MusicEdMajor.net» Professional Development

November Music Education Blog Carnival

Andrew Ritenour — Sun, 16 Oct 2011 22:15:08 +0000

I am very excited to announce that MusicEdMajor.Net will be hosting the November 2011 edition of the Music Education Blog Carnival! The Music Education Blog carnival is a project of Dr. Joseph Pisano which seeks to offer music bloggers an opportunity to share their work. Each month, the blog carnival presents the blog posts of music, education and technology blogs from every corner of the web. Looking for some ideas of what to submit? Check out the categories below!

Don’t Miss Your Chance!

To submit an article to the November Music Education Blog Carnival, just click this link. All you have to provide is a link to your post, your name and e-mail, and a short description of your post. It’s that easy!

Articles will be accepted through Monday, October 31st. Are you a teacher, musician, or music lover? Please consider contributing to this awesome music resource. If you have any questions regarding the blog carnival, you can Tweet me or contact me through the “Contact” page above.

Happy Blogging!

What type of Grad Program is Right for Me?

Kyle Freesen — Wed, 12 Oct 2011 01:39:33 +0000

So you think you want to go back school to continue your education? It seems like a great idea(and it very well might be) if you take the time find the right fit for your situation. The purpose of this post is to get you thinking about what path you might choose. Look for upcoming posts that go into more depth on the 4 main ways to earn your Master’s Degree.

You might be itching to get back into working on your musicianship and teaching. Maybe your job is less than diserable or just not the right fit. You aspire to teaching at the collegiate level. Your district is offering compensation for continuing your education. Maybe you just need to be “recharge” your musical batteries. Of course, I would be niave to think that the salary increase isn’t a motivator on some level. Whatever the reason there are a variety of ways out there to earn your advanced degree.

The four main ways to earn your Master’s Degree:

1. Return to a university full-time for study.

2. Earn your degree a few classes at a time in the evenings and summers.

3. Summer only course of study.

4. Online programs.

There are advantages and disadvantages to each path. Ultimately, you must chose what is right for you. Let me offer a few suggestions.

You are a full-time teacher who is happy with your job. You can’t imagine leaving your students or school, but you know you’d be a better teacher if you took some more coursework. If that’s the case I recommend looking into programs that will allow you to study evenings and summers while keeping your job. Many universities offer programs like this.

You don’t want to leave your job, but you want to be more immersed in a program of study. I recommend finding a summer only program. Some of these programs can be completed in as little as three summers and will offer a more hands on approach to learning.

For the teacher who is really strapped for time and doesn’t have a way to commit to a regular schedule of classes there are online programs. Even though I’m a techie, I’m not completely sold on these programs because of the lack of face time with your teachers. I’m not saying it’s not worth it, but if you’re planning on going on to a D.M.A. or Ph.D. these degrees will not hold as much weight. Make sure you really check out the accreditation of any online programs as well.

If you are in place in your life where you can take the plunge and go back to school full-time, I recommend it. The immersion in your learning is worth it, if it is feasible for you (both personally and financially). In my opinion, this is absolutely neccessary if you want to get into college teaching or shooting for your terminal degree.

I hope now you’re thinking a little about what course of study might be right for you. In the next series of posts I will roll out some specific information on each of the four ways to pursue a graduate degree. Stay tuned!

Want to talk about it? Find me on Twitter @KFreesen or comment here!

First Update to 100 MEMT List

Andy Zweibel — Thu, 17 Feb 2011 22:34:36 +0000

I am very excited to announce that the 100 Music Ed Majors on Twitter list has officially received its first update! With this first update, we welcome seventeen fantastic Music Education students to our network. You can view the members of our network on our 100 MEMT Official List Page. Also, don’t forget to check out the Homepage for the project. You can follow this list at the official Twitter Listing for the 100 MEMT list! If you aren’t a student, we encourage you to still consider following these people; they are the future of music education!

The List

Here is the list of the first set of Music Ed Majors Tweeting:

On Twitter? Hover over each person’s username to follow them from this page!

Andy Zweibel (@Zweibz7)
Lindsay Morelli (@LindsayMorelli)
Andrew Ritenour (@andrewritenour)
Elizabeth Heist (@heistes)
Kyle Freesen (@KFreesen)
Ryan Dore (@britishbuegler)
Adam Pontefract (@apontefract)
Andrei Strizek (@AndreiStrizek)
Jared Berry (@jaredsberry)
Sara Cowley (@canesmusic)
Matt Skouras (@mattskouras)
Priscilla Blanco (@pblan002)
Marissa Wites (@MusicMaris)
Ernesto Fernandez (@efernandezflute)
Tyler Kalina (@tykalina)
Christine Kim (@mezzodesu)
Bill Holden (@behold888)

If you have been added to the list, congratulations on being the first members of our project! For everyone else, it’s not too late to join us! Don’t forget about the guidelines we have for members of this fantastic network:

Commitment to send at least one Tweet per week
Commitment to participate when possible in #MusEdChat and other global conversations about Music Education
Follow the list that we create (available at @musicedmajor/memt-2)
Encouraged to start a blog for more long-form sharing of ideas about Music Education

If you are interested in being a part of this learning network of Music Ed Majors, fill out an Application Form. You will always be able to access the most up-to-date version of the list on the 100 MEMT Official List Page.

Attention, College/University Professors!

We have some fantastic College/University Professors in our online network. If you teach in higher education, and have undergraduate students pursuing degrees in Music Education, please Contact Us for more information you can forward to your undergraduates about this fantastic opportunity! Be sure to include your email address, and those addresses of any colleagues at nearby institutions that might be interested in sharing this opportunity with their own students.

Leading Notes Inaugural Issue

Andy Zweibel — Tue, 15 Feb 2011 22:56:28 +0000

Today, Justine Dolorfino and Nick Jaworski redefined what it means to consume digital information as a music educator with the inaugural release of their e-magazine, Leading Notes! From their about page, here is Justine and Nick’s explanation of what exactly Leading Notes is:

Leading Notes, founded in December 2010, is a new music education magazine that seeks to maintain an online space for discussion about the intersection of philosophy and practice. It attempts to supplement the already well-established music education online community by providing a platform for persons associated with the field to share their thoughts about teaching music in the 21st century. Our hope is that through making this content available, discussions about important topics in music education can be better facilitated. We are interested in keeping an open mind and are open to receiving submissions from students of all ages, current and retired professors, composers, performers, and anyone in between.

The first issue, entitled “The State of Music Education,” focuses on the past, present, and future of music education as told by some of the leaders the field. I am honored to have had the opportunity to write a piece on the state of Music Education in regards to social media technologies. I am joined in this issue by some incredible authors, including:

The American String Teachers Association (ASTA)
Paul Beaudry
Ben Collins
Richard Colwell
Rick Dammers
Justine Dolorfino
Nick Jaworski
Ed Lisk
Lindsay Morelli
Joe Pisano
Andrew Ritenour
Matthew D. Thibeault

I cannot speak highly enough of the incredible void that Leading Notes has filled in the online Music Education world. The ability to have a place to read high-level writing that usually doesn’t find its way onto blogs but is no less important creates an incredible professional development opportunity. If you haven’t already, I definitely encourage you to read the first issue of Leading Notes, including the information included about helping the publication in the future through submission, donation, or participation in a book club at the MusicPLN. Also, be sure to follow them on Twitter at @leading_notes!

Congrats, Nick and Justine!

100 Music Education Majors Tweeting!

Lindsay Morelli — Sat, 08 Jan 2011 21:59:10 +0000

Happy New Year! It’s time to get 100 Music Education Majors Tweeting for 2011!

Music Educators, encourage your students to get on Twitter, and Music Education Students, here is how you can participate!

The criteria to be added to the 100 Music Education Majors Tweeting is as follows:

Commitment to send at least one Tweet per week
Commitment to participate when possible in #MusEdChat and other global conversations about Music Ed
Follow @MusicEdMajor, and the list that we will soon create
Encouraged to start a blog for more long-form sharing of ideas about Music Ed. Your blog can still be a personal blog if you have already started one, but if not, try and focus it on your experiences in music education!

The project will include prospective music education majors, undergraduate, graduate, and doctoral students in the fields of music education.

Ready to start Tweeting? Find more information on how to get set-up at the 100 Music Ed Majors on Twitter Landing Page! Once you are all set up, send an introductory tweet with the hashtag #100MEMT!

We are very excited about this project and the conversations that will develop between students and teachers! Music Education Majors, please join us!

Reasons You Need a Recording Device

Andy Zweibel — Wed, 29 Dec 2010 15:00:58 +0000

I wrote a review this Monday for a new Zoom Q3HD that I received as a gift this holiday season. While it has already had many applications for me during my time at the Midwest Clinic, the Q3HD has even more of an opportunity to be a useful tool to me as I begin my student teaching experiences this January. There are tons of ways I plan to use this handy little device this semester; I certainly wish I had the opportunity to use it for a much longer period of time during my course of study! Whether it’s a Q3HD, a Flip cam, or any other video/audio recording device, here are a few reasons why it is so beneficial for Music Ed Majors to have a recording device during their course of study:

Self-Assessment

I cannot tell you how many times I have heard from professors, graduate students, colleagues on the MusicPLN or #MusEdChat the importance of self-assessment to us as music educators. In the teaching world, music educators are very alone in their classrooms, usually. There are very few music teachers in the school, and most feedback we get from administrators is coming from someone who doesn’t have experience teaching music.

Another phrase I hear all the time is how we are our own biggest critics. This is where a recording device can come into play. Here are two great ways an audio/video recording device can be used for self-assessment during your time as a music education major:

Teacher Self-Assessment: Put the recording device in the back of your classroom, and point it straight at you for an entire lesson! Afterward, go back and look at the video. Critique yourself from the perspective of another music teacher, and from the perspective of the students. Try turning the sound off! If you’re a general music teacher, can you tell when you shift gears with your activities? If you’re an ensemble conductor, can you follow your gestures? Could you tell without sound where in the piece you are? Use these (and others) as benchmarks for success in your self-assessment.
Assessment of Student Performance: Place the device in the front of your room (either in video our audio-only mode), and capture a high quality recording of your students performing. Go back and listen to the recording – chances are you’ll notice many more errors on a recording than you do in the classroom. This will give you the opportunity to plan activities/exercises to address the specific problem areas without having to make them up on the spot.

Recordings For Your Portfolio

As Music Ed Majors, a big portion of our degree program is to prepare us for the job search, providing us with great evidence of our skills to potential employers. This is where a recording device can come in handy. A few ways you can use this device to create media files that can be included in your portfolio:

Marching Band – Are you a High School Band Director-hopeful? Have you worked (“teched”) with local bands while you have been a student? Ask the director if you can record some of the groups you specifically worked with as evidence. Have you written any marching band drill for classes? If you’ve been lucky enough to have it performed, use a recording device to capture the performance on video. These resources can be a huge boost to your portfolio.
Student Performance Recordings – When you’re student teaching, capture any performances your students do on audio (or video). This can be a great way to show the impacts that you had on preparing students for performance. Using a recording device, and some techniques that Dr. Joe Pisano detailed in his session at Midwest, you can create some high-quality recordings of student ensembles to include in portfolios
Personal Performance Recordings – Does your dream job include performing in some way? Use the same techniques from Dr. Pisano to create recordings of yourself at recitals (or even just in a practice room!) to include in your portfolio. Many administrators understand the strong correlation between being a skilled teacher and being a skilled performer – show them that you are both!

Just for Fun!

College doesn’t have to be all about work, and career preparation (try telling my friends that I said that, they won’t believe you!). If you have a recording device at your disposal, use it for some leisure purposes, too! These could include:

Get some video from your seat at a big football game (or other sporting event) – those moments won’t last forever!
Take a walk around campus with your recording device, and capture your campus – you’ll miss it when you leave!
Take a video of a friend of yours doing something stupid at a party

The possibilities of what you can use your recording device for are truly endless. The bottom line, though, is that you should get one! If you’re looking for a high-quality audio and video recorder, I cannot overemphasize my satisfaction with the Zoom Q3HD (Amazon Affiliate Link), but there are a ton of others out there. Find the one that’s right for you, and get it today!

VIDEO: Peter Boonshaft on Alfred’s “Sound Innovations”

Andy Zweibel — Mon, 20 Dec 2010 21:50:50 +0000

While at the 2010 Midwest Band and Orchestra Clinic;, I had the opportunity to spend a good amount of time at the Alfred booth, learning about their new “Sound Innovations” method book. While I’ll be writing in more detail on Sound Innovations in the coming days, here is a ten-minute interview I did with Peter regarding the method book, his involvement in its development, and what advantages it brings over other methods. Check out what Peter had to say about Sound Innovations (there is a lot of background noise, so I have included a transcript below the video):

Video Transcript

Andy Zweibel: Andy Zweibel here at the Alfred booth at Midwest 2010, I’ve got Peter Boonshaft with me, who was instrumental in developing Alfred’s new Sound Innovations beginning method books for strings, winds and percussion. So Peter, if you wouldn’t mind, tell me a little bit, just on a most basic level what IS the Sound Innovations method?

Peter Boonshaft: Sound Innovations is a remarkable new method book for strings and beginning band, developed by Alfred. And it actually comes in two formats. One is the traditional method book that’s been around forever, that you can buy at any dealer and it’s available, ready to go. And it has many revolutions to it, many innovations making it very, very, special very new, which we’ll talk about a couple of those. But the other part that is amazing is the greatest revolution to me in method book history, and that is that the first time that a teacher can go on and customize their own beginning string or band book, and have it bound, printed, and made for them especially with all of what they want in it, and it’s delivered right to them. So it’s really quite a remarkable product.

AZ: And how did you find yourself getting involved in the development of this?

PB: Years ago, I was approached by some of the authors on the team for this, and at first I was reluctant, because I thought to myself, “Well, if we’re just going to do another method book, why does the world need another method book? There are already so many wonderful ones by some really remarkable authors,” and they started to say, “Well, what do you think we could make better?” and we started bantering around ideas and things, and then we stumbled upon this phenomenal new approach. Method books before had always been done by authors or groups of authors who decided what they thought was best and, as I said, they gave us great gifts, and they’re remarkable people – most of them are some of my best friends. We decided to change the paradigm, and what we did is we interviewed thousands of teachers – literally, over two thousand teachers, from all around North America, and asked them what they wanted and what they didn’t want in a method book. We took that information to use as the basis for the decisions we made. So teachers gave us these ideas and really helped us write this book based on what they want. That’s really the reason I got involved, is I saw that it was a good project, and then when I heard about the customizability, the fact that this was the first time in history this could be done… to me this was like the greatest invention since the printing press, and I couldn’t miss this opportunity. And it’s a wonderful team of authors – some of the finest people I’ve ever had the privilege of working with, and I’ve known them for twenty years, which is the great part. And a company that is just a joy to work with.

AZ: So you did say that you’ve had some fantastic people collaborating with you on this project. Who has joined this and what have they brought to the table?

PB: The author team is great. Bob Sheldon, one of the most remarkable, talented individuals I’ve ever known in my life. Whether he’s conducting, whether he’s composing, whether he’s teaching, he’s just truly one of the giants of the industry. Bob Phillips, one of the most remarkable educators I think the world has ever seen, and as nice a human being as he is talented. Dave Black, from my vantage point, one of the great percussion educators in history. One of the most exciting things is, one of the best-selling percussion method books in history has always been the Yamaha Band Method, and we started thinking about percussion and trying to get someone, and we thought, “Well let’s ask Dave, because he’s one of the authors of that remarkable product that teachers just love and adore” so we decided wouldn’t it be great to have that wisdom in this book? So, it’s been a team of great people, and all the great people behind the scenes the production of it, and making the computer generate the customizability, and all the DVD’s series, it’s been a great team.

AZ: So what type of basic foundation or founding principles is the SI method based upon?

PB: Sound Innovations is really predicated on the likes and dislikes of teachers, and some of the things that teachers told us that we wanted to make sure we accomplish. For example, one of them is, they wanted every line of the book recorded for the kids. They wanted them by instrument-specific recordings, so it wasn’t just a sax player was listening to a clarinet or a basoonist, but instrument specific. They wanted them all, but here’s the trick, they wanted them on one disc, because up until now it’s been on multiple discs, so when you get to line 135, it’s disc 2, track 36, and it was like doing algebra for these kids. Also, by the time you got to disc two, most of the time, they had lost disc two. This way, everything is on one disc. The tempo changer software that comes with it allows the kids to go faster or slower – in pitch – is right on that disc. Every line is recorded on that disc. So it’s a wonderful tool. The second thing we wanted was, we wanted to help teachers and students by having tools so to speak. So we had the idea of DVD’s for this collection were going to be master class artists from around the country. All accomplished performers who have all taught little ones. And what we did was we got full-length, high-definition DVD’s for every instrument – we even one for Alto Clarinet – from here’s how you hold your case, through everything about starting to play, breathing, posture, hand position, making your first notes. After that, through the series of techniques, so when they learn slurs, there’s a DVD icon that says “now watch your DVD” specifically for your instrument, and then all the way to the final solo of the book, so they actually see the performance, not just hear it. And what’s so great about it is that we as teachers can generically talk about slurring in our classroom, and then send the kids home that night and hear people like Adam Fry on euphonium help them learn how to slur on euphonium. Deanna Swoboda on Tuba, Tereasa Payne on Flute, so it’s specific, so it’s a wonderful review, it’s a wonderful way to augment what we’re trying to teach the kids all throughout the book. So it’s little things like that that we tried to build upon the wonderful work that’s been done in the past to allow the teachers to have these extra things that they all were craving so much.

AZ: What’s the main demographic of teacher that you’re looking to appeal to with Sound Innovations?

PB: Andy, It’s a great question, it’s a fascinating question, I’ll tell you the truth. Originally, we thought with the customizability especially, that this was going to be a method for the new generation of teachers – people who have always had an iPhone and always had iPods and always had that kind of thing. And we thought for the people of my age this would be, “this is not going to happen.” And what interestingly happened was, it ended up appealing to both demographics – both extremes, because the folks of your generations who were used to technology, they said, “Well why not? Why shouldn’t we do this?” People of my generation were so frustrated by not having the ability, they gravitated to this like someone who was thirsty finding water. So what we found was teachers who were in their last couple years of teaching wanted to still do this, because they said, “Finally, I can get what I want!” So it’s been a real neat mix of people.

AZ: Now, I am a Music Education major, an undergraduate student, and that’s primarily the group of people I write for at my website, so could you talk a little bit about the potential advantages that SI could bring to pre-service music teachers in terms of preparing us for teaching?

PB: Absolutely. Well, one of the first things I would say, as a young teacher, you are all prepared so well. And I think it’s just fantastic the preparation that the new generation of teachers are getting. But there’s also, you get out in the real world, find out, “wow, there’s so much to learn,” and there’s so much to learn on the fly as you’re going. And I think the DVD’s help to a great extent because they augment what you’re doing, and they give you that as an extra benefit in your teaching, so I think that’s one thing. The other thing is, I think the generation of teachers that you’re among have learned great opinions about what they want to teach, maybe more so than my generation. So that you’re coming out, and begin able to say, “You know I have this, this, this, and this as a possibility, which one do I want to use?” And with the Sound Innovations ability to customize, you can choose. Now you may change your mind, and say, “You know, I really thought I wanted to start with whole notes on concert Bb for the band kids, but you know what, I think I’m going to try D going down in quarter notes.” And you’re going to be able to experiment with things that match your philosophy. So as a young teacher, I can find that people will be able to say, “This is what I want to try,” Like at a restaurant. “I might want to not get this the next time I go, I want to get some of this.” You get to have that ability to customize the book in that way.

AZ: Great, is there anything you would like to add about the SI series at all?

PB: Well, I think there are so many wonderful benefits to the series, and there are so many opportunities for teachers who are at the end of the career or at the beginning of the career to find things that will appeal to them. I think the most important thing to me, is that it allows teachers whether they’re at the beginning or the end of their career, to have a book that matches their philosophy. But the other thing is, even with the wonderful standard edition available off the shelf right now, what’s great is, so many teacher shave said to us, they sat and listened to presentations and they said, “How did you read my mind?” And we looked at them and we said, “We didn’t read your mind, we read two thousand other teachers minds who told us what they wanted.” And when you start to hear something a hundred, two hundred, a thousand times from teachers about what they don’t want in a book, what they want in a book, you realize that that probably represents most of the folks in our profession. So I think what they’ll find is a lot of the things that bothered them about existing books, or books they wanted to augment or change, are found here. But the one thing I would tell especially pre-service teachers is, there is no perfect method book. The authors of most of the major methods are some of my closest friends in the world, and some of the most remarkable teachers and educators, and I’ve said this so many times. I think the job of the teacher is to find a method book that matches what you want. It’s like going to a restaurant – If I take you to my favorite restaurant, you may like it, you may not. Your job is to find restaurants you like. So I think all the method books that exist are fabulous tools, and it’s just a question of finding the tool that works best for you, and we hope Sound Innovations is something you’ll look at.

AZ: Great, well Peter, thank you so much for taking the time to talk about it!

PB: Thank you, my pleasure, best of luck! Thanks!

Stay tuned in the coming days for more information on Sound Innovations. A special thank you to the folks at Alfred for their support over the entire conference and help in setting up this interview! Also, don’t forget to check out the other interview I did with Dr. Boonshaft, discussing his advice for Music Education majors.

VIDEO: Peter Boonshaft – Advice to Music Ed Majors

Andy Zweibel — Thu, 16 Dec 2010 23:25:46 +0000

While at the 2010 Midwest Clinic, I had a chance to sit down with Peter Boonshaft, author of the well known Teaching Music With… series of books (which I love!) and Alfred representative. During our chat, I asked him what advice he would give to pre-service music teachers. Here’s what he said:

I also had a longer chat with Dr. Boonshaft about his involvement in Alfred’s new Sound Innovations beginning method book. I’ll have the full ten-minute interview about Sound Innovations up here on the blog in the coming days.

What did you think of Dr. Boonshaft’s advice? Leave your thoughts in the comments!

Session Notes: This Rehearsal is Available to You in HD

Andy Zweibel — Thu, 16 Dec 2010 17:18:59 +0000

These are my notes from a session presented at the 2010 Midwest Clinic. For further information, follow along with my live-blog from Midwest by visiting the Midwest Clinic 2010 Landing Page.

This Rehearsal is Available to You in High Definition – Dr. Thomas McCauley, Director of University Bands, John J. Cali School of Music, Montclair State University

Get to sound as quickly as humanly possible
The first 10 minutes of our rehearsal is the most vital time we have in our rehearsal

“If you want the opportunity to work with better players, make the players you have better.” – Larry Rachleff

What is a High Definition Rehearsal?

In a highly defined rehearsal, the score comes to live as a multi-dimensional entity and each student is made aware of his or her role in the musical dialogue. It is said that the greatest actors in the world are the ones who are best at listening and reacting to what they hear and feel. Our students need to be made aware that the most valuable tool they bring to every rehearsal and performance is their ability to listen to what is happening around them at all times and the ability to react accordingly.

Why? Because while in a professional musical organization, we rehearse because we perform, but in a school-based musical organization, we perform because we rehearse! The rehearsal is NOT a means to an end.

Elements of a Highly Defined Rehearsal Include:

Highly Defined Tempo
1. Printed Tempo / Real Tempo
2. Player Pulse / Conductor Pulse
Highly Defined Balance and Color
1. Instrument Combinations and Balances
2. They only have their lines! They need the context!
3. Printed Dynamics / Real Dynamics / Volume Choices
Highly Defined Intent
1. What do I want this music to sound like?
2. Your preparation: discovery – imagination – internalization
3. Can I describe both verbally and non-verbally to my students what I want?

The First Ten Minutes

Things to consider about the first ten minutes of rehersal:

Long, soft sounds
Same material, different daily approach
No reading, just listening
Directed listening
Be careful, they may be watching you…

Conducting is NOT ‘Acting,” But…

There are many commonalities between great actors and great conductors. They…

find/unleash the essence of the character within the text/score
are able to access different aspects of their experience that are ‘similar’ to the character/music
have ‘technique’ that is invisible
use the power in the text/score to carry the day
research, immerse themselves in, connect with the essence of the character/music
inject the text/score into themselves
BECOME the character/music
have performances that come from within and are slightly different each time
are fearless in their approach, unafraid to explore depths of their personalities/psyches and to deal with what they find/feel
listen and react to what they hear/feel

There are many commonalities between “movie stars” and “less than great” conductors. They…

play ‘themselves’ in every role, in every piece
use the power of their personality and presence to carry the day
inject themselves into the text/score
superimpose their charisma onto the role/score
have surface-level performances
PLAY the character/notes
are interested in WHAT is in the text/score and not WHY it is there
have performances that are well-rehearsed repetitions of choreographed movements and expressions

Three Additional Goals

In addition to any musical and technical goals for the group, Dr. McCauley has three additional goals during every rehearsal:

One Moment of Beauty
One Moment of Realization
One Moment of Fun

Session Notes: Adding Value to the Student Teaching Experience

Andy Zweibel — Wed, 15 Dec 2010 20:08:56 +0000