MUCE306Pilnick

musiceducationadventure:

FACT
this is what is messed up in the world 

i posted this a while back on my other ed blog and I never realized it said michigan…but besides the fact it is still crazy. and I just got a job in this state…


just some perspective

musiceducationadventure:

FACT

this is what is messed up in the world 

i posted this a while back on my other ed blog and I never realized it said michigan…but besides the fact it is still crazy. and I just got a job in this state…

just some perspective

Culture

  1. This week we talked about culture in the classroom and how to teach it to our students. I think that it is important to teach culture to our students so that they can develop ideas about what people are doing musically in other places. It is nice to be reminded and aware of what is happening outside our personal communities. 
  2. Each culture has specific music that they incorporate it into their daily lives. What music do we use in our cultures daily? How does music effect our cultures and how do other people’s culture mix in with ours? These are some generative questions that we can ask our students daily.
  3. I think everyone should incorporate some culture learning in their classrooms and rehearsals because the music outside ours is rich and amazing. I think that it is important to reach out with band, orchestra and vocal rep to other cultures and languages. 

Blog 4/20

This week my group presented our K-12 curriculum project to the class. Our project was based on getting our students to know the most out of music emotionally, whether that be with dance, composition, drawing, analysis (predominantly nontraditional) and technology. We thought that by using these methods with our students, we would be able to get them to get the most emotion from music possible.

         Music is filled with emotion. The reason why people play and create music is to express emotions that words cannot describe. This project as a whole was interesting because it got us to think about curriculum for the first time. I think that as students, curriculums are something that we normally haven’t had to think about. This was the first time that we need to think like real teachers.

         I think this totally changes our idea about curriculum predominantly because we are now in charge to create our own curriculums. It finally puts us in the driver seat to having an experience to create a curriculum before we enter practicum and student teaching. I think that it is an important skill to have and something that will take time to perfect.

         I think I could easily adapt anyone of our projects into the classroom. I think they are very easy to adapt once you know your school and your children. I think that doing this project is very hard without knowing your students but I think when you know this in context of the classroom, the projects can be adapted to be even more successful.

           

Blogging about technology in the classroom

Choose a topic (idea, quotes, something) from class reading or discussion. Write down the idea and briefly describe it. 1 paragraph
Restate and respond to the following three questions: 
1. How does this idea change your current thinking about music education? 1 paragraph
2. How does this idea influence your thinking about curriculum, teaching/learning, and/or assessment? 1 paragraph
3. In two years you will be in charge of a classroom, what will this idea mean in a classroom context? 1 paragraph

Technology in the classroom is a great addition to designing curriculum and lessons plans. I think that it is easy to subsititute quality teaching and learning by just saying, “Hey, lets do the same boring thing on technology.” That would be unfair to both ourselves and our students. I think that as people who have been growing up in this technological age, we can make logical decisions on how to effectively use technology in the classroom. 
I think that this does a lot to change how we think about music education because it can easily change the dynamic about how we teach. Instead of being boring people who lecture about music fundamentals or running rehearsals or lessons by telling our students what to do, we can try and use technology to enhance the material. We should be excited to teach our students and we should try and get our students to be just as excited about music as we are. By using technology, you can get students into their comfort zones to be willing and able to learn. 
Technology in my opinion should influence each and everyone’s way of teaching. I am not saying that I think we should completely scrap traditional ways of teaching, but that we should base our lessons and curriculums around technology. It is ok for a week to not use any technology. Yes I said it. It is ok for a week to not use any technology. As educators we should not be dependent on the technology and our lessons and rehearsals should still be fun without the technology as it is with it. 
In two years or so I could easily see myself teaching my K-12 curriculum project, in which I ultilize technology in units. I think it is also important to see how comfortable your students are with technology before flooding them with it. It may even be that your students are more savy with it than you are, and you can even learn something from your students! I think that it is important to be able to flexible in your lessons with using technology. 

Blog 3/23

My group for the K-12 curriculum project is focusing on all the emotions in music, and how we can get our students to understand it, explain it, and create it in different settings. We think that music is all about portraying emotions, thoughts and scenes through sound in all aspects of mixed media and obviously music. I think that it is very important to music education because it is why we all do music; the emotional response that we get from the music that we make. As advanced musicians and teachers, we have already experienced the power of music, and we want to teach to be able to give that gift to our students. 

I want my students to be responsible for their learning and especially how they hear and feel emotion in music. We talk all the time in MTL about student centered learning and classrooms and i think it would be incredibly ironic if we taught emotion by telling out students, this is what major and minor sounds like; major is happy and minor is sad, blah blah blah. That would defeat the purpose of this class and teaching. I want my students, with or without any theortical music knowledge, to hear music and tell me what they think and what is happening. I think a lot of time we overthink music with all the theory that we have been taught, and forget to just stop and think logically about what is happening. Before we drive our students crazy with music theory, I want them to be able to sit back and just say and do what they think the music is doing.

 

This can do wonders in the classroom because it will keep our students actively thinking about how music affects them. Like I have said, music is all around us. Well I pose these questions, how does the music you hear in your daily life effect the event that is happening? Why is it even there in the first place? And what would happen if someone changed the music? These are all things that I want to pose to my students to make them start thinking about music from a large point of view. 

The Four Commonplaces

 

This week we watched an interesting video on using the four commonplaces in the classroom. It was an interesting video in which we observed a teacher in the wild, actually teaching real students and students actually learning. I got a good idea of how to approach the four commonplaces through structure/expression and music as cultural expression.

         This idea proves that at least someone is doing something right in the classroom. Though there may have been some bias in the video because a music publishing company and not a candid camera situation put it out, I did find that the teacher provided a safe learning environment. She placed foreign contexts into ideas that students could understand, she served as a model for her students and presented the material and broke it down appropriately to further have her students understand the content.

         The way the teacher taught both of her classes, K and 1-2 I thought was extremely appropriate. She went into each situation with a different mind set and a different approach, but an approach that was appropriate to the situation at hand. What I also thought was interesting was that she was not afraid to branch out and get other teachers and professionals involved. In her 1-2 class, they were learning about Stravinsky and the Firebird Suite, and instead of just learning about the ballet, the students staged their own adaption’s of the ballet, worked in art class to create physical art adaptations of the music (which was being played in the classroom as the students worked) and she brought in a ballerina who had danced the suite. The students touched on all aspects of learning: visual, kinesthetic and theoretical. Here all the different types of learners learned.

         When I am in a classroom, this will help provide me with ideas that learning can and have to be done non-traditionally. Students and people today and wired and are used to instant information and action, so why aren’t we providing students classroom where can be a productive as possible their way, not the way of mine or my parents generation. We as educators need to keep on our toes about teaching and learning, and adapt to our classrooms and curriculums. 

Music in the School Culture

This week I am going to blog and comment on the reading that we had to do for today 3/2 on “Studying the Place for Context”. In the chapter it discussed how culture effects how a school works, how the appearance, design, age, size and community influences the music education department and the whole school.

         In the chapter there is a quote by Elliot Eisner who stated that “experience is central to growth because experience is the medium of education.” How can your school’s mean age of students effect this concept? How can your school’s mean age of teachers and faculty affect this concept? How can the environment of your student’s home life affect the way that they learn in your classroom? The age of your students affects what musical experiences they have witnessed. The age of your faculty affects how much musical and teaching experience they have. All these factors (a lot of other ones) also affect this.

         This can help to change my thinking about curriculum and teaching and learning. We need to know the  experiences of the students in knowing where to start teaching, and where we need to head. Without knowing the experiences of the students, we cannot create and plan worthwhile lessons that will help create residue for our students. Experiences can also be affected by the students’ culture; what music is traditional in their family lives, how does it relate to the music they listen to on their own, how does their culture relate to the information that they are learning in our classrooms?
         In my classroom, this will mean actively asking my students how this relates to anything they have done at home. It will also mean studying the school I am working in to see what direction the community and administration wants to take the music program in. Barresi and Albrecht commented that any teacher who wants to make a change in their classrooms “must first determine and asses the kinds of community organizational structures in operation”. By doing this, I know that whatever I want to do to actively change my curriculum and program will help my students.

         

Taking Some Initiative

This week, Crane alumni and Weedsport Music Industry teacher Brian Franco came to talk to our class about his music industry class and how it related to MTL and saving his job. Brian works in Weedsport, a town west of Syracuse New York where he was teaching the generic “Music in our Lives” course, something that he went to discover was not true. The music of Bach, Beethoven, Brahms, etc is not the music of our students lives, especially students who are not music major interested. So Brian took the initiative to create a class that would be more geared towards students taking his class.

         Brian’s music industry class is what needs to happen in the “Music in our lives” class. Brain noticed that teaching random facts about music from 200 years ago was not relevant to what the students needed and wanted to learn. His music in our lives class was basically a lecture where students just did it to do it. Now, with his music industry class, he has to turn students away because it is so popular. Now, students who never thought that they could do music in school, are now making music in school!

         This proves to me that with some courage, imagination and dedication, you can turn something boring, into something extremely successful and popular. As a teacher, if you notice that something in your curriculum is not working and/or is not successful, you should be the change and DO SOMETHING ABOUT IT. Too many times teachers complain about how boring a curriculum is, but decide that it is not their job or in their contract to change it. Well just do it anyway. If you don’t do anything about, than STOP COMPLAINING ABOUT IT.

            In two years, this class could potentially be outdated. Music is ever changing and the music we listen to and appreciate is going to change, so it would behoove us as educators to take some initiative to do what is right for our students. In my classroom, I want to do things that will keep my students engaged, interested, and a hunger to want to learn and do music. 

No Student Left Untested

musiceducationadventure:

the more I read about it, the more angry I get about it. if you are a music education major, or any type of ed major, you need to read this and be aware of what is happening. it effects everyone!

spring2012mtl:

Studying the Commonplaces of School - Focus on Subject Matter and Learner

spring2012mtl:

Studying the Commonplaces of School - Focus on Subject Matter and Learner

spring2012mtl:

Schooling for Live - Reclaiming the Essence of Learning

spring2012mtl:

Schooling for Live - Reclaiming the Essence of Learning

TEACHER’S DIARY Students Learn Differently. So Why Test Them All the Same?

Arthur Goldstein 

We teachers have been hearing for years about “differentiated instruction.” It makes sense to treat individuals differently, and to adapt communication toward what works for them. Some kids you can joke with, and some you cannot. Some need more explanation, while others need little or none. If you consider students as individuals (and especially if you have a reasonable class size), you can better meet their needs.

Considering that, it’s remarkable that the impending Core Curriculum fails to differentiate between native-born American students and English language learners. The fact is, it takes time to learn a language, and while my kids are doing that, they may indeed miss reading Ethan Frome.

Is that really the end of the world?

Before Common Core, our standard was the ever-evolving New York State English Regents exam. Anyone who doesn’t pass the test doesn’t graduate, period. So when my supervisor asks me to train kids to pass it, I do.

The last time I taught it, the Regents exam entailed various multiple choice questions and four essays. I trained kids to write tightly structured, highly formulaic four-paragraph essays (in a style I would never use).

Nonetheless, many of them passed. Kids told one another, “You should take that class. It’s awful, but you’ll pass the exam.”

Regrettably, though the kids worked very hard, writing almost until their hands fell off, the only skill they acquired was passing the English Regents.

Because the exam placed more emphasis on communication than structure, I did not stress structure. I had classes of up to 34, and had to read and comment on everything every kid wrote, so time was limited.

Still, I knew that when my kids went to college, they would have to take writing tests — tests which would almost inevitably label them as E.S.L. students, and place them in remedial classes.

I’ve taught those very classes at Nassau Community College. Students pay for six credit hours and receive zero credits. It seems like a very costly way to learn (particularly since I would happily offer high school kids identical preparation for free). But when your student came from Korea five days ago and needs to graduate in less than a year, you make that kid pass the test.

Still, passing does not constitute mastery. It takes years to learn a language, and that time frame varies wildly by individual.

A kid who’s happy here will embrace the language and master it rapidly, while one who has been dragged kicking and screaming may fold his arms and refuse to learn a thing.

Some kids have been trained all their lives to be quiet in the classroom, and will not speak above a whisper — not the best trait in a language learner.

I’m prepared to deal with all these kids, and ready and willing to do whatever necessary to help them. But if I’m compelled to teach them Shakespeare before they’re ready for SpongeBob, I’m not meeting their needs.

There’s no doubt my students will be more college-ready with a strong background in English structure and usage, something relatively automatic for native speakers. In fact, the language skills my kids have in their first languages will almost inevitably transfer into English.

But depriving them of the time and instruction they need is not, by any means, putting “Children First.” Children are not widgets, and not only teachers, but also educational leaders and test designers, need to differentiate.

Of course my kids can be assessed. But expecting the same thing from them and kids who have been speaking English all their lives is ludicrous.

Simply put, there is no true differentiation until and unless assessments are differentiated as well. If anyone up there in Albany really wants to know what English language learners need, ask me anytime.

Arthur Goldstein is an E.S.L. teacher and United Federation of Teachers chapter leader at Francis Lewis High School in Queens.

Fighting Poverty, Armed With Violins By DANIEL J. WAKIN

CARACAS, Venezuela — Corrugated tin roofs, ramshackle cinder-block huts, labyrinthine streets caked with garbage and rubble, the possibility of random violence at any turn. And this section of the Sarría barrio is not even bad for Caracas.

But Sarría also plays host to a center of El Sistema, Venezuela’s program of social uplift through classical music. So just across the street from such blighted scenes young children with violins and French horns and trumpets filled the spaces of an elementary school on Tuesday.

A brass ensemble barked in a corridor open to the Caribbean air. A percussion group rumbled in a dirt courtyard nearby. In a classroom newly hatched violinists played a G major scale and simple Venezuelan tunes after a week of learning. At least two choirs were rehearsing.

The contrast was stark but also typical of El Sistema, which was founded in 1975 but became widely known only in the last five years thanks in part to the meteoric rise of its most famous product, the conductor Gustavo Dudamel. Mr. Dudamel, 31, became music director of the Los Angeles Philharmonic in 2009 and is now in Caracas with his orchestra for a cycle of the Mahler symphonies.

“It’s my goal to keep going, so I can be a great musician,” said Emily Castañeda, 10, who began playing French horn two weeks ago and was producing honorable sounds during a lesson. Or, added Emily, whose mother is a cleaning woman and who does not know her father, she might become a doctor.

El Sistema’s aim is to address a depressingly universal problem: how to remove children from poverty’s snares, like drugs, crime, gangs and desperation. The method, imagined by El Sistema’s founder, the economist and trained musician José Antonio Abreu, was classical music. Orchestras and music training centers around the country were established to occupy young people with music study and to instill values that can come from playing in ensembles: a sense of community, commitment and self-worth.

With nearly one-third of Venezuela’s population of 29 million under 14, the need is large.

Since the program’s founding, El Sistema estimates that it reaches 310,000 children in 280 teaching locations, called núcleos, said Eduardo Méndez, the executive director. About 500 orchestras and other ensembles, from preschool groups using paper cutouts of instruments to the world-class Simón Bolívar Symphony Orchestra, fall under El Sistema’s umbrella. Mr. Abreu has said his goal is to reach 500,000 children by 2015.

The program has become the envy of the music world, inspiring similar programs in many countries and attracting influential proponents like the conductors Claudio Abbado and Simon Rattle. It has prompted a number of books and documentaries, countless news reports and a steady flow of musicians and educators tramping through showcase núcleos.

The attention has made Sistema officials adept at playing host to visitors, who receive a warm but fairly controlled welcome, which is usually necessary in dangerous areas. These officials and Sistema fans speak in near mystical terms of Mr. Abreu and his program’s results.

The populist government of Hugo Chávez is also happy with the program, pouring 540 million bolivars, about $64 million, a year into it. Foundations and donors add various amounts each year as well as gifts of instruments.

The Sarria núcleo, on the city’s northern edge, is housed in a prekindergarten-through-sixth-grade school of 1,200. In an arrangement with the government it offers after-school activities from 2 to 6 p.m. for 600 children.

Sarria embodies many of the principles that seem to make El Sistema so successful. All instruction and instruments are free. No child is turned away, teaching is done in groups, and many of the instructors have passed through El Sistema themselves (and are thus committed to the movement). Public performance is ingrained from the beginning. The núcleo is within walking distance of the students’ homes.

All performers are given medallions that have the image of a violin on one side and the motto “Tocar y Luchar,” “To Play and to Fight,” on the other.

“From the time they start playing and performing for others, they feel they are proud of what they are doing,” Mr. Méndez said.

The Sarria orchestra was in the final throes of rehearsing for a concert this week. The núcleo’s director, Alejandro Muñoz, 32, was conducting. He is a stern figure who had already assigned some timeouts to talkative members. They were playing Handel’s “Water Music” and “Alma Llanera,” considered an unofficial Venezuelan anthem that every Sistema orchestra player learns.

“The main thing in our núcleos is the quality,” Mr. Méndez said. “We teach them with the best quality possible.”

Mr. Muñoz, a violinist, was himself born in a barrio and passed through a núcleo. “My mother thought it would be a safe place,” he said. He was identified as a conducting prospect and sent to a conservatory.

At Sarria the beginning violin teacher was Ismenia Molina, 51, who was one of the earliest members of the first Sistema orchestra, giving her the aura of a founder. She has been with El Sistema for 33 of her 51 years.

El Sistema also has choirs and programs to teach instrument-making and repair.

Things don’t always run smoothly in the program. Tensions sometimes arise between Sistema officials and the administrators of the buildings they use. The program’s growth sometimes outpaces the supply of teachers and instruments. Parents don’t always cooperate in getting children to rehearsals or lessons. Instruments are stolen in this crime-ridden country.

One fact sometimes overlooked is that Sistema is also open to people from middle-class or upper-middle-class families.

The Sarría núcleo’s founder, for instance, Rafael Elster, had a privileged upbringing. Mr. Abreu assigned him to set up the núcleo in 1999, and he spent 10 years there, suffering several armed robberies and the cleaning out of his house.

The majority of Sistema children do not go on to musical careers, but many come back and work for El Sistema anyway. Mr. Méndez, for instance, is a lawyer.

“Once you get touched by El Sistema,” he said, “you will never leave El Sistema.”

http://www.nytimes.com/2012/02/16/arts/music/el-sistema-venezuelas-plan-to-help-children-through-music.html?_r=1&ref=arts

Classroom commonplaces and how it can affect music classrooms

            Curriculum work should be rooted in practical inquiry by those directly involved in teaching and learning (Schwab).

Like in a lot of the other readings and discussions that we have had so far in MTL, curriculum and lessons should be based on the knowledge our students currently possess and wish to posses once they are not in your class anymore. This should make us teachers curious and inquisitive about what we do in the classroom to help progress this style of teaching and learning, learning what to do to make our classrooms and styles of teaching more effective and progressive to our students.

          Music is a constantly changing thing. People are constantly changing. They way we teach music is constantly changing to properly reach the people that we need to teach. We need to be flexible and aware that the world is quickly changing and evolving and so should the way we teach music. We should take the ideas that we are learning in our time here at Crane and adapt them once we get into the real world. We should adapt our plans to the needs of our students, not the needs of ourselves.

            This topic completely influences my thinking on curriculum and teaching because it addresses problems that may arise in the classroom. Such an idea on this is to seek first and be cautious about jumping to conclusions. Like we have been discussing, we do not know the musical backgrounds of our students, so we need to actively ask and be aware of their backgrounds and individually address each class to themselves, not to a standard or from one class to other class. Another thing we all need to work on is distinguishing the triial from significant in the classroom. We need to teach what is significant and important and can further progress their knowledge in music.

                       In a classroom context, this means addressing basic topics, and not assuming that because they were supposed to learn something the year before means that they actually learned the material OR even remember can still process the information. Review of topics is always a good way to get a base of where you can start from before leaping. It may be benefical to take a class period to review than to assume and move on, and students are confused and just going with it for the sake of just moving along. We always need to  be aware of this.