Some of the first places to start when writing an outcome (outcome="the student will be able to...") are in the music department curriculum, the state curriculum, and the National Standards for Music Education. In my extremely limited experience in writing lesson plan outcomes at this stage in my career, I have found that looking at the state's curriculum has been extremely helpful. One of the reasons for this is that the benchmarks are very clearly aligned with the expected skill levels of the students I will teach. I cannot expect, for example, typically developing fifth graders to realize that a piece is in a mixed tonality. This is probably a college-level skill. The state outcomes help me realize what is appropriate for many of the students I will encounter in my career.
In an instrumental music classroom, appropriate, skill matched pieces should be chosen. Using the pieces as a starting point, I can write outcomes based on Bloom's Taxonomy to help ensure that units will be designed to help students operate on a variety of levels, from knowledge (level one) to evaluation (level six). Using the verbs associated with the level of complexity of knowledge, I can write these outcomes in my lesson plans within a unit. One example that would address several levels of cognition on the same idea in an instrumental music class (over a unit, for example):
1. Students will define ABA form (knowledge)
2. Students will give an example of a piece of music that uses ABA form (comprehension)
3. Students will discover what the form of a given piece of music (application)
4. Students will analyze a piece of music in ABA form (Analysis)
5. Students will compose a piece of music in ABA form (Synthesis)
6. Students will compare two pieces of music in ABA form (Evaluation)
One of the biggest challenges that teachers face in the arts classes is writing outcomes that apply to emotional growth as a result of exposure and interaction with the art. In music classes, it is important for teachers to realize that students will have meaningful experiences with the music because music is at once a technical, social, spiritual, and emotional experience. If a music teacher is so involved in the technical aspects of playing a musical instrument well (a critical observation of myself as a horn teacher), the teacher may not be well prepared to address the affective outcomes of music making and performing. As an advocate of my art form, it is important for me to prepare outcomes that address the affective outcomes of music. Using words in my outcomes that may not be easy to evaluate (appreciate, value, express) will help me help my students realize the emotional and spiritual growth that is theirs to own and experience as a result of music making in an ensemble.
Friday, February 25, 2011
Sunday, February 20, 2011
Constructivism and Discovery Learning--models of instructional design
Discovery learning is an active inquiry-based method. This is opposed to direct instruction and lecturing, where the learner is passively engaged in the material. In the instrumental music classroom, it makes intuitive sense that direct instruction and lecturing would be the preferred modes of communication. I think that it takes a creative and dedicated teacher to think of ways in which learners can interact with the information to get away from the "teacher-based" modes of communication and into the "student based" modes.
A creative instrumental classroom teacher can help students become their own teachers by giving them basic information through direct instruction. Once students know enough basic technique, a teacher can encourage active discovery. One way that teachers can do this is to have a time where students experiment with alternate fingerings to discover a variety of ways to finger a note. This will help students begin to actively think about their role in the music-making process, not just as "button-pushers"--giving students a role in this way will help them feel that they are actively contributing to their experience, not merely "passing through" their experience in an instrumental music class.
Giving students a structure to practice improvising is another way to encourage divergent thinking and discovery learning. If basic chordal sequences are written down for musicians and they have a time where they can actively experiment with the notes around the chordal structures, they will discover, on their own, what sounds "right" and what doesn't. If the teacher actively encourages "wrong" notes, students will learn, on their own, what notes will "fit" and what notes will not. This can be a powerful learning tool in an instrumental classroom that might otherwise be powered by passive, teacher-based learning.
A creative instrumental classroom teacher can help students become their own teachers by giving them basic information through direct instruction. Once students know enough basic technique, a teacher can encourage active discovery. One way that teachers can do this is to have a time where students experiment with alternate fingerings to discover a variety of ways to finger a note. This will help students begin to actively think about their role in the music-making process, not just as "button-pushers"--giving students a role in this way will help them feel that they are actively contributing to their experience, not merely "passing through" their experience in an instrumental music class.
Giving students a structure to practice improvising is another way to encourage divergent thinking and discovery learning. If basic chordal sequences are written down for musicians and they have a time where they can actively experiment with the notes around the chordal structures, they will discover, on their own, what sounds "right" and what doesn't. If the teacher actively encourages "wrong" notes, students will learn, on their own, what notes will "fit" and what notes will not. This can be a powerful learning tool in an instrumental classroom that might otherwise be powered by passive, teacher-based learning.
Friday, February 11, 2011
Teaching effective practice techniques
I think that teaching effective techniques for practicing is an important part of ensuring the overall success, enjoyment, and lifelong love of music for all students. Practicing is a skill, not just something that can "just happen" without both teacher guidance and parent involvement, especially in the beginning years of playing an instrument. I think that providing a structure and framework for practicing is a very important part of establishing good practice habits. These habits will help ensure successful participation in ensembles, will teach discipline, and will provide a sense of accomplishment that may lead to increased self-esteem. Good practice habits will also help a student understand that hard work (instead of luck) is an underlying component of being successful at anything in life.
In my horn lessons, eighty percent of our time is spent "practicing practicing." The other twenty percent of the time is spent playing through pieces, etudes, scales, and talking about fundamental techniques (breathing, buzzing, long tones, warm-ups). In the lessons, I diagnose problem spots with the students. When we diagnose the problem, we then break down the difficult technical skills into their constituent components. I always ask my students to give me an air-to-body ratio for the passage being studied (with the understanding that the ratio of air will always be at least 60 percent of the equation). Sometimes, the students will write in ratios of air to body in the music to help them remember how much they need to rely on their air. If they are having trouble with articulation, I have them practice air stream patterns with the tongue interrupting the air stream without the mouthpiece or the horn. If they are having trouble with fingerings, or the cooperation between the fingers and the air, I have them mentally rehearse the fingerings, slowly, with no mouthpiece or horn involvement. I have my students "play" with me (air stream pattern or fingerings) to help with audiation. Using a metronome, I have students bring air patterns, and fingerings up to tempo, gradually add the elements together, then put the horn into the equation. I find that, for the most part, this general process helps my students a great deal. I always emphasize the isolation of variables in the process of problem diagnosis. "Being a good scientist" (hypothesizing, isolating variables to fix problems) has proven to help my students remember what to do to effectively fix problems in their own practice sessions.
I think that one way I can help my students further is to involve them in goal-based practice charts. This way, students can have a visual way to track practice goals, especially if the student has a performance goal outside of practicing for enjoyment (auditions, solo and ensemble, etc.). Additionally, having a goal, in my opinion, is a powerful intrinsic motivator. Emphasizing quality practice time over quantity of practice may also help students feel positive about their practice time, may enhance their attitude about music involvement, and may lead to a greater sense that hard work has a direct relationship to success.
In my horn lessons, eighty percent of our time is spent "practicing practicing." The other twenty percent of the time is spent playing through pieces, etudes, scales, and talking about fundamental techniques (breathing, buzzing, long tones, warm-ups). In the lessons, I diagnose problem spots with the students. When we diagnose the problem, we then break down the difficult technical skills into their constituent components. I always ask my students to give me an air-to-body ratio for the passage being studied (with the understanding that the ratio of air will always be at least 60 percent of the equation). Sometimes, the students will write in ratios of air to body in the music to help them remember how much they need to rely on their air. If they are having trouble with articulation, I have them practice air stream patterns with the tongue interrupting the air stream without the mouthpiece or the horn. If they are having trouble with fingerings, or the cooperation between the fingers and the air, I have them mentally rehearse the fingerings, slowly, with no mouthpiece or horn involvement. I have my students "play" with me (air stream pattern or fingerings) to help with audiation. Using a metronome, I have students bring air patterns, and fingerings up to tempo, gradually add the elements together, then put the horn into the equation. I find that, for the most part, this general process helps my students a great deal. I always emphasize the isolation of variables in the process of problem diagnosis. "Being a good scientist" (hypothesizing, isolating variables to fix problems) has proven to help my students remember what to do to effectively fix problems in their own practice sessions.
I think that one way I can help my students further is to involve them in goal-based practice charts. This way, students can have a visual way to track practice goals, especially if the student has a performance goal outside of practicing for enjoyment (auditions, solo and ensemble, etc.). Additionally, having a goal, in my opinion, is a powerful intrinsic motivator. Emphasizing quality practice time over quantity of practice may also help students feel positive about their practice time, may enhance their attitude about music involvement, and may lead to a greater sense that hard work has a direct relationship to success.
Friday, February 4, 2011
General music techniques in the instrumental classroom
There are a wide variety of techniques in the general music classroom to help students interact with music. In general, a music teacher will emphasize a certain pedagogy (Music Learning Theory, for instance). I think that emphasizing one pedagogy over another is an unnecessary limitation. Effective general music teachers will use every available resource to help their students learn the material. I have observed several very effective teachers in action who combine multiple elements of many pedagogies. The benefits of exposure to various pedagogical methods will help students as they progress musically, especially as they enter a band or orchestra setting.
Breaking a piece of music down into its constituent parts is a central part of any good approach to music learning. This is as true in an instrumental setting as well as a general music setting. In an instrumental setting, however, there are many more elements that need breaking down. A good instrumental music teacher can break these elements down using a variety of approaches that can be found in the general music pedagogies of Orff, Kodaly, Dalcroze, and Music Learning Theory. In reading the article entitled "Bringing General Music Techniques to the Instrumental Class," I found myself realizing that I already teach my horn students using elements taken from many general music pedagogies. I also learned about some new approaches that I can take to continue to help my private horn students progress, and to integrate into my future career as a music educator in the public schools.
A lot of my teaching is based on careful listening and imitation. I have students listen to an aural example of how something should be played (either I play it or we listen to a recording), then we break the skills down into many parts. Typically, the first element I approach is aural awareness. Is the student not "hearing" (audiating)? On the horn, where "having a good ear" is critical, this is an important first step. Once a student is audiating a passage correctly, a student can move on to the physical elements of instrumental technique. To help the student feel the movement of the tongue and lips as air flows by them, I have them do a "wind pattern" with the tongue, lips, and air (imitation--Kodaly and Orff). I play the passage while the student concentrates on just the tongue, lips, and air. This emphasizes both audiation and the connection between mind and body. After I have the student do the wind pattern, I have them do the wind pattern with fingerings, again, while they audiate by listening. Often, after the student has done all three things, in sequence, they will be able to put the elements together onto the horn. Using these active and engaging techniques goes a long way in helping a student "hear" and play the instrument.
All of these techniques, and many more, can be adapted to various aspects of playing any band or orchestra instrument. As an instrumental music educator, being aware of what the students already know (what pedagogy did their General Music teacher use?) will help me adapt instruction to help make learning meaningful for as many students as possible.
Breaking a piece of music down into its constituent parts is a central part of any good approach to music learning. This is as true in an instrumental setting as well as a general music setting. In an instrumental setting, however, there are many more elements that need breaking down. A good instrumental music teacher can break these elements down using a variety of approaches that can be found in the general music pedagogies of Orff, Kodaly, Dalcroze, and Music Learning Theory. In reading the article entitled "Bringing General Music Techniques to the Instrumental Class," I found myself realizing that I already teach my horn students using elements taken from many general music pedagogies. I also learned about some new approaches that I can take to continue to help my private horn students progress, and to integrate into my future career as a music educator in the public schools.
A lot of my teaching is based on careful listening and imitation. I have students listen to an aural example of how something should be played (either I play it or we listen to a recording), then we break the skills down into many parts. Typically, the first element I approach is aural awareness. Is the student not "hearing" (audiating)? On the horn, where "having a good ear" is critical, this is an important first step. Once a student is audiating a passage correctly, a student can move on to the physical elements of instrumental technique. To help the student feel the movement of the tongue and lips as air flows by them, I have them do a "wind pattern" with the tongue, lips, and air (imitation--Kodaly and Orff). I play the passage while the student concentrates on just the tongue, lips, and air. This emphasizes both audiation and the connection between mind and body. After I have the student do the wind pattern, I have them do the wind pattern with fingerings, again, while they audiate by listening. Often, after the student has done all three things, in sequence, they will be able to put the elements together onto the horn. Using these active and engaging techniques goes a long way in helping a student "hear" and play the instrument.
All of these techniques, and many more, can be adapted to various aspects of playing any band or orchestra instrument. As an instrumental music educator, being aware of what the students already know (what pedagogy did their General Music teacher use?) will help me adapt instruction to help make learning meaningful for as many students as possible.
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