Guitar classroom management
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I have a couple of questions to toss out:
1. Is there a classroom management issue that is particular to the guitar classroom for you? How have you dealt with that issue? (or issues)
2. Are guitar students different from other music students that you have taught in regards to classroom management? How?
thanks for pondering these questions!
John Truitt
NAfME Council for Guitar
NMMEA
1. Is there a classroom management issue that is particular to the guitar classroom for you? How have you dealt with that issue? (or issues)
I find that guitar students want to “noodle” more than my orchestra students and they don’t see the value in reading notes and openly express that feeling. To combat the noodling I institute a “rest position” with the strings facing the floor at the beginning of the school year and as the school year goes on allow student to hold the guitar any way they like during instruction.
In regards to not wanting to read notes I remind them that the goal of the class is not to make them guitarist but to make them competent literate musicians. Some students only want to play songs they know written on lead sheet with chords and/or TABS, or want me to “show them” how it goes rather than reading it. So I compare our guitar class to their english class. In english do you only read comic books about characters you like? Does your teacher read the novel you’re working on to you? That usually puts things into perspective for them.
2. Are guitar students different from other music students that you have taught in regards to classroom management? How?
The beginning guitar curriculum is designed to be a “all comers” class that requires no previous experience. Because of this I get a very wide range of students in the class, freshmen through seniors, honors to IEP, and some playing experience to never touched a guitar before. Students tend to be more egger to learn about new things, take risks, and want to have a good time.
Christopher M. Johnson, Professor of Music Education and Music Therapy, is currently the Chair of the Music Education and Music Therapy Department and Director of the Music Research Institute at the University of Kansas. Johnson earned his Ph.D. from the Florida State University.
Since his arrival at The University of Kansas, Johnson has taught courses in Instrumental Conducting, Teaching Instrumental Music, Managing Behaviors in the Music Environment, Psychology and Acoustics of Music, and Research Methods in Music Education and Music Therapy. Johnson served two terms as the editor of the International Journal of Music Education: Research, the research publication of the International Society for Music Education. He is currently serving his second term on the National Association for Music Educations Executive Committee of the Society for Research in Music Education. He also served on the editorial board of the Journal of Research in Music Education, and one earlier term as the Chair for the MENC Executive Committee of the Society for Research in Music Education. Johnson also served as the Chair for the Research Commission of the International Society for Music Education.
Johnson’s research interests include applied research in music education, and basic research in all aspects of the psychology of music. He has published articles in many journals including the Journal of Research in Music Education, the International Journal of Music Education, the Journal of Music Therapy, Journal of Band Research, Contributions to Music Education, and the Bulletin of the Council for Research in Music Education, among others. Johnson has also been an active member and contributor to the Research Seminar of the International Society for Music Education and World Alliance for Arts Education.
Johnson received a university teaching award – the Ned N. Fleming Award for Excellence in Teaching and received the recognition for Graduate Teaching Achievement from the Center for Teaching Excellence. Johnson was also awarded a lecturing & research award as a J. William Fulbright Scholar and recently received the Ella Scoble Opperman Citation for Distinguished Achievement from the Florida State University College of Music.
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