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how does each author use authenticity as a strategy for making or justifying decisions in music education?

authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation

since the original loses some of its essential qualities in a simplification.5

His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions

Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).

Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"

Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.

Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.

Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.

"World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.

One facet of our reading instruction that cannot be overlooked is the importance of teacher readers in building a classroom reading community. According to Morrison, Jacobs, and Swinyard (1999), "perhaps the most influential teacher behavior to influence students' literacy development is personal reading, both in and out of school."

If we don't read, why should our students?

Share your reading life with your students. Show your students what reading adds to your life. If you are reading a nonfiction book at the moment, tell them what you are learning. Pass the children's books you are reading to them when you are done. Describe the funny, sad, or interesting moments in the books you read. When you read something challenging, talk with your students about how you work through difficult text. It will surprise them that you find reading hard at times, too, but choose to read, anyway.

Many students in today's world do not read books outside of school. When they do read, it is text-messages, web pages or homework assignments. For students who did not grow up in homes with books, with adults who read and who read to them, this time to read in school is both necessary and pleasurable. Many of my students need catch-up time when it comes to "hours-in" reading. The 10 minutes at the beginning of each period that I allow my juniors each day equals hours of reading across the months of the school year. My most dedicated readers begin books in the classroom, finish them at home, and return to the classroom/school library to check out new books.

I met with each teacher one-on-one to ask questions and understand their hopes, fears, and support needs in the upcoming year. By choosing to listen rather than to talk, I conveyed that I saw my primary duty as supporting good teaching.

Rather than reject his adapted style, I tried to build off of it

As his coach, I sought to model, little by little, some strategies I had learned on the job, such as literacy-building techniques, structuring controversial debates, and charting student discussions on the board for visual impact.