
While the article itself serves as an introduction to common issues facing new band teachers in
an urban setting, band teachers can also make use of the resources that he lists.
Moyer, J. R. (2010). Dad has a horn in the attic: Relationships between instrument source,
parental involvement, socioeconomic status and attrition among beginning band students
(Doctoral dissertation). Retrieved from ProQuest Dissertations and Theses database.
(UMI No. 3405993)
Moyers dissertation was written as a requirement for his degree from The Pennsylvania State
University. It focuses on various elements that impact participation in beginning band programs
in the United States. As stated in the abstract, such elements include the condition of the
instruments students receive, parental involvement in their practice routines, and financial
situations/burdens faced by the families. A review of literature related to the effect of these
components on student enrollment in beginning band is then given. Questionnaires were sent out
to students, their teachers, and their families. They were each asked about recruitment
experiences, the cost and condition of the instruments they received, and their home
environment. Moyer then gathered the results and displayed them in numerous graphs. There are
appendices listed at the end of the dissertation; they contain the forms and questionnaires that
were sent out to the students, families, and teachers. Moyers results found that good-conditioned
instruments and parental involvement in the learning process encouraged students to enroll and
stay in band (pp. 75-81). Using the information gathered from this dissertation, new or
inexperienced teachers can look first-hand at the responses and determine what encourages or
discourages students from participating in band. For that reason, this dissertation serves as a
helpful resource for new beginning band educators when preparing for the recruitment process.

Newell, D. (2012). Classroom management in the music room: Pin-drop quiet classes and
rehearsals. San Diego, CA: Neil A. Kjos Music Company.
Newells book is split into two main parts: the first part discusses management techniques for the
classroom, while the second part discusses class experiences from the students perspective. As
stated in the introduction, Newell initially intended for the book to only reference band and
orchestra rehearsals (p. 1). Afterward, he realized that the same concepts in his book could be
applied to all ensembles of all age groups, so he changed the name of his book. While the entire
book can be used as a resource for music teachers of all age groups, the second part of the books
emphasis on the students perspective gives additional value to this work. Most instructional
sources discuss everything from the teachers point of view. This work has a humanist approach
towards education that new teachers can utilize to better understand their students.
Noble, R. F. (1971). Effects of a concept teaching curriculum on performance achievement in
elementary school beginning bands. Journal of Research in Music Education, 19(2), 209-
215. doi: 10.2307/3343825
Nobles study is an experiment on whether or not telling the students about their teaching
objectives will improve their performance throughout the unit. A control group and experimental
group were used for the study; the experimental group received notification about the teaching
objectives, while the control group did not. Results of the experiment were displayed in various
tables. They ultimately concluded that informing the students of the objectives at the beginning
of the unit produced better performance in students by the end of the unit. While Nobles study is
one of the older sources used in this bibliography, it serves as an interesting comparison between
band pedagogy now and over forty years ago. Connections between current lesson plans and that
from the nineteen-seventies can help new teachers search for successful teaching methods that
have been in use for decades.

OReilly, J. (2008). Nurturing creativity: From making up accompaniments to composing and

writing for band. In R. Miles (Ed.). Teaching music through performance in beginning
band: Volume 2 (pp. 89-97). Chicago, IL: GIA.
The sixth chapter of Miless compiled work begins with ORielly explaining his experiences
with improvisation during his student-teaching experiences. He then continues to explain the
importance of utilizing improvisation at all grade levels of band. He then provides improvisation
examples for students to perform in class. The exercises involve manipulating rhythm, melody,
and harmony to popular musical examples. He also features a composition component of the
exercises, allowing students to create music as well as perform it. Some of the examples featured
rote playing and audiation (Gordon). This chapter is practical for new elementary band teachers
because improvisation is a feature of performance that is commonly focused on at the beginning
levels. Being able to create improvisation games with young students will keep them engaged in
class as well as stimulate their creative thought.

Pearson, B. (2001). Selecting music for the young band. In R. Miles, & T. Dvorak (Eds.).
Teaching music through performance in beginning band: Grade 1 (pp. 45-59). Chicago,
IL: GIA.
Pearsons chapter in Miless and Dvoraks compiled book establish guidelines for the beginning
band teacher to use when selecting music appropriate for their ensemble. He specifically
mentions appropriate choices of rhythm, meter, range, dexterity, keys, and endurance amongst
other musical components. Specific criteria for each component and grade level are given. For
example, keys that are appropriate with Grade 1 music include B-flat, E-flat, and F major (p.55).
Brief notes on concert structuring are given at the end of the chapter to prevent over- or under-
programming. Endnotes are given at the conclusion of the chapter. While other sources have
given suggestions on programming for beginning band, Pearsons chapter establishes accurate
and specific criteria that a new band teacher can use to determine the selection of repertoire.

Pearson, B. (2005). Standard of excellence: Comprehensive band method: Book 1. San Diego,
CA: Neil A. Kjos Music Company.
Standard of Excellence is another popular comprehensive band method book. The beginning of
the book contains assembly instructions for the instrument, posture and playing position
instructions, and general maintenance guidelines. There are specific lessons given for certain
instruments, and they are indicated on the top of each page where applicable. Each lesson lists
new concepts at the top of the page; each concept is given a full definition and accompanying
image. The exercises in each lesson correspond with the concepts listed at the top of each page.
In the back of the book are simple solo pieces with piano accompaniment. Rhythm, scale, and
fingering charts are also provided at the very back of the book. A significant feature of this
method book is that all of the numbered exercises are the same in every instrument book. This
allows students to perform these exercises in both solo and ensemble settings. There is also a
conductors score for the teacher. This is a popular band method currently in use, and new
beginning band teachers can consider it when selecting material for their program.

Peterson, E. (2011a). Hate mail. In E. Peterson (Ed.). The music teachers first year: Tales of
challenge, joy, and triumph (pp. 113-120). Galesville, MD: Meredith Music.
The nineteenth chapter of Petersons compiled book presents a very unique issue that occurs with
new/incoming teachers. To preface, the book presents case studies for college students and
teachers-in-training. The goal is to have the students and upcoming teachers read about real-life
experiences of teachers during their first year. She begins this chapter with a case study on a
teacher who received multiple examples of hate mail before she arrived for her first week of
class. The teacher said that some students did not respect her and blamed her for shortcomings
that she did not create (p.114). The case goes on to discuss maintaining a balance between being
strict and personable with the students. The teacher in the example did not allow the students to
give input, resulting in multiple conflicts throughout the schoolyear (p. 118). The significance of
this chapter is that it explains strategies on how to gain rapport with the students. It also presents
the reader with an unusual, yet very possible challenge for new teachers to overcome. It is not
specifically geared towards band, but the example in the case study was a band class. A new
teacher can use this chapter to prepare for potential issues with their students.
Peterson, E. (2011b). The first week that I didnt cry was in the middle of the year. In E. Peterson
(Ed.). The music teachers first year: Tales of challenge, joy, and triumph (pp. 84-93)
Galesville, MD: Meredith Music.
Peterson provides another case study highlighting the stresses and emotional impact that the first
year of teaching has on educators. The chapter also gives steps for overcoming emotional
distress while teaching. The case study followed the issues of the alias, Janet (for confidentiality,
Peterson did not want to give the actual names of the teachers). Peterson then explained how
harassment by teachers, students, and administration members caused Janet to have a breakdown
in front of her peers. Peterson then gives other examples of how Janets emotional distress
interfered with her teaching. Suggestions from Janet on how to prevent such issues from
occurring were later listed, and Janet then explains the importance of having a social life within
the school community. The purpose of this chapter is to show upcoming teachers that the first
year of the job can be very stressful and emotionally damaging, depending on the situation. New
elementary band teachers can use the information from this chapter to prepare for over-protective
parents who are not afraid to confront them about any issue.

Sebald, D. (2011). The future of music education: A geek view part 1 of a series. Connections,
25(3), 8-10. Retrieved from http://www.tmec.org
David Sebald points out numerous trends in expenditures for music educators across multiple
years. Specifically, he notes that instrument prices have increased dramatically, and the price of
technology has generally decreased. This then leads to a discussion on the increasing use of
technology in the music classroom. He also mentions how Lowell Masons original model for
music education has become outdated, yet people still follow it verbatim. The entire article is,
more or less, a prediction on what music education curriculums and classes will be like in years
to come. While it is not specifically intended for elementary school teachers, it serves as a
reminder for new teachers to always keep their minds open to new ideas.

Surplus, R. W., & Dooley, J. E. (1987). Beyond the classroom: Informing others: A Music
Educators National Conference, Southern Division, special project. Reston, Va. 1902
Association Dr., Reston 22091: MENC
The foreward for this book explains its purpose and creation: The purpose of this publication
is to provide practical help to music educators who are aware that success in their program
depends[]on how effectively they are able to work and interact with a wide range of
individuals and groups (p. xi). The chapters in this work outline information on school
administrators, school board members, non-music teachers, parents, new channels, community
members, and government officials amongst others. After the descriptions of each group of
individuals, the authors explain the music teachers roles with each of them. Strategies for
interacting and cooperating with each group are also given. There are appendices listed in the
back of the book; they list executive summaries and associated arts organizations. This book is
not only practical for the new beginning band teacher, but it also provides him/her with an
outline of their community of practice. He/she can use this book to map out the community that
surrounds his/her music program and plan school-based activities involving said community.