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