Chapter 10 The Secondary Music

Program
divide between
elementary and middle is
variations in middle school arrangement greater than middle tohigh
5 6 17 8
6 8
6 7 8 or 79
K 8
high schools can be 9 12 9110 12 or even 6
12
K 12 in one building
mostly focused on performing ensembles not general musicclasse
electives
high school performing ensembles are considered
total student body healthy if 10 of
most performing ensembles cannot run
programs
w o support of booster
ensembles are co cirricular in nature
secondary general music classes
treated as feeder programs forensembles
not often taken seriously
listening analyzing music becomes the focus unlike elementary mus
classes that focus on singing
changing voices can cause issues w singing in general musicdas
singing is still important and should be done
high school enrollment stats from 2007
band was themost popular elective
vocal was 15 less popular
bands Tx more popularthanorchestra
general music was less than 5 of electives
why are performing ensembles the
norm
influx of musicians needing jobs in theearly 20th century
there were not enough trained music educators to fill vacancies
 performers ran class time like they ran rehearsals in theprofessional
world
students learn better
by
students like recognition
doing
been the norm for so
long it probably won'tchange
visibility for finearts
secondary performing groups are not professional ensembles
should be focused on the education of students
this is where thetyrant stereotype comes from
ask yourself What is
large ensembles my educational basis for doing

q YetIgefocustoo heavily on select

ensembles or ensembles
the Eggsensembles in each programshould that a
be the ones that
small ensembles reachthe mos
shouldbe given time and
chambergroupsshould attention
be part of
will encourage theplanfor
more
stronger idividualplaying
skills yourlargeensemble
outlets for student
individual events success
local district region and State
auditions can
the experience of helpmotivate
higherachievingstud
prep and audition can be
make time to work
with students as very
beneficial

Vocal Ensembles theyprepare

focal ensemble concert choir

subsidiaryensembles chamber choir
treble choir
madrigal choir bass choir
barbershop
grade select choir ensemble 9 10
vocal lessons show choir
should be
students in select encouraged for select
choirs should also ensembles
be part of
concert choi
Orchestral Ensembles
focal string or full orchestra
subsidiary chamber orchestra
string quartet
pops ensemble
string ensembles were
to bands popular but have lost
schools w o orchestras grown
at all are
unlikely to get them
due to
mostly cost
most districts don't
want to
teachers and band directors hire two instrument
to teach often don't wa n
strings
band directors are often
hired first
Wind Percussion
Ensembles
focal Concert band
subsidiary marching jazz band
many larger schools have
pep jazz combo
ensembles should multiple concert bands
be split depending
instrumentation on a few factors
safe sound levels in
rehearsal space
ability levels
naming conventions
top wind ensemble
symphonic band
symphony
 campus band
students that
play secondary instruments
factor in splitting are a
groups major
scheduling will be a
major concern
programs of around 60 students should
likely remain in a singleensem
Marching Band
highest profile ensemble
strive todo well w this ensemble
it should not be the focus of
the whole music program
limits the musiced of students
lit variety
excludes students
excludes importantthat can'tmeetphysical demands
instruments
evals at marching festivals substituting forones of lesserquality
scores can motivate
are
just not
based on
musicalelements
just
scores are subjective
as
easily they can discourage
as
students
the amount of
far moneyspenton drill arrangements
greaterthan what concert flags andmarchinginstruments
ensembles need is often
balance is needed between
marching and concert