Today I taught my second example lesson for my final in my Secondary Music Methods class. I decided to focus the lesson on a newer part of the lesson that I designed which was just teaching a choral piece and trying to break down the parts to help bring a greater understanding of harmony.
I felt that it was better. The main thing that was lacking is the keyboard instruments that I had last time. My current idea with this lesson is to move to the instruments later. I'm still fiddling with how to work out playing and singing in one lesson, but so far I very much prefer teaching harmony through singing, so I may just change the entire unit.
The point of the lesson and activity is to get my students singing in harmony. From there I wanted to define the harmonies. This should be clearer, but so far I'm happy with just jumping into singing and explaining it more later.
My biggest weakness is not making the objective clear enough. I need to make it obvious what our goal as a class is. I have the objectives in my mind, and I guess I'm still stuck on an idea that we just need to get started making music to really learn. Assessment also goes much faster for my colleagues than it would with my students. In my classroom, I'd need to spend more time teaching the parts of the choral pieces. This would take away from teaching about harmony.
I should have the music better prepared with chords. Originally I wanted to work through the piece more slowly to explore the intervals and how the notes relate. Now I'm starting to think it'd be more useful to have the extra information. My only concern is giving too much information at once. Maybe it'd be something I'd do once we've spent some time talking about harmonies and specifically chords.
I didn't get to it, or I forgot, but the warmup singing numbers was intended to connect to the notes the students were singing. As I said, this is a very new part of the lesson so I'm not totally familiar with my plan. It's a sad excuse to not know what I planned, but that's why I had them singing numbers this time. I wanted to use it as an easier way to introduce intervals.
Assessing should be easier for me. In both of my lessons, I didn't really make a clear effort to assess. I should be assessing constantly, and both times I was trying to assess by simply listening to what my students were playing/singing. I'll try to make a more intentional and consistent effort to always be assessing. So far it's just been the attitude of, "are they doing what I asked?" "Yes?" "Good."
This two experiences have been valuable to me. It's helped me to better understand the true impact of good preparation by the teacher. I'm grateful to my classmates that have been good sports and given me great feedback. I'm going to improve most by assessing more and being more clear with my objectives. I think I have a great sense of how to get started making music and make lessons fun, but I need to bring in some more focus.
Monday, April 25, 2016
Monday, April 18, 2016
Audience
How can I build an audience and should I worry about this?
I think audiences are a critical part of music. I think it's important to worry about them. Without them we lose a lot of purpose. With no audience, there is still the musician. At the very least, we musicians need to be worried about what we play. There should never be a time where we play for no one with no regard to the reception.
I can build an audience through marketing most easily. After that I think it's just a matter of investing into the music. People are drawn to art that is worthy of admiration. Art can only be worthy of admiration when enough time and energy has been poured into it.
In terms of live music, audiences know when the musician is into the music or not. It's an easy sense to gain if you attend live music events. When the musician is truly invested into the creation of the music, the audience can enjoy it much more. There is a much greater, but still unsaid, value that is placed in the music.
This is what I think is the way to retain an audience. Getting it in the first place is tougher. It's all about finding the people that care about the music you are playing. Marketing helps, but there will always be people missed. Word-of-mouth is almost always the most reliable way of hearing about new and exciting things, but it's hard to exploit that to build an audience.
To keep it simply, to build an audience I need to make music that matters. Who decides what matters? I do. I should always be worried about this.
I can build an audience through marketing most easily. After that I think it's just a matter of investing into the music. People are drawn to art that is worthy of admiration. Art can only be worthy of admiration when enough time and energy has been poured into it.
In terms of live music, audiences know when the musician is into the music or not. It's an easy sense to gain if you attend live music events. When the musician is truly invested into the creation of the music, the audience can enjoy it much more. There is a much greater, but still unsaid, value that is placed in the music.
This is what I think is the way to retain an audience. Getting it in the first place is tougher. It's all about finding the people that care about the music you are playing. Marketing helps, but there will always be people missed. Word-of-mouth is almost always the most reliable way of hearing about new and exciting things, but it's hard to exploit that to build an audience.
To keep it simply, to build an audience I need to make music that matters. Who decides what matters? I do. I should always be worried about this.
Monday, April 11, 2016
Movie Blog Prompt
How can I create a love for music and performing in my program?
This is a tough question to answer. As a musician, I naturally feel that having fun in music is the most important thing. If I can convey that sense of fun to my students and help them to experience fun, then I think they will fall in love with music and performing.
There are many ways that I can cultivate fun in my music classroom. First of all, I must always be prepared. If I know the music, it makes teaching it so much more smoothly. There should be no downtime due to second-guessing how the music should go. The music also needs to be relevant to the students and interesting enough that I don't need to pull teeth to get them involved. Interesting music to them will always be challenging to pick, but it's worth every second spent in figuring it out.
Ideally, when the right mix of fun and relevancy mixes with a challenging repertoire, the motivation to play would hopefully switch from extrinsic to intrinsic. In the movie "Chops," I believe all of the students were running on intrinsic motivation. This was the only explanation for being able to play such challenging music and pursue its perfection with such vigor. It was truly inspiring to see so many kids so invested in playing their parts.
For me, as a musician that started playing in college with no background from middle or high school, it's always amazing seeing high school or middle schoolers play challenging material. Maybe they aren't in love with the music, but to me, when it's played well, it can only be due to instrinsic motivation and being in love with the music.
This can only be achieved when the music is fun and challenging at the same time. That's how I can create a love for music and performing.
This is a tough question to answer. As a musician, I naturally feel that having fun in music is the most important thing. If I can convey that sense of fun to my students and help them to experience fun, then I think they will fall in love with music and performing.
There are many ways that I can cultivate fun in my music classroom. First of all, I must always be prepared. If I know the music, it makes teaching it so much more smoothly. There should be no downtime due to second-guessing how the music should go. The music also needs to be relevant to the students and interesting enough that I don't need to pull teeth to get them involved. Interesting music to them will always be challenging to pick, but it's worth every second spent in figuring it out.
Ideally, when the right mix of fun and relevancy mixes with a challenging repertoire, the motivation to play would hopefully switch from extrinsic to intrinsic. In the movie "Chops," I believe all of the students were running on intrinsic motivation. This was the only explanation for being able to play such challenging music and pursue its perfection with such vigor. It was truly inspiring to see so many kids so invested in playing their parts.
For me, as a musician that started playing in college with no background from middle or high school, it's always amazing seeing high school or middle schoolers play challenging material. Maybe they aren't in love with the music, but to me, when it's played well, it can only be due to instrinsic motivation and being in love with the music.
This can only be achieved when the music is fun and challenging at the same time. That's how I can create a love for music and performing.
Monday, March 28, 2016
General Music Lesson Reflection
So I taught ten minutes of my general music lesson today. It was on harmony for 8th grade. My basic idea was to take the students' previous knowledge of scales and apply that to explore harmony. I wanted to be playing and creating music as soon as possible. I also wanted to not flood them with information, but rely on their ears and asking questions about what they were playing.
First of all, I was very glad that I had them on instruments quickly. I loved starting with singing, but the transition to instruments was clunky, as I had anticipated. I didn't like that I hadn't connected the singing much to harmony. The purpose was to just get the music-making started, but I needed a stronger connection to the subject.
Speaking of which, I could have made it clearer. When writing the lesson plan, I was thinking that I would have had plenty of time to make the objective clearer and connect everything to the subject. I feel that the students may have gotten lost, but seeing as how it was meant to be only a 10 minute snapshot of the lesson, I am happy with what we could accomplish. I was trying not to talk too much, but I think I talked too much anyway.
In terms of how much I covered, I think I had too many concepts built in, but at the same time that I didn't get far enough. When I wrote this plan, I assumed that the terms scale, interval, and the actual numbers of the scale would not be new to my students. If this was a totally new concept, I definitely flooded my students with too much information is such a short amount of time. However, as I was leading the class, I found myself continually throwing out more and more concepts. So I'm not sure how I will change my plan concerning this yet. Before this lesson is taught, some stronger foundation is needed for sure.
I had the opportunity to teach this exact same lesson to my students today. It was a class of 5th - 8th grade students. I think it went well, aside from some behavior problems. I did not have enough keyboards, but I got through the lesson much more slowly than I had thought. Actually, I couldn't make it through all the way because it took longer to have everyone play through the examples. I expected that when writing the lesson plan. I explained less, and the students played more. That makes me think that the reason I went through so many concepts during my example 10 minute snapshot was party because the musicians knew better how to do what I was asking.
I think I should have had the students playing more and talking more about what they were playing. Maybe the best way to do this is to introduce a song that the students know and can play already. That was my thinking with playing "Mary Had a Little Lamb" or "Twinkle Twinkle" in the lesson. Maybe I need to get to that sooner. My feeling now is to just work on the simpler steps of playing the scale and harmonies on top of it more.
The biggest thing I can improve on is to get students feedback constantly. To assess, I was simply listening and watching students as best as I could. Since it was the beginning of the first harmony lesson, I was not overly concerned with how well the students were doing. I was trying to make sure every students was participating and trying to play what we were working on together. As the lesson goes on, I wanted to have students paired up on one instrument to play through the examples together, but wasn't thinking that I'd get that far in 10 minutes. The idea with that is to hear less students to better assess, but still not put one students on the spot.
Another thing I should do is talk less and try to get the students to play and especially describe what they are playing more. I jumped to the next thing too quickly. I think it was mostly because of the graduate students acting as 8th graders playing everything so well. I tend to do this in my other classes, though, too. I need to give my students more time to digest what they are hearing.
I am happy that it seemed like a fun enjoyable lesson. Since it was the first 10 minutes, I'm not too concerned with the ambiguity of it. I want to bring it back in to focus on the objective of harmony, but don't want to force it. I guess what I'm saying is that I need to slow down, but also be more clear in the point that I need to hit along the way. In some sense that could mean that I'd move faster, but mostly I just want to help the students experience the music and give them the tools to understand what they are playing.
Finally, I had a lot of fun. My classmates were great. We didn't get nearly as far as I had wanted, but I think it's alright. In the end I think I need to slow down anyway, but still get the students doing more.
First of all, I was very glad that I had them on instruments quickly. I loved starting with singing, but the transition to instruments was clunky, as I had anticipated. I didn't like that I hadn't connected the singing much to harmony. The purpose was to just get the music-making started, but I needed a stronger connection to the subject.
Speaking of which, I could have made it clearer. When writing the lesson plan, I was thinking that I would have had plenty of time to make the objective clearer and connect everything to the subject. I feel that the students may have gotten lost, but seeing as how it was meant to be only a 10 minute snapshot of the lesson, I am happy with what we could accomplish. I was trying not to talk too much, but I think I talked too much anyway.
In terms of how much I covered, I think I had too many concepts built in, but at the same time that I didn't get far enough. When I wrote this plan, I assumed that the terms scale, interval, and the actual numbers of the scale would not be new to my students. If this was a totally new concept, I definitely flooded my students with too much information is such a short amount of time. However, as I was leading the class, I found myself continually throwing out more and more concepts. So I'm not sure how I will change my plan concerning this yet. Before this lesson is taught, some stronger foundation is needed for sure.
I had the opportunity to teach this exact same lesson to my students today. It was a class of 5th - 8th grade students. I think it went well, aside from some behavior problems. I did not have enough keyboards, but I got through the lesson much more slowly than I had thought. Actually, I couldn't make it through all the way because it took longer to have everyone play through the examples. I expected that when writing the lesson plan. I explained less, and the students played more. That makes me think that the reason I went through so many concepts during my example 10 minute snapshot was party because the musicians knew better how to do what I was asking.
I think I should have had the students playing more and talking more about what they were playing. Maybe the best way to do this is to introduce a song that the students know and can play already. That was my thinking with playing "Mary Had a Little Lamb" or "Twinkle Twinkle" in the lesson. Maybe I need to get to that sooner. My feeling now is to just work on the simpler steps of playing the scale and harmonies on top of it more.
The biggest thing I can improve on is to get students feedback constantly. To assess, I was simply listening and watching students as best as I could. Since it was the beginning of the first harmony lesson, I was not overly concerned with how well the students were doing. I was trying to make sure every students was participating and trying to play what we were working on together. As the lesson goes on, I wanted to have students paired up on one instrument to play through the examples together, but wasn't thinking that I'd get that far in 10 minutes. The idea with that is to hear less students to better assess, but still not put one students on the spot.
Another thing I should do is talk less and try to get the students to play and especially describe what they are playing more. I jumped to the next thing too quickly. I think it was mostly because of the graduate students acting as 8th graders playing everything so well. I tend to do this in my other classes, though, too. I need to give my students more time to digest what they are hearing.
I am happy that it seemed like a fun enjoyable lesson. Since it was the first 10 minutes, I'm not too concerned with the ambiguity of it. I want to bring it back in to focus on the objective of harmony, but don't want to force it. I guess what I'm saying is that I need to slow down, but also be more clear in the point that I need to hit along the way. In some sense that could mean that I'd move faster, but mostly I just want to help the students experience the music and give them the tools to understand what they are playing.
Finally, I had a lot of fun. My classmates were great. We didn't get nearly as far as I had wanted, but I think it's alright. In the end I think I need to slow down anyway, but still get the students doing more.
Sunday, March 27, 2016
Blog Prompt #6
Should we have to rely on parents and fundraising to run a modern BOJC program?
I don't think we should have to rely on fundraising. There should be funds to support every music program. There should be no question that music education is important. The benefits of music are profound and limitless. I believe it's part of our responsibilities as music teachers to make it clear to our students and the rest of our schools that music is important.
As for parents, just like every other subject, we need their support. Without parents, what the students learn in school could be forgotten. Especially in a beginning musician, parents are needed to encourage, support, and sometimes enforce proper practice. Without practice, very little progress can be made.
So, in short it's a complicated answer. We need parents, but we shouldn't need to fundraise.
I don't think we should have to rely on fundraising. There should be funds to support every music program. There should be no question that music education is important. The benefits of music are profound and limitless. I believe it's part of our responsibilities as music teachers to make it clear to our students and the rest of our schools that music is important.
As for parents, just like every other subject, we need their support. Without parents, what the students learn in school could be forgotten. Especially in a beginning musician, parents are needed to encourage, support, and sometimes enforce proper practice. Without practice, very little progress can be made.
So, in short it's a complicated answer. We need parents, but we shouldn't need to fundraise.
Monday, March 21, 2016
Blog Prompt #5
To keep it simple, technology has made music education easier, more fun, and much more accessible. I'm excited to see where technology can take us. Below are some of the best tech you can find to help you teach music.
1. Youtube.com I think at this point everyone knows what youtube is. Not everyone knows of it's full potential. It's an indispensable resource of music, documentaries, music covers, instrument tutorials, song tutorials, instrument methods, and even background information on different artists and performing groups around the world.
2. Musictheory.net This is lesser-known site that I've used many times in the past and found it extremely helpful. It's a free site with music theory lessons and exercises. It includes sight-reading, aural training, keyboard and fretboard memorization, and even chord and interval identification (visually and aurally). It's a great resource for reinforcing learning or even being the backbone of learning theory.
3. Garageband This software is pretty famous by now. It's a tool for creating music, with or without an instrument. With hundreds of built-in instruments and an easy-to-learn interface, Garageband is the best place to start creating music without any solid music theory knowledge. While any type of music can be created, I feel that electronic music is the easiest to jump into with this. With instruments, the possibilities expand greatly and there are even lessons available on some common instruments.
4. MIDI keyboard, MIDID controllers, and synthesizers, such as this, this, and this have made music creation so much more exciting, easy, and affordable. Some plug directly into a computer and create sound through software like Garageband, while others create sounds on their own. The possibilities are endless.
4. iPad iPads are expensive, but amazingly versatile. They come with Garageband preloaded, so they can function as instruments or as a music creation suite. They can be used to explore all online resources as well. They can be used as a differentiation tool, or for students doing more advanced projects. The possibilities are endless with iPads. A quick look in the app store will reveal thousands of apps that can be used in the classroom to increase learning.
There are many more amazing pieces of music technology. Many are being created every day. These are just a few that I believe are amazing resources for music teachers.
1. Youtube.com I think at this point everyone knows what youtube is. Not everyone knows of it's full potential. It's an indispensable resource of music, documentaries, music covers, instrument tutorials, song tutorials, instrument methods, and even background information on different artists and performing groups around the world.
2. Musictheory.net This is lesser-known site that I've used many times in the past and found it extremely helpful. It's a free site with music theory lessons and exercises. It includes sight-reading, aural training, keyboard and fretboard memorization, and even chord and interval identification (visually and aurally). It's a great resource for reinforcing learning or even being the backbone of learning theory.
3. Garageband This software is pretty famous by now. It's a tool for creating music, with or without an instrument. With hundreds of built-in instruments and an easy-to-learn interface, Garageband is the best place to start creating music without any solid music theory knowledge. While any type of music can be created, I feel that electronic music is the easiest to jump into with this. With instruments, the possibilities expand greatly and there are even lessons available on some common instruments.
4. MIDI keyboard, MIDID controllers, and synthesizers, such as this, this, and this have made music creation so much more exciting, easy, and affordable. Some plug directly into a computer and create sound through software like Garageband, while others create sounds on their own. The possibilities are endless.
4. iPad iPads are expensive, but amazingly versatile. They come with Garageband preloaded, so they can function as instruments or as a music creation suite. They can be used to explore all online resources as well. They can be used as a differentiation tool, or for students doing more advanced projects. The possibilities are endless with iPads. A quick look in the app store will reveal thousands of apps that can be used in the classroom to increase learning.
There are many more amazing pieces of music technology. Many are being created every day. These are just a few that I believe are amazing resources for music teachers.
Sunday, March 6, 2016
Blog Prompt #4
I just read Alfie Kohn's "The Trouble with Rubrics." I agree, but not fully. I think rubrics are wonderful tools for trying to visualize what can be achieved and what type of learning the teacher wants to facilitate in his/her classroom. However, I think it's a terrible idea to grade based on rubrics alone. There are plenty of problems with this.
Even more than this, rubrics can limit learning somewhat. Especially for the students that strive to achieve more, once they hit the highest point of the rubric they may lose motivation. Rubrics should never be the only way to gauge learning. It shouldn't be the list of achievements that students strive for.
It's in the teachers hands to look at rubrics but not rely on them. They are a good starting point for what to strive for. A good teacher will always know, though, that every student is different. What may come easily for some could be very difficult for others. Grading is always unfair if everyone is seen as the same.
I believe the best way to teach is to use rubrics as a basic guide for where to go. After that, it's up to the teacher to know every kid. From that point, the teacher would constantly tailor his/her expectations for that student. The main factor for grading would then be what the student accomplished.
Every student is different, and in a big class it is very difficult to know every kid. However, it's very important to have a connection with every single child you are responsible for and try to reach them at the level they are at to raise them up.
When assessing in a band, choir, orchestra, or jazz, I think it doesn't need to be complicated. The students should have an idea of what they should strive to achieve. A rubric gives this. But, it would be too much to ask for many students to attain the highest levels on all points. That doesn't mean they should get bad grades.
It should be considered how hard they worked and how far they have come. The assignment may be played terribly, but for certain students it could be a giant accomplishment.
This reminds me of poem by Taylor Mali, "What Teacher's Make." In particular I was reminded of this line:
I can make a C+ feel like a Congressional Medal of Honor
and an A-‐ feel like a slap in the face.
and an A-‐ feel like a slap in the face.
Now in this example one student got a good grade and the other a bad grade, but notice how the students handle it. It's not about the grades, but the accomplishment. Sure the teacher might have used a rubric. As I said, I don't think it's a bad thing to start with, but this teacher has raised these children to be proud of their accomplishments and work hard to achieve more.
It speaks about the power a teacher can have in every child's life. Each child is different and has different struggles. If a teacher can grade based on a rubric but also keeping in mind what each student has to go through I believe fair grades can be given.
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