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Abstract: In response to the diversity of student experiences, abilities, and interests, Differentiated Instruction (DI) has evolved as an instructional approach seeking to maximize the learning opportunities for each student in the classroom. While pedagogical positions and instructional strategies have been refined in the literature, application for the band classroom remains almost non-existent. The purpose of this article is to enhance understandings of the nature of Differentiated Instruction as it applies to music education, and to model how differentiation can be enacted in the performance based music classroom.
No two students are alike. They come to our band classes with different interests, varying levels of prior knowledge and experience, and preferences for how they learn best. We have multigrade ensemble classes. We have students that transfer in and out of our ensembles throughout the school year. These differences will influence the students' rate of learning, motivation, and also the support or challenge they will require for success. The purpose of this paper is to provide some context and suggestions for teachers seeking to move forward in their pursuit of the development of meaningful and engaging programs that meet the diverse needs of students in the contemporary band classroom.
Differentiated Instruction has been a popular theme in education for some time. This pedagogical approach is designed to address student differences, and to maximize the potential for learning. But what does it really mean for the classroom band program? As an instructional approach, differentiation prevails upon teachers to proactively modify teaching strategies, and to incorporate multiple instructional methods in order to meet the broad needs and interests of their students. But it is more than just a few tips and tricks for helping kids who are struggling. Differentiated Instruction is a philosophy that acknowledges and values the unique learning needs of all students, recognizing that learners are active agents in constructing their own understanding, and their own lives (Tomlinson, 1999). As band teachers, it demands that we consider the purpose of our programs, that we revisit what our classrooms might look and sound like, that we acknowledge student voice. If we want kids to be engaged and interested, if we want them to grow and move forward in their own learning, we need to move...