The music education program of the Rome School of Music, Drama, and Art is committed to developing excellent musicians who teach well. We encourage students to achieve the highest standards of musical performance and musical understanding. We also provide a strong theoretical and practical foundation in the field of music education, enabling students to acquire the finest teaching skills. We wish to develop teachers who strive for excellence, because the children they teach deserve the very best.

Both in and out of the classroom, The CUA music education program provides the framework for developing excellent musicians who teach well. Through a combination of music, music education, general education, and liberal studies courses, students can obtain the necessary knowledge, skills, and dispositions to become certified in music education. Through a wide range of opportunities outside of the University walls, students gain important real-world experience that enables them to become successful teachers. These experiences include opportunities in public schools, private schools, Catholic schools, and DC area charter schools. We seek to prepare students for the real requirements and rigors of certified music teaching as well as exploring novel ways to offer and deliver music instruction in other emerging locations for instruction and service.

I have come to frightening conclusion that I am the decisive element in the classroom.
It's my personal approach that creates the climate.
It's my daily mood that makes the weather.
I possess tremendous power to make a child's life miserable or joyous.
I can be a tool of torture or an instrument of inspiration.
I can humiliate or humor, hurt or heal.
In all situations, it is my response that decides whether a crisis will be escalated
or de-escalated and a child humanized or dehumanized.
-Ginott

“What do good teachers have in common?”
What good teachers have in common is ordinary common sense.
They have thoughtful minds. They have open hearts. They are morally awake.
They have a lively sense of humor...They have vitality, and goodness of being,
and they are just sensitive, decent people.
-Robert Coles, Harvard University Professor

Full-Time Faculty, Part-Time Faculty, Music Education Teacher Preparation Committee

Faculty (Music Education Committee)

Dr. Sharyn Battersby
Music Education Area Chair
Elementary/Secondary General/Choral Music Methods
Office number 202.319.5588
E-mail: Battersby@cua.edu

Dr. Timothy McDonnell
Choral Music, Director
Office number, 202.319.5414
E-mail: McDonnell@cua.edu

Maestro Simeone Tartaglione
Orchestral Music, Conductor
Office number, 202.319.5414
E-mail: Tartaglione@cua.edu

Adjunct Faculty

Dr. Eric Moore
Brass Techniques
Office Number, 202.319.5414
E-mail: 91mooree@cardinalmail.cua.edu

Dr. Robert Beeson
Woodwinds Techniques
Office Number, 202.319.5414
E-mail: beeson@cua.edu

Mr. Glenn Paulson
Percussion Techniques, World Drumming
Office Number, 202.319.5414
E-mail: Paulson@cua.edu

Ms. Cynthia Crumb
Strings Techniques
Office Number, 202.319.5414
E-mail:

What is the purpose of the program?
The purpose of the initial certification Music Education Program is to prepare educators to work as music teachers in elementary and secondary schools. The CUA School of Music prepares music education majors at the undergraduate and graduate levels.

What is the program’s philosophy and goals?
The overall goal of the Music Education Program is to promote the education of well-rounded professionals who demonstrate abilities of the highest quality, and who also understand general learning principles and appreciation for other disciplines as well as other cultures. The Music Education Program is based on general education in the humanities and the social and natural sciences (foundations), specialty studies, and guided practice. The program intends to provide a comprehensive and integrated program of instruction, introducing current theories and research, methods, pre-student teaching clinical experiences, and supervised practice teaching.

The Music Education Program is committed to developing school music teachers of the highest quality. We wish to prepare musicians with the necessary skills, knowledge, and dispositions to work with children in grades PK – 12, in instrumental, choral, and/or general music settings. Our faculty believe that future teachers must be well grounded in both theory and practice, capable of designing comprehensive, sequential music curricula and applying them effectively in real-world settings. In addition, future teachers should exhibit leadership in the classroom, should be capable of communicating well with others, (both verbally and written) and comfortable and caring in their approach to children. Ultimately, we wish for our students to be Reflective Practitioners, music teachers who continually assess teaching-learning transactions and strive toward excellence in music education.

What knowledge, skills and dispositions does the program address?
To work successfully as a music educator in diverse social, economic, and cultural environments, candidates are expected to act as a professional educator in increasing degrees throughout the program. Acting as a professional educator entails being reflective about concepts and practices in the field of education so that teaching and learning contexts are responsive to the best interests of all children, including those with varied cultural and language backgrounds as well as those with cognitive and physical challenges. They must be open to change that will suit children’s emerging needs. Acting as a professional educator entails upholding professional dispositions throughout the program, including the ability to apply feedback successfully in their classes and in the field. Candidates must be able to interpret students’ cognitive and affective needs to use appropriate instructional strategies. Successful educators must be able to select, design, and implement appropriate curricula. They must be familiar with state and professional standards and be acquainted with resources necessary for developing or creating additional curricula and materials, including technology. Students must understand the role of the teacher in the teaching-learning process and possess a variety of instructional techniques and strategies relevant to specific content areas. They must be capable communicators, able to work with groups of varying sizes (individuals, small groups, cooperative groups, and entire classes.) They must be able to use appropriate assessment techniques, ranging from formal testing to informal assessment, and managing and organizing materials. They must be capable in the areas of establishing rapport, increasing motivation, and preventing and solving discipline problems. Successful teachers can collaborate with families, administrators, communities, and other professionals to support the development and learning of all children.

The Music Education Program has developed a set of candidate performance standards that incorporate the core features of the Education Department’s conceptual framework as well as the District of Columbia Standards, Common Core Standards, and the National Standards. Following are elements of the learning environment and what a “Reflective Music Education Practitioner” considers in practice:

Personal Educational Beliefs: How does one’s own beliefs and value systems impact the learning environment?
Diversity of Student Needs: How does the intellectual, emotional, social, physical development as well as cultural and spiritual needs of students affect the teaching/learning process?

Stakeholders: What people and institutions have a stake in what happens in the learning environment? How might the needs and expectations of other stakeholders affect the learner?

Collaborative Practice: How are educational resources shared to benefit the learner? How does Educational research inform classroom decisions?

Discipline Knowledge. What knowledge, skills and/or dispositions does the educator try to foster? How do these new materials fit into the overall goals of learning?

Instructional Strategies: What instructional strategies are used? What other instructional strategies might have been used? How proficient is the teacher at implementing the chosen strategy?

Classroom Structures: How does the educator work to maximize motivation while minimizing disruptive behavior in a positive learning environment? How does the physical environment and classroom or school policies impact the teaching/learning process?

Assessment: What assessment strategies are used? What assessment strategies could have been used? How effective were the chosen strategies at evaluating student achievement? Further, the Music Education Program ascribes to a set of candidate performance standards that incorporate desirable attributes, essential competencies, and professional procedures as identified by the National Association of Schools of Music:

Desirable Attributes: The prospective music teacher should have:

• a personal commitment to the art of music, to teaching music as an element of civilization, and to encouraging the artistic and intellectual development of students, plus the ability to fulfill these commitments as an independent professional.
• the ability to lead students to an understanding of music as an art form, as a means of communication, and as a part of their intellectual and cultural heritage.
• the capability to inspire others and to excite the imagination of students, engendering a respect for music and a desire for musical knowledge and experiences.

Essential Competencies: The prospective vocal/choral or general music teacher should have:

• sufficient vocal and pedagogical skill to teach effective use of the voice.
• experience in solo vocal performance and choral ensemble.
• performance ability sufficient to use at least one instrument as a teaching tool to provide, transpose, and improvise accompaniments.
• performance ability at a proficiency level to teach beginning students effectively in groups on orchestral instruments and guitar/ukulele
• performance ability of a high standard on the piano/keyboard for the choral ensemble.
• laboratory experience in teaching beginning vocal/general techniques individually, in small groups, and in larger classes.

Essential Competencies: The prospective instrumental music teacher should have:

• knowledge of and performance on wind, string, and percussion instruments and guitar/ukulele sufficient to teach beginning students effectively in groups.
• experiences in solo instrumental performance, as well as in both small and large instrumental ensembles.
• laboratory experience in teaching beginning instrumental students individually, in small groups, and in larger classes.
• performance at a proficiency level in vocal/choral music to teach beginning students effectively in groups

• including relationships among the arts – to integrate music instruction into the total process of education. Essential competencies are:
• the ability to teach music at various levels to different age groups and in a variety of classroom and ensemble settings in ways that develop knowledge of how music works syntactically as a communication medium and developmentally as an agent of civilization.

This set of abilities includes effective classroom and rehearsal management.

• an understanding of child growth and development and an understanding of principles of learning as they relate to music.
• the ability to assess aptitudes, experiential backgrounds, orientations of individuals and groups of students, current methods, materials, and repertoires available in all fields and levels of music education.
• the ability to accept, amend, or reject methods

What should a Catholic University Music Education graduate know and be able to do?

Musical Knowledge and Skills

• Perform on a primary instrument on the level expected from a conservatory program.
• Perform in large and small musical ensembles
• Apply a comprehensive knowledge of music history and theory
• Identify the characteristics of world musics
• Compose and improvise music
• Demonstrate aural skills and keyboard skills
• Demonstrate the ability to conduct
• Analyze and prepare musical scores
• Demonstrate the ability to seek out culturally appropriate repertoire

Teaching Knowledge and Skills

• Articulate and prepare a statement of philosophy of music education.
• Articulate and prepare an advocacy statement.
• Demonstrate effective verbal and written communication skills
• Plan a music curriculum for instrumental and vocal/general music programs
• Demonstrate an understanding of children’s musical developmental stages
• Teach students how to perform, listen, and compose music
• Assess students’ musical knowledge and skills.
• Design rubrics to assess students’ growth and ability.
• Plan musical concerts with a wide variety of developmentally appropriate materials
• Organize musical ensembles, conduct, and manage rehearsals, prepare performances
• Incorporate various pedagogical approaches in the classroom setting, e.g., Kodály, Dalcroze, Suzuki, Orff, Gordon
• Write a clear, well-sequenced lesson plan
• Design a unit plan
• Design a handbook
• Write a resume and cover letter
• Be familiar with current teaching materials and resources
• Pace a lesson and rehearsal effectively
• Demonstrate the ability to teach, perform, and to discern the various timbres on secondary brass, woodwind, percussion, and string instruments
• Demonstrate the ability to use the guitar, ukulele, recorder, and other general music classroom percussion instruments
• Demonstrate the ability to sing
• Demonstrate an understanding of classroom management techniques
• Use music technology for teaching and learning
• Address the needs of exceptional learners in music
• Incorporate multicultural teaching materials
• Integrate music teaching and learning with other subject areas
• Discuss the implementation of a total school music program, involving such practical matters as recruitment, scheduling, budgets, parental involvement, and fund-raising
• Incorporate the National Standards and Common Core Standards in lesson planning

Personal Attitudes and Values

• Conduct themselves in a professional, ethical manner during classes and in the field.
• Demonstrate the ability to work well with others
• Demonstrate the ability to teach children with sensitivity and compassion.
• Demonstrate the ability to know and understand their population.
• Exhibit a strong work ethic and a dedication to the teaching profession
• Be flexible and accept suggestions easily
• Be open to new ideas and express a desire to continue learning
• Be organized, responsible, and dependable
• Possess exceptional time management skills
• Participate in music education professional conferences and workshops
• Become members of professional organizations
• Demonstrate the qualities of a life-long learner by avidly seeking professional development opportunities of your own volition
• Demonstrate professional attitudes and dispositions.
• Observe standards of dress and personal appearance appropriate for the school environment
• Be an advocate for music education
• Attain and maintain high standards in the classroom and in the field
• Demonstrate the ability to receive and accept feedback and apply it to their own teaching

The conceptual framework is seen as a mechanism to allow music educators at all experience levels to move fluidly between philosophy, theory, practice, and personal reflection. To accomplish this task, the framework introduces three components to guide reflections and decision-making. One component consists of the elements of the learning environment (see Figure 1). These elements are designed to help educators systematically analyze the complexities of each teaching and learning experience. Originally based on Schwab’s (1973) four commonplaces of teacher, student, content and context, the new model expands this notion to include eight elements: diversity of student needs, the educator’s personal educational beliefs, stakeholders, collaborative practice, instructional strategies, discipline knowledge, assessment, and classroom structures. Candidates are guided through exercises that address these elements individually and then in concert. Key features of this component include the role of the learner as the central figure in every teaching/learning experience and the interactive nature of the elements (for example, it is meaningless to consider assessment without considering the needs of the learner and the nature of the discipline knowledge being assessed, just as stakeholder expectations and personal beliefs shape the classroom structures used). Echoing Bronfenbrenner’s work (1989), candidates are expected to consider the learning environments as embedded within larger social structures as well (see Figure 2).

Figure 1: Eight Elements of the Learning Environment
It is tempting for educators, especially teacher education candidates, to focus on the day-to-day technical aspects of teaching. At this level, all challenges are viewed as problems to be solved with whatever tools are currently available. While it is important not to minimize the importance of these daily challenges that all educators face, the conceptual framework is designed to help educators move beyond the surface level of teacher-as-technician to see the larger systematic impact classroom practice has on individual students and society in general.

Figure 2: Global Perspectives of Education
The second component of the reflective practitioner framework builds on the work of Berlak and Berlak (1981) to describe and define fundamental educational essential questions, or dilemmas, that lie under the surface of classroom challenges. Reflective practitioners need to stop to consider how one’s perspective on these key questions can both inform and limit the options that seem reasonable in each situation. Using this component of the framework, educators can explore a broader range of possible solutions for a given situation by recognizing that there are multiple, morally defensible positions. This process helps candidates address two of the most challenging elements of the learning environment: the impact of their own philosophy on their classroom
choices and the possibly competing needs and values of the other stakeholders in the learning community. When considering options to best meet the needs of a non-English speaking PK-12 student, for example, the answers to large questions of curriculum (e.g., who decides what is worth knowing?), control (e.g., who sets the standards?) and society (e.g., what role should schools play in enculturation?) shape the strategies that seem reasonable. Not only do these essential educational questions impact decisions on a practical level, they also help situate ongoing classroom concerns in larger philosophical questions.

To continue that process of considering larger philosophical issues, the third component of the three-prong approach to reflective practice consists of an iterative reflective decision-making process (see Figure 3). Reflective practitioners must consider their decisions on three different levels (Van Mannen, 1977), or modes of reflection as CUA call them. The philosophical mode prompts the educator to consider the role that education should play in society in general and in the life of the child. Each decision should be examined for consistency and efficacy in supporting those larger goals. The
descriptive mode addresses the technical issues of how educational decisions are carried out. Educators must strive to assess their own practice and to look for new methods to meet the needs of individual learners. The interpretative mode encourages the reflective practitioner to consider the explicit and hidden messages sent to students and all stakeholders by classroom decisions. Are expectations uniformly high? Are the knowledge, skills, and cultural traditions children bring to class valued or marginalized?
Are parents seen as partners or obstacles? These types of questions move the reflective practitioner back to the larger philosophical questions to begin the process again. While it does not matter if the initial question is descriptive, interpretive, or philosophical, the model prompts the educator to see the process as ongoing and interrelated, as illustrated in the figure below.

Figure 3: Modes of Reflection
The complete CUA Conceptual Framework document can be found at http://education.cua.edu. This document includes the CUA Conceptual Framework standards as well as a matrix that aligns all standards from Specialized Professional Associations and the CUA Conceptual Framework.

This section of the handbook will attempt to outline what is required to earn a Bachelor of Music degree in Music Education or Music Teacher Certification alongside a BM degree and/or a Master of Arts in Teaching (MAT). Many decisions as to what to take and when can be made only on an individual basis, and this explanation of the curriculum is not intended to replace one-to-one advising sessions. This information should help you get started and serve as a check list for your course planning.

What courses do I need to take to graduate with a music education degree?
There are four curriculum tracks/emphasis for music education majors at CUA. You, along with your advisor, will determine which is most appropriate for you. Voice majors (and, generally, piano and organ majors) pursue the Choral/General music education emphasis track. Instrumental majors pursue the Instrumental music education emphasis track. There is a Combined Music Education track for students who are capable in both vocal/general and instrumental applied areas, and an Orchestral Instrumental and Instrumental music education emphasis track, that is considered a double major. All students take courses in all areas to reflect a well-rounded musician and one who is eligible to become certified in MUSIC PK-12.
The Catholic University music education degree is divided into four major components: the music core, liberal studies requirements, music education courses, and professional education courses.

This is a series of courses required of all Catholic University music majors. It consists of applied music, musicianship studies, music electives, conducting, and ensemble participation. For music education majors, the following apply:

• Applied music study. You are required to enroll in only 18 semester hours of applied music study, private lessons. Music students generally enroll in 3 credits of applied study on their major instrument for a minimum of seven semesters that they are on campus and present themselves in a jury performance at the end of each semester. Fall semester juries include appropriate and assigned etudes and solo pieces and need not be accompanied. Spring semester juries include appropriate and assigned etudes and solo piece and must include piano accompaniment. Vocal applied majors must meet specific expectations to petition to pursue certification (PPC) that can be found on the Sophomore Level Vocal Proficiency (SLVP). A 45-minute senior recital is given at the conclusion of this course of study and serves as a capstone experience. There are also two additional recital options for students seeking a more extensive performance experience/lecture. The type of recital experiences you pursue will be reflected on your final transcript. Further guidelines for completing the senior recital experience can be found in the School of Music Student Handbook.

Because your ability to play your major instrument is so essential to good teaching, it is important that you dedicate yourself to this important musical work. Some students may choose to continue study over the summer months as well.

• Musicianship studies. These studies consist of a two-year course of study and sequence of ear training, (MUS 121, 122, 221, 222), music theory, (MUS 123, 124, 223, 224) and MUS 181, four semesters of keyboard skills (private or class piano lessons.) You will also need to take a three-semester sequence of music history. These courses are critical to your success as a teacher and conductor. All music education majors should pay attention to keyboard skill study, for your piano abilities are an essential part of your success especially in the general music choral setting.
• For the music teacher, (MUS 337) Basic Conducting and (MUS 457) a combination of Instrumental and Choral Conducting are of major importance. Be sure to get as much time on the podium as possible in these classes and learn those transpositions! You will be expected to exhibit a high level of conducting experience during your student teaching.
• You are required to participate in a large ensemble during each semester of enrollment. The only exception is during the student teaching semester – ensemble participation is not a degree requirement, however there may be extenuating expectations regarding scholarship qualification. We encourage all music education instrumental majors to play in the Wind Ensemble and/or the Orchestra as these are foundational ensembles in most school instrumental programs. Orchestra students should look for every opportunity to play the other stringed instruments. Vocal students benefit from participation in one of the choirs, operas, musicals, and everyone should be involved in chamber music whenever possible. Essentially, the more opportunities you have to perform, the better musician you can become.

Music educators must be well-rounded and conversant in other aspects of the curriculum in order to serve the students in the schools in which they will eventually teach. In addition, The Catholic University of America has expectations regarding mission. To this end, all undergraduate students at The Catholic University of America are required to take 42 credits in general studies including core courses in philosophy and theology.

• All undergraduate students will take courses as part of the “First Year Experience” or (FYE.)
• All students must take two courses in philosophy: (PHIL 1) The Classical Mind, (3cr) and (PHIL 2) The Modern Mind (3cr).
• All students must take two theology and religious courses: TRS 1: Foundations in Theology 1 (freshman year) (3cr), TRS 2 Foundations in Theology 2 (3cr).
• All music education majors must also take two required courses in English: ENG 1 Rhetoric and Composition (Freshman year), (3cr), Literature Elective (English or other language), (3cr).
• All students must take General Studies Educational courses: (EDUC 251) Foundations of Education, (3cr), (EDUC 271) Psychology of Education, (3cr), and (EDUC 381) Educating Diverse Learners (3cr).
• All students must take 15 credits of academic (non-music electives) Choral-General Music Education; 12 credits for Instrumental Music Education and Combined General-Choral and Instrumental Music Education: 9 credits for Orchestral Instruments and Instrumental Music Education (Double Major) as follows: one course in Math or Natural Science (3cr), one course in Social Science (3cr), Educating Diverse Learners (EDUC 381) (3cr), and the last one or two electives are free (3cr).

General-Choral emphasis music education majors take (MUS 118/518) a course designed for them that covers the fundamentals of each instrument category (brass, woodwinds, percussion, and strings.) (3 cr.) You can rent instruments for these classes for a nominal $50.00 fee per semester. Please handle these instruments carefully as you are responsible for any loss or damage to them. It is expected that students can discern the timbres of all the different instruments in the four families of instruments of the orchestra. This requires additional listening time on your own. 

• Introduction to Music Education (MUS 139/539) (2 cr.) should be taken at the start of your music education sequence. This course is generally taken in the second semester of the freshman year, but no later than the second semester sophomore year. This course involves up to 10 hours of class time observation in the schools, giving you the opportunity to see as many children and teachers in an actual classroom setting.
• Choral/General music education majors take Elementary Music Methods MUS (451/551) (3 cr.) and Secondary Music Methods (452/552) (3 cr.). Instrumental music education majors take Elementary and Middle School Instrumental Music Methods (MUS 458/558) (3 cr.) and Secondary Instrumental Music Methods (MUS 462/562) (3 cr.). Students pursuing the Combined (both Choral/General and Instrumental) music education major take all four of these courses.
• All music education students take Field Experiences in Music Education MUS150/550, (1 cr. each per six semesters) during each semester of enrollment. This course acts as a coordination point for the completion of the 100 hours of field experiences with school children in approved classrooms and schools, as required for student certification and program accreditation. This requirement is more fully explained later in this handbook.
• Instrumental emphasis music education majors take four (4) instrumental techniques classes, (MUS 170), Percussion Techniques (1 cr.), (MUS 172) Woodwind Techniques, (3 cr.), (MUS 173) Brass Techniques (3 cr.) and (MUS 174) String Techniques (3 cr.) learning the fundamentals about instruments besides their primary instrument. They also take (MUS 117/517), General-Choral Techniques for the Instrumental Music Educator (3 cr.). General-Choral emphasis music education majors take (MUS 118/518) a course designed for them that covers the fundamentals of each instrument category (brass, woodwinds, percussion, and strings.) (3 cr.) You can rent instruments for these classes for a nominal $50.00 fee per semester. Please handle these instruments carefully as you are responsible for any loss or damage to them. It is expected that students can discern the timbres of all the different instruments in the four families of instruments of the orchestra. This requires additional listening time on your own.
• All music education majors take (MUS 335/535) a course in Latin American Music/Guitar (3 cr.) and another in (MUS 148/548) World Drumming (1 cr.) These are important and growing components of many vital school music programs and can also serve to enrich both your teaching as well as student learning.

There are several courses that are required of all education majors at CUA, including music education majors; g (EDUC 251/702), Foundations of Education (3 cr.), (EDUC 271/521) Psychology of Education, (3 cr.) and (MUS 381/581) Educating Diverse Learners in order to qualify for certification.

Can I double major in performance and music education?

If you are an instrumentalist, yes! Music Education students need to be excellent performers, and if you are willing to spend the extra time and money, we believe that you will benefit from the experience. The program requires at least one extra semester (9 semesters total.)

What if I wish to take summer school classes off campus?
Please be sure to check with your advisor in advance of registration. We want you to be sure that whatever courses you take off campus can be accepted at CUA and will count towards your major. Further guidelines for coursework off campus can be found in the School of Music Student Handbook.

What does a typical course of study in music education look like?
There are three different emphasis/tracks in addition to the possibility of the double major in Orchestral Instruments and Music Education.  This information can be found under a separate link under Course of Study later in the handbook.

Is there a timeline available to help me keep track of expectations and requirements as I progress through the Music Education program?
Yes. A Timeline can be found at the back of this Handbook. It provides, in order, the various gates and requirements of the program. This, along with the tracking sheets, should assist you in navigating your way through the program. All these matters should also be taken care of with the guidance of your advisor.

Are there Tracking Sheets available to help me know what specific courses I need to take and to monitor my progress toward degree completion?
Yes, there are tracking sheets. They can be found on Cardinal Stations and will assist you with tracking your degree progress. For best results, keep track with the hard copy Registration Worksheet and with frequent visits with your advisor! Hard copy tracking sheets for those students who entered the program before 2017 can be found at: https://music.catholic.edu/academics/incoming-current-music-students/index.html

What does a typical 4 (4 ½) Year Course of Study look like?
Here are four possible and typical courses of study in Music Education, one each for a) Choral/General, b) Instrumental, c) Combined-Choral-General and Instrumental, and d) Double Major in Orchestral Instruments and Instrumental.

Those pursuing Teacher Certification alongside another School of Music major program (e.g. Applied Voice, Music Theater) should also see the typical coursework as it often presents itself in those courses of study. Note that it is very important that, while it is quite possible to complete both Teacher Certification and another degree program at the same time, it is very rigorous and demands special attention by the student regarding coordination of the course and co-curricular responsibilities of both programs. This outline is only a general guide and should be reviewed regularly by the music education advisor.

When should I Petition to Pursue Certification in music education?
All music education majors must submit a petition to pursue certification. Music students generally Petition to Pursue Certification (PPC) during their sophomore year, no later than the end of the sophomore year spring semester. This is generally done upon the completion of MUS139//539, Introduction to Music Education. We encourage music education students to begin the petition to major process as early as possible, even during their freshman year, to enroll in music education courses at the earliest possible point. More importantly, you should petition to pursue music education when you are confident that teaching is the appropriate career choice for you. The Petition to Major is a component of MUS 139/539, Introduction to Music Education, and should be completed as a part of that course. Transfer and other students may make application in the Fall. The Music Education committee meets in October to consider these applicants. Students should also have taken the Praxis I exam. See below.

What materials do I need to submit as part of the process?
The petition materials include:

1. PPC application which includes personal data, GPA and Praxis I scores: Reading (5712), Writing (5722), and Math (5732). See link below.
2. an essay describing rationale and purpose for seeking to become a music teacher
3. three letters of recommendation from music faculty (ensemble director, piano instructor, harmony/ear training teacher)
4. disposition survey (signed by one cooperating teacher in the field)
5. an unofficial transcript from CUA or and/or official transcript from the institution awarding the candidate’s Bachelor of Music. These materials are reviewed, and appropriate determinations made (i.e. acceptance or non-acceptance into the program) by the Music Education Committee. This committee is comprised of full-time music faculty, including ensemble directors and all music education faculty members.

How do I petition to pursue certification in music education?
The applications can be found in this handbook and on the music education website. The MUS139/539 and /MUS 150/550 instructor(s) will direct you to the timeline disseminated in MUS 150/550. All candidates must submit these forms to the MUS139/539 instructor during the last week of class (Freshmen) along with your Praxis Scores. Incomplete packets will be returned. Transfer students should complete the forms and submit them to the Music Education area Chair, Dr. Sharyn Battersby. Students need to schedule an interview with the Area Chair, and students should then send recommendation forms to their applied, ensemble, musicianship, and piano class instructors. It is the students’ responsibility to collect these recommendations in sealed envelopes with the recommender’s signature across the envelope flap. Please do not have instructors email their recommendations. Once the materials are gathered together, the committee will review the applications and determine whether to accept, accept conditionally, or reject the applications. The Music Education Committee will send you a letter notifying you of the committee’s decision.

When should materials to Petition to Pursue Certification be submitted should I wish to be considered?
All the above materials should be collected, gathered, and submitted to Dr. Battersby by mid- November of your Sophomore year. You may place the materials in his mailbox in the School of Music office.

When will the PPC interviews occur, and how may I sign up?
There will be a sign-up sheet placed on the Music Education bulletin board or Dr. Battersby’s office door in the Lower Lobby of the School of Music in the spring semester (usually at the end of April) of your sophomore year. Please sign up there.

What is the committee looking for when deciding whether to accept my application?
The committee examines each application on an individual basis. Generally, the following criteria are taken into consideration:

• Is there sufficient evidence of excellent musical knowledge and skills?
• Is the candidate in good academic standing?
• Does the candidate exhibit the potential to teach effectively?
• Does the candidate possess the appropriate interpersonal skills for teaching?
• Does the written essay reflect a clear sense of purpose and a desire to teach?
• Does the candidate possess the professional required dispositions?
• Has the candidate demonstrated work and study habits necessary to complete the program successfully?

If my (PPC) application is not accepted, what can I do?
You may schedule an appointment with representatives from the Music Education Committee to clarify any questions you may have. If you remain convinced that you wish to major in music education, you can re-apply the following year.

If my (PPC) application is accepted, what should I do?
It is essential that you schedule an appointment with your advisor as soon as you are notified of your acceptance. The course requirements for music education certification are very specific, and you will need a lot of guidance in planning your schedule.

You and your advisor will draft a four-year (or four and one-half) plan(s), outlining all the courses you will need to take until graduation. This rough draft should be checked every semester, to make necessary adjustments and changes, such as rotational courses. You should maintain a copy of all advising records, for these will serve as a guide in your course selections. Cardinal Station may also be helpful in the tracking process, though this system is not considered to be the official iteration of your degree progress.

It is also important that you meet with an advisor to maintain a continuing dialogue about your personal growth and your goals. Your advisor is there to help resolve any questions or concerns you may have. At all times, we welcome your comments and suggestions, for we wish to be responsive to your needs.

PIANO PROFICIENCY EXAMINATION REQUIREMENTS 

All music majors must pass a piano proficiency exam. Music education majors or those pursuing certification must complete the requirements of the piano proficiency for music education before they are permitted to student teach. This should be completed during the second semester of the sophomore year. The proficiency exam is offered once per year in April. 

1. TECHNIQUE: Scales * 9 major scales and 9 harmonic minor scales (to four flats and four sharps in each mode.) Perform scales in parallel motion, hands together, two octaves, ascending and descending. Performance must be at a moderate steady tempo with correct fingering.
2. ARPEGGIOS: (do, mi, so, do) * 9 major and minor arpeggios in root position, hands together, parallel motion, two octaves. Ascending and descending.
3. CHORD PROGRESSIONS: * I-IV-I-V7-I in 9 keys, major and minor; the sequence must be played using inversions, proper voice leading, and correct fingering.
4. PERFORMING: “The Star-Spangled Banner” (M.M. quarter note=72). From memory.
5. PERFORMING: Prepared Repertory Piece comparable to the Music Teachers Association Level III. EXAMPLES: J.S. Bach, "Little Preludes "Clementi, "Sonatinas" Schumann, "Album for the Young". Approved by CUA piano faculty.
6. *HARMONIZATION: You will be given a short, folksong-like tune. Prepare a harmonization with the melody in the right hand and block OR broken chords (as a minimum) accompaniment in the left hand.
7. *TRANSPOSITION: Be able to transpose at sight, up or down a whole step the same melody that was used in the example above (6.) with a left-hand accompaniment (using I, IV, and V7). Sample materials can be found in the practice packet.
8. *SCORE READING: Choral-General: You will be given an open choral score of one or two pages. Prepare so that you can simultaneously play any two voice parts simultaneously at any place in the score. Instrumental: a score that you will need to read selected instrumental lines which you will need to transpose.
9. *ACCOMPANYING: You will be provided with several pages of an accompaniment for a choral work or solo piece. Prepare so that you can maintain a steady tempo throughout the piece.
10. *SIGHT-READING: an accompaniment from a school music book and a piece of the same difficulty as an Adult Level II piano book.

*Provided in packet.

Field observations are an important and integral aspect of the music teacher preparation program. They are also mandated by the University’s credentialing agencies (NCATE, NASM.) Field experiences are a necessary component of the Music Education Program in that they allow you opportunities to connect with real classrooms and real students, in turn leading you to make connections with your life as an aspiring music teacher. Working in music teaching and learning situations around the Washington, DC area is a rich opportunity for you to put the theory and musicianship that you participate in on campus into practice.

All music education majors must enroll in MUS150/550, Field Experiences for Music Educators, for six semesters and/or seven or until 100 hours are accrued. Students that have not completed the 100 mandatory (classroom/rehearsal observation by the semester of your senior year will not be allowed to student teach until this requirements are satisfied. For those students who will be student teaching in the fall, MUS 150/550 will not be required for that semester or the spring semester as students may not student teach until all 100 hours have been documented and approved. See p. 25 for the updated Field Experiences Documentation Form and p. 26 in this Handbook for the Field Experience Evaluation Form. This form must be completed by at least 6 field experience cooperating teachers and submitted for consideration of the Student Teaching Application. All MUS 150/550 hours must be submitted and approved through the online Field Experience Documentation System, as explained in the MUS 150/550 Syllabus.

At least 100 hours of clinical field experience must be completed before a student may be accepted into the Student Teaching program. No more than 20 hours may be completed at one single site. At least 10 hours must include teaching and learning where children with special needs are included. These must be documented on the form that can be found in the MUS 150/550 syllabus. In addition, at least 10 hours must be completed in the context of a Catholic school.

All District of Columbia teacher certification programs require that students spend 100 hours in the classroom prior to student teaching. These 100 hours must be spent either observing or participating in teaching-learning settings, under the direction of an experienced teacher who has been approved by the Instrumental Supervisor or the Head of the Music Education Area Professor. Here are some guidelines to remember while accruing 100 hours. Attendance at the free Orff and Kodály Workshops  (that are attended in the fall as a class trip) are also included in the accrued 100 hours. Although valuable are considered professional development, and therefore students may only include workshop hours from one Kodály and one Orff Workshop per year. Students are certainly encouraged to attend as many free workshops as possible, as this is an amazing opportunity for further growth in your teaching. Students must observe only in those approved schools along with the cooperating teachers that are listed on the handout. Students may not observe former teachers, including those out of state. Observations with teachers at schools that do not appear on the list are not approved, and therefore those hours will be forfeited. Students wishing to observe at schools whose cooperating teachers or school names do not appear on the list, must receive approval from the Music Education Chair before an observation.

• Register for MUS 150 the first semester of your freshman year, and MUS 550 the first semester of the MAT program. If you have not completed the minimum of eight (8) hours, you will receive the grade of an "I", indicating that you need to fulfill this requirement before you can student teach.
• You will need to complete eight-ten of the 100 required hours while enrolled in MUS 150/550 (each semester) if you are not concurrently enrolled in a methods course.
• Ten of the 100 hours must involve the observation in a parochial school. You may earn some of these hours while completing observations for courses, e.g., “The Introduction to Music Education,” or "Elementary and Secondary General-Choral Music Methods,” Elementary and Secondary Instrumental Music Methods.
• You may not be paid for your work, e.g., giving private lessons, working as a summer camp counselor, or a paid internship. If in doubt, obtain prior approval before becoming involved in a teaching-learning setting.
• You may not use traveling time or lunch time as part of the 100-hour classroom requirement. This is not time spent teaching or learning in the classroom.
• No more than 20 hours be earned at any one observation participation site. You should gain a wide variety of experiences (PK-12) in various settings, under the guidance of different teachers.
• The participation/ observation forms must be completed thoroughly and submitted to the area chair for approval by the designated deadlines in approved schools only. Do not observe in schools that are not approved for the program. Do not observe at schools whereby the cooperating teacher’s name is no longer listed on the website. Students wishing to observe in schools whose names do not appear on the approved school list, must seek approval from the Music Education Chair to observe at those locations. Students may not observe former teachers for observation hours credit. Have the cooperating teacher sign the forms. The MUS 150/550 forms are to be submitted for the observations required for MUS 150/550 only and are not necessary as completed journal requirements for Methods courses require different forms for the following courses, e.g., Introduction to Music Education. Students taking Introduction to Music Education (MUS 139/539) where there is a 10 hour mandatory requirement or any of the Elementary or Secondary Music Method courses where there is a mandatory 15 hour mandatory requirement for each, should submit a one sentence statement in their on line report indicating that the hours were satisfied and appear in your portfolio/journal binder that all students submit at the end of each semester. A record of your hours along with your reflection will be maintained online, but you are also required to maintain a binder of your own hard copy signed records when they are approved and returned to you. Failure to do so may result in one’ inability to do their student teaching in a timely manner.
• Attendance at music education conferences or workshops are encouraged and may also be counted toward your 100 hours, as per the approval of the Area Chair. Students will be awarded credit for two Workshops (one Kodály and Orff) per year, usually held in September, for four hours each, and attended as a class
• Please consult the approved school site table you received in MUS 150/550 as we have accumulated a list of excellent teachers willing to accept Catholic University Music Education majors into their classroom. Again, if you have recommendations for outstanding teachers in schools that do not currently appear on the approved site list, please inform us so that we can add them to our list once they are approved.

The link to a sample Field Experience Documentation Form (FEDF) can be found on the following page. Student will still be required to submit the hard copy (FEDF) form, signed by the cooperating teacher, in conjunction with their online hour submissions by the semester deadline. Current (6/19) copies can be retrieved the mailboxes to the left of dr. Battersby’s office door.

All music education majors in the Benjamin T. Rome School of Music, Drama, and Art must meet the following requirements prior to student teaching:

• Completion of all curriculum requirements specified for the first five semesters with a GPA of a minimum 3.0 (B) in academic (non-MUS) subjects and with a GPA of a minimum 3.0 (B) in music (MUS) subjects.
• Completion of all required formal interviews with cooperating teachers, when required.
• Completion of Student Teacher Data Form.
• Completion of Faculty Recommendation Form. Do not email.
• Instrumental and Combined majors are expected to have completed most of the courses in secondary instruments. Each student will have acquired a variety of observations and teaching experiences.
• Successful passing grade on the Piano Proficiency examination.
• Successful completion of the Core Academic Skills for Educators-Praxis I examination. (CUA old required scores: Reading – 177; Writing – 173; Math – 177; Students who received a combined SAT score of 1000 or above, do not need to take the Praxis I exam in Reading and Math, but must take the Writing component. These scores have since be lowered in 2016, however, you should strive for the top scores in these areas.
• Successful completion of Praxis II (or when all coursework is completed)
• Approval of qualifications for teaching by the School of Music Teacher Education Committee.
• The ability to model professional realities and dispositions during one’s tenure in the program and in the field
• All required health, safety and security documents and procedures as dictated by the hosting public or private school district (e.g. TB test, criminal background check, fingerprinting, etc.)
• At least six (6) Field Experience Evaluation Forms. These forms should be completed by) eight different in-service music teachers (cooperating teachers who are currently teaching PK-12 students.) This form may be found in this Handbook.

Student teaching is the culmination of your work as a music education major. You will apply to student teach at two different schools with two different cooperating teachers, at two different levels (elementary/secondary) for 14 weeks (7 weeks per level) and a minimum of 33 days per placement to receive your PK-12 music certification. There are many important things to consider when preparing to student teach. Among them:

What materials do I need to submit in order to be accepted into the Student Teaching Program?
The application materials include:

• a) an essay describing rationale and purpose for seeking to become a music teacher,
• b) Music Education Philosophy Statement,
• c) Music Education Advocacy Statement,
• d) Unofficial transcript from CUA or an official transcript from the institution awarding the candidate’s Bachelor of Music, and
• e) Three Letters of Recommendation and a Disposition form from
  • 1. A practicing music educator
  • 2. A music education faculty
  • 3. Another music faculty person
• d) Professional resume
• e) Student Teacher Data Form
• f) Six Field Evaluation Forms

Where do I student teach?
Student teaching placements are determined by your music education advisors. The Catholic University of America music education program allows our students multiple field experiences in the area (Maryland, Virginia, District of Columbia) public, private, and parochial schools, and you will have a general idea of the teaching experiences available to you before you are set to student teach. We consider factors such as where you will live, will you have a car, or access to Uber or Lyft (having a car is strongly encouraged). If not, you will need to rely on public transportation which can be quite time consuming. We also consider what type of job you want, what special interests you have, e.g., jazz, technology, marching band, or school musicals, and most of all, what type of teaching personality best matches yours.

What do I need to do to apply for student teaching?
Each county imposes their own deadlines for the receipt of student teaching packages, so early during the fall semester of your junior year, we encourage you to

1. schedule a meeting with your advisor to discuss possible sites
2. continue to observe potential student teaching sites
3. prepare your paperwork
4. submit forms to the area chair by the end of fall semester junior year
5. schedule formal interviews with the school's music teacher.
6. revisit and tweak your statement of philosophy and advocacy statement

Each county in the area schools requires a different set of criteria in order to student teach in their schools. You will be notified of the specific details when your placement site has been determined.

Why do I apply so early in my program?
Remember that the DC Metro area is a prime location for student teachers from several universities in both Virginia and Maryland. Various counties award a small number of allotments per school. We compete with many state and private schools who wish to place their students in high-quality music education programs. If we are to place you in the best music programs, you must complete this process early in your training. Furthermore, some students find that they must apply to several schools before being accepted at one, so we must begin the process as soon as possible. You will schedule an appointment along with your fellow peers to meet with the Music Education Committee in November/December of your Junior Year (the semester you are enrolled in an elementary methods course). Your paperwork will be sent out by January (spring semester of your junior year).

How many hours of field experience do I need before I can student teach?
The program requires that all candidates seeking teacher certification complete a minimum of 100 hours of clinical experiences in schools observing and interacting with students and teachers. The 100 hours are a prerequisite for student teaching. We recommend you observe as many hours in as many classrooms and schools as your schedule can accommodate.

What do I have to do before the first day of my student teaching?
You will attend a brief meeting at the end of the previous semester (spring semester usually in the month of April of your junior year), MUS 150/550 last class) to review your placement and receive a sample student teaching handbook. Sometimes placements are not confirmed until as late as the month of August. You are also able to peruse the student teaching handbook online prior to the meeting. Topics that will be addressed include but are not limited to: fingerprinting, child abuse form, security background checks, TB testing, interviewing with your prospective cooperating teachers, setting up a pre-planning session with the cooperating teacher before school begins (usually in August) and starting your first day on the first day of classes. You should plan on contacting your cooperating teacher and arrange a time for the two of you to meet prior to the preservice week before classes begin in the fall.

How long do I student teach?
Student teaching is a full-time, minimum 14-week intensive experience during which students are cooperating with established teachers in schools and supervised by Catholic University faculty. Roles of the student teacher, faculty supervisor and cooperating teacher are formalized in written agreements. Certification candidates are placed in both an elementary and a secondary setting, spending a total of seven weeks in each placement. A minimum of 33 days is required for each placement. No Exceptions.

Can I work, take classes, or perform in ensembles while I student teach?
Because of the heavy demands upon your time and energy, we strongly urge you to limit your outside commitments, e.g., work, courses, lessons, during the student teaching semester. CUA requires that you do not take classes during your student teaching semester. Because of the financial strain this may create, it is suggested that you begin saving early and attempt to clear your schedules. Several students elect to take classes over the summer in order to free up their time for observations before they student teach. We discourage any involvement with a performing ensemble or musical production that could interfere with your ability to student teach.

Do I have to have a car when I student teach?
Not necessarily although it is highly recommended. There are very few student teaching sites that are accessible by public transportation, and therefore it is advised that you have a car. Most sites accessed by public transportation require that you take both the metro and a bus in order to reach your destination, which can be very time consuming due to the erratic bus schedules. A car gives you the greatest flexibility in selecting student teaching sites, and the most control over your time. You can also utilize ride-hailing services.

Do I need to develop a portfolio as part of the student teaching process?
Yes. Along with applications and letters of recommendations, many school districts require that this material be provided. Even if potential employers do not require it, it is always a good thing to have on hand. It provides evidence of your knowledge base; skill sets and good dispositions toward being a professional educator. Your portfolio is developed during your student teaching experience via the seminar that is required of all student teaching candidates. Please see "Procedure for Assigning Candidates for Student Teaching" below for a detailed outline. It is suggested that you also create an online version.

Step #1: Music Program Coordinator meets with the county music supervisors in order to obtain allotment approval and recommendations in identifying music teacher specialists and who are qualified to accept CUA student teachers and who are within a reasonable proximity to either the school or where the student lives.

Step #2: Student teacher candidates are guided and encouraged to observe and meet potential cooperating teachers. Names are vetted and shared with county coordinators and contacts with desired schools are formally made.

Step #3: When school permission is confirmed, specific music teachers are contacted by the music program coordinator for personal/informal interviews and class observations, to determine if teaching philosophy and methodology are congruent with the music education program’s mission. (Teacher recommendations are requested regarding colleagues for future prospective partnerships.)

Step #4: After interviews and observations, the CUA program coordinator and the potential cooperating teachers determine if the student teacher applicant’s experience and schedule allow for a placement.

Step #5: Students arrive at their respective schools to meet and interview the music specialist and then to stay for several classes. They will complete pertinent forms regarding what they specifically observed and, potentially, in what activities they participated.

Step #6: Music program coordinator and student meet to determine if placement is agreeable and suitable to student's needs.

Teaching is a PROFESSION. For teachers to be regarded as such, it is always especially important for the new student teacher/intern to dress and behave in a professional manner when visiting area schools.

The following are inappropriate professional dress and therefore should NOT be worn by any student whether you are in the school during observations and/or senior internships. (Student teaching):

1. Jeans/shorts on any school day when there are students or parents in the building. This includes pre and post planning days.
2. Jeans/shorts should not be worn during pre or post planning days. “Casual” means khaki or something similar.
3. “Tee” shirts
4. Tight fitting or revealing clothing (see through fabrics, low necklines, short skirts, shorts, short dresses, bare midriffs, crop tops and skin-tight leggings with short top).
5. Flip-flops, tennis, or other athletic-type shoes
6. Hats or caps of any kind.

It is expected that all interns are well groomed and have impeccable hygiene.

Suggestions for appropriate dress in the schools are listed below:

WOMEN: Blazers, blouses, slacks, vests, sweaters, conservative length dresses and skirts, conservative jewelry, and comfortable shoes.

MEN: Blazers, ‘dress’ slacks, ties, collar-type shirts, sweaters, comfortable shoes.

Reminder: You are an invited guest in the classroom and you should refrain from any of the following: criticism of peers, students, supervisors, principals, or teachers; whining, blaming, complaining, laziness, procrastination, spreading of rumors, accusations, or expectations of favors…and sharing of inappropriate personal information with students (including friending PK-12 public, private, charter, or parochial school students on Facebook, Instagram, Snapchat, etc.,)

Conflict of Interest: If you find yourself at odds with the cooperating teacher regarding an issue of a personal nature, you are to first try and work through your issue with the cooperating teacher and arrive at a mutually beneficial resolution. If this is not possible, you are to contact the music education supervisor immediately for assistance in reaching a resolution to your issue.

Overview and Requirements

You will compile a professional portfolio during the duration of your student teaching experience. The contents of this notebook will contain a compilation of specific documents that reflect your work in addition to but not limited to your resume, cover letter, advocacy statement and statement of philosophy. In its final form it will serve as an invaluable testimony to your hard work and accomplishments that you will then present at job interviews. It is suggested you create an online version as well.

Content Outline

1. Introduction (Narrative: Overall Experience in the Music Education Program
2. Contextual Factors (School Descriptions-Elementary & Secondary)
3. Unit Plan (Elementary & Secondary)
   1. Learning Goals, Objectives, Understandings and Essential Questions and Objectives
   2. Assessment Plan
   3. Instructional Knowledge & Planning
   4. Analysis of Learning Results
   5. Reflection and Self-Evaluation
4. Two Full Lesson Plans Minimum (Elementary & Secondary)
5. Two Rubrics Minimum (Elementary & Secondary)
6. Philosophy Statement
7. Advocacy Statement
8. Professional Resume
9. Course Sample Handbook (Primary Area)
   (Letter, Syllabus, Contract)
10. Documentation of Professional Contributions (Elementary & Secondary)
    1. Letters of Support
    2. Written Observational Feedback
    3. Evaluations from Supervising Professors
    4. Evaluations from Cooperating Teachers
    5. Conference Attendance
    6. Professional Development Workshops (Kodály, Orff, etc.)
    7. Evidence of Membership in (two) Professional Organizations
       1. The National Association for Music Education (NAfME)
       2. American Choral Director’s Association (ACDA)
       3. American School Band Directors Association (ASBDA)
       4. American String Teachers Association (ASTA)
       5. American Orff-Schulwerk Association (AOSA)
       6. Organization of American Kodály Educators (OAKE)
11. Professional Artifacts (Evaluations, Letters, Photos, Cards)
12. Weekly (typed) Reflections (Elementary & Secondary)
13. Conclusion (Elementary & Secondary)
14. Electronic Portfolio or Digital Portfolio
15. Recordings (two minima-elementary and secondary lessons and concerts)

1. Typed Title and Name on Cover and Spine (plastic insert on binder cover for title page)
2. Typed Table of Contents
3. Dividers/Tabs for the sections listed above-typed is ideal- (store bought only!)
4. Presentation should be thoroughly professional, including all the required materials, neat, and orderly. (hole punched pages all the same length)

The Music Teacher Certification program is a non-degree program that has been approved by NCATE, NASDTEC and NASM. It is designed to meet the needs of those who hold a bachelor’s degree in music and who wish to be certified to teach music in the elementary or secondary school. This program is also available to undergraduate students who wish to pursue music education certification simultaneously with the completion of a Bachelor of Music degree in a field other than music education. Two tracks of study are available - one for instrumental music instruction and another for choral-general music instruction.

Music Coursework for the program includes the following:

Core (Praxis I) (must be completed and passed as part of the PPC Process and before (MUS 451/551 or MUS 458/558)

MUS 139/539, Introduction to Music Education
MUS 150/550, Field Experiences in Music Education (Enrollment required for each semester that includes music education coursework.)

EDUC 381/581, Education of Diverse Learners
EDUC 251/702, Foundations of Education
EDUC 271/525, Psychology of Education

MUS 451/551 Elementary General/Choral Music Methods or MUS 458/558 Elementary and Middle School Instrumental Music Methods

MUS 452/552 Secondary Choral General Music Methods or MUS 462/562 Secondary Instrumental Music Methods,

MUS 118/518, Instrumental Techniques for the Choral Music Educator: Woodwinds, Strings, Brass, Percussion, and/or Guitar (by advisement, as needed)

MUS 117/517, Choral General Techniques for the Instrumental Music Educator (by advisement, as needed)

MUS 170 (Percussion Techniques), MUS 172 (Woodwind Techniques), MUS 173 (brass techniques), MUS 174 (String Techniques). Instrumental Music Educator

MUS 148 (World Percussion)
MUS 335 (Music of Latin America/Guitar & Ukulele)
MUS 476 (Combined Lyric Diction I) Gen-Choral Music Educator

MUS 421/521, MUS 422/522, 423/523 Student Teaching Seminar
MUS 421A/521A, 422A/522A, 423A/523A Supervised Internship: Elementary
MUS 421B/521B, 422B/522B, 423B/523B Secondary Music (General/Choral, Instrumental or Combined)

The program requires that all candidates seeking teacher certification complete a minimum of 100 hours of clinical experiences in approved schools observing and interacting with students and teachers. The 100 hours are a prerequisite for student teaching.

The program also requires that all candidates seeking certification pass the piano proficiency examination for music education.

Finally, the music teacher certification program expects that all candidates will successfully complete a full semester dedicated to student teaching. Student teaching is the culminating, advanced level of clinical experience. Student teaching is a full-time, minimum 14-week intensive experience— (7 weeks elementary, 7 weeks secondary-with a 33-day minimum per placement—during which students are cooperating with established teachers in schools and supervised by Catholic University faculty. Roles of the student teacher, faculty supervisor and cooperating teacher are formalized in written agreements. Certification candidates are placed in both an elementary and a secondary setting, spending a total of seven weeks in each placement.

Upon graduation, students completing the Certification program are eligible to apply for Teacher Certification, PK-12, in the District of Columbia.

The General-Choral Music Education program is a degree program that has been approved by NCATE, NASDTEC, and NASM. It is designed to meet the needs of those students who desire to become certified to teach general and/or choral music in PK-12 public and private school settings. Students completing this program graduate with a Bachelor of Music and are entitled to Teacher Licensure; initially in the District of Columbia (most states have reciprocal teacher certification agreements.) While the focus and course of study is in the area of general-choral music education, coursework and incipient outcomes also include the development of a knowledge base and skill set that equips graduates to offer competent yet limited instruction in instrumental music classrooms.

Additional information and the Typical Plan of Study

The Instrumental Music Education program is a degree program that has been approved by NCATE, NASDTEC and NASM. It is designed to meet the needs of those students who desire to become certified to teach instrumental music in PK-12 public and private school settings. Students completing this program graduate with a Bachelor of Music and are entitled to Teacher Licensure; initially in the District of Columbia (most states have reciprocal teacher certification agreements.) While the focus and course of study is in the area of instrumental music education, coursework and incipient outcomes also include the development of a knowledge base and skill set that equips graduates to offer competent yet limited instruction in general and choral music classrooms.

Additional Information and the Typical Plan of Study

The Combined Instrumental and Choral/General Music Education program is a degree program that has been approved by NCATE, NASDTEC and NASM. It is designed to meet the needs of those students who desire to become certified to teach instrumental music in PK-12 public, parochial. Charter, and private school settings and who show strong competencies in both choral and instrumental music. These competencies are to be exhibited to the Music Education faculty through a) playing entrance examinations and b) consultation interviews with the music education faculty and/or music education teacher education committee. Students completing this program graduate with a Bachelor of Music and are entitled to Teacher Licensure; initially in the District of Columbia (most states have reciprocal teacher certification agreements.) The focus and course of study includes experiences in both choral and instrumental music education. As such, individuals who complete this program can present a portfolio and record of study and teaching that can indicate a greater range of potential service to future school district and school employers. This is a nine-semester course of study.

Additional Information and the Typical Plan of Study

The Orchestral Instruments and Instrumental Music Education program is a degree program that has been approved by NCATE, NASDTEC, and NASM. It is designed to meet the needs of those students who desire to become both certified to teach instrumental music in PK-12 public and private school settings and, at the same time, earn an undergraduate degree in applied performance. Students completing this program graduate with a Bachelor of Music and are entitled to Teacher Licensure; initially in the District of Columbia (most states have reciprocal teacher certification agreements.) While the focus and course of study is in the area of instrumental music education, coursework and incipient outcomes also include the development of a knowledge base and skill set that equips graduates to offer competent yet limited instruction in general and choral music classrooms as well. In addition, of course, the graduate earns a BM in performance that can be an asset to further work in the field of applied music performance.

Additional Information and the Typical Plan of Study

There are Two Professional Chapters for Catholic Univeristy: NAfME and ACDA

NAfME

What is NAfME?
NAfME is the acronym for National Association for Music Education formerly known as MENC, Music Educators National Conference, the professional organization for music Educators. Lawyers join the ABA, doctors join the AMA, and music teachers join NAfME. NAfME provides opportunities for professional growth for music teachers at all levels in all areas.

The Catholic University student chapter #182 plays a significant role in the music education program. This is a student-run organization, which holds monthly meetings on relevant topics, organizes service projects, attends conferences, and provides social contact with other music education majors. The music education faculties serve as advisors, but it is the officers’ responsibility to do the planning, run the meetings, determine the budget, etc.

How do I join NAfME?
A recruitment drive is held at the start of fall semester in MUS 15/550) or in the student lounge. If you miss the registration, it is possible to join throughout the year, but you may miss some of the benefits by joining late. For a reasonable student membership fee, you will receive two journals delivered to your home and all the privileges that full-paying members receive. Membership is required in order to graduate.

What are the benefits of joining NAfME?
The collegiate NAfME chapter offers you a chance to learn more about the music education profession through a variety of worthwhile activities.

Monthly meetings are designed to enrich and expand your understanding of the music education profession. For example, guest speakers have come to meetings to address topics such as special education, rehearsal techniques, music technology, student teaching, and job interviewing.
Attendance at conferences is encouraged through NAfME. Each October, we organize a trip to Baltimore where the Maryland In-Service Conference is held. You can attend valuable workshops, reading sessions, rehearsals, performances, and meetings. Catholic University students have even traveled to the bi-annual national NAfME Conference, where music educators from around the country gather for an overwhelming array of learning opportunities.

Service projects are an important part of the NAfME activities. Students help run events at Catholic University. One year several our chapter members worked with second grade students from a nearby elementary school in introducing them to music activities. One year several our chapter members assisted with the annual District of Columbia Music Educators Association (DCMEA) conference which was held on our campus.

NAfME social activities are held throughout the year. Parties, dinners, and outings have been organized by NAfME officers, open to all members. An end-of-the-year party is hosted by the music education faculty is held on campus, where students, alumni, and faculty have the chance to honor graduating seniors.

Why else should I join NAfME?
Apart from the educational and social reasons, there are practical reasons to join NAfME. When you are applying for jobs, it is helpful if you list your membership in our professional organization on your resume. It reflects your pledge as a life-long learner and indicates a commitment to your profession. This is a requirement for all graduating seniors.

How do I become involved in NAfME?
Because this is a student-run volunteer organization, there is a need for everyone to participate. The officers are always looking for leaders with a lot of ideas and energy. After your first year of membership, you are eligible to become an officer, and elections are held every spring quarter for the following academic year.

ACDA

What is ACDA?
ACDA is the acronym for the American Choral Directors Association, the professional organization for choral music educators. Lawyers join the ABA, doctors join the AMA, and choral music teachers join ACDA in addition to NAfME. ACDA provides opportunities for professional growth for choral music teachers at all levels in all area.

How do I join ACDA?
A recruitment drive is held at the start of fall semester in MUS 150/550 or in the student lounge. If you miss the registration, it is possible to join throughout the year, but you may miss some of the benefits by joining late. For a reasonable student membership fee, you will receive monthly journals delivered to your home and all the privileges that full-paying members receive. We send an annual report to the collegiate division chair each May.

What are the benefits of joining ACDA?
The student ACDA chapter offers you a chance to learn more about the choral music education profession through a variety of worthwhile activities. Like NAfME, membership includes a journal, access to the website, and information regarding professional conferences both local and national.

• Register early and carefully
• See your advisor early and often
• Join NAfME ASAP
• Observe as many different music classes and grade levels as possible
• Take as many instrument techniques classes as you can in your freshmen/sophomore years
• Warn your roommates when you take the instrument techniques classes
• Take the piano classes seriously and practice! You must pass a proficiency exam to be able to student teach.
• Get involved with kids as much as possible, e.g., music camp, marching band season
• Earn as many MUS 150/550 classroom observation hours as soon as you can
• Attend the Orff and Kodály Saturday workshops – required for fall semester only (4+4=8 hours) most of them are free for college students! You should attend as many on your own as possible, but not all the hours cannot be counted toward classroom observation hours.If you are an instrumental/choral major, volunteer with school or church ensembles...get on the podium and conduct
• Go to Conferences
• Learn how to use the library
• Keep playing and performing
• Demonstrate leadership abilities
• Stay organized and complete assignments as early as possible so that you submit them on the due date.
• Be prepared for a lot or work and many late nights
• Get to know other music education students
• Try to student teach in the fall, so you can learn how to ‘start’ a class
• Keep all your work and portfolios from all music education courses
• Keep your resume as a work in progress
• Keep tweaking your Philosophy and Advocacy Statements
• You will have fun

Choral Music Educators Vocal Proficiency
Sophomore Level Vocal Proficiency (SLVP)
Requirements of all Applied Vocal/Music Education Majors

Below is a SAMPLE timeline with which to gage your vocal jury progress that ultimately leads towards application to the Music Education Program through the Petition to Pursue Certification (PPC) Process.

Freshman Year:

• Fall Semester - There is no Jury during the fall semester of the freshman year.

Sophomore Year:

• Fall Semester - Combined Lyric Diction I course (MUS 476A) should be taken during the fall semester of the sophomore year. (Only offered in the fall).
• Spring semester (Optional) – Combined Lyric Diction II (MUS 476B)
• Spring Semester – Review session and recommendation to continue as a voice principal
  Acceptance to admission into the Music Education Program (Petition to Pursue Certification) predicated upon recommendation).

Junior Year:

• There is no Junior Recital

Senior Graduation Options:

1. Full Recital – 45-minute Performance, Four languages-including English
2. Recital/Lecture- 30-minute Performance, four languages; 30-minute lecture/research based
3. Honors Recital: 45-minute Performance, Research paper