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Ludmilla by the orchestra did much to foster musical imagination. Students were constantly

adding something original through the creation of their mythological stories and the addition of

thematic music for characters within their composition. Students were able to transfer the

knowledge gained from the exercise and apply it to their performance. Throughout the weeks,

students made comments concerning the use of their imagination to make decisions related to

their performance. These decisions affected phrasing, dynamics, timbre, decisions of melody vs.

accompaniment, and emotion.

In the chorus, reciprocal teaching did much to engage musical intellect. Throughout the

research period, students were called upon to identify issues, suggest remedies, and think as

musicians do when they ready a composition for public performance. Students made

suggestions for strategies to enhance musical understanding and increased their understanding

through the process. Gardner (2006) identified the musical mind as both disciplined and

synthesizing, so the ability of students to predict was clearly part of engaging their musical

intellect. Similarly, the ability to connect concepts learned previously in the choral rehearsal

and in the private voice studio to the issues and challenges of the Rachmaninoff was evident.

Synthesizing is a defining quality of musical intellect (Gardner, 2006). As with the choir,

reciprocal teaching did much to engage musical intellect within the orchestra. Many of the

same concepts stated above for the choir applied to the orchestra. Like their counterparts in the

choir, the orchestra students were able to connect concepts learned previously in the orchestral

rehearsal and other school subject areas to the issues and challenges of the Glinka piece.

Within the context of the choral and orchestra rehearsals, there were many instances

when the strategies of reciprocal teaching were the catalyst for thinking “in” music as suggested

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