Chapter 5 Questions to consider

Chapter 5 (p. 137-149)

(3) You have now read several views about intelligence. What do you think about intelligence?

Is it one trait or many? more heavily influenced by nature or nurture? a fixed capacity or a

modifiable ability? Articulate your views in a paragraph of 6-8 sentences.

 

     I think that intelligence is something that can not be measured.  Humans as a whole are very intelligent, and a properly functioning brain is capable of incredible things.  I believe that everyone is intelligent in some way, whether it be math and science, history and writing, physical and mechanical, or social.  Each of these has strenths in different ways, and all can lead to success.  For example, someone who is good a academic subjects and school, but is not good at interpreting emotions of others and communicating well, would not make a good lawyer.  A lawyer is seen as a prestigious job, but someone who is very intelligent in social aspects would fare better in this field than someone who is a mathematical genius.  I believe that everyone is intelligent in some way, and that students have to find that area and pursue it.

Chapter 4 questions to consider

(1) Using the CSEL case that you have chosen as a guide, explore all of the possible group

differences that may have an effect on your target student(s) or the class as a whole. Consider

such group differences as cultural/ethnic differences, gender, SES differences, and “at risk”

status.

(2) After reading this chapter, what are your thoughts about how to promote a positive learning

environment in your classroom, realizing that your students may require your example in

welcoming and appreciating diversity? Include at least three areas where you will facilitate

honoring of students’ differences.

     In the last post, I referenced a case study about a middle school girl acting out in class.  The class is surely to have several different ethnic and cultural groups within it.  I do not think this is a likely cause to why Cherie is acting in class, the case study does not specify race or ethnicity of the class.  Gender may play a role in her behavior, as girls are often concerned with what others think of them, and Cherie is likely trying to gain approval from her peers.  It is possible that her SES plays a role in her behavior, but there is no way to tell from the case study presented.  It is possible that her parents or gaurdians work odd hours and she is not getting the needed attention at home, thus seeking it at school.

     I feel that maintaining a positive learning environment entails keeping the room neat and clean, keeping the class under control, and decorating the room with relevant posters and other things.  As far as keeping the room clean, the students will keep their instruments in a designated storage room, so the band room proper is kept open and neat.  The percussion instruments that are too large to fit in the percussion closet (ex. Tympani, Chimes, Bass drum) will have a specified location in the room, out of the way of traffic.  The students will be expected to put their individual chair and stand up at the end of rehearsal.  Keeping the class under control is also a key part of maintaining a positive learning environment.  Talking must be kept to a minimum.  If the teacher has to compete for attention with the students in the class, there is a good chance that many things will not get heard.  Having relevant items on decorating the room is also a good idea.  In the band room, it is a good idea to post the circle of fifths and other music related terminology around the room.  I have seen the national standards posted in the band room on several occasions as well.  I would also like to have a college bulletin board, where I can post information about different college band programs.

Chapter 3 Questions to consider

(3.1) Personal and social development can have a major influence on both individual student

learning and the learning environment as a whole. Identify a case from the CSEL guidelines*

that you would like to address in your paper. Then, examine the possible developmental

factors that could be influencing your target student(s) or classroom in the case study. Consider

all dimensions of personal and social development, including cognitive, language, social,

emotional, and moral development. *CSEL guidelines can be found under CSEL Artifact. Cases

are included at the end of the document. Choose the case that best suits your desired grade level.

 

(3.22) Check out tables 3.1 (p. 75), 3.2 (p. 83) and 3.3 (p. 91) with particular attention to the age

ranges you are interested in teaching. Identify your personal favorite ways that an educator can

promote a child’s sense of self, perspective taking, and moral reasoning skills.

 

      " You are particularly frustrated with a seventh grade group of students that appears to engage less and less with learning and more and more with one of your highly amusing leaders of the class. Cherie is really funny, but does not show good judgment in choosing appropriate times and ways to be funny. Yesterday she tripped Carmen as she passed her desk on the way to get a chair for a guest in our class. The day before, Cherie made rude noises throughout small group presentations. Today Cherie jumped up while Tommy was reading a poem about a battle, a poem that appeared engaging to the majority of the students; she started pretending she was shooting a gun at other students. Several joined in the pretend battle and disrupted the class to the point that Tommy could not finish reading the poem."

     In this case, the majority of the class seems to have originally been interested in learning, but the more Cherie acts out, the more the other students pay attention to her. In turn, the attention Cherie is receiving is likely provoking her actions. Being in the seventh grade, the students are going through several changes in their life, from childhood to adolescence. During early adolescence, it is common for a student's self-esteem to drop, and the students begin to search for ways to gain acceptance from their peers (Ormrod, 2011, pg. 71). It seems that Cherie's sense of humor is enjoyed by the rest of the class. When Cherie acts out in class and gets a reaction from the rest of the students, it is a type of reassurance. This helps Cherie's confidence and self-image.

     It is also likely that Cherie feels the need to entertain her peers, thinking that she is the center of attention. This is described as the imaginary audience, and is common among young adolescents. The imaginary audience is when an adolescent feels that they are the center of attention at all times (Ormrod, 2011, pg. 71). Because she is feeling that the attention is on her, she does not realize the harm she is causing to the other students, such as Carmen and Tommy.

     I plan to address the idea Cherie is having about needing to entertain the class, and that the classroom is not the place for jokes. Since she is likely using this as a way to feel accepted by her peers, it will be important not to hurt her feelings, but convince her not to act out during class time, or at the expense of each other. 

 

     Several tables in the book listed strategies regarding promoting a child's sense of self, perspective taking, and moral reasoning skills.  Regarding promoting a child's sense of self, I like the idea the book suggested of giving students opportunities to examine and experiment.  I feel that at the high school level, many students are preparing to enter the adult world, so treating them so is good preparation for the post-high school world.  For sense of self, I liked the idea of exploring the origins of people's perspective and motives in discussion of real and fictional events.  I think allowing students to see how many other perspectives are in the room helps them to begin taking a closer look at those perspectives.  For promoting moral reasoning and prosocial behavior, I liked the book's idea of encouraging performing community service to engender feelings of commitment to helping others.  The high school marching band plays a large role within a community, and often offer community service such as car washes or rummage sales. 

Chapter 2 Questions to Consider

(2.1) One of the most cited theories of human development is that of Swiss biologist Jean

Piaget. After reading about Piaget’s basic assumptions (p. 27-32) look with particular attention

at the stage of child development you would like to teach. The other most cited theory of

human development belongs to Russian developmentalist Lev Vygotsky. Vygotsky’s theory of

cognitive development leads us to expect greater diversity among our same-aged students than

Piaget. Given these two influential theorists’ ideas on cognitive development, how might you

accommodate students who are not yet working at the level of their peers?

 

(2) Theories in educational psychology promote the idea that language plays a critical role in

cognitive development. Examine Table 2.2 (p. 51), paying particular attention to the age range

that you are interested in teaching. Consider how you might incorporate or adapt the strategies

presented for use with your own students.

 

     The age group I would most like to work with is high school level.  At this point, the students are in Piaget's formal operational stage.  This is when children develop the ability to think abstractly.  In my area, music education, this is important because for students to play expressively, they need to be able to understand the contexts of the music they are playing, and be able to put themselves in that situation.  For example, in a recent concert I attended at a local high school, the band played a piece titled "Mekong" that depicted Vietnam during war time.  The program notes described the piece as having haunting melodies over the top of sounds of war.  The piece opened with a piccolo solo the program described as a Vietnamese flute player playing on the river as jets fly overhead.  While the piccolo players was playing her solo, percussionists on the sides of the audience had drum heads with marbles in them, which rolled around producing a sound eerily similar to a jet engine.  In order to fully achieve the sensation the composer desired, the students need to try and put themselves in the situation they are depicting.  How the Vietnamese flute player would be trying to ensue normal life while the American and Vietcong soldiers battle in the distance, though she plays a happy peaceful melody, the sounds of war cannot be escaped.  This concept of abstract thinking is one that would require students in the Concrete Operational Stage.

     

     For the grade 9-12 age groups, some of the suggested strategies include Consistently using the terminology associated with various academic degrees and considering the underlying meanings in poetry and fiction.  Musical terminology is something that begins in the 5th or 6th grade when the students first begin playing their instruments.  Most music is written using Italian, though German and French composers both write in their native languages.  However, the music that high school students perform, mostly written by American and English composers, is written using Italian due to tradition.  These terms describe the tempo, style, and volume of the piece.  Some of the common terms for tempo are:  Largo, Andante, Moderato, Allegro, Allegretto, and Vivace.  Some of the common terms for style are:  Cantabile, Marcato, Staccato, Legato, and Maestoso.Some of the common terms for dynamics are: pianissimo, piano, mezzo-piano, mezzo-forte, forte, and fortissimo.  These terms are used daily in rehearsal.   

     The concept of underlying meanings in poetry and fiction also applies to music.  In the example given above, the piece would not have the emotional impact that it did if the students just played the music without knowing the context and meaning behind it.  All music, has an underlying idea or concept behind it, whether it is a new child being born (ex. Hazo's Diamond Fanfare), the loss of a loved one (ex. Halvorsen's In Memoriam), or beautiful picturesque landscape (ex. Hazo's Perthshire Majesty).  To truly convey the music to the audience, the students must have an understanding of the underlying meaning of the piece being performed.

Chapter 10 questions to consider

Which of the learning activities/skills can you think of that lend themselves to learning through modeling?

How might self-efficacy and self-regulation contribute to the intervention plans you use in your case study?

     In my field, modeling is extremely important.  If a musician does not have a musician to listen to, then he or she will not develop as well.  Humans are not naturally born knowing what a trumpet is supposed to sound like, so if a student begins playing the trumpet, his or her tone quality will never develop if he or she does not listen to experienced players.  This can be seen in the way that instruments sound different in different parts of the world, because that is the desired sound in that region, learned by listening to others from the region.

     Self-efficacy and self-regulation are what makes the student desire to develop in this way.  The student has to desire to sound good on his or her instrument, and has to have the self-regulation to listen to recordings of professional players, and imitate their tone quality.

Chapter 9 questions to consider

How would you define successful mastery of your lesson objectives from a behavioral view of learning?

Consider your CSEL intervention case study. Are there tools from a behaviorist view for either encouraging productive behaviors or discouraging undesirable behaviors that you could apply to the case? What are they?

     In music, the students strive to be complimented on their performance.  If students are playing out of tune and missing notes, and the teacher allows this to continue, then the expectations are not set high enough and the students will continue this behavior.  When playing out of tune is not allowed by the director, the students begin to engage more and realize that just playing and not listening is not good enough.  This active listening results in a much better quality band program, and much better quality musicians. 

     I would say that in band, the behaviorist tools are more for rewarding the musicians for playing well.  It is not often that the musicians need to be convinced to sound good, as all musicians want the band to sound good, so rewarding them for playing well tends to have better results than punishing them for  playing poorly.  Some "old school" directors go with the philosophy that you tell the band they are playing poorly until the day before the competition where you tell them they are playing excellently.  From experience playing in bands with directors of this mentality, the students realize what the directors are doing, and the meaning of the criticism and compliments diminishes.

Chapter 8 questions to consider

Consider a lesson plan you might use. Which metacognitive skills/abilities are involved as students gain facility/knowledge in this domain?

Think of an activity or lesson component that explicitly teaches one or more metacognitive and one or more problem solving skills.

     A lesson plan that I would use would consist of using a piece of music to emphasize a certain aspect of playing an instrument.  For example, a beautiful lyrical piece of music such as Perthshire Majesty by Samuel R. Hazo, can be used to work on phrasing and expressiveness.  Though the notes in a slower song are easier to play, many students overlook the fact that slower music is actually more difficult to play well.  Slower pieces of music emphasize tuning, phrasing, and tone quality, all important aspects of playing an instrument.  In a slow piece of music, the students must constantly be listening to themselves and the others around them, thinking "is this the best tone I can have" and "am I in tune with the ensemble?"  The slow music gives the students the oppurtunity to really focus on specific aspects of playing their instrument.

Chapter 7 questions to consider

Make a list of the sequence of skills necessary for ultimate mastery of the content of your lesson through a constructivist approach. 

 

Which of these learning activities/skills lend themselves to student’s individual or group construction? How might you structure learning activities that lead students to discover these skills/these principles?

     To fully master playing a musical instrument, there are many things that must be learned in specific order. 

For this example, I will use my primary instrument, the trumpet.  A trumpet player must first understand how the trumpet produces sound, which is the lips vibrating in the mouthpiece.  The player must also understand the importance of air when producing the vibrations.  Then the student has to understand what a desirable tone should sound like, which is learned from hearing good players, and work to develop that sound (this takes years of development).  Once the student is playing their instrument, the student must learn to read the notes of the staff, then rhythmic notation, then meter notation, tempo notation, dynamic notation, and finally stylistic notation.  Most of the words written in music are in Italian, and therefore nearly every word must be taught.  For example, music does not say "play loud" there is simply an f below the staff, meaning Forte which is Italian for loud.  From this point, the student will continue to develop for the rest of their playing career, developing style, interpretation, articulation, music theory, and several other aspects of music.

     All of these learning skills lead to develop both individual and group abilities.  The students are always progressing on an individual level, and during band class, the individuals come together to produce music as a band.  These learning activities are structured through daily classes, and each fundamental is worked before moving on to the next.  A student cannot learn different articulation styles until they can produce a sound, and cannot produce different rhythms if they cannot articulate the notes.

Chapter 6 questions to consider

What are the essential skills and/or learning outcomes you want your students to know and be able to do that relate to cognitive learning? 

 

How might your knowledge of the memory processes guide your instructional decisions? 

      The essential skills that I want my students to have, relative to my subject, is for them to actually understand what they are doing.  Many students come to band class, and play their instruments, but if they do not understand what they are playing, then they are not getting the full extent of the class.  Instead of just playing the notes written on the page, the students need to know what the music is made of.  I would like to offer a music theory course if the school allows, and teach the basics of music beyond what is being heard.  These basics include scales, harmonies, chords, and context.  If the students begin to recognize these aspects in the music they are playing, they can better understand and appreciate the music.

     For example, the set of pitches used in standard tuning, such as a piano, are adjusted so that all the notes are equally out of tune.  This way the instrument can play in any key, and all keys sounds the same tuning wise.  The way that the sound waves work, this tuning system is not perfect.  The reason it is set this way is because if a piano was set to a certain key, then all the other keys would sound out of tune.  Instruments and voices though, can make subtle adjustments to their pitches, and can place any note where it needs to be relative to the key.  In a chord, the third has to be slightly lowered to sound "correct" and if a student can recognize the theory behind the music he or she is playing, they will better understand why certain pitches have to be modified.

     Knowing the way that memory processes work, I can plan my educational patterns accordingly.  Sequencing instruction in a logical way is the only way for students to remember all the different aspects of the music theory behind the music they are playing.

Chapter 15 questions to consider

Chapter 15 questions to consider

     Turn to p. 559 in Ormrod’s text. Now, imagine that you are meeting with Ingrid’s grandmother today to explain her scores on the recent standardized achievement test pictured at the bottom of p. 559. What will you tell her about Ingrid’s performance? her strengths? her weaknesses? 

 

     If grandmother asks you what she could be doing at home to help strengthen Ingrid’s skills, what will you suggest?

     The first thing that I would explain is the areas in which Ingrid is doing well.  These areas are Reading Comprehension, where she placed in the 92nd percentile, Science, 90th percentile, and Social Studies, 84th percentile.  I would explain that compared to other students, Ingrid is performing well above average in these subject areas. Then I would go on to explain the areas that Ingrid is doing lesser in, such as Spelling, Math Computation, and Math Concepts.  I would explain that these are the areas that Ingrid could use the most improvement.  

     If the grandmother asks what she can do to help at home, I would first insist that if she is reading with Ingrid, or somehow engaging Ingrid in Science in History, to keep up this type of activity, as it is showing excellent results.  I would recommend working with Ingrid on spelling by involving writing and spelling with reading activities, or possibly through word games like Scrabble.  Perhaps ask Ingrid how she thinks an interesting word would be spelled if it is heard in conversation.  Getting Ingrid to write and spell more often will certainly help with spelling in school.  As for Math, it may seem difficult to incorporate math into daily life once the student exceeds basic math in school.  It is best to try to relate the math problems to a real life situation as often as possible.  If Ingrid is just trying to remember how to solve a problem, but does not understand why the problem is solved in this way, it would be very difficult to remember the steps involved in solving the problem.  If it is possible, it would be beneficial to relate the math problems to physical things.  For example, when solving an algebra problem such as 4x+3=23, it could be related that 23 is the total number of apples in a barrel, 3 were already in the barrel, and 4 people added the same number of apples to the barrel, how many apples did each person add?  Instead of thinking "do the opposite of the sign, so minus 3 from both sides, then the opposite of the 4 which is multiplying the x, so I have to divide both sides by 4 and the answer is 5,"  it could be more easily thought of as "23 apples in the barrel, 3 were already there so 20 apples were added by 4 people, that means each person brought 5 apples."  I feel that the barrier between memorizing steps and understanding the process is what keeps most children from being successful at math.  If the grandmother could relate math problems to physical situations, it might help Ingrid understand the math problems, and not just follow a memorized set of steps.

chapter 14 questions to consider

Chapter 14 questions to consider

     Think of a lesson plan from your licensure area (feel free to use the same topic you used for Chapter 6, 9 & 10). Knowing that assessment is an integral part of teaching, explain at least four informal and formal assessments that you will use in your lesson plan to provide you with feedback and involve the students in assessing their own learning.

      Consider norm referenced assessment and criterion referenced assessment. Are there advantages to both? Are their disadvantages?

     In the music world, assessing students can be somewhat difficult.  Formal assessment is difficult, because what is being assessed can vary from teacher to teacher.  The skill levels of players within the ensemble will vary greatly.  Some students will be naturally talented and pick up playing an instrument quickly and easily.  Some will take private lessons, and be grade levels above their peers.  On the other end of the spectrum, some students will not be able to hear the music as well, and will make mistakes and not even notice.  The question is how do you grade these students fairly?  A naturally good musician, who listens to good musicians, will naturally develop a better tone quality than players who don't have the ear for playing their instrument.  It would be unfair to grade a student poorly based on how good of a player they are, so I feel that improvement is a good way to gauge a students grade for the class.  This requires getting to know how each student plays when they begin playing in your ensemble.  At the high school level, it is necessary to keep in touch with the middle school director, and know which students practice regularly, and which students don't play their horn outside of rehearsal.  
     One way of assessing the students formally is through chair auditions.  The students should be notified well ahead of the audition what material will be required for the audition.  Many auditions consist of scales, a prepared piece, and a sight reading piece.  This is a good way to gauge whether the students have prepared and practicing or not.  Any student, whether a good musician or not, can learn their scales with practice, so these are a good way to see basic practice habits.  The prepared piece is an excellent way to gauge a player's musicianship, as this piece is prepared by the student ahead of time, to the best of their ability.  The prepared piece should sound well known to the student, and if the student is playing the prepared piece as if it is the first time they are viewing it, it is obvious that the student is not practicing outside of rehearsals.  The sight reading portion is a good way to see a student's basic understanding of music.  A student who really understands how music is written, will do a good job on the sight reading portion.  Most bands have a chair audition near the beginning of every semester.
     Other ways of formally assessing your students include requiring the students to play pieces of the music for you, written exams covering topics discussed in class, or Smart Music tests.  Smart Music is a software program that allows a player to play an exercise into the computer, and the computer records them so they can listen to themselves, and gives them feedback on notes and rhythms that they may have missed.  Smart Music has most of the common method books included on the software, and many of the popular band pieces can be downloaded.  Smart Music can be used from home, and sent to the director through email.
     Some informal ways to assess students include asking questions and student input during class and moving around the ensemble during rehearsal to listen to individuals.  Asking questions is a good way to keep students focused on the rehearsal, and keep them listening.  Listening is a very important part of band class, and many students do not develop this skill until the college level, because band directors often just tell the students what to fix and adjust and the students just play their music.  If the students are asked to listen to other sections and provide feedback, the students are more likely to listen when they are playing as well.  Getting the students to listen outside of their stand and blend with the rest of the ensemble makes the music improve much more quickly.  When asking questions, it is possible to assess how much the students are truly understanding.  Moving around the rehearsal is also a good idea because individual students can be heard more easily.  Also, if the director stands on the podium the entire rehearsal and calls commands from there, a "barrier" between the director and students forms, and behavior issues can arise, especially from the back of the classroom (low brass and percussion).  If the director moves around the rehearsal area, the students are much more likely to pay attention and remain on task during the rehearsal, as well as the teacher benefiting from listening to individual players. 

     As far as norm and criterion referenced assessments are considered, both have their highlights in certain education areas.  For example, a criterion referenced assessment can work well in subjective areas such as English, Art, or Music.  I believe this because having a criteria to make sure certain aspects are obtained helps prevent bias and opinionated grading.  Though this can never be completely avoided in areas without concrete questions and answers, a criteria can help.  Norm referenced assessment works well in areas with concrete answers, such as Math or Science.  If most students at a certain grade level have a certain comprehension of math skills, a student can be compared and placed as above, at, or below grade level.  A criteria would not work well when grading a math test, being as how no matter the scenario, two more than two is always going to four.  Also, norm based grading is difficult in areas like Art and Music because the levels of talent and skill vary so greatly between students.
      

Chapter 13 Questions to Consider

Chapter 13 Questions to Consider
     How will you create a learning environment that is conducive for learning?

     Now consider your CSEL case study.  Develop a full continuum of responses for dealing with the misbehavior of your case (ignoring through dealing with serious and repetitive infractions).

     I would like to create a learning environment that is conducive for learning in several ways.  First of all, being a future band teacher, the band room needs to be organized and neat.  If the band room is a mess, it is possible that the mess around the room can interfere with rehearsal.  If the percussion area is not neatly organized, then it is likely that percussionists will have difficulty finding auxiliary instruments that are not often used.  Having the percussion area organized avoids the situation of ""Percussion, why is nobody playing the finger cymbal part?"  "We can't find the finger cymbals, we had them last week but now they are gone.""  A moment like this can bring a rehearsal to an immediate standstill.  The instrument storage areas also need to be kept clean and organized.  If the instrument storage areas are messy, it is more likely that an instrument will somehow get damaged or become unplayable in some way, whether someone trips and drops it, or if it just isn't maintained.  Any time a student's instrument spends in the repair shop, is time that the student is not getting any better.

     Also, the types of posters around the room can really add to the learning environment.  I feel that it is good to have posters featuring famous performers and performing groups, to help with the intrinsic motivation mentioned in the last blog post.  Poster and flyers from college bands are also a great idea, as many of the senior band members will be looking forward to playing at the collegiate level, and the more info the director can provide on different colleges, the more informed decision a student can make.  Many of the college band programs will send flyers about their program, including performance and audition dates.

     It is also important to keep a board with current events on it.  This board should include what pieces will be rehearsed during each day's rehearsal.  This not only benefits the students, who can get their music ready before the director tells them what to play and the percussion can get their instruments in position and ready, but also the director, as a layout for the rehearsal.  Often times, a director will get bogged down trying to rehearse one section that isn't as good as it could be, but ends up running out of time before getting to other parts.  Listing the rehearsal order on the board can help this problem and keep rehearsal moving.  Another good idea for the board is to include upcoming events.  If a nearby college or other performing group is putting on a concert, post it so the students can attend.  Many students want to attend concerts when they know they are happening.  Hearing performing groups is a big part of improving musicianship.

     In the band classroom, the rules are usually set in stone at the beginning of the semester through the band handbook.  This is given to students and covers everything the student should know or be required to know for the class.  The band handbook is sent home with the students at the beginning of the school year and is to be signed by student and parent, stating that they understand the rules and consequences of the band program.  The band handbook has been a part of band for as long as band has been a part of school.  All disciplinary acts should be defined and labeled with a consequence, and no exemptions should be made unless stated in the handbook.  This usually only applies to major issues, such as missing a performance.  As far as matters of daily misbehaving, it is difficult to manage with a larger ensemble.  In most circumstances, other band members will tell another band member to stop talking or goofing around, because these band members want to get better and need every member of the band participating.  I find that telling the student to stop talking and pay attention is efficient for most band students, but on occasion more drastic measures must be taken.  From observation in my field experience classes, the director may ask a student who is not paying attention to repeat the last instruction.  During one observation, a student actually got into an argument with the director, to which the director sent the student to his office to calm down.  After class, the student apologized and talked through the issue with the director.  I feel that overall, the action required depends on the student.  Some students just need a glance to straighten up, while some require removal from the rehearsal.  In most circumstances, the students in the band choose to be in band because they enjoy it, and will pay attention because they desire to improve. 

Ch. 11 Questions to consider

Chapter 11 Questions to consider.

     How might you enhance motivation and affect in your students using the theories of motivation? 
     Which theories of motivation are most helpful and instructive for you?

     Motivation is an extremely important part of being a band director.  In order for students to improve on their instruments, they need to practice.  No student will practice if he or she is not motivated to get better.  I find that with my students, intrinsic motivation is the key.  The trick is getting the students to become self-motivated.  I have found that playing recordings of professional players and ensembles, makes the player realize how good someone can be on their instrument, while giving them a goal to reach for.  With music, players usually want to be as good as possible, but many don't know what "good" actually sounds like.  If the best player a student has ever heard is the student they sit next to in rehearsal, they have nothing to reach for, but if the student regularly listens to a professional, then they realize how much work it requires to reach that level.
     Extrinsic motivation can also be used, but is only successful if the student already has the intrinsic motivation to receive the extrinsic motivation.  This may sound confusing at first read, but with explanation it makes perfect sense.  An example of extrinsic motivation in the band world could be making the All State tryouts, or making first chair of their section and getting to play solos.  The reason this only works if the student already has the intrinsic motivation is because a student who is not self-motivated to get better, will not appreciate or feel rewarded for making an All-State group or sitting first chair in their section.  A student who is not self-motivated will most likely not even audition for All-State, nor care that such a thing even exists.  As far as being the first chair player in their section, meaning the top player in their band on their instrument for those reading who were never in band or orchestra, a student who is not already intrinsically motivated may view this role as a burden instead of a reward.  A player desiring to be excellent well feel rewarded when asked to play a solo, whereas an unmotivated player will intimidated.  In this sense, something that is extrinsic motivation, is only so to those who are intrinsically motivated.  I feel that giving the students a specific goal or standard, such as playing recordings of great players, is the best way to get the intrinsic motivation going.
     With regards to theories from the chapter, the Sociocultural theories seem to be most in common with my viewpoint here.  The book states that "many aspects of motivation are the result of social and cultural factors, such as the norms for behavior..." and to me, this relates to the fact that many musicians, once they hear an excellent player, have an idea and goal as to how they should sound when playing.  For example, a trumpet player who listens to recordings of the New York Philharmonic, will hear Phil Smith, the principle trumpet, and think "That is what a trumpet should sound like, so I should try my best to sound like that."  In other cultures, many instruments are played differently, and so the way a student should play is very influenced by where they live and who they listen to.