Confused

I feel confused about assessment. I'm in the middle of writing my philosophy of assessment. I know what is supposed to be in it, and I realize that the author of our book made a few good points.

I guess I feel confused because even though I know that assessment can be positive and shows that students are learning and all that jazz, I hate the idea of using assessment data as a way of advocating for music education, which is something the author mentions in his first Chapter. I also don't understand why the only forms of assessment some other subject teachers give are tests and graded homeworks and that is ok, but when a music teacher wants to use teacher observation and maybe some quizzes or journal, it might not be enough.

I want to say that I honestly feel that we try to overcompensate to show that music is a "real" subject and that assessment should not be the only indicators that children are learning, but I feel like I can't write that in my paper because it's against a lot of what the author of our book was saying.

I don't know. I guess wish me luck on finishing the paper.

You're gonna love this...

So, this is a classic. Jess forwarded this to me. She got this e mail from her Visual/Performing Arts Supervisor of her district (below). WHAT THE HELL ARE WE TEACHING KIDS? That mediocrity is sufficient? God, help us!

ML

Concert Critique To be used as an Artifact for grading and/or for inclusion in Student NotebookChoose one grade level Potential Critique Questions to ask students

1. What family of instruments is in an orchestra but not a band? Did you see a band or an orchestra in your school concert?

2. What is the name of this person directing a band, orchestra or chorus? Did some students lead the band/orchestra or chorus? Were students reading music in the chorus or were the songs memorized? How could you tell if the lyrics of the song were memorized?

3. Were some of the songs in the concert repertoire in another language? What language were they sung in?

4. What is the name of the person who writes the musical score? Were some of these people listed on the concert program? If so, who were they?

5. What is harmony? Did you hear harmonious singing? Which song had particularly good harmony?

6. Did you recognize the lyrics to some of the songs in the concert? Which songs' lyrics did you recognize?

7. Which song had the greatest amount of dynamics in the concert? Why do you think so?

8. Did the instrumental and/or vocal music teacher explain to the audience what they were going to hear in the concert? Describe what a teacher said about one of the songs in the concert.

9. Did the chorus sing in unison and what does that mean? Did any of the songs in the band/ orchestra or chorus have a soloist?

10. Did the chorus sing and add body movements to match the rhythm of the song? How did the body movements assist you in understanding the lyrics of the songs?

11. Did the band/orchestra or chorus begin and end together? How did you know when a song was over?

Problematic View of the goal of Education

On the very first page of the December 2006 "Better Teaching" publication, there is an article titled "Use Project-Based Learning model." The article is pretty good; it encourages teachers to assign long-term group hands-on projects as the focal point of a unit. However, the first sentence of the article reads, "Give your students the opportunity to master the content and skills they will need in the global marketplace with a lesson inspired by the Project-Based Learning (PBL) model." The source of the article is from the publication "Edutopia," in an article by Bob Pearlman titled "New Skills for a New Century, Project-Based learning teaches kids the collaborative and critical thinking abilities they'll need to compete."

To me, this language is very problematic, and I probably would not have recognized it in September. Why is the notion that the goal of education is to train students to "compete" in the "global marketplace"? This saddens me, and I wonder if this mindset can or will ever change.

Calling on Students in Random Order

Once a month, our principal gives us a copy of the publication called "Better Teaching." I often skim through quickly, but in the December issue, there is an article under "Teaching Tips" called "Call on students in random order." See the article below:

You ask a question. A few hands--the same hands--go up. Research shows you're letting other students off the hook. If students don't think they'll be called on , they can let a class (or two) slide by. Pretty soon, they're falling behind.

The solution? Call on students in random order. Here's how:
-Put all names in a basket (or write them on wooden sticks).
-Pull names out randomly.
-Return the names so no one is ever "off the hook."
-Consider giving students one "free pass" for a question they simply can't answer.

One teacher created a computer program to randomly generate names. Later, she conducted research on student behavior. She learned that students:
-Showed up for classes more prepared.
-Paid more attention to what the teacher was saying.
-Did their homework.

In other words, they did all the things that led to success in class.
________
Source: "Bias-Busting Tech Keeps Students Focused," eSchool News, www.eschoolnews.com.

_______
What do you all think about this? I tend not to call on students who do not raise their hands because I worry about my students' fearing me or my class (think Parker Palmer).
I also find it problematic that this article does not address any pedagogical tools the teacher may use when presenting information or engaging with the students and material in class. I would be interested to see the research that "shows [I'm] letting other students off the hook."

Othering

My previous blog was a reaction to Mandy regarding an authentic performance of Non-Western music. But, in her argument (Mandy… I’m totally not picking on you… you’re just making me think a lot, so THANK YOU!!!), there is a great amount of “othering.” In my previous blog, there is a great amount of “othering.” Why do we have “us’s” and “them’s” and “we’s” and “they’s?”

I believe there is a human need to categorize. I do not know where this comes from, but I’d love to research and find out. It may be the way the brain functions (which I think it is), or it may be a societal issue that we can deal with. I have a feeling that it is a combination of both. If it is a neurobiological phenomena, then is this something that we can help? And, if we stop “othering” (even if it is apple vs. orange or fruit vs. vegetable), how can we learn? Is this something that learning theory should take into account?

Please… your thoughts on an underdeveloped idea!!!

Authenticity

I was reading old posts (partly due to my negligence in keeping up with the blogs, and partly because I think some of them deserve to be read again). I came across a blog by Mandy from 11/13 titled “So, this has been flipping through my mind all week…” It dealt with the authenticity of a performance of a Nigerian carol that symphonic choir and chapel choir are performing at Readings and Carols (read her blog). I started to reply to this as a comment, but I really want to share this with everyone, and I will assume (hopefully erroneously) that most of us do not read past blogs and see if there are any new comments.

Here’s my point: Authenticity should always be up for question when performing music not of the "Western Canon." However, shouldn't we be making the same comments in reference to the authenticity of performances of music in the "Western Canon?"

How can there be a performance of a Bach Passion or Cantata outside of a Lutheran ceremony? Can Josquin des Prez be performed at a recital (as I did)? Can we sing a Schubert song cycle at a recital in Carnegie Hall? All of these are also non-authentic experiences. A Bach Passion or Cantata was written to be performed around the sermon, Josquin was writing strictly for Catholic Masses and services, and Schubert was writing for performance in small gatherings of friends (in fact, this is what makes his music quintessentially Romantic). Why aren’t we “up in arms” about this?

When it comes to “Non-Western” music, or any other music, are we ever going to have an authentic performance? We would need to travel to that country or region and find a performance in order for it to be authentic. And, even then it would not be authentic because there is some “westerner” watching. So, is it ever possible to give an authentic performance of music other than music that is composed for you and your purpose?

This whole thing brings up another issue, so read my next blog.

Women Teaching High School

I had my student teaching interview this morning. My possible co-operating teacher is a middle aged, white, male choral director at a very rich school district. I also met with the vice-principle of the school, who is a middle aged white female. I felt that the interview went well. They did not ask me any questions that I felt were too difficult or that I did not have an answer for. However, throughout the interview, I felt that my every movement was being monitored or judged. My possible co-op then asked me to come back another time and observe a few classes.

About an hour after I got home, I received a call from Prof. Schmidt saying that my possible co-op called and was concerned that I did not want to teach high school. I have no idea where my possible co-op got this impression. Through my practicum experience, I’ve found that I was more comfortable teaching high school students than elementary students. I enjoy making music with high school students more than elementary students. I have never wanted to be a full time elementary school teacher. (Not that there is anything wrong with wanting to teach elementary, I simply don’t feel it’s for me). I was baffled on how he got this impression.

Then I started thinking, I am a young woman being interviewed by an older man. When I am dressing for an interview, I often dress more “off-beat” than professional. It’s my style. I don’t feel I look like me in suits. I realized that my appearance is one of an elementary school teacher. I do not think any parent would have any qualms with leaving their small child with me. However, I am not interested in student teaching in an elementary placement. I have always considered myself a high school teacher. The possibility that I was stereotyped due to my gender, age, and dress makes me furious. If I was a man, I doubt my possible co-op would be concerned with my desire to teach high school.

Fergie and the objectification of women

Last night after class I was flipping channels and came across the "Tyra Show" right as she was introducing Fergie as her guest for the show, which was quite a coincidence since I had no idea who Fergie even was before our class, so I decided to try to stomach watching it. Fergie came out in a skimpy outfit and sang one of the songs from her new album that was almost as vulgar and suggestive as the video from yesterday. The dance was lightly choreographed and it consisted of eight or so men dancing around Fergie as she sang (or mainly chanted) and grinded on them. Meanwhile, the studio audience (which was all female) went crazy screaming and dancing. After the song, Fergie came back out but this time dressed in more conservative street clothes. During the interview she was very well-spoken, obviously educated, and she seemed to have had a very normal, middle-class upbringing (no "growing up on the streets" as suggested in class). In fact, her mother was even in the audience and had brought home movies of Fergie singing and acting as a child. When Tyra asked Fergie what a "London Bridge" was, Fergie blushed and said that she always answers that question vaguely and leaves it up to the listener's imagination.

Never once through the course of the show did anyone mention the negative aspect that her songs might have on women, or society in general (drinking, promiscuity, objectification of women, etc.). Her career was glamorously portrayed and she was even applauded as being a role model for women because of her exercise routine, overcoming her drug addiction, "speaking the truth" in her songs, and her sex appeal. My question is why women in our society enjoy pop music that portrays women merely as sexual objects. Music such as this, and other forms of media, sends the message to women that the most important thing in life is to be appealing to men - which has lead to issues of eating disorders, men objectifying women, underage and excessive drinking, drugs, promiscuity, low self-esteem, STDs, teenage pregnancy, and anti-intellectualism. Perhaps these issues are what should be taught about this type of popular music. By teaching popular music that is degrading and not discussing the social issues present in the song, teachers are in a sense condoning that music. If a student smokes marijuana, the teacher has no obligation to honor marijuana; just because something is "part of their world," doesn't mean that teachers should "honor" it in the classroom.

Censoring Classical Music

We talked a lot about whether or not to "censor" what popular music we may bring into class by skipping songs that may be controversial or by using "clean" versions of songs. I was thinking about how we may or may not censor classical music for use in our music classes as well; for example, last night I briefly brought up my usage of the John Dowland song, "Come Again" in my 6th grade classes. I have used in this song in class, but have never discussed the deeper, controversial meaning behind the lyrics. Am I wrong? Should I not use this song if I don't discuss the deeper meaning? Is it always necessary to discuss social issues surrounding a song?

Clarification

Tonight in class, I felt that I opened up and shared a vulnerable part of my life. However, I felt that my openness was used against me. I have always been aware that I was different because I was not desensitized to violence like the majority of society. I have also never had an interest in popular culture or popular music. I am interested in parts of popular music and culture, but overall, it has not been something I have not been interested in and did not pay attention too. I want to clarify that my parents did not censor anything in my life. I was allowed to listen to any TV show or listen to any music I choose. My parents did not shelter me, which was said in class. I also do not think the class understood what I was saying about popular music in the classroom. I often use popular music to illustrate a musical concept. I often have my students bring in music of their own, which illustrates something they were learning in class. I use popular music as a tool, not a concept. What I meant to express is that I am not comfortable teaching popular music as a concept, such as the topic of rap music. I do not feel that I am qualified to teach rap music as a concept. However, I rarely teach concepts of that type anyway. Tonight, I felt attacked and misunderstood and it made me uncomfortable opening up in class again.

Setting our students up for dissapointment?

For the past few months I have had the pleasure of singing in Master singers for several friends' recitals. While the rehearsals are full of growth and great technique on both the conductor's and the singers parts, I find that the preparation time for this major event in a student's life is far too short. When the class can not provide a large enough or balanced enough ensemble for the conductor, and the conductor must find others who may not be able to make it to these rehearsals, it puts that person in a very difficult spot. When one only has two or three weeks before a performance, missing one rehearsal is missing a lot and some volunteers for these recitals can only make a couple of rehearsals of the five day rehearsal week! I think to hold a conducting student to such high standards under these conditions is to set them up for dissapointment, mostly because they are working so hard to prove themselves. Is this fair to do to our students? How often do we do this in our own classrooms? Telling our students to reach for the stars, but only providing them with a decrepit step ladder?

So, This is been flipping through my mind all week. This week in Symphonic Choir, we're learning Betelehemu, a Nigerian Carol. However, we are learning this music by reading through traditional western notation. We sight sing, we count sing, we pulse. We have lovely, clear, western diction. What's wrong? It doesn't sound like African music. At all. Not only does it not sound authentic, it doesn't sound like anyone cares if it sounds authentic or not, and I think a huge part of the piece is being lost. Today, our conductor came in with a new arrangement of voices on parts to get the piece to sound correct. Having the chords in the correct inversion did help... some. However, the feeling, the meaning behind the music, the history of the piece, the sound and inflection all seem to be missing. I think this is a severe Americanization of an ethnic piece and that we've lost a lot in translation. Let me know what you think. Is it worth doing if we don't do it right?

The Beatles Lesson

In my 7th grade general music classes, we study some 20th century musics. During our "rock n' roll" unit, my husband comes in as a guest speaker to talk about The Beatles, because he has done a lot of research on them and is an "expert". I continue to be amazed at the level of interest the students have during his presentation, and I wonder why the students do not always have that same level of interest in my class, because my husband talks about The Beatles, plays musical examples, and answers questions; it's not as if there is some new pedagogical "method" he is implementing. In fact, I tend not to just stand in front of the class and talk and play musical examples, because I lose a lot of the students that way. So, why when my husband speaks are the students so enthralled? Is it the subject-matter? Is it because it's someone new in the class? Is it because my husband is a Beatles "expert"? How can I create the same level of interest and engagement in every class as he brings in the Beatles class?

The Jargon of Music

In Thomas Regelski's (1996) article, "Musicians, Teachers, and The Social Construction of Reality," he talks about how problematic "specialized" or "institutional language" can be because "it is used as much to keep others out as it is to facilitate communication for insiders" (p. 99). However, I found it interesting that throughout his article, Regelski continually uses plenty of philosophical jargon, thereby excluding much of the population. In almost every paragraph, there was a new word in italics. Later on he writes, "While the paradigm of using foreign words [in music] may have certain advantages for communication in an increasingly international music world, students do not have to be taught jargon in order to induce musical learning" (p. 99). So, what is the purpose of using the italicized philosophical jargon?

More on Gender Roles

Last Tuesday in Curriculum, Joe Abramo visited class and gave the presentation he gave at the Teacher’s College Conference a few months ago. Joe Abramo’s presentation was a study of gender roles in middle school rock bands. Seeing the presentation a second time caused continued thought on the role of gender in the music classroom. The music classroom is one of the only classrooms where gender distinctions are prominent. In the choir we separate the students by gender and are constantly looking for boys to sing in the choir. There is no other subject in school, with possibly the exception of drama, where the teacher is often looking for boys to be in their class. How do the girls feel about being the majority in the class? Does it make them feel expendable? How do boys feel about always been recruited in a subject that is considered “girly”? I’ve realized, after the presentation, that gender issues are such prominent issues in the music class that they have to be addressed.

Interest in Popular Culture

Throughout the week, my group and I have been working on a project on popular music and popular culture in the classroom. The reason I chose popular music as my topic is because I know very little about popular music and do not know how to incorporate it into the classroom. However, I’ve realized through the week that I know next to nothing about popular music and popular culture. I’ve also realized that I don’t feel bad about that. I do not have a great interest in popular culture. I do not listen to the radio, watch TV, or watch movies that are not independent films. I don’t have any desire to do any of those things. However, my students will most likely have an interest in popular culture. Does my lack of interest in popular culture limit my abilities as a teacher? Should I be worried about learning and teaching popular culture even though I don’t have an interest?

Here I go again...

Twice yesterday I was silently told that my classes are not important. I had a 5th grade general music class come to my class 10 minutes late, with 5 students who were 20 minutes late with no pass. The majority of the students who came 10 minutes late let me know that the other students were in their science cycle class (the cycle ended last week) giving a presentation (the students were absent the day they were supposed to give the presentation). Of all the class periods in the day, music's period was chosen as expendible, and the science teacher didn't even send a note of explanation! Second, I had some of my choir students come to me to let me know that their class Halloween party would be taking place during chorus time, so they would be absent from choir. Since I rehearse 2 classes at a time (approximately 10 students from each class are involved), half of my class missed the rehearsal. Their classroom teacher did not check with me beforehand; she assumed it would be okay because what could we possibly do in chorus that is important, especially compared to science or math.

I am used to feeling as if what I do is secondary to the "basic" subjects, but as a result of reflecting on yesterday's events, I began to wonder if my actions or inactions in my music classroom have ever caused my students to feel unimportant or irrelevant, just as I felt yesterday.