Saturday, May 24, 2014

The Landfill Harmonic Orchestra


This week, we watched a short video about some students in Paraguay who have created an orchestra using instruments made from garbage in the landfill on which their community is built.  In the video, one person mentions that instruments are worth as much as homes in their community, so having instruments is a huge blessing to the people.

In the video, one girl says that listening to the sounds of her violin makes butterflies in her stomach.  She is so excited to experience music, and she is obviously thrilled that she can play music on a good-quality sounding instrument.  It seems clear that she would not have music in her life without her instrument, and she knows the gift it is that she can experience it, even with an instrument that Americans would consider garbage.  Another girl says that her life would be meaningless without music.  It is wonderful to think that she can find her passion because of a recycled instrument.  Music is obviously valuable in people’s lives if they are willing to go through the effort to create their own instruments from trash.  I imagine that obtaining the kind of tuning and acoustics that they need is difficult and involves a lot of science as the instruments are being made.  Even that effort seems very meaningful when it means that children can experience something wonderful in their lives.  These children were unlikely to have music in their lives at all if not for these recycled instruments, and they seem to recognize how valuable it is.  How sad that we must imagine music being removed from our lives or difficult to obtain in order to grasp its power and magic in our lives!

I feel like I have to fight the battle of why music is important every day.  In fact, it is easy for me to say that I am tired of fighting the battle of why music matters because I feel like I have to defend it so often.  Therefore, I have made every attempt in my job to demonstrate the power of music as I work with my students and as I speak to their parents about music.

The first way to educate people about the importance of music is to directly speak to the students and facilitate a discussion with them about why music matters.  Since the students are the ones who are being taught music and are experiencing music, if they do not find value in it, who else will?  I have done activities with my students at all grade levels to inspire their minds to think intelligently about why music is important in their lives.  For example, I recently did a project with first graders in which they had to answer the question, “How do I use music in my life?” and then draw a picture that showed their statement.  Not only did the activity allow me to incorporate reading and writing activities into music as well as art, the students inspired me by coming up with what I considered to be very meaningful and creative responses for first graders.  One student wrote that listening to music calmed her down when she felt angry.  Another student wrote that singing along with songs in the car made him feel close with his family.

The second way to education people about the importance of music is to show and speak to the parents about how music is positively influencing their children’s lives.  With the first grade activity mentioned above, I displayed the student answers on the wall outside my classroom for Open House.  Many parents came by my classroom and discussed their child’s answers with me.  At performances, I always try to include a short segment where I outline the children’s musical activities for the year to give parents an idea of what their children are doing in my classroom.  I also try to inform parents that there are three areas of music experiences:  performing, creating, and responding, and that I try to incorporate these into my class activities as often as possible.  I think that many parents are simply uninformed or uneducated about how to learn about music, and organizing musical ideas into these three categories is a great starting point to get parents thinking about music in their own lives.

A third way to education people about music is to make music experiences something for the whole community or even the world to understand.  In the technology in music education course that I recently completed, we discussed forms in which technology can help spread musical ideas.  One of the discussions that began was the idea to blog about lesson planning and activities that occur in the music classroom and regularly remind parents of the link so that they can be updated.  Making a blog also allows anyone in the world, or anyone with access to the blog, to be inspired by and/or experience music in my classroom.  I intend to develop my blog over the summer and update it weekly beginning next school year.  A friend of mine who teaches music in the Chicago suburbs created a blog a few years ago.  She stated that the blog has really helped her validate her music classes to fellow teachers, administration, parents, and other music teachers because there is proof of the value of what she does in the evidence of activities from her music classroom.


Lastly, everyone participates in music in some ways.  A great starting point for education people about music is helping them to see the cognitive value in the music they already listen to.  Whether for expressive purposes, just for fun, or to experience something wonderful that one would not otherwise be able to experience, such as the recycled instrument students in Paraguay, music can bring all people to a new and better level of meaning in their lives.

Tuesday, May 20, 2014

Advocacy: Non-Musical Benefits for Music Education and Their Usefulness

Music has many non-musical benefits.  As an elementary music teacher, my job security has been placed entirely in the non-musical benefits of my students.  It is understood at my current position that music is valuable to students because it assists them in learning their "core" subject areas, particularly reading and math.  Our school's goal is that "every student will be proficient or advanced in reading, writing and math; no exceptions; no excuses."  Every teacher is expected to use his or her subject to reinforce our school's goal of proficiency in reading, writing, and math.  Some of these non-musical benefits of music are valuable to students, but music should not be kept in schools simply for its non-musical benefits.

A first non-musical reason for including music is its relationship to improving student grades and life.  According to the 1991 report of the National Commission on Music Education "Growing Up Complete," music study improves performance in school and in life.  Several studies have cited that students who participate in music ensembles get better grades and are more likely to go on to higher education. In my high school, this was especially true.  Nearly all of the students at the top of the graduating class participated in band, choir, or orchestra, and many participated in a combination of two or all three.  Related to living a fuller life, students who participate in music learning can communicate better than those who do not.  In my experience, studying music has a positive effect on language learning.  As mentioned in the textbook, students who have speech impediments are greatly helped my singing skills.  A friend of mine personally experienced this.  He had a very terrible stutter, but if he thought about singing the first word he was speaking, it was impossible to tell that he had the speech impediment at all.  I remember in the film "The King's Speech" that this was true as well.  The speech therapist working with the king used singing and music as a technique to help King George overcome his stutter.  I have also experienced in my classroom that students read faster if the lyrics are rhythmic.  I would like to pursue a more formal study of this related to fluency and music reading, but I have informally found that my students who have trouble reading can read a passage more accurately and quickly if I keep a steady beat while they are reading, particularly in the context of karaoke, whether it is a song they have already heard or one that is new to them.  They naturally make the passage musical, and they are not as hindered by their fear of reading.

A second non-musical reason for including music is its relationship to and assistance with study in the other subjects.  As mentioned above, studying music can improve a child's understanding of other core subjects.  Studying music undoubtedly improves a child's understanding of culture and social studies because music is inherently part of every culture.  As child study and understand the music of another culture, the children are experiencing that culture.  From experiencing that culture, students will be able to empathize and understand the people of the culture better.  Students can also understand math with musical rhythm, science through the study of acoustics and sound creation, language arts by studying the text and emotions of music, physical education by moving to music rhythmically, and technology by using computers to create, respond to, or perform music.

A third non-musical reason for including music is that students who participate in music courses, according to Rodosky (1974), tend to like school better and have better attendance.  The textbook also states that music can be an effective "anti-monotony" tool for students who are otherwise bored by excessive study, constantly sitting still and formalized learning.  My students enjoy attending my music class because they are able to be constantly active learners.  Many students get excited and smile, according to their classroom teachers, when they are told that it is time to go to music.  I believe their enjoyment of part of the school day can directly contribute to their willingness to attend.

The most meaningful non-musical outcome of performing music for me was its assistance with my ability to work in a group setting.  This has contributed greatly to my fulfilling life as an adult.  I have learned to work with and be productive with anyone, which was a quality that was not natural to me.  Music taught me how to work with a group and see a positive result.  Previous to my music experiences, I disliked group experiences because I always felt that they were uneven and unfair. I always felt like I ended up doing more work than the other members of my group, and I felt taken advantage of.  Once I became part of performing ensembles, I felt that my contribution to the group was much more even and meaningful.  I felt a connection to the other members of the ensemble, and I finally understood what being part of a community truly meant.  I learned to value others because the input of their voices was critical to the sound of the group.  Each voice contributed something unique and special, and the group would not sound the same with a different makeup of people.

Each of these viewpoints can be valuable for arguing the retention of music in public schools, but these arguments should not be the be-all-end-all for music education. There are reasons why each of these arguments cannot stand alone as a rationale for music education.

First, there is not enough valuable research to that specifically proves that music is really the reason that students who are involved in music get better grades and tend to be more successful.  The research does not determine whether the students involved in music are better at school because they are involved in music or if they are involved in music because they were better in school.  This distinction is an important one because while there is a correlation between music participation and better grades, there is not proven causation.  As mentioned above, I have never seen a formalized study that relates fluency to music reading, but I would like to see one or possible conduct one of my own.  It cannot be proven, therefore, that music reading actually betters reading fluency in students.

Second, it is unwise to include music simply because it enhances the core curriculum because those subjects can stand alone.  While it may positively impact a childs science education to do a science experiment in music class, why take separate time for music in the school day if the child can learn the required content in an actual science course?  As mentioned in the textbook, the subject of math does not need to be validated by its musical value.  It is validated simply because it is math and is useful in itself.  It could be more prudent to view music this way as well than to argue its relevancy based on its relationship to other subjects.

Third, it is rather a bit of a cop-out to keep music in place simply because it is enjoyable to students.  Recess is enjoyable to students and is important as well.  However, music teachers certainly do not value being thought of as recess for their students.  I know that it is offensive to me that people think of my subject as "fun time" for the kids. While music is very fun, active, and engaging, it has academic, creative, and aesthetic meaning that make it much more than just "fun time" for students.  If music is simply recess, there is little reason to keep it in place in the schools besides an opportunity for prep or break time for general classroom teachers.  If music class has to depend on "being fun" in order to be sustained, it will not be sustained for very long, especially when students need to learn deeper and less fun but equally as important concepts.

Fourth, although it is truly valuable to think of music as an opportunity to work in a group setting, there are many other group setting opportunities in which children can participate.  Particularly, I think of sports in this regard.  Team sports undoubtedly teach students how to work as a team and value one another, but I do not think sports are as important to a child's health as music.

Music must be able to stand alone on its inherent value.  If music teachers use non-musical reasons to keep music in schools, there will always be arguments that render other things more important.  Music is important because it is music.  Music exists for music's sake, and it makes people more human to experience it and understand it.  Music in schools should be valued simply because it is a valuable part of the human experience, and it makes humans into better people.

Aesthetic Music: Tchaikovsky's Symphony No. 4 in F minor, Op. 36, 2nd movement

Objective:
After listening to the piece and discussing its aesthetic value, students will write an essay from Tchaikovsky's perspective explaining the reasoning behind the musical choices by examining their aesthetic value.

National Standards for Music Education:
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.

Illinois State Goals and Standards for Fine Arts
25. Know the language of the arts.
A.    Understand the sensory elements, organizational principles and expressive qualities of the arts.
2c Music: Identify elements and expressive qualities such as tone color, harmony, melody, form (rondo, theme and variation), rhythm/meter and dynamics in a variety of musical styles.
3c Music: Identify and describe changes in elements and expressive qualities (e.g., crescendo, ritardando, fermata, meter, sforzando).

Materials:
ActivBoard (interactive whiteboard), youtube video of Tchaikovsky's Symphony No. 4 in F minor, 2nd movement.

Content:
"Today, we are going to listen to Tchaikovsky's Symphony No. 4 in F minor, Op. 36, 2nd movement, which is titled "Andantino in modo di canzona." The purpose of listening to this piece of music is to find its aesthetic value.  "Aesthetic" may be a new vocabulary word for you, so let's add it to our music vocabulary wall."
Have a student read the definition of aesthetic.
Ask the students to describe what aesthetic means in their own words (expect answers like "its what you like" or "its what sounds good to you").
"'Aesthetic' s not just about what you like.  It is also about why you like it.  There are certain elements in music that make some of it more likable or catchy than other pieces.  Today, we're going to listen to this piece of music several times, and we are going to use our listening journals to write about its aesthetic value.  The first time, I want you to focus on form.  Remember, form is over here on our vocabulary wall."
Review the "form" vocabulary word by asking a student to read the definition of form.
"One of the reasons we humans find music likable is because of how easy it is to predict.  As you are listening, comment in your journals about what you are hearing related to form.  Can you predict the musical themes that you'll hear next, or do you find it difficult?  Does the predictability or lack of predictability make you like it more or less?  Remember, you don't have to use complete sentences on your first draft of listening journals.  Just write down your instincts and short-handed thoughts."
Post the prompt on the ActivBoard.

Part 1: Can you predict the musical themes that you'll hear next, or do you find it difficult?  Does the predictability or lack of predictability make you like it more or less?  Why?

After students have listened and written down their first thoughts about form, discuss what they wrote together, and be sure to mention the following at some point during the discussion:
"The form of this piece is not particularly predictable.  It seems to never quite resolve, like it is searching for something.  There were three major sections of musical themes in what we listened to, including the oboe solo, the orchestra repeating the basic theme again that the oboe soloist had played, and finally, the section which was building and reestablishing tonality at nearly every phrase.  Think about how the parts don't really resolve any time, and the tension of wondering when the line will end is intriguing and somewhat frustrating for the listener."
"We are going to listen to the piece a second time now, and instead of focusing on form, what are some other musical elements we can focus on?"
Hopefully students will mention melody, harmony, rhythm, texture, dynamics, or other related topics, as they have been previously discussed.
"Let's focus this time on melody, because I think it is one of the most interesting parts of the piece.  I will tell you a few things to trigger thoughts as you start.  First, I recognized several things as I was listening to the piece which I think are important to note.  I hear a 4-note melodic pattern that includes descending line which then skips and resolves back up one note."
Sing the mentioned pattern to students.
"This makes me wonder why Tchaikovsky chose this pattern, and why he chose the oboe, and what the point of the music is.  Sometimes, music tells a story.  Other times, music is to express emotions.  Other times, music is just present as music, and it doesn't need a reason.  In your journal, write about which one of these you think Tchaikovsky was going for?  Support your idea with examples from what you hear in the music.  We'll listen to the piece a few more times, and be sure to specifically focus on the melody."
Put the final journal entry prompt on the board:

Part 2: Focus on the melody of this piece.  Do you like it?  Why?  Use examples from the music that you are hearing to support your argument.

Part 3: What do you think was the purpose of this music to Tchaikovsky?  Was he trying to tell a story?  Ws he trying to express emotions?  Was there another purpose for this piece of music?  Use musical examples to support your ideas.  Remember that you don't have to use complete sentences yet.

"We'll listen to this portion of this movement at least three times.  For homework tonight, turn your thoughts into a letter.  Write the essay as if you are Tchaikovsky writing a letter to a friend explaining the purpose of the piece.  If you finish your incomplete thoughts early, you can begin your final draft now.  You have been handed a rubric for the final letter.  Be sure you address all three of the prompts that we used today in your letter.  We will upload your final journal entries to your online music listening blog after I've graded them."
Play the music a few more times and give students some time to write in between.  Provide the youtube link for students so they can listen at home if they would like further details.









Assessment Rubric:


Does Not Meet or Incomplete (0-6)
Meets (7-9)
Exceeds (10)
Points Awarded
Comments
Part 1: Form
Student does not adequately answer question(s) in prompt.
Student adequately answers question(s) in prompt in Tchaikovsky's voice.
Student shows a meaningful and deeper sense of understanding related to detailed support, and/or creatively executes use of Tchaikovsky's voice.


Part 2: Melody
Student does not adequately answer question(s) in prompt.
Student adequately answers question(s) in prompt in Tchaikovsky's voice.
Student shows a meaningful and deeper sense of understanding related to detailed support, and/or creatively executes use of Tchaikovsky's voice.


Part 3: Aesthetic Value
Student does not adequately answer question(s) in prompt.
Student adequately answers question(s) in prompt in Tchaikovsky's voice.
Student shows a meaningful and deeper sense of understanding related to detailed support, and/or creatively executes use of Tchaikovsky's voice.


Grammatical Value
Student's final work contains more than 5 grammatical or spelling errors.
Student's final work contains 2-4 grammatical or spelling errors.
Student's final work contains 0-1 grammatical or spelling errors.




Monday, May 19, 2014

An Aesthetic Experience

It had been an absolutely glorious weekend.  As a high school senior and the queen of the music nerds, I had rehearsed choral music for about eight hours per day with some of the finest high school musicians in Illinois with an amazing conductor.  All of the rehearsal was culminating in an exciting performance on the morning of January 31, 2005.  The concert would contain several pieces of music, first by the Honors All-State Band, then us, the Honors All-State Choir, and then, finally, the Honors All-State Orchestra.  Although explicitly stated in the title, it was truly an honor to be part of the excellent ensemble.

Prior to the performance, I had thoroughly enjoyed my time singing second alto with so many others who loved music.  I already knew I would be attending Millikin University for Vocal Music Education in the fall, but I had no idea what an impact the performance would make in my life.  Previous to the participation in All-State, I had sung with many honor choirs through school and church, and I had sometimes been a student-conductor for my choir director.  As a band and orchestra student, too, I had performed lots of times.  I had always connected to music a bit deeper than the average student, but one performance at this concert would prove to be life-altering.

The purpose of the event was to experience music, so there was not any really practical value intended in the concert.  We would not use the concert for much of anything except pride in our musical capabilities and for the benefit of pleasing our parents by performing for them.  I went to the concert thinking that it was all about me, and I held my head high as I knew my parents would be sure to comment that I was in the Honors choir to their friends instead of just "regular" All-State.

The choral portion of the concert contained four pieces sung by the entire eight-part mixed ensemble, and one piece each just for men and women.  For the women's piece, the men sat, and for the men's piece, the women sat.  The men's piece was "The Awakening" by Joseph M. Martin.  As I sat to listen, my attention was rapt.  I was determined to show that I was respectful and deserving to be part of such a high-level group.

The women in the choir had heard the men perform the piece before, but I had not really listened because most of our water breaks were during the men's individual rehearsals.  The piano accompaniment started with low fifths like a funeral march.  The pianist then played a series of descending higher notes that depicted aching or sadness.  I perked, listening more carefully and fully engaged.

Twice in unison, the men sang the lyrics "I dreamed a dream."  The third time, the men sang in harmony, and added the lyric "a silent dream of a land not far away."  As the lyrics continued, they painted a picture of a land where pride had overcome all creatures to the point that any music that started quickly died away.  I distinctly remember thinking "why does pride make a song die?" and contemplating the idea for at least a full minute.  The music built to anger and then faded back to reflection.  The lyrics talked at that time about "no alleluias, not one Hosanna," and as a Christian, I connected that pride made the song die because there was no one to sing to without singing to the Creator.  I remember thinking "Music is not just for ourselves.  It is something greater, and if we let ourselves be the entire focus, we miss the point.  The music dies when pride takes over."  The men then repeated the word "silent" several times, and I specifically remember picturing a shopping mall with people on escalators who never looked one another in the eye and never spoke.  Suddenly, a thought occurred to me that has never since left me.  I realized that choral singing is about people.  I realized that music is about connection and camaraderie.  I realized that it is about giving my piece so that the whole can have something better.

The lyrics changed, and were "awake, awake!"  I began to get tears in my eyes as the men sang "awake, my soul and sing!" and I felt that I had been awakened for the first time.  I had known that I loved choral music, but at that moment, it became my passion.  I could never live without it.  I wanted to make choral music in whatever capacity I could for as much of my life as I could.  The lyrics continued to say "wherever emptiness is found, let there be joy and glorious sound!"  I, at that moment, realized that I wanted to find empty people and give them music.  I wanted their souls to be kindled like mine had been.  With tears streaming down my face, I sang the final phrase quietly under my breath with the men, for I realized I had heard it many times without ever listening: "Let music live!"

At that moment, I felt alive and awakened for the first time.  I felt like my soul had been lit on fire, and there was a new passion that was burning fiercely.  It was a moment of purity and clarity.  Music was absolutely "it" for me, and it always would be.  I could never tire of it.  I felt very small sitting in the middle of a large group of standing men, and I was completely surrounded by their voices.  I realized that even the smallest could experience this kind of joy.  I believed in the message of the text: music gives life.  Though I felt exhilarated, I also felt peaceful.  I had come into my moment, and I knew exactly what would drive me always from that point on.  A hunger to experience more choral music began, and I have searched to quench it every day since.

I thought about what a wonderful gift it was to be part of such an excellent ensemble and to be surrounded by those who felt the same joy in choral singing.  I thought about what my world and the world in general would be like without music, and it seemed so wrong to think about the silent, unmusical world.  I thought about how music could trigger an awakening, and I thought about how singing with other people who are passionate about making high quality music provides a sense of community that was new to me.  A big part of my enjoyment of the moment was related to the culture of very musical people who surrounded me at the time.  This was an experience that we shared.  While it was individually marked on my heart, it was not a lone experience, and the community of it made it even more special.

The community experience was particularly poignant to me because I moved many times as a child.  I had never felt like a part of a community except for my immediate family.  I made the connection that day that my musical friends would always be that community.  Making music with people creates a family in that moment, and even if the moment goes quickly by, it is worth remembering and imprinting in my heart forever.

Saturday, May 3, 2014

Reflection Post: Music and Morality



Melody Kneezel
May 3, 2014
Reflection Post: Music and Morality

            Music and morality is an interesting topic that has been argued as early as Plato in The Republic.  Other folks have since argued the topic as an important part of the reasoning behind providing music for students in the public schools.  “Tipper Gore Widens War on Rock” and “Music and Morality” are two articles that provide interesting insights into the modern thoughts about music and morality, and the two articles can easily be compared and contrasted with Plato’s comments about the importance of music and its relationship to morality.
            The first article, “Tipper Gore Widens War on Rock,” published in 1988 in the New York Times, primarily discussed the (at that time) current issue of censorship and warning labels on explicit music.  According to the article, Mrs. Gore had previously taken a stand on censorship claiming that music should be labeled so that parents and children could be warned about lyrics being explicit.  At the time the article was published, the discussion was being extended to MTV music videos as well.  The Recording Industry Association of America had adopted Mrs. Gore’s proposal to provide warning labels on explicit music.  The unnamed author of the article implied that Mrs. Gore’s project was reaching an end in the media attention that it was receiving, but her desire was to also extend the warning labels to any videocassettes.  Although the article did not explicitly state it, it seemed to imply that the reason that Mrs. Gore was striving to censor explicit music was based in the belief that the type of music that a child listens to influences his or her character.
            The second article, “Music and Morality,” by Roger Scruton was published in 2010 in The Spectator.  The article discussed an interesting perspective based on Plato’s belief that music could promote both good morality and poor morality depending on the style of music. Scruton quoted Plato’s desire to forbid certain kinds of music by law.  The idea was that changes in musical culture directly apply to changes in the laws of the culture.  According to Scruton, current pop music is much more based in rhythm, which promotes movement.  In contrast, older music was more based in lyrics and melody, which promoted listening to learn. 
            In the current culture, it is considered inappropriate to be judgmental toward people, so you must appear that you like all sides.  However, because pop music is something that is more about an experience than a lesson, it is must that is performed at people instead of with people.  Therefore, pop music is forcing others to see the opinions that are expressed in the music, which is contradictory to an idea of being judgmental or not.  Interestingly, this makes the morals of music vanish behind the experience of music, which has made our culture unable to communicate to one another in a civilized manner.
            From the discussions in these articles, it seems that Plato’s discussion about the right kind of music providing the right kind of morals is still a hot topic today.  In the 1980’s, Mrs. Gore’s concern with censoring music seemed to be based in the idea that certain music made children behave in certain ways, which implies that she agreed with Plato that music influences people’s morality.  Scruton’s article outright stated Plato’s belief, and although he did not claim it directly, he seemed to imply that today’s culture is less moral because of its enjoyment of less moral music.  If this was a concern in the 1980s and in 2010, it is certainly a concern today, as music becomes steadily more immoral and, many times, rather disgusting.  Perhaps popular music should rethink Plato’s philosophy and apply it more carefully to the music it makes.



References
(1988, January 4). Tipper Gore widens war on rock. Retrieved from
Scruton, R. (2010, Feburary). Music and morality. Retrieved from
                spectator.org/articles/40193/music-and-morality