This article outlined the author's concern that many children are growing up today in single-parent homes and that this is a concern for our society. While I agree that it benefits children to be raised in a home with a parenting team of two, I must state that I do not think it inherently hurts children to be raised with only one parent. Most of the time, in my experience, both parents are involved even if they are unmarried, and it is not at all the "normal family," as the article stated, for parents to be married to each other. Many children are raised in divorced-parent homes, remarried-parent homes, or are raised by a parent's significant other in unmarried-parent homes. I must outright state that I do not think single-parent homes are a problem that we need to fix as a society and that I disagree with the general sentiment of the article. Good parenting can be done by one person, and poor parenting can be done (and often is done) in a married-parent home.
In my school, I am not allowed to directly address the social issues of my students. We have an administrator who addresses these issues individually with children, so I refer my students to her if they are having trouble. My only job is to teach them music. I believe the best way that I can address the situation of poor parenting is to use music to teach my students how to be good people. I will not allow my students to fall apart if they have a difficult time at home. Music is a wonderful subject for teaching students to be a part of a community, and music gives students an outlet for expression in case they have anger, sadness, or problems at home or anywhere. I believe that teaching students how to use music to express their feelings can help them learn to grow up in a healthy community and to be productive citizens.
Secondly, I believe that I can use music history to teach students lessons about life. For example, I can teach students that music has been used in the past to celebrate patriotism and to speak out civil rights. I can explain that the people who made huge differences in our country by doing their part to speak about what matters have often used music to do so. This understanding of music as a way to fight for the good and to make things better in life can help students to grow up to believe that they matter. Perhaps this understand can prevent some students from falling into crime or poverty as adults.
In the community, we must come together and treat others with kindness and respect regardless of their home situations. My community is actually working to help with poverty in our school district this summer by starting a summer lunch program. Once a week, we provide free lunches and fun activities for kids through a grant which we applied for. This allows those parents who may not be able to give their children adequate nutrition because of huge financial issues a chance to feed their children and work together with the community. It also allows them a chance to get out of the house and talk to other people for awhile, and it helps them to feel like they are part of a community. A sense of belonging into a group can positively affect how people relate to each other in the home and out of it.
A second task that my community has already started is parenting classes. Our preschool director offers short evening classes with provided childcare and snacks on topics such as positive discipline, sibling relationships, and nutrition to help parents with raising their children. In our community, most parents are present and want to be good parents, but many fall into a pattern of raising their children the way they were raised and have little education to raise their children otherwise. These classes provide a judgment-free way for parents to learn how to speak to their children calmly instead of yelling and how to encourage their children to eat what is placed in front of them instead of fighting and being picky.
In conclusion, it is important for our society to focus on serving others who need help rather than griping about how different society is than it was 50 years ago. With education and an opportunity to express themselves, people are primed, especially with modern technology, to be better than they have ever had the opportunity to be before. "It takes a village to raise a child," after all.
Thursday, June 19, 2014
Summary Reflection
In this course, Historical and Philosophical Foundations of Music Education, several topics were explored that have benefitted my music teaching and will affect how I continue to teach my students. The topics, history of music education in America, philosophical positions, aesthetics, purposes of education, and sociological, social psychological, and psychological concepts of music education, each will impact my choices in lesson planning in the future.
The history of music education in America is important to know because what has happened in history has directly impacted what is happening today. When American education was initially organized, most students learned music in their homes as families gathered around the piano and learned instruments to make music together. While this was the case for my very musical family, it is no longer the case for the majority of my students. Music educators have had to argue to get music into the schools from the very beginning, and we are continually advocating today to keep music in the schools. Understanding Lowell Mason's ideas about why music education should be part of the school day, including the development of character in students, the influence of music as an important part of the intellect, and the concept of the physical exercise required to make vocal music can serve as a foundation for my own advocacy arguments. In addition, I found it interesting that Lowell Mason pushed for vocal music because not all students could afford instruments. In my extremely low-income school, the affordance of instruments is always a major problem. I have thought before about including mostly vocal and singing exercises in my classroom to develop my students' ears and voices first, and understanding that vocal music was historically the offering of public schools can be good evidence for my choice to use mostly vocal music. In the future, I will continue to teach students how to sing well first before they explore instrumental music, and I will use the understanding of music as intellectual, moral, and physical disciplines as a basis for advocacy in my district.
An interesting discussion during this course was the discussion of philosophical positions. The text stated that it is important for music educators to choose one of the stances and consistently adhere to the chosen stance. I disagree that this is important; I believe that it is stronger for a music educator to have a full understanding of all of the stances and adopt the one that is, at that moment, most effective for the learning of the students. I would be remiss if my choice of philosophy prevented my students from learning to the best of their abilities. That being said, I believe that, generally speaking, the most effective philosophy according to my personality and teaching style is pragmatism. With music, the process is undoubtedly more useful than the product, and students must learn to evaluate themselves and others in order to understand what is good. After all, there cannot be an understanding of what is good without an understanding of what is bad. It is important, especially in this constantly changing world of technological advancement, that students are educated for change. Students must learn the process for learning music instead of worrying only about the product of performance, and students must learn how to transfer their knowledge into other areas of their lives by webbing the information together. I will use this philosophy to adjust what I am teaching to the current needs of my students, and I will change my philosophy according to the changing needs of my students. I will be sure to emphasize the steps that we take to learn our music more than the actual concert. While the concert is in mind, the most important part of music class is the enjoyment of making the music. I believe this will create lifelong music lovers and learners, which is my primary goal as a music teacher.
Another topic that was explored during this course was aesthetics. Aesthetics are the understanding that living is not the same thing as existing. While existing includes things like eating and breathing, living includes things that are satisfying, meaningful, and interesting. Aesthetics allow humans to look beyond the simple and practical parts of life into the parts of life that make life matter. Music is undoubtedly aesthetic, because it exists only to make life better and to express emotions and feelings. Aesthetics are an important way to advocate for music education because music offers this emotional expression, creativity, and meaningful parts of life that other core subjects like math and science cannot. This, in itself, makes music more important to study: music is what makes us human. These parts of life are very important for students to receive as part of their education, because I do not want to just train people to grow up into robots who can follow directions and copy whatever they are told. I want to train people to become contributors to the world, to creatively think about new solutions to long-standing problems, and to express themselves and communicate well to others. By using music listening assignments to create aesthetic experiences for my students, I will contribute not only to their intellect, but to their humanness. I will teach my students to seek for deeper meaning in the things that they are learning, and to never settle for the surface level.
In chapter 4, the topic was the purposes of education and how music education fits in with general education. There were 4 roles of education listed in the text. The first was minimum competencies, which means that since parents have specializations in our advanced world, students cannot learn all of the basics that they need to know at home anymore. The second was a cohesive society, which means that the multitude of cultures in America must be combined into a common culture so that all citizens can better understand one another. The third was learning from the past, which outlines that we could not advance as a society without an understanding of what we've already learned, or else we would never be able to advance since we would spend our lives creating what someone else already created. The fourth was a richer life, which acknowledges that being able to competently function as an educated adult citizen makes for a multifaceted and more meaningful life. While I inherently knew that these were purposes of education, they had never been previously explicitly pointed out to me. An understanding of the roles of education and their relationship to music education will help me to advocate for music in the future more cohesively. Music helps students will all four of these purposes, but it especially relates to a cohesive society since we, as Americans, have our own styles of music that help us fit into our subcultures. Music also especially relates to a richer life. I do not expect my students to necessarily grow up to be professional musicians, but I do expect them to use music to make their lives better and to use an understanding of creative expression to communicate to others better as adults.
The next modules in the course were sociological and social psychological concepts in music education. The textbook poignantly stated that music is a form of behavior, and I had never thought of it that way before. Thinking of music as a behavior will certainly affect how I teach music. Since music is a behavior, I expect my students to be actively involved in making music. Most of the objectives that I will use in my music class will be behavioral objectives because I will want students to do things that are musical to show how they are learning music. This behavior is also cultural. Since many of my parents and students do not attend formal concerts, I will use time in music class to teach students about proper concert etiquette. I will also take the time during concerts to briefly educated parents about appropriate behavior. I believe this will add a higher level of culture to our community that will be meaningful to parents and children alike. Since music is social psychological, it often relates to the group as a whole. Teaching students to work together for the good of the whole group is a very important task to me. I want to emphasize with my students that each voice that sings is an important part of our group's sound. I want to help them understand that in our musical culture, we work as one unit even though we are individuals. Music teaches us how to matter individually because of our contribution to others. This is, by far, my greatest defense of music - the relationship of ourselves to others and learning how to fit within a group. Group efforts will always be an important part of life, especially as adults in the workforce, and I want my students to gain an understanding of healthy communication and emotional expression while they are working within a group where they feel safe to be themselves.
Lastly, we discussed psychology in music education. While there were many parts in chapter 7 that were important to me, the most important was the discussion of Piaget's levels of development. While I had learned about these developmental levels in several courses for my undergraduate degree and I have experienced the developmental levels in my students as they communicate to me, I have never read about the developmental levels' specific relationship to music. The authors of the text cited Zimmerman, 1981 from a study that concluded that children can form musical concepts in a specific order: timbre, tempo, duration, pitch, and harmony. I have never known this before. In the future, I will arrange my kindergarten curriculum around these concepts in order to accommodate for my students' understanding. Since the concepts build upon one another, this is a great starting point for building my curriculum, which is the topic of my Capstone Project. I look forward to creating meaningful lesson plans in this order and studying how much better my students learn the necessary concepts.
In summary, the most important lesson that was reemphasized in this course is that it is important to continually consciously and cognitively think about where I stand on issues in music education. To be a successful music educator, I must know and continue to develop my position on philosophy as an educator. Without a governing philosophy, I cannot affectively instill concepts in my students to the degree which I would prefer. Without knowledge of the history of music education, I cannot meet my students where they are and take them where they need to go in their music learning. Without an understanding of sociology, social psychology, and psychology in music education, I would be unaware of the importance of music in students' lives and how to relate to their culture and needs. In short, I would surely be a poor music educator if not for a good music education foundation.
The history of music education in America is important to know because what has happened in history has directly impacted what is happening today. When American education was initially organized, most students learned music in their homes as families gathered around the piano and learned instruments to make music together. While this was the case for my very musical family, it is no longer the case for the majority of my students. Music educators have had to argue to get music into the schools from the very beginning, and we are continually advocating today to keep music in the schools. Understanding Lowell Mason's ideas about why music education should be part of the school day, including the development of character in students, the influence of music as an important part of the intellect, and the concept of the physical exercise required to make vocal music can serve as a foundation for my own advocacy arguments. In addition, I found it interesting that Lowell Mason pushed for vocal music because not all students could afford instruments. In my extremely low-income school, the affordance of instruments is always a major problem. I have thought before about including mostly vocal and singing exercises in my classroom to develop my students' ears and voices first, and understanding that vocal music was historically the offering of public schools can be good evidence for my choice to use mostly vocal music. In the future, I will continue to teach students how to sing well first before they explore instrumental music, and I will use the understanding of music as intellectual, moral, and physical disciplines as a basis for advocacy in my district.
An interesting discussion during this course was the discussion of philosophical positions. The text stated that it is important for music educators to choose one of the stances and consistently adhere to the chosen stance. I disagree that this is important; I believe that it is stronger for a music educator to have a full understanding of all of the stances and adopt the one that is, at that moment, most effective for the learning of the students. I would be remiss if my choice of philosophy prevented my students from learning to the best of their abilities. That being said, I believe that, generally speaking, the most effective philosophy according to my personality and teaching style is pragmatism. With music, the process is undoubtedly more useful than the product, and students must learn to evaluate themselves and others in order to understand what is good. After all, there cannot be an understanding of what is good without an understanding of what is bad. It is important, especially in this constantly changing world of technological advancement, that students are educated for change. Students must learn the process for learning music instead of worrying only about the product of performance, and students must learn how to transfer their knowledge into other areas of their lives by webbing the information together. I will use this philosophy to adjust what I am teaching to the current needs of my students, and I will change my philosophy according to the changing needs of my students. I will be sure to emphasize the steps that we take to learn our music more than the actual concert. While the concert is in mind, the most important part of music class is the enjoyment of making the music. I believe this will create lifelong music lovers and learners, which is my primary goal as a music teacher.
Another topic that was explored during this course was aesthetics. Aesthetics are the understanding that living is not the same thing as existing. While existing includes things like eating and breathing, living includes things that are satisfying, meaningful, and interesting. Aesthetics allow humans to look beyond the simple and practical parts of life into the parts of life that make life matter. Music is undoubtedly aesthetic, because it exists only to make life better and to express emotions and feelings. Aesthetics are an important way to advocate for music education because music offers this emotional expression, creativity, and meaningful parts of life that other core subjects like math and science cannot. This, in itself, makes music more important to study: music is what makes us human. These parts of life are very important for students to receive as part of their education, because I do not want to just train people to grow up into robots who can follow directions and copy whatever they are told. I want to train people to become contributors to the world, to creatively think about new solutions to long-standing problems, and to express themselves and communicate well to others. By using music listening assignments to create aesthetic experiences for my students, I will contribute not only to their intellect, but to their humanness. I will teach my students to seek for deeper meaning in the things that they are learning, and to never settle for the surface level.
In chapter 4, the topic was the purposes of education and how music education fits in with general education. There were 4 roles of education listed in the text. The first was minimum competencies, which means that since parents have specializations in our advanced world, students cannot learn all of the basics that they need to know at home anymore. The second was a cohesive society, which means that the multitude of cultures in America must be combined into a common culture so that all citizens can better understand one another. The third was learning from the past, which outlines that we could not advance as a society without an understanding of what we've already learned, or else we would never be able to advance since we would spend our lives creating what someone else already created. The fourth was a richer life, which acknowledges that being able to competently function as an educated adult citizen makes for a multifaceted and more meaningful life. While I inherently knew that these were purposes of education, they had never been previously explicitly pointed out to me. An understanding of the roles of education and their relationship to music education will help me to advocate for music in the future more cohesively. Music helps students will all four of these purposes, but it especially relates to a cohesive society since we, as Americans, have our own styles of music that help us fit into our subcultures. Music also especially relates to a richer life. I do not expect my students to necessarily grow up to be professional musicians, but I do expect them to use music to make their lives better and to use an understanding of creative expression to communicate to others better as adults.
The next modules in the course were sociological and social psychological concepts in music education. The textbook poignantly stated that music is a form of behavior, and I had never thought of it that way before. Thinking of music as a behavior will certainly affect how I teach music. Since music is a behavior, I expect my students to be actively involved in making music. Most of the objectives that I will use in my music class will be behavioral objectives because I will want students to do things that are musical to show how they are learning music. This behavior is also cultural. Since many of my parents and students do not attend formal concerts, I will use time in music class to teach students about proper concert etiquette. I will also take the time during concerts to briefly educated parents about appropriate behavior. I believe this will add a higher level of culture to our community that will be meaningful to parents and children alike. Since music is social psychological, it often relates to the group as a whole. Teaching students to work together for the good of the whole group is a very important task to me. I want to emphasize with my students that each voice that sings is an important part of our group's sound. I want to help them understand that in our musical culture, we work as one unit even though we are individuals. Music teaches us how to matter individually because of our contribution to others. This is, by far, my greatest defense of music - the relationship of ourselves to others and learning how to fit within a group. Group efforts will always be an important part of life, especially as adults in the workforce, and I want my students to gain an understanding of healthy communication and emotional expression while they are working within a group where they feel safe to be themselves.
Lastly, we discussed psychology in music education. While there were many parts in chapter 7 that were important to me, the most important was the discussion of Piaget's levels of development. While I had learned about these developmental levels in several courses for my undergraduate degree and I have experienced the developmental levels in my students as they communicate to me, I have never read about the developmental levels' specific relationship to music. The authors of the text cited Zimmerman, 1981 from a study that concluded that children can form musical concepts in a specific order: timbre, tempo, duration, pitch, and harmony. I have never known this before. In the future, I will arrange my kindergarten curriculum around these concepts in order to accommodate for my students' understanding. Since the concepts build upon one another, this is a great starting point for building my curriculum, which is the topic of my Capstone Project. I look forward to creating meaningful lesson plans in this order and studying how much better my students learn the necessary concepts.
In summary, the most important lesson that was reemphasized in this course is that it is important to continually consciously and cognitively think about where I stand on issues in music education. To be a successful music educator, I must know and continue to develop my position on philosophy as an educator. Without a governing philosophy, I cannot affectively instill concepts in my students to the degree which I would prefer. Without knowledge of the history of music education, I cannot meet my students where they are and take them where they need to go in their music learning. Without an understanding of sociology, social psychology, and psychology in music education, I would be unaware of the importance of music in students' lives and how to relate to their culture and needs. In short, I would surely be a poor music educator if not for a good music education foundation.
Sunday, June 15, 2014
Musical Concepts for 4th Grade Students
My fourth graders spend the majority of the year demonstrating all of the musical skills and concepts that they have previously learned in music class by applying those concepts to the recorder. These are concepts that they have learned in other ways, and I attempt to begin a transfer of learning on the recorder with the students. Students play the recorder from October-February of 4th grade.
The first concept that I would like my fourth graders to understand and demonstrate on the recorder is rhythm. Previous to recorders, my students have played all kinds of percussion instruments with different rhythms, including pitched xylophone instruments, but they have never played a wind instrument. My students have learned to play quarter notes, eighth notes, half notes, dotted notes, and whole notes and their corresponding rests. The application of the change from using the hands or feet to demonstrate the rhythms to using the tongue is typically a new challenge. To promote the development of rhythm more fully on the recorder, students must learn to play the rhythm with their tongues. Therefore, I isolate the skill that I would like the students to acquire by taking away the other challenges. On the recorder, students have to think about moving their fingers to the appropriate fingering, breathing, and articulation at the same time. First, we clap and count the rhythm, which we already know how to do from previous learning. Next, we leave the recorders in our laps and speak the rhythm on "tu" while clapping the rhythm (instead of saying the numbers of the counts). Third, we do not speak, but just tongue the rhythm with air. Finally, we play the rhythm on a single pitch on our recorders. After students have tried all of these steps and at least 80% of students are getting it correctly, we start applying the different pitches to the actual music.
The second concept that I would like my fourth graders to understand is the relationship between singing the melody and playing it. Many of my students do not make the connection that the recorder music should sound like the song when it is sung. They are not audiating the music as they play on the recorder. To promote the development of this concept, I always have students learn the songs that we will play on our recorders with singing and lyrics. Then, we cover up words and hum in their places. For example, on "Merrily We Roll Along," we might sing "Merrily we roll ______" and hum the blank space. They love this game. We take away more words and hum in their places until we are humming the entire song. Then, we hold our recorders and hum the song while we do the fingers. Then, we stop humming and blow air. Sometimes, I add a step where I sing the song while the students play on their recorders. I always encourage the students to sing the songs in their heads while they play them to help them determine if they are making mistakes or not.
The third concept that I would like my fourth graders to understand about recorders in the relationship between the written pitches and their fingerings. Many of my fourth graders know their note names very well when we start recorders because they have played them and sung them on other instruments and with other songs so often prior to recorder. The problem comes for them in connecting the note names with particular fingerings. I can understand why this takes so many steps, because the students must connect the note name with the fingering and the rhythm within a millisecond in order to play the music correctly. Therefore, we play "fingering games" to help connect the fingerings more quickly. The fingering games are played as warm-ups every day on the recorder, so the game adjusts as the students get better at the recorder. At first, I call out note names, and the students have to get their hands in that position all together as quickly as possible. Then, I start showing slides of the pitch on the staff with its name next to it and students have to get their hands in that position all together as quickly as possible. I award points for classes who get it within a certain number of seconds, and we have contests that last several days between classes. Next, I start showing slides of the pitch with no name next to it. It is basically a flash card game at this point. Next, I make the game a little more challenging, I challenge individual students to earn points for their class. First we do one note at a time. Next, I split the class into teams and have two students battle to get the note the fastest when I show it on the board. Then, I challenge individual students to do more notes at a time. For example, the board might have B, A, G, and students have to show that they can change the notes quickly but still get the correct fingerings in the correct order. Since implementing this game, my students' sightreading skills have greatly improved.
The fourth concept that I would like my fourth graders to understand about recorders is finding melodic patterns. In my experience, when students find patterns in music and remember which pattern happens at what time during the song, they are much more likely to play the song correctly because they feel significantly less overwhelmed. When learning a new song on the recorder, we always do warm-ups and rhythm reading first, and when it is time to add the melody to the song, we find the melodic patterns. At the beginning of learning, I show the students the first phrase of music. For example, on Amazing Grace, I show "Amazing grace, how sweet." Although it isn't the whole phrase, that portion of the phrase is repeated several times in the piece. I then call students up to find this phrase again and to bracket it. I then point out other phrases and have the students find the remainders. Last, we add in the "Tinies" as I call them - the pieces of notes or ends of phrases that differ (like "the sound" at the end of that first Amazing Grace phrase) from other phrases. As we point out each pattern, we learn to play them. At the end, we put small sections of patterns together and add to the sections until we can play the entire phrase. By the end of recorder belt learning, the students can bracket the phrases for a grade without help on individual sheet music. I am always amazed at what my fourth graders can do!
The first concept that I would like my fourth graders to understand and demonstrate on the recorder is rhythm. Previous to recorders, my students have played all kinds of percussion instruments with different rhythms, including pitched xylophone instruments, but they have never played a wind instrument. My students have learned to play quarter notes, eighth notes, half notes, dotted notes, and whole notes and their corresponding rests. The application of the change from using the hands or feet to demonstrate the rhythms to using the tongue is typically a new challenge. To promote the development of rhythm more fully on the recorder, students must learn to play the rhythm with their tongues. Therefore, I isolate the skill that I would like the students to acquire by taking away the other challenges. On the recorder, students have to think about moving their fingers to the appropriate fingering, breathing, and articulation at the same time. First, we clap and count the rhythm, which we already know how to do from previous learning. Next, we leave the recorders in our laps and speak the rhythm on "tu" while clapping the rhythm (instead of saying the numbers of the counts). Third, we do not speak, but just tongue the rhythm with air. Finally, we play the rhythm on a single pitch on our recorders. After students have tried all of these steps and at least 80% of students are getting it correctly, we start applying the different pitches to the actual music.
The second concept that I would like my fourth graders to understand is the relationship between singing the melody and playing it. Many of my students do not make the connection that the recorder music should sound like the song when it is sung. They are not audiating the music as they play on the recorder. To promote the development of this concept, I always have students learn the songs that we will play on our recorders with singing and lyrics. Then, we cover up words and hum in their places. For example, on "Merrily We Roll Along," we might sing "Merrily we roll ______" and hum the blank space. They love this game. We take away more words and hum in their places until we are humming the entire song. Then, we hold our recorders and hum the song while we do the fingers. Then, we stop humming and blow air. Sometimes, I add a step where I sing the song while the students play on their recorders. I always encourage the students to sing the songs in their heads while they play them to help them determine if they are making mistakes or not.
The third concept that I would like my fourth graders to understand about recorders in the relationship between the written pitches and their fingerings. Many of my fourth graders know their note names very well when we start recorders because they have played them and sung them on other instruments and with other songs so often prior to recorder. The problem comes for them in connecting the note names with particular fingerings. I can understand why this takes so many steps, because the students must connect the note name with the fingering and the rhythm within a millisecond in order to play the music correctly. Therefore, we play "fingering games" to help connect the fingerings more quickly. The fingering games are played as warm-ups every day on the recorder, so the game adjusts as the students get better at the recorder. At first, I call out note names, and the students have to get their hands in that position all together as quickly as possible. Then, I start showing slides of the pitch on the staff with its name next to it and students have to get their hands in that position all together as quickly as possible. I award points for classes who get it within a certain number of seconds, and we have contests that last several days between classes. Next, I start showing slides of the pitch with no name next to it. It is basically a flash card game at this point. Next, I make the game a little more challenging, I challenge individual students to earn points for their class. First we do one note at a time. Next, I split the class into teams and have two students battle to get the note the fastest when I show it on the board. Then, I challenge individual students to do more notes at a time. For example, the board might have B, A, G, and students have to show that they can change the notes quickly but still get the correct fingerings in the correct order. Since implementing this game, my students' sightreading skills have greatly improved.
The fourth concept that I would like my fourth graders to understand about recorders is finding melodic patterns. In my experience, when students find patterns in music and remember which pattern happens at what time during the song, they are much more likely to play the song correctly because they feel significantly less overwhelmed. When learning a new song on the recorder, we always do warm-ups and rhythm reading first, and when it is time to add the melody to the song, we find the melodic patterns. At the beginning of learning, I show the students the first phrase of music. For example, on Amazing Grace, I show "Amazing grace, how sweet." Although it isn't the whole phrase, that portion of the phrase is repeated several times in the piece. I then call students up to find this phrase again and to bracket it. I then point out other phrases and have the students find the remainders. Last, we add in the "Tinies" as I call them - the pieces of notes or ends of phrases that differ (like "the sound" at the end of that first Amazing Grace phrase) from other phrases. As we point out each pattern, we learn to play them. At the end, we put small sections of patterns together and add to the sections until we can play the entire phrase. By the end of recorder belt learning, the students can bracket the phrases for a grade without help on individual sheet music. I am always amazed at what my fourth graders can do!
Behavioral Objectives for Music Class
Behavioral objectives are objectives which require students to demonstrate their abilities by completing a task. Behavioral objectives can most easily be assessed by students fulfilling a rubric of completing the activity correctly, partially correctly, or not correctly. The following objectives are ones that I have actually used in my classroom.
1. For kindergarten: Students will echo rhythms correctly on the rhythm sticks that are first played by the teacher.
Rubric:
Circle one.
0 points - student made 4 or more mistakes when performing the rhythm
1 point - student performed the rhythm partially correct, but made 1-3 mistakes
2 points - student performed the rhythm correctly with no mistakes
2. For first grade: Students will demonstrate aural recognition of a percussion instrument by choosing the correct instrument played by a classmate while the testing student was not looking.
Rubric:
Circle one.
0 points - student chose the incorrect instrument with a different timbre (such as choosing a drum when a triangle was played)
1 point - student chose an instrument of similar timbre (such as a tambourine instead of a triangle), but not the one that was played
2 points - student chose the correct instrument
3. For third grade: Students will jump onto the correct pitch on a treble clef staff on the giant staff.
(This is a game we play after we have learned to name the notes on the treble clef staff; the staff is made of tape on the floor and the students show their understanding of pitch names by standing on the line or space that corresponds with the name of the pitch.)
Circle one:
0 points - student did not stand on the correct pitch
2 points - student stood on the correct pitch
4. For fourth grade: Students will individually perform "Hot Cross Buns" on the recorder with correct pitches, rhythms, and at an appropriate tempo.
Rubric:
Circle one.
10 points - student performed "Hot Cross Buns" with correct pitches, rhythms, and at an appropriate tempo.
7-9 points - student performed "Hot Cross Buns" mostly correctly, but with 1-3 mistakes in either pitches, rhythms, or tempo.
4-6 points - student performed "Hot Cross Buns" about half correct, with 4-6 mistakes in either pitches, rhythms, or tempo.
1-3 points - student performed "Hot Cross Buns" mostly incorrectly, with 7-9 mistakes in either pitches, rhythms, or tempo.
0 points - student refused to perform "Hot Cross Buns" individually
1. For kindergarten: Students will echo rhythms correctly on the rhythm sticks that are first played by the teacher.
Rubric:
Circle one.
0 points - student made 4 or more mistakes when performing the rhythm
1 point - student performed the rhythm partially correct, but made 1-3 mistakes
2 points - student performed the rhythm correctly with no mistakes
2. For first grade: Students will demonstrate aural recognition of a percussion instrument by choosing the correct instrument played by a classmate while the testing student was not looking.
Rubric:
Circle one.
0 points - student chose the incorrect instrument with a different timbre (such as choosing a drum when a triangle was played)
1 point - student chose an instrument of similar timbre (such as a tambourine instead of a triangle), but not the one that was played
2 points - student chose the correct instrument
3. For third grade: Students will jump onto the correct pitch on a treble clef staff on the giant staff.
(This is a game we play after we have learned to name the notes on the treble clef staff; the staff is made of tape on the floor and the students show their understanding of pitch names by standing on the line or space that corresponds with the name of the pitch.)
Circle one:
0 points - student did not stand on the correct pitch
2 points - student stood on the correct pitch
4. For fourth grade: Students will individually perform "Hot Cross Buns" on the recorder with correct pitches, rhythms, and at an appropriate tempo.
Rubric:
Circle one.
10 points - student performed "Hot Cross Buns" with correct pitches, rhythms, and at an appropriate tempo.
7-9 points - student performed "Hot Cross Buns" mostly correctly, but with 1-3 mistakes in either pitches, rhythms, or tempo.
4-6 points - student performed "Hot Cross Buns" about half correct, with 4-6 mistakes in either pitches, rhythms, or tempo.
1-3 points - student performed "Hot Cross Buns" mostly incorrectly, with 7-9 mistakes in either pitches, rhythms, or tempo.
0 points - student refused to perform "Hot Cross Buns" individually
Cognitivist/Gestalt Approach: Beethoven's Pathetique Sonata
In teaching Beethoven's Pathetique Sonata, I can safely assume that the student has taken piano lessons for at least 8 years and therefore has an excellent foundation in reading music. At this point in a child's musical career, the major focus would be on expression and musical phrasing. Therefore, my primary cognitivist/gestalt approach would be to encourage the child to think musically about phrasing and expression.
Within the cognitivist approach, the child should memorize the music as quickly as possible by associating the sections of the piece in his or her memory with other pieces that he or she has already learned. Therefore, it might be a good idea to search through the music with the student to discover places where the music represents warm-ups from the Czerny (such as any arpeggiations in the accompaniment, for example), and relate those sections to the Czerny in his/her mind. Another concept would be to develop a story behind the music that each section is telling so that the student can use the story as a trigger to remember the sounds of the music during that section.
To focus on thinking about phrasing and expression, the student can associate the different sections with different emotional ideas. For example, the beginning of the piece is very peaceful, while a section later in the piece sounds more disgruntled. If the student imagines the peaceful phrases to be an angel with new wings hopping from cloud to cloud, while the disgruntled section is a jealous little angel who does not yet have his wings, he or she may be able to recall the musical material more quickly for memorization. After the student has memorized the work sufficiently, he or she may be able to bring more new ideas or develop the musical ideas with more meaningful expression. By learning the whole piece, the student has a greater overarching idea to perform, which will make the whole greater than the sum of the parts.
Within the cognitivist approach, the child should memorize the music as quickly as possible by associating the sections of the piece in his or her memory with other pieces that he or she has already learned. Therefore, it might be a good idea to search through the music with the student to discover places where the music represents warm-ups from the Czerny (such as any arpeggiations in the accompaniment, for example), and relate those sections to the Czerny in his/her mind. Another concept would be to develop a story behind the music that each section is telling so that the student can use the story as a trigger to remember the sounds of the music during that section.
To focus on thinking about phrasing and expression, the student can associate the different sections with different emotional ideas. For example, the beginning of the piece is very peaceful, while a section later in the piece sounds more disgruntled. If the student imagines the peaceful phrases to be an angel with new wings hopping from cloud to cloud, while the disgruntled section is a jealous little angel who does not yet have his wings, he or she may be able to recall the musical material more quickly for memorization. After the student has memorized the work sufficiently, he or she may be able to bring more new ideas or develop the musical ideas with more meaningful expression. By learning the whole piece, the student has a greater overarching idea to perform, which will make the whole greater than the sum of the parts.
Behaviorist/Stimulus-Response Approach: Beethoven's Pathetique Sonata
In teaching Beethoven's Pathetique Sonata, I can safely assume that the student has taken piano lessons for at least 8 years and therefore has an excellent foundation in reading music. At this point in a child's musical career, the major focus would be on expression and musical phrasing. Therefore, my primary behavioral objective would be that the student performs Beethoven's Pathetique Sonata with meaningful musical expression and musical phrasing.
First, I would have the student listen to the piece while following along with the score. When it finished, I would ask the child to initiate a discussion about the musical phrasing in the piece and what he or she would specifically do in the piece (such as crescendos, rubatos, etc) to demonstrate the musical expression. The discussion would be mostly technical with little metaphorical discussion. We would discuss what the music is expressing so the child has a reference for him/herself.
Next, we would find the sections of the piece and label them. We would outline what portions of the sonata the student would need to learn by which weeks of lessons so that he or she could master the piece by the appropriate date. This is setting behavioral goals because the student would know that he or she would be expected to perform the goals by those weeks. Then, each week at lessons, the student would perform the section he or she practiced the week before and we would discuss the musical phrasing and any remedial things that needed to be fixed, such as incorrect rhythms or fingering alterations. We would then discuss ideas for phrasing and practice for the following week so that the student could continue to learn the piece.
In a behaviorist or stimulus/response lesson, most of the lesson would consist of the child demonstrating the desired behaviors by actually playing the piano. The goal would be mostly music-making and little discussion, except for what is necessary.
First, I would have the student listen to the piece while following along with the score. When it finished, I would ask the child to initiate a discussion about the musical phrasing in the piece and what he or she would specifically do in the piece (such as crescendos, rubatos, etc) to demonstrate the musical expression. The discussion would be mostly technical with little metaphorical discussion. We would discuss what the music is expressing so the child has a reference for him/herself.
Next, we would find the sections of the piece and label them. We would outline what portions of the sonata the student would need to learn by which weeks of lessons so that he or she could master the piece by the appropriate date. This is setting behavioral goals because the student would know that he or she would be expected to perform the goals by those weeks. Then, each week at lessons, the student would perform the section he or she practiced the week before and we would discuss the musical phrasing and any remedial things that needed to be fixed, such as incorrect rhythms or fingering alterations. We would then discuss ideas for phrasing and practice for the following week so that the student could continue to learn the piece.
In a behaviorist or stimulus/response lesson, most of the lesson would consist of the child demonstrating the desired behaviors by actually playing the piano. The goal would be mostly music-making and little discussion, except for what is necessary.
Sunday, June 8, 2014
Creativity
As a teacher of elementary general music classes, my students can be creative and can easily make creative choices in music class. Creativity can come into play in music class in all three areas of music education, including creating, performing, and responding.
In creating, students can compose music for themselves. Students can compose on instruments or for singing. These composition projects need to involve parameters, however; students should not be “set free” to make up whatever they want because this can be overwhelming. One of the composition projects that I do with my first grade students is that I give them a phrase on the xylophone to learn to play that is a “question” phrase. We discuss call and response musical phrasing. Then students are given parameters such as a number of measures, the use of quarter notes, eighth notes, and quarter rests, certain pitches they can use, and that the ending note must be C to create the response part of their composition. They are also required, according to new Common Core Reading and Writing Standards, to write a sentence defending their choices and explaining why their phrase works as an answer to the question, which allows them to participate in the responding area of music. If students are given the chance to practice and perform their answer, then they are also participating in the performing area of music.
Within the performing area of music, I like to have my students figure out how to play simple melodic songs by ear. I believe this requires creative thinking because students have to think deeply and make creative connections between what they’ve learned about music in the past in order to figure out the melody of the songs. One example was with the fourth graders. I asked them to figure out how to play on their recorders One Direction’s song “You Don’t Know You’re Beautiful” because the chorus of the song uses only do, re, and mi. They were very excited to get to figure out a song that they listened to all the time, and each rendition was slightly different since the chorus of the song is performed slightly different each time. It was fun and very creative of an activity. We furthered the creative activity by “passing off” the melody by playing a portion of it and then pointing recorders at the next person, who would play the next section. This allowed for a creative performance of the piece, even though it was an already established piece. The passing off game was the students’ idea, not mine, which I thought was very fun and innovative.
A second way that students can be creating in music class is to listen to music and make up stories that accompany that music. While not all music is intended to be programmatic, students will listen more actively if they are allowed to create as they listen. Therefore, with my third grade students, I give my students the title of a piece of music and tell them to make up a story as they listen. I give them a pencil and paper and sometimes crayons to use. As they listen, they are to make up a story and use musical sounds as evidence for what they chose as their stories. This way, students are both creating and responding to music, and they are listening very actively. My students have come up with some excellent stories for what they are hearing in pieces of music. One student created an entire story of a good guy, a bad guy with a curly mustache, and a girl tied to railroad tracks while listening to Beethoven’s Fifth. He even recognized a certain theme as the bad guy’s theme and another motive as the good guy’s theme, and the continual movement of the main motive as the train coming through. I could not believe the complexity of his creativity. I have found this to be the norm for my students; they can make up fantastic stories to go with music and give musical reasons why they chose those parts of the stories. This has become one of my favorite creative musical activities.
I have never been quite brave enough to let my elementary students choose a piece of music for a performance, but I have allowed them to choose which songs they would like to learn in regular music class setting. For example, during the American Vernacular music course for this masters degree, I established a unit of studying American music with my students. Within the unit, which is set up mostly be decades, I made a playlist of youtube videos for each one with at least 10 songs, and the students were assigned for homework to listen to all the songs and choose their favorites, but they had to list reasons why those were their favorites. In class later, we chose through voting which pieces we wanted to learn and use in our study of the genre or decade of music. This assured that the students were listening to all the assigned pieces but still were able to focus on a few even in only 25 minutes twice per week of music class. It worked very well this year when we actually implemented it.
The fifth way that I encourage creativity in music class is through dancing and body movement. Sometimes when we dance, we all do the same thing together, but other times, I ask the students to make up dances or to move in a way that goes with the music. This allows the students who might not be willing to express themselves vocally another way to express their feelings of the music. Students respond very well in these activities. With kindergarten students, I do an entire unit of Carnival of the Animals in which we act out each movement as we listen to it. One example is in the movement called "Elephants." It is a low-register waltz played on the stringed bass. My students moved to the music, knowing it was titled elephants. They were very funny. Most of them pretended to have elephant trunks, and many of them were ballet dancing, but in a way that looked very heavy. In our discussion afterward, students revealed that it was hard to move the way the music sounded because elephants are big and heavy but the music was gentle and light. It was a great discussion for the music. Many of the students said they thought the elephant wanted to be a ballerina really bad. It was a fun and creative experience for everyone.
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