Portraits of Social Emotional Learning in Music Teacher Education
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- Pages: 228
"Music teacher educators must realize that as pre-service music educators are developing their own SEL skills, they need to be simultaneously building skills for developing these areas in their future students. . . . Our intentions and planning must be made transparent for our students."
—from the Introduction
Music teacher educators from across the country share their inspiring stories and unique approaches to embedding Social Emotional Learning (SEL) into teacher education programs, courses, field experiences, curriculum, and policy at the collegiate level.
The contributors—representing a broad range of music disciplines, teaching contexts, and diverse student populations—discuss their challenges and triumphs with SEL instruction, offering many innovative ideas, learning experiences, and suggestions for teaching musical and intentional SEL.
The book begins with a chapter co-authored by four undergraduate students who reflect on the importance of SEL in their own educational journeys. in the chapters that follow, ten music teacher educators share their unique perspectives and strategies for embedding SEL in their courses and programs. Fittingly, the book concludes with a chapter on well-being for music teacher educators.
A combination of inspiration and practical ideas, this book highlights the many organic ways that SEL is an essential component of a comprehensive teacher education program.
Scott N. Edgar is Associate Professor of Music at Lake Forest College. He is the author of Music Education and Social Emotional Learning: The Heart of Teaching Music and is an internationally sought-after clinician on the topic. Dr. Edgar serves as Director of Practice and Research for The Center for Arts Education and Social Emotional Learning (www.artsedsel.org), is a Music for All Educational Consultant, a Conn-Selmer Educational Clinician, a VH1 Save the Music Foundation Educational Consultant, and serves as SEL Editor for GIA Publications.
Kathleen A. Melago is Professor of Music Education at Slippery Rock University and has served as Division Head of Music Education since she joined the faculty in August 2009. She has taught music in schools and privately in Pennsylvania, Iowa, and Ohio, and her research interests primarily center on strengthening music teacher recruitment and incorporating SEL into music teacher education.
Publishers use a lot of words to describe what they sell, and we know it can be confusing. We've tried to be as clear as possible to make sure you get exactly what you are looking for. Below are descriptions of the terms that we use to describe the various formats that music often comes in.
Choral Score
A score for vocalists that only contains the vocal lines. The instrumental parts are not there for reference. Generally, cheaper than a vocal score and requires multiple copies for purchase.
Facsimile
Reproductions of the original hand-written scores from the composer.
Full Score
For ensemble music, this indicates that the edition contains all parts on a single system (there are not separate parts for each player). In larger ensembles, this is for the conductor.
Hardcover
Hardbound. Generally either linen-covered or half-leather.
Orchestral Parts
Similar to a wind set, this is a collection of parts. In the case of strings, the numbers listed are the number of copies included, though generally these are available individually (often with minimum quantities required).
Paperback
When publishers offer multiple bindings (e.g. hardcover) or study scores, this is the "standard" version. If you're planning to play the music, this is probably what you want.
Performance / Playing Score
A score of the music containing all parts on one system, intended for players to share. There are not separate parts for each player.
Set of Parts
For ensemble music, this indicates that there are separate individual parts for each player.
Solo Part with Piano Reduction
For solo pieces with orchestra, this is a version that contains a piano reduction of the orchestra parts. For piano pieces, two copies are typically needed for performance.
Study Score
A small (think choral size) copy of the complete score meant for studying, and not playing. They make great add-ons when learning concertos and small chamber works.
Vocal Score
A score prepared for vocalists that includes the piano/organ part or a reduction of the instrumental parts.
Wind Set
For orchestral music, this is a collection of wind and percussion parts. The specific quantities of each instrument are notated.
With Audio
In addition to the printed music, the edition contains recordings of the pieces. This may be an included CD, or access to files on the internet.
With / Without Fingering (Markings)
Some publishers prepare two copies - a pure Urtext edition that includes no fingering (or bowing) suggestions and a lightly edited version that includes a minimal number of editorial markings.
Portraits of Social Emotional Learning in Music Teacher Education
