Jessica NápolesUniversity of North Texas
Associate Professor of Choral Music Education Topic: Choral Conducting and Rehearsal research
Jessica Nápoles is Associate Professor Choral Music Education at the University of North Texas. Previous to her appointment, she was Associate Professor of Choral Music Education at the University of Utah, where she taught coursework in choral methods, quantitative research methods, and conducted the Women’s Chorus. Her passion is in training music education students to be effective teachers, and collaborating with local schools in partnerships for her students to gain teaching opportunities.
She is the conductor of the Concert Choir and teaches coursework in undergraduate teacher preparation and graduate research. A native of Florida with a Cuban-American background, Dr. Nápoles taught in the public schools of Miami and Orlando. She received her Bachelor of Music Education, Master of Music Education, and PhD in Music Education from the Florida State University, under the tutelage of Clifford Madsen, Judy Bowers, and Andre Thomas. |
Presentation tools
Direct Instruction/ Sequential Patterns
1: what the teacher does (teacher presentation)
1a: academic musical task
talking about music or performance aspects ( “I want a crescendo here”)
modeling by teacher or piano
1s: social task
“get in a circle”
walk around the room
1d: directions
“let’s start at measure 8”
1o: off task/other
“Is it hot in here?”
2: what the students do in response (student response)
2p: performance (entire ensemble or sections)
can be verbal or nonverbal
3: teacher reinforcement
3a: approval can be verbal or nonverbal
3d: disapproval, can be verbal or nonverbal
specific: exact feedback containing musical information
“Altos, great crescendo at measure 6”
nonspecific: cheerleader type responses, vague
“good job!” “Yay!”
NOTE: If reinforcement is nonspecific, it cannot be related or unrelated.
related: related to your 1
Assuming your 1 was a request for a higher G#
“Tenors, you nailed the G#!”
unrelated: not related to your 1
Assuming your 1 was a request for a higher G#:
“Tenors, beautiful crescendo!”
1a 1d 2p 3a-specific, related
1a 1s 1d 2p 3d—specific, unrelated
1d 2p 3d—unspecific
1a 2p 3a-unspecific
1s 1d 2p
1s 1o 1d 2p 3d—specific, related
1o 1a 1d 2p
1a 2p 3a-specific, unrelated
1o 2p 3d-specific, related
1s 1a 1d 2p
1o 1d 2p 3d-unspecific
1: what the teacher does (teacher presentation)
1a: academic musical task
talking about music or performance aspects ( “I want a crescendo here”)
modeling by teacher or piano
1s: social task
“get in a circle”
walk around the room
1d: directions
“let’s start at measure 8”
1o: off task/other
“Is it hot in here?”
2: what the students do in response (student response)
2p: performance (entire ensemble or sections)
can be verbal or nonverbal
3: teacher reinforcement
3a: approval can be verbal or nonverbal
3d: disapproval, can be verbal or nonverbal
specific: exact feedback containing musical information
“Altos, great crescendo at measure 6”
nonspecific: cheerleader type responses, vague
“good job!” “Yay!”
NOTE: If reinforcement is nonspecific, it cannot be related or unrelated.
related: related to your 1
Assuming your 1 was a request for a higher G#
“Tenors, you nailed the G#!”
unrelated: not related to your 1
Assuming your 1 was a request for a higher G#:
“Tenors, beautiful crescendo!”
1a 1d 2p 3a-specific, related
1a 1s 1d 2p 3d—specific, unrelated
1d 2p 3d—unspecific
1a 2p 3a-unspecific
1s 1d 2p
1s 1o 1d 2p 3d—specific, related
1o 1a 1d 2p
1a 2p 3a-specific, unrelated
1o 2p 3d-specific, related
1s 1a 1d 2p
1o 1d 2p 3d-unspecific