Achieving Student Engagement in the Middle School Band

Rehearsal: An Annotated Bibliography & Podcast

Alessandra Shellard

Introduction and Methodology

Engaged students are motivated to deepen their learning and progress through their

education with the ultimate goal of pursuing a career and lifestyle that is enriching and

rewarding. Middle school is an especially critical time to engage students in music-making, as

this is the time of their lives where they are formulating their hobbies and interests. This

annotated bibliography and accompanying podcast are geared towards middle school band

directors who want their students to engage more deeply in musical learning. Student-centered

learning, expressive conducting, peer work and assessment, and appropriate repertoire are all

effective methods for engaging students in learning.

The annotated bibliography is structured in three sections that serve to advise the reader

of reasons for student engagement, general engagement strategies, and what engagement looks

like in the instrumental rehearsal. These sections are: Effective Conducting, Rehearsal Practices,

and Repertoire Selection; Middle School Learning; and Student Engagement Strategies. Each

source in the bibliography falls into one of the aforementioned categories. The texts on middle

school learning discussed student engagement in any academic area, and most of the content on

conducting, rehearsing, and selecting repertoire immediately relate to engagement in the music

room. The “Student Engagement Strategies” section mainly consists of scholarly studies that

demonstrate specific methods used in musical engagement.

 This project’s scope features student engagement principles and techniques through all

the main aspects of a band rehearsal: Repertoire, conducting, rehearsal practices, and working

with students. The articles found through online databases are all less than ten years old, most of

them having been published within the last five years, and mainly stem from music education

journals. Most articles are based on recent studies or conduct a study and discuss its results with

regards to student engagement. Book resources are older, dating between 2000 and 2009, but

hold relevance in middle school learning behaviors and conducting methods. Much of the

content is specific to band, though can be easily translated to choral or orchestral ensembles.

This bibliography does not include information on instrumental lessons, but further exploration

of this topic would examine the impact of instrumental lessons on engagement in the band

rehearsal. Additionally, this project does not dive deeply into culturally responsive teaching.

Though culturally responsive teaching is important to student engagement, its scope is too wide

to encapsulate in one project. This topic would also be further researched in future studies.

The purpose of the podcast featuring Michael Struzik and Omar Williams is twofold: To

answer questions not discussed in the bibliography and to offer an emotional, human

interpretation of a band director working to further engage students in music. Michael Struzik is

a retired band director and music department chair in the Brighton Central School District in

Brighton, New York. He also serves as Executive Director of the New York State Band Directors

Association (NYSBDA), is a NYSSMA All-State adjudicator, and is a Past-President of the

Monroe County School Music Association. Omar Williams is a middle school band director in

the North Colonie Central School District located in Latham, New York. He serves as the

NYSBDA Middle School Honor Band Chair and is actively involved with NYSSMA.
 These two educators are experts in their fields and have excellent rapport with their

students. Their bands are always full of students who are engaged, enthusiastic, and who love

being in band. Topics discussed in the podcast that are not found in the bibliography include

balance between student-centered and teacher-led learning in a rehearsal, teacher

approachability, impact of school & pop cultures on engagement, and student retention in the

band program. The link to this podcast can be found on the last page of the bibliography.

Effective Conducting, Rehearsal Practices, & Repertoire Selection

Boonshaft, P.L. (2002). Teaching music with passion: Conducting, rehearsing, and inspiring.

Meredith Music Publications.

Boonshaft’s book is an exceptional resource for those looking for fresh ideas on teaching
music. He clearly outlines foundations for an effective rehearsal including conducting do’s and
don’ts and “giving students something meaningful to watch.” If a conductor is mindlessly
keeping time then they are not drawing the music out of their students. Instead, we need students
to observe meaningful, communicative gestures that clearly illustrate musical intentions. When
students observe clear, expressive gestures, they are more likely to respond to the conductor and
listen across the ensemble. Essentially, ensemble directors need to show their ardor for teaching
music to students. This is what excites students about making music and this text offers a
plethora of methods to do so.

Chen, Y. (2018). An investigation of middle school music teachers’ rationale and procedure

relating to instrumental (band) repertoire selection in southern Ontario: A case study

(Publication no. 10816074) [Doctoral dissertation, University of Windsor]. ProQuest

LLC.

Chen investigated and interviewed middle school band teachers in Ontario, CA in order
to explore their criteria for selecting appropriate and engaging repertoire. Common challenges
when selecting repertoire include defining quality and difficulty level and incorporating
multicultural music. However, proper music selection is critical for beginners’ musical learning
as repertoire influences musical insights and stimulates lifelong interest for musical experiences.
Less valuable music wastes both the teachers’ and students’ time, as quality music should
maximize practice and rehearsal time. Musical elements should be varied, which is especially
found in multicultural works. Though it may be unusual to students and more difficult to find
than the “classics” on JWPepper, multicultural music offers students a more well-rounded
education towards the appreciation of all musical genres and cultures. In turn, learning about
other cultures from the musical aspect increases student awareness of other cultures to help them
make connections with others in their classrooms. Additionally, having the students
recommend/select music helps them feel more connected with the music planning and making
process. With the use of these methods, strong student engagement is achieved, for students feel
most invested in learning when they feel it is relevant and of interest to them. And outside the
piece’s actual performance, well-written works stimulate lifelong music appreciation, which is
something that improves quality of life.

Colson, J.F. (2012). Conducting and rehearsing the instrumental music ensemble: Scenarios,

priorities, strategies, essentials, and repertoire. The Scarecrow Press, Inc.

This text very comprehensively highlights techniques necessary to run a successful

ensemble. What sets this book apart from others are the chapters on teaching strategies and
advice for conducting in the 21st century, as the teaching strategies offered in the text span
multiple age ranges and ensemble types. Highlights of the strategies are multiple approaches to
teaching students intonation and achieving strong rhythmic habits. The last chapter of the book
pertains directly to the conductor, discussing behaviors that engage the students and lead to better
music-making. Some of them include: Be musical, be creative, be confident, be enthusiastic, be
insistent, be specific, and most importantly, be a teacher. Conductors need to teach their students
what is expected of them in order to foster playing awareness, thus keeping students engaged and
making music in the rehearsal.

Silvey, B.A., & Koerner, B.D. (2016). Effects of conductor expressivity on secondary school

band members’ performance and attitudes toward conducting. Journal of Research in

Music Education, 64(1), 29-44. https://doi.org/10.1177/0022429415622451

Though this study primarily analyzed expressively versus unexpressively conducted

performances and evaluated the performances, eighth-grade & high school band students were
surveyed regarding which conducting methods they preferred. This study is not wholly airtight,
as repertoire decisions and specific conductors may lead to a certain conclusion than others
would and it compares an eighth-grade band to a high school band. This comparison is apples to
oranges, as levels of expressivity should be evaluated within one group, not across multiple
grade levels. However, a strong preference was found for expressive conductors among the
eighth grade students. They not only believed their piece sounded better, but they were more
engaged in the performance. Teachers should instruct their students to play expressively from the
start of their instrumental learning rather than just something considered once notes and rhythms
are learned. Teachers can also actively involve students by asking them to make expressive
decisions during ensemble rehearsals which they can then see executed through the conductor’s
gestures. If students like playing their band music, then they will be engaged in its learning
process.

Stith, G. (Ed.). (2017). The conductor’s companion: 100 rehearsal techniques, imaginative ideas,

quotes, and facts. Meredith Music Publications.

This book contains one-hundred different ideas to creatively engage students in ensemble
rehearsals, with each idea sourced from a different music teacher. Most exercises show a
step-by-step process of how to utilize the idea in a rehearsal, and why it engages students. For
example, there is an excerpt entitled “Fostering Creativity and Understanding the Concert Band”
by Russel C. Mikkelson, director of bands at Ohio State University. He discusses providing
creative participation for band students by completing simple composition projects that coincide
with the music they are rehearsing and outlines the process of how this is done. This resource is
excellent for any educator seeking creative ideas to add to their rehearsals. It may take some trial
and error and/or minor adjustments to tailor certain ideas to each band, but they are excellently
designed with maximal student engagement in mind.

Weller, T. (2014). Choosing repertoire for middle school band: What important criteria should

factor into the selection of your band literature? Teaching Music, 21(4), 26.

Band directors must choose literature that will help them grow as musicians as well as
connect with the community and outside world. If a middle school band is performing music that
is dated, out of touch, and not musically enriching, they will quickly lose interest in playing the
piece (and possibly playing their instrument in general). Despite middle school band music not
being as well-studied or demanding as high school literature, it is no less educational, artistic,
and entertaining for students and audiences. A band director needs to establish appropriate
criteria for the music they program not only in terms of authenticity and craftsmanship, but
directors should choose music reflective of their students’ abilities and interests. Older music is
perfectly appropriate as long as it is still relevant to these factors, yet directors should select a
variety of musical styles. These include multicultural pieces and pieces with connections
reflective of community cultures and lifestyles. For example, a piece composed by a
Latin-American composer is an appropriate option for a band community with a large Hispanic
population. Essentially, culturally relevant, well-written pieces that are challenging and
educational yet achievable are optimal for middle school band performances. These pieces
particularly engage students by piquing their interests and lifestyles in tandem with a pleasurable
music making experience.
Middle School Learning

Bishop, P.A., & Pflaum, S.W. (2005). Reaching and teaching middle school learners: Asking

students to show us what works. SAGE Publications.

This text specifically pertains to middle school student behavior, how teachers build
engagement around their behaviors, and how to write appropriate curriculum to support this
engagement. Though there is no specific mention of music, the overlying principles are
transferable to the music classroom or ensemble rehearsal. Middle school students strive for a
sense of belonging, so a safe space that allows students to speak freely and share their work is
critical. Ensemble directors must establish this safe space from the onset of rehearsals so that
maximum engagement and music making occurs. Ensemble curriculum should be relevant to
student behaviors and experiences, reflective of topics centered around student interest.
Employing the curriculum writing techniques of choice, active learning (working in groups to
learn material and work on projects, not just from the textbook), and relevance stated in this text
will aid in fostering student engagement.

Casas, M. (2010). Enhancing student learning in middle school. Taylor & Francis Group.

Though this text does not relate directly to music, it contains crucial information
regarding the education of middle school students. Topics particularly relevant to the ensemble
setting include motivational theories and early adolescence, effective classroom management,
antisocial behavior, multicultural education as a basis for student engagement, and instructional
strategies for developing higher-level thinking. These are all highly important concepts a band
director should consider when planning for their middle school ensembles. Antisocial behavior is
not covered in many other student engagement resources, though it absolutely should be. Middle
school students are at a fragile time in their development, and certain alarming behaviors (such
as showing antisocial characteristics) may lead to difficulties and consequences in the future.
Teachers need to know the warning signs of a student exhibiting these behaviors in order to
intercept and aid them in ameliorating difficult situations. By the intrinsic nature of music, band
directors can use music positively to help students cope with any troubles in a healthy fashion.
Essentially, a teacher who understands the middle school psyche and has grounding in
appropriate planning and management skills will more likely engage their students in the
classroom and lead them towards success.

Prichard, S. (2021). The impact of music practice instruction on middle school band students’
 independent practice behaviors. Journal of Research in Music Education, 68(4), 419-435.

https://doi.org/10.1177/0022429420947132

A group of 105 middle school band students were taught various practice techniques with
the goal to test their ability on incorporating these practice strategies. Independent practicing has
been proven challenging for middle school students, as they are still developing time
management, musical knowledge, and organizational skills. The band teacher should be
responsible for teaching students appropriate practice techniques in order to increase their
musical engagement. Modeling is an effective method to show students how to practice, as
students experience firsthand how a good practice session should look. Without appropriate
instruction from their band director, students often found themselves “lost” in their practice
session, unable to focus and be productive. Thus, it is important for teachers to dedicate ample
time to teach their students healthy practice habits. The next step for truly engaging students
would be to have them design a practice routine based on information they received from their
teacher. This can be done independently, or as a group through democratic practices.

Schatt, M. D. (2018). Middle school band students’ self-determination to practice. Psychology of

Music, 46(2), 208-221. https://doi.org/10.1177/0305735617705008

This study highlights what motivates middle school students to practice their instruments,
particularly in relation to self-determination theory (SDT). SDT is the idea that one’s own desires
fuel the motivation to achieve such desires and this can be encouraged or deterred by social
interactions with peers and teachers. Getting students inspired about practicing during the middle
school years is critical, for that is the time when students begin to solidify their interests. Intrinsic
motivators have proven significantly more effective than extrinsic motivators, so the teacher
needs to instill in their students these intrinsic standards at the onset of teaching. When students
are intrinsically motivated, they are more likely to practice their instrument and engage in music.

Scheffel, T., St-Amand, J., Asghar, A., Carter, M., Strong-Wilson, T., Boutonnet, V., Starr, L., &

Wald, S. (2017). Tell me with pictures! Grade 8 students’ digital representations of

engagement in learning. McGill Journal of Education, 52(3), 719-746,

https://doi.org/10.7202/1050911ar

This study summarizes student engagement through firsthand accounts by eighth grade
students. After an interactive workshop, eighth graders took pictures of moments in the
workshop that were particularly engaging, motivating, and/or inspiring to them, including the
space they were in, places, items, and activities. The majority of students found they were more
engaged when inspired by role models, working in groups, and creatively displaying their
projects. They enjoy learning from a variety of source types instead of just a textbook or
teacher-led lecture. Anything that involved interactivity and communication was viewed as most
engaging. The middle school band rehearsal itself requires interactivity as students play their
instruments when directed to do so by the conductor. However, rehearsal approaches that foster
more creativity and collaboration will likely lead to stronger student engagement than rehearsals
where students solely respond to instructions from the conductor.

Stambaugh, L.A. (2019). Effects of focus of attention on performance by second year band

students. Journal of Research in Music Education, 67(2), 233-246.

https://doi.org/10.1177/0022429419835841

Focus of attention (FOA) occurs when students are instructed to focus on a specific
aspect of a task they are completing. This study featured three separate groups of middle school
band musicians who were asked to learn a pitch pattern with an FOA: No focus (control group),
“think about your fingers,” and “think about your sound.” The following day, students were
tested for retention of the pitch pattern with the goal to analyze which FOA proved most
successful for engagement and retention of material. Though this study was fairly restricted in
terms of the performed musical task and young age of the students (2nd-year band students),
students who learned the pattern outside of the control group showed slightly more retention of
material. When students are given a specific focus when assigned a task, they are more likely to
engage with and retain the material. This study would be fascinating to conduct across all grade
levels in order to further highlight benefits (or possible drawbacks) of FOAs.

Turner, J. C., Christensen, A., Kackar-Cam, H.Z., Trucano, M., & Fulmer, S.M. (2014).

Enhancing students’ engagement: Report of a 3-year intervention with middle school

teachers. American Educational Research Journal, 51(6), 1195-1226.

https://doi.org/10.3102/0002831214532515

Student engagement in middle school is the central focus of this study, as the authors
define engagement as student investment directed towards learning and understanding
knowledge. Engagement is achieved through behavior, strategy, self-regulation, interest in a
topic, and presence in learning activities. Additionally, when students feel sensations of
belonging, competence, and autonomy in the classroom, their learning becomes meaningful. This
article is critical for those who want to learn exactly what engagement methods make middle
schoolers “tick,” which they can then adapt to whatever academic area they teach. When students
are instructed using student-centered guidelines in tandem with teacher facility and
encouragement, the engagement increases significantly when compared to teacher-led
instruction. Student-centered instruction allows a wide variety of learners to excel, for students
have the option to receive and practice knowledge through the learning style that works best for
them. For example, in a band rehearsal setting, when the conductor is just reading off corrections
for students to make, very few students are absorbing the material and using it to improve their
musicianship. However, if the conductor were to break up the band by group and give them time
to figure out what they are excelling at and what they need to improve on, this process involves
all band members, deepening the learning of the whole ensemble.

Student Engagement Strategies

Clements, A. C., Coffman, D., Abrahams, F., Abramo, J., Abril, C., Bartolome, S., Beitler, N.,

Boshkoff, R., Brenner, B., Chen-Hafteck, L. (2016). Alternative approaches in education:

Case studies from the field. R&L Education.

This text deeply explores student engagement methods that challenge traditional teaching
and curriculum models. Some of these approaches feature instrumental programs beginning in
kindergarten, high school rock ‘n roll bands, and steel drum units. Pertaining to middle school
band, the authors highlight multiple creative concepts for engaging students in music. One
chapter featured teaching jazz through democratic principles, dedicated to teaching
improvisation. When students are in a comfortable, collaborative, and non-judgmental
environment, they are more likely to succeed and get excited about playing jazz. This excitement
leads to more practice time, therefore deeper engagement with their instrument and music.
Additionally, instrumental programs can be enhanced with creativity including student-centered
arranging, improvisation, and composition. Students perform best in musical activities when they
are directly involved in decision-making and rehearsal processes that are facilitated by the band
director. This text offers many innovative approaches not found in other studies and aid in
providing the reader with fresh methods to use in their music classroom.

Dykstra, J.R., & Watson, L.R. (2015). Student engagement in the classroom: The impact of

classroom, teacher, and student factors. Journal of Autism and Developmental Disorders,

45(8), 2392-2410. https://doi.org/10.1007/s10803-015-2406-9

Understanding how to engage students with autism spectrum disorder (ASD) is critical so
that ASD students can effectively learn knowledge in a comfortable environment tailored to their
learning style. This study examines relationships between classroom aspects and student traits,
including joint engagement: “The ability to interact with materials and people simultaneously,”
an engagement more easily achieved by those without ASD. It was found that joint engagement
improved with appropriate group size (depending on ASD severity) and student-directed
strategies. ASD severity in students decreased with these strategies and fostered more expressive
communication. This study is a great report on the power of effective teaching for special
learners, as we are seeing more special learners now than in past generations. In ensemble
rehearsals, students with ASD can more deeply engage with material through self-directed
activities and consideration by the teacher of what seating placement/environment in the
classroom best accommodates their learning.

Guzzetta, C.A. (2020). Learning method preferences in a steel drum classroom: Exploring a

learner-centered pedagogy through composition, peer-teaching, and student-led modern

band projects in a middle school setting. International Journal of Music Education,

38(2), 267-282. https://doi.org/10.1177/0255761419877575

Band directors should consider integrating more modern band practices than traditional
rehearsal approaches. Though this article is centered on steel drums in general music, its contents
can easily transfer to middle school band. When students partake in peer-teaching (this could be
done in the band room through like-ensemble sectionals), students help each other and learn in
ways that best suit their learning styles. This activity alone not only strengthens music learning,
but builds students’ interpersonal and social skills. When students interact with their friends
while making music, they are likely to remain engaged with musical learning. Additionally,
when students are composing their own music rather than playing what is selected by the teacher,
they are further invested in the music making process. The study conducted by the author shows
that students preferred this method of instruction and found that a hybrid of teacher and
student-based instruction leads them towards the most success.

Hoffman, A.R. (2012). Exclusion, engagement and identity construction in a socioeconomically

diverse middle school wind band classroom. Music Education Research, 14(2), 209-226.

https://doi.org/10.1080/14613808.2012.685452

This study discusses the social context of a wind band classroom and how it influences
middle school students’ decision making. Though this may seem obvious, students are more
likely to remain in musical studies when they are made to feel confident in their abilities. This in
turn leads to growth in students taking leadership roles and increased engagement within the
band. However, music teachers need to have a better understanding of students’ socioeconomic
factors and how that impacts their identities. Because socioeconomic status closely relates to
academic success, it can be difficult to engage students in music if their lifestyles do not allow
for musical study, especially because middle school students can sense the “social strata” within
their ensemble. These factors are essential for teachers to know so that they can make their
classrooms and rehearsals as equitable as possible. Perhaps this can be done through an
after-school program dedicated to practicing or student band leadership workshops. When
classroom practices are equitable, there is a higher rate of success for students of all backgrounds
and cultures.

Johnson, E. (2017). The effect of symmetrical and asymmetrical peer-assisted learning structures

on music achievement and learner engagement in seventh-grade band. Journal of

Research in Music Education, 65(2), 163-178.

https://doi.org/10.1177/0022429417712486

Peer-assisted learning (PAL) has an impact on student engagement in middle school

instrumental groups, as it is designed to increase gains in academic and social achievement. PAL
has been found to increase student levels of musical independence, higher engagement, and more
participation in leadership roles. In this study, two types of PALs were tested to determine which
proves more successful in the ensemble setting: Symmetrical PAL (students of the same ability
are paired together), and asymmetrical PAL (students of diverse abilities were paired together).
Over a period of several weeks, students were instructed to rotate “learner” and “teacher” roles
with the goals of improving sight-singing and music theory. Results indicated that students
improved their abilities regardless of the PAL style that was used. However, socioeconomic
status (SES) impacted learning in the asymmetrical PAL setting: Students of high and average
SES levels showed decrease in engagement while low SES students showed higher engagement.
In the symmetrical PAL setting, SES status had very little impact on learning outcomes. Based
on this data, the middle school band director can assume that PAL learning will increase
engagement compared to non-PAL learning. But, they should be wary of the fact that high SES
students may engage less in asymmetrical PAL. Regardless, a band director simply needs to
consider the characteristics of their specific classroom population when selecting student groups.
This study offers viable options for band directors who wish to more deeply engage their
students in the rehearsal and strengthen their musical learning.

Kerchner, J. L., & Abril, C.R. (Ed.). (2009). Musical experience in our lives: Things we learn

and meanings we make. Rowman & Littlefield Education.

This text is a compilation of chapters relating to the meanings and impact musical
interactions have on humans throughout all ages. Important aspects of music making include
social dimensions, meaning, transmission, and enculturation of musical experiences. Though all
of these topics serve a critical role in music making, creating meaning out of music pertains
directly to student engagement. Middle school students need to find or create meaning on their
own or in their ensembles in order to be fully submerged in the music making process. A lesson
unit in the book detailed by Jody L. Kerchner focuses on drawing middle schoolers’ attention to
music. In her classroom, students worked in groups to illustrate listening maps detailing features
of music (this can be done in the rehearsal setting with music the ensemble is performing). This
student-centered learning method proved significant, as students’ attention was drawn to
specifical music events while having the opportunity to collaboratively make a creative project.
Capitalizing on the social nature of middle school students can help to deepen engagement in the
learning process through enhanced participation and creative thinking.

Lang, S. (2011). Leader of the band: Lessons for the young teacher in all of us. GIA

Publications, Inc.

Scott Lang illustrates non-musical yet highly important traits and skills that a band
director needs to possess. His skills relate to the humanity of teaching music, rather than
technical musical aspects. Some of Lang’s topics include humility, creating a culture, connecting
with the community, and maintaining perspective. Though all chapters are designed to reframe a
band director’s perspective, the chapter regarding peer interaction correlates directly to
interaction with students. Students stop listening to band directors who dole out information that
can be accessed elsewhere. They stop engaging because they can retrieve the information at a
later time if need be. A band director is responsible for communicating effectively and deepening
relationships with students so that any information or directions addressed in a band rehearsal are
meaningful and specific to the ensemble. Lang’s overarching topics in this text improve the
wellbeing and mindsets of band directors, which in turn lead to better, more purposeful, and
more relevant instruction for students.

Marcetti, T. (2020). Great teachers are great learners: For Edward F. Protzman, the keys to

teaching are finding wise mentors, observing great teachers, and committing to

self-evaluation. Teaching Music, 27(4), 58.

Professional development is sometimes more effective than skills learned in the

classroom, and this offers teachers skills to provide ample musical opportunities for their
students. And with more, age-appropriate opportunities presented to students, the higher their
musical engagement. Teachers need to know what a quality ensemble piece consists of so that
they can present it to their students, aiding them in developing an authentic commitment to the
music they are making. Teachers are advised to be extra cognizant of how they respond to certain
events that occur within the rehearsal and it is best that they are collaborative, enthusiastic, and
dedicated to knowing their students as people, not just students. It is critical for teachers to take a
step back and reflect on their musicianship and interactions with students. Genuine interactions
with students will incline them to be more engaged in the program, as they sense that the
instructor is invested in their lives and well-being.

Pitts, S.E. (2017). What is music education for? Understanding and fostering routes into lifelong

musical engagement. Music Education Research, 19(2), 160-168.

https://doi.org/10.1080/14613808.2016.1166196

Music educators have had to defend their purpose in the school curriculum for
generations, relying on the academic and social advantages of student musical learning. Those
who do not advocate for music in schools do so as a direct result of their own music education.
Thus, music teachers need to foster strong arts appreciation from the start of one’s schooling so
that music can be prevalent in all they do during their lifetime. Music shapes lives through
experiences, stories, and memories, and teachers need to learn how to access those in all their
students. Musical experiences in school need to be significant enough to “grab” students towards
musical appreciation outside of those academic and social benefits. Even if students do not
continue direct music making into adulthood, they will always carry a part of it with them in
their everyday lives. When this happens, we will see more music being made everywhere.

Richmond, J., McLachlan, N.M., Ainley, M., & Osborne, M. (2016). Engagement and skill

development through an innovative classroom music program. International Journal of

Music Education, 34(2), 143-160. https://doi.org/10.1177/0255761415584289

Harmonix is a program designed to maximize student engagement in music making.

Traditionally unconventional music teaching methods are main features of the program:
Graphical scores, harmonically-tuned percussion, self-cuing patterns, and hierarchical rhythmic
structures. Engagement in this study was three-fold: Self-efficacy, intrinsic motivation, and
enjoyment of the subject. When this program was utilized and studied for six weeks in a
secondary band setting, there was a high level of student engagement and musical learning and
skill acquisition increased greatly. Further studies will be necessary to show that this style of
program is effective over a long period of time, for the “novelty” of a new program may play a
role in student engagement levels. However, no further study is necessary to determine that
creative rehearsal practices deeply engage students. Parts of Harmonix can be integrated with
other approaches based on specific classroom learning environments and student culture. It may
take some experimentation to find which methods achieve the highest engagement and level of
music making, but will make for effective outcomes in the long run.

Robinson, P. (2013). It looks chaotic, but what is really happening? Victorian Journal of Music
 Education, 2013(1), 10-16.

A variety of pedagogical approaches should be utilized in the classroom, particularly in

today’s era of global communication and rapidly advancing technology. Informal learning
practices can appear chaotic from the outside, but giving students collaborative and aural-based
learning leads to deeper student engagement in class material. Thus, these less formal approaches
can engage more students than more traditional models that may ostracize students who feel less
adequate to those who are excelling. Practices that the author used in their classroom included
team-teaching, rock/pop music performing activities, and recording a cover song. Team-teaching
allowed all music teachers to be a part of the process, utilizing each teacher’s strengths in the
planning and execution of material. For song performance, students were given mostly free reign
to work together and figure out chords, rhythms, and instrumentation. This practice needs to be
guided by the teacher for if students are unsure of their tasks, they will not retain and synthesize
the information necessary to complete the project successfully. In this study, students responded
well to the projects with teacher facilitation. These practices can engage students in the rehearsal
room as well by working in sectionals and chamber ensembles.

Santos-Stanbery, D. (2018). Strategies for increasing student engagement in culturally diverse

music classrooms. SC Musician, 71(3), 9-11.

The majority of United States teachers are from a white, suburban background and were
trained to teach how they taught. However, diverse populations are rising and teachers have a
responsibility to teach their students music styles outside the Western canon. Understanding the
backgrounds, likes/dislikes, and cultures of all their students enables teachers to truly teach what
matters to them. Teachers need to avoid stereotyping their students and instead talk to them to
learn about their cultural norms. In the band rehearsal, music of diverse composers and styles
should be selected and discussed to highlight the importance of other cultures. Students are much
more likely to engage in content when they feel it is of particular importance to them, leading to
deeper musical interest.

Scherer, A. D. (2021). High school band directors’ perceptions and applications of democratic

rehearsal procedures in concert. Update: Applications of Research in Music Education,

39(3), 47-55. https://doi.org/10.1177/8755123321989299

Democratic educational practices are beneficial for music learning in a middle school
band setting. Though this article’s title discusses high school, middle school was also mentioned
in the publication. When middle schoolers were partaking in these practices and actively
collaborating with each other, student motivation increased and they grew to be more
independent learners. However, rules have to be set in place by the teacher so the rehearsal does
not result in chaos and students can work through the process more straightforwardly.
Democratic practices particularly excel at unlocking student ownership, engagement, and growth
as musicians and leaders. Following the guidelines listed in this article leads a band director
towards a positive classroom environment. The only aspects of this process to be cautious of are
issues pertaining to student ability and working this way with limited rehearsal time. Thus, it
would be beneficial to find a “hybrid” between democratic practices and more standardized
rehearsal practices.

Tobias, E.S., Campbell, M.R., Greco, P. (2015). Bringing curriculum to life: Enacting

project-based learning in music classrooms. Music Educators Journal, 102(2), 39-47.

https://doi.org/10.1177/0027432115607602

Project-based learning has shown to engage students in music on a deeper level than
standard, test-centered assessment. Real-life concepts grab student interest and develop their
critical thinking skills while allowing them to learn about material that is of particular intrigue to
them. Particularly at the middle school level, teachers should provide a general framework for
how students will form their topic and conduct their research. What is the general outline that
their project should follow? How long should it be? Where should they find information?
Students should be in charge of fact-finding, analyzing and synthesizing information, and
making a creative presentation. For example, students in a middle school band may be assigned
to learn about anything relating to the music they are performing for their next concert. Decisions
on exact content (composer, music structure, instrumentation, etc.), how it relates to their
band/rehearsals, and format of presentation will be determined by each student or group of
students. When students are actively participating in learning rather than passively hearing the
teacher be the sole source of knowledge in the room, they are engaging firsthand with musical
material and deepening critical thinking skills.

Valle, C., Andrade, H., Palma, M., Hefferen, J. (2016). Applications of peer assessment and

self-assessment in music. Music Educators Journal, 102(4), 41-49.

https://doi.org/10.1177/0027432116644652

Teachers should not be the only source of feedback in the music room. Peer and self
assessments promote student learning and personal direction and responsibility. Self-assessment
leads to effective independent practice, as students are responsible for evaluating their own
expectations so they know what they are excelling at and what they need to improve. Peer
evaluations should be well-guided from the teacher, but lead to supportive, collaborative learning
environments. In the band room, peer and self assessments can easily be administered on a wide
range of musical topics in formal and informal settings. This can be as simple as students
offering verbal feedback about how the band could improve after playing an excerpt of a piece.
Students need to be made aware that feedback should not just be coming from the teacher, as
students should develop independence from extrinsic feedback so that they can learn to assess
their own work (in and out of the music classroom). In an ensemble, if students are actively
listening with intentions of evaluating and problem-solving any musical issues that arise, they are
inherently more engaged in music making than by simply waiting for the band director to call out
adjustments.

Wall, M.P. (2018). Does school band kill creativity? Embracing new traditions in instrumental

music. Music Educators Journal, 105(1), 51-56.

https://doi.org/10.1177/0027432118787001

This resource clearly lists appropriate ideas that deepen student musical learning in
tandem with maintaining engagement in learning. Though the topic of this article may appear
controversial, it is important to discuss creativity in the instrumental ensemble so that students
maintain high levels of engagement in music making. Music is always dubbed a “creative”
subject compared to its academic counterparts, but the traditional band model does not
necessarily allow for this creativity. Solely teacher-led rehearsals stifle creativity, for students are
doing nothing more than taking directions from their band director. Most music educators
consider music an expressive language that transcends humanity, but it is difficult to teach this
way using the traditional teacher-led model. Instead, students should be offered opportunities to
explore and create new music. This can be done through chamber groups or nontraditional
ensembles, as well as composition and improvisation units. Teachers guide students through
these units and create the framework, but it is up to the students to decide what topics or subjects
interest them the most. Music education cannot become obsolete or disconnected from modern
interests and practices, so incorporating a more creative and comprehensive musical experience
will maintain student engagement.

Podcast: Student Engagement in Middle School Band

Runtime: 32 minutes, 49 seconds

Video link: https://youtu.be/j2GT0JPpdKM