Final Reflectioon

When we were given instructions for our final teaching assignment, Professor Schneider told us to consider changing our lesson, and doing something daring.  It may succeed, or go down in flames.  My lesson was a  mixed bag, for although the lesson was an engaging one, my choice of technology created problems that made the lesson less effective than it could have been.

Using my laptop with an outdated operating system, Windows 8, meant that it would not be compatible with newe technology.  That, in itself is a take-away for me.  I have been in the process of upgrading my technology and a new laptop is definitely on that list, but it is imperative to have the latest technology whenever you are teaching with technology in an untested environment.  My Powerpoint program worked fine at home, but in the UB classroom environment, anything that could go wrong . . . did. My technical difficulties threw me off, and I am sure made it difficult for my "students" as well.

My lesson focused on the musical style of Woodie Guthrie,  his influences and his influencers.  I wanted to focus on the NAfME standard of having students respond to the music and use concept words to describe what they heard.  Students were given cards with words such as "acoustic instrument," "humor," and "storytelling" to describe the songs that they heard.  The discussions then revolved around why they chose the words they did and how they related to the music. The students, despite the technology setback, were engaged in the lesson.  We did not have time to go through all of the listening examples.  Professor Schneider's comment afterwards suggested that students also explain why certain cards were not chosen.  I thought that was a great suggestion that would have extended the learning into a wider discussion of Folk music and its elements.  

In life, there are often no do-overs.  If I had to choose one, I would have like to do this assignment over.  But, in the end, I think the essence of the lesson was there, and even though the technology affected the overall delivery of the lesson, I think it did illustrate what could happen when technology interfaces with other technology.  It must be compatible, and ideally figured out beforehand.

My Thoughts on Rubrics

Many professionals dislike rubrics. When considering individual abilities, gifts and talents, I agree that a cookie-cutter approach to assessment may not be optimal. I still see value in the rubric as a guide to assessment, especially where nothing is in place to evaluate student performance, or the teacher leans too much into the realm of subjectivity.

 Two sayings come to mind when I consider rubrics. One, don't throw out the baby with the bathwater. Rubrics can be excellent for determining minimal to average standard assessments, to be sure. Second, if we look at any subjective endeavor as an "art," it becomes clear that assessments can fall into that category, especially in music and other performing arts. This brings me to my second saying: learn through rules and then break them. Rubrics are a guide. Is there a way to infuse some flexibility in them? I guess that defeats the purpose of rubrics; however, as Alfie Kohn notes in his article, The Trouble With Rubrics, they can be useful in the early stages of assessing a new lesson or program.  They do set parameters.  But leaning on them can make lazy teacher assessments.  I shudder to think that a teacher would share the rubric with the student, especially if some students would be motivated to conform strictly to the rubric and not go beyond their capabilities.

As we strive to see our students as individuals deserving of instruction that meets their learning styles and needs, we should also strive to assess their abilities and performance in a way that celebrates their individual achievements. Rubrics are a part of that endeavor, but they should not be the goal.

Fostering a Love of Music with "El Sistema"

 A movie that I would definitely show my students is Crecendo, The Power of Music. The documentary shows a remarkable afterschool program for transforming disadvantaged students into musicians.  El Sistema was started in the slums of Caracas, Venezuela and has become a global movement in social justice, providing music education under the philosophy that music unites, helps create better citizens, and makes the world a better place.

This movie is inspiring to me, and I had to consider that what inspires me may not hold the interest of my students.  However, I think the fact that the documentary's focus is on three young people and their musical journeys will interest students.  There is so much music in the documentary including students taking lessons and full orchestras performing that I think students will be inspired to see others their own ages learning music and enjoying the experience and explaining what playing music means to them.

Crecendo is a wonderful documentary that reminds me of how unifying music is and how much more we can all do to make sure that every child who wants to make music should be afforded the opportunity, regardless of social class.

Building Your Audience

Earl MacDonald 's take on building an audience was interesting. I imagine that your audience will depend on what music you are performing and how many members are in your performing group.

Changing venues to include spaces such as bookstores and even shopping malls can increase exposure.  Getting teaching colleagues on board with getting their students to attend concerts (and writing about it) for extra credit can add a few new faces, but I think audiences must be developed over time. Also there is a reality factor that must be considered. Each type of performing group probably has a quantitative equilibrium.  Some concerts will see larger audiences, some smaller, but it is important to know your core group of followers and be realistic as to how much you can grow an audience.

Offering a Senior's matinee is a suggestion; many seniors look for inexpensive afternoon entertainment and this can build a loyal following.

Short of mandating parents to attend, building an audience is a challenge, but social media is another tool, that can help grow an audience.

School Concerts and Performances: A Reflection

Last weekend, I attended a performance of West Have High School's Theater Workshop's production of 'Annie'.  I also attended CMEA on Friday and observed Prof. Schneider warming up the Seymour High School's a capella group for their honors performance at the convention.

I was not going to include the West Haven High play in my blog, but I decided on the merit that given the pit orchestra was the largest that I have seen in recent years, and made up of high School band members and an alumnus or two, they deserved a spot in my discussion. My main reflection on West Haven High School is that it takes time to build a music program, but with time and collaboration -minded colleagues and students, miracles can occur. The pit for 'Annie' consisted of about 13 musicians, Mostly students from the band program with a few exceptions.  In the past the pit consisted of a pianist, one violin, rhythm section, s n possibly someone doubling on flute and sax. This time there was a rhythm section, including a percussionist,  two violins and a cello, flutes clarinet, two saxophones and keyboard.

The good thing about having interested band students is you save money not having to hire professionals.  The band was good, although they did seem to drown out the singers in a few numbers.  It was inspiring to see growth in a music orogram.

At CMEA, I observed Prof. Schneider warming up his group. Being at the place of the performance, it was interesting to watch his routine.  The 13 members gathered around the piano for vocalizations and sang the first few bars of each number. Then they took their places on stage and sang one song, not entirely,  but a few minutes worth. I liked how encouraging the director was. He told them that they sounded great.  Not very loudly, but just enough for them to hear.  I stayed for their first selection. 'Ave Maria', a modern arrangement that reminded me of the style of Aaron Copeland. The a capella chorus was very good and they seemed excited to be there.  My understanding is that students must audition for this group. The certainly were very accomplished. Another thing I noticed about the chorus is that while waiting for their performance to begin, they were listening to the other choirs warming up, and they were enjoying the experience.  I thought that showed maturity, and their ability to enjoy the music of others in that setting.

Watching student rehearsals and performances is a good way to learn a bit of the craft of being a BOJC director.

Financing the BOJC Program

In a perfect world, our music programs would be funded with our school budgets.  Anyone who has graduated from such a program, or a parent having a child in a music program, can attest to having the task of fundraising each year for the music program.  As a parent with an already strained household budget, I complained more than I care to admit when it came to yet another fundraiser while my daughter was in school.  But comply I did, because in my value system, arts education is very important.

I would find it very awkward if the administration's attitude, upon noting how helpful parents can be at contributing financially to the music ;program, is that we can fund the program that way.  It is a fine line that we walk.  I support targeted fundraising that is focused on an enrichment that is simply not in the school budget. I would not fundraise for school instruments, for example.  I would be open to soliciting donations of instruments, hardware, software, etc. that would enhance the music program, however.  In tough economic times, I cannot say "no" to any donation, even if there is a risk that administration will expect the same every year.  I can see that fundraising and the music budget will be an ongoing issue.

Critique on article: "Creating Musical Flexibility through the Ensemble"

I appreciate the efforts of our Secondary Methods professor, author and music educator Brandt Schneider, to encourage us to create musicians through the school ensemble experience.  As a product of a school system that "feed" students through the school levels, from the elementary grades through high school, it is still easy to find students at the college level lacking necessary skills in sight reading and music theory.

By establishing musical discipline, it is possible to have students learn to transpose music, and be familiar with all 12 keys.  How many times have I groaned when I looked at a composition written in five flats until I started playing and transposing to all keys?  At the very least, early exposure to music theory, and incorporating practical exercises for just a few minutes of each class will eliminate anxiety when students are presented with a music challenge during the course of their budding musical careers.

It is especially important to incorporate theory into a program that does not have a formal class.  As a music educator, I find myself looking ahead when I think of teaching.  What benefit my students when they reach the next level?  How can I prepare them now?

I am still not sure how I feel about student composing at the elementary and secondary levels.  I tend to look at composing as a higher level skill.  However, I think that there are many opportunities for students to arrange music in their ensembles.  Especially when it comes to selecting their "fun" pieces.  I remember asking my junior high music teacher to let us play Barry White's "Love's Theme" back in the day.  (Barry White made playing strings cool!) He asked me to bring in the record, and away we went.  His arrangement, I thought, was not as soulful as the record, but looking back, I would have loved to help him arrange the song.  I can't help but think how I could have made the arrangement better.  (or at least sound more like the record!) But, hindsight is 20/20 as they say.  As a teacher, you know the  abilities of all of your students.  I would have liked just knowing why he made the choices he did.  So, yes, I believe that students and the teacher should collaborate on arrangements as soon as there is an interest expressed.

I agree that there is such an overarching emphasis on performing in ensembles.  If there is a separate music theory class available, then that is ideal, but mostly that will not be the case.  Ensemble teachers should be ready to develop their instrumentalists into well-rounded musicians.

Technology in the Music Classroom

Urban high school digital music recording classroom.

Technology in the classroom has been around for a long time.  Once upon a time, a television set was considered technology.  Then, VHS tapes and players came along.  Technology has come a long way.  It now includes computers, overhead projectors, the Internet, DAW, and numerous apps and devices.

Elementary music classroom in need of updating.

The prime considerations is purpose.  Will the technology be self-contained or is there a desire to interface with other content areas?  Is future collaboration an objective to address down the road?  Most music classrooms use technology in a self-contained way, but is is interesting to think of ways to collaborate across the disciplines.  Language Arts classes where students use laptops to access Google Docs is a great place for a music-ELA partnership.

Technology need not be big to be useful.
Microphone/recorder found on high school band director's desk.

At the very least, all music classrooms should have at the very least, one computer where the teacher has access to the Internet.  A projector and screen is an ideal addition to that setup.  There are many options when it comes to speakers.  A good system that can play CDs and tapes is great. I know one teacher who uses small speakers on a low volume with her computer set-up so that students have to be quiet to listen.

K-8 music classroom. Computer with internet access, projector, and screen.

For example, NAfME music education standards for eighth grade state: " MU:Cr1.1.8a: Generate rhythmic, melodic and harmonic phrases and harmonic accompaniments within expanded forms (including introductions, transitions, and codas) that convey expressive intent."

High school music lab.  Carbon49 MIDI conotrollers and iPads/w Garageband.

Can technology be incorporated to attain those standards?  The answer, of course is an emphatic, "Yes!" Can these standards be reached without technology?  Again, the answer is yes.  However, technology in the music classroom is very attainable.  As technology improves, size and cost decrease.  In order to avoid acquiring technology for its own sake, the purpose must be  considered. Can the objectives be reached with a single computer workstation, or are several laptops or ipads needed?  Will you need a recording tech for an advanced high school course in DAW?  Perhaps there is a knowledgeable student who can fit the bill, thereby relieving the teacher of having to learn everything. I have found many useful articles on the Internet that suggest ways to incorporate technology in the music classroom.  Here are a few:

• Four Ways Technology can Make your Music Lessons Sing
• How Technology is Being Used in Music Classrooms
• Technology in the Music Classroom

AsI have subbed in various music classroom environments, I have documented the technology (or lack thereof!).  I have included of those photographs illustrating music classroom technology both big and small.

About My Teaching Philosophy: Reflections on Booneshaft

As I learn the art (and science) of teaching formally, I find that I agree with much of the insights of Peter Booneshaft in his book Teaching Music with Purpose. In particular, I relate to his discussion on the powerful personality in a very personal way:

Booneshaft's discussion of the powerful personality is one that causes me to think about the most memorable of my own music teachers.  I am reminded of D. Jack Moses, a choir conductor at the HBCU that I spent my freshman college year attending.  It was in D. Jack's choir (that I reluctantly joined because there was not an orchestra as I had expected) that I learned about the rich history of the Negro Spiritual, and of the legacy of the Fisk Jubilee Singers.  We learned the nuances of proper pronunciation and how to move an audience emotionally.  I also learned that the organist kept making goo-goo eyes at the tenor section (because one day, D.Jack suddenly turned the organ around 180 degrees -  with the organist still seated at it),  and that we were absolutely not to join the school protests that were raging on campus at the time (because D. Jack was personal friends with the embattled college president).  I learned how one can be gifted with talent and throw it away (when one of our basses sang O Holy Night, it could make the devil cry, but he was an alcoholic. D. Jack hated that so much but never kicked him out of the choir).  Once D. Jack's hair turned green from a bad hair-dye job, and upon entering the choir room that day simply roared, "No one say a word!"  We all knew what had happened, but we did not say a word about his hair.

D. Jack knew that I played the cello, and his entire countenance would glow when he told me how much he loved the cello solo in Saint Saens' The Swan. He would often put me on a pedestal before the other students because of the classical training in music that I had and that they for the most part lacked, but I believe he did it to make then aware of the reality that there was nothing wrong about being black and being interested in classical music.

Yes, I not only learned about music that year, I learned about life.  And it was D. Jack who delivered those lessons. D. Jack Moses had fiery, passionate presence that you ignored at your peril. In all of his madness, he brought out the best in us, and even though years later I found out that he faked his diploma from Julliard and was forced to resign in disgrace, I will never forget the man or his passion for the music.

My teaching philosophy:

• Lifelong learning
• Spoonfeed only for a short time
• Remember why we do this (we love it)
• Speak softly to draw them in

Ten Minute Lesson on Woody Guthrie: A Reflection

I was less nervous doing this lesson than I was for my assignment of teaching the trumpet. Still, I cannot say I was fully confident in my ability to deliver the best 10 minutes of my lesson.  The reason is not the obvious, i.e., not being comfortable with the material, but rather the opposite - I had difficulty deciding what my 10 minutes should focus on.  While I had heard of Woody Guthrie and learned the song This Land Is Your Land as a child, I did not know that Guthrie wrote the song and just how important an American musical figure Guthrie was.  I quickly found out, and really enjoyed learning about him, his life, and his music.  Plus, I have always loved Dorothea Lange"s WPA photos of the Dust Bowl era and was familiar with the Grapes of Wrath, having read the book and seen the movie. I quickly realized that Woody Guthrie was the missing link in my own body of knowledge on the subject. I decided to use the 10 minutes to focus on the song, This Land Is Your Land, exploring why it was written and discuss the lyrics according to a lesson plan I found via the Woody Guthrie Learning Center.  Going on the assumption that the class has already heard the song in a previous lesson, and learned a bit about Guthrie, I made the lyrics of the song the main part of the lesson.  One of the great takeaways from our instrumental 5 minute lessons I learned is that you cannot do everything in such a small space of time.

I chose to incorporate teaching strategies that I was learning in my reading content class, and settled on the KWL (Know/Want/Learned) method found in our text, 50 Instructional Routines to Develop Content Literacy. With this method, I could organize my 10 minutes by listing with the class what we already knew about Woody Guthrie, what we wanted to know, and then summarize what we learned. Even with this structure, I felt that I could have been more organized.  I played This Land Is Your Land, and now reflecting, I think the time would have been better spent playing the 4 minute video biography I had found on Youtube instead. Then I would of had time to summarize the lesson and have the class share what new information they learned.

 Also, feedback from a classmate was helpful. I had a small activity I could have given the class while I wrote on the board.  I had it in my packet, but did not know what to do with it.  Now that I know the value of having an activity, especially  as exemplified by classmate Rayene's great job teaching her lesson,  I will develop that part of my lesson more. I am glad that I will have a chance to do this lesson over.  I think it will be much improved with the feedback I received from my classmates and instructor.

I should mention that I was the second person to teach my to teach lesson, and that was challenging because I would not have the benefit of learning from my classmates.  I think having a clear teaching strategy helped me not worry too much about being one of the first.  My suggestion to those classmates who have not yet presented their lesson would be to find a teaching strategy that fits your content.  That alone will be a big help in getting through your 10 minutes of fame!

Source:
Fisher, D., Brozo, W. G., Frey, N., & Ivey, G. (2015).  50 Instructional routines to develop

            content literacy, 3^rd edition.  Boston, MA: Pearson.

Should Music Educators be Experts on Jazz and Folk Music?

I am a firm believer that jazz and folk  music should be taught as early in the curriculum as possible.  I am especially an advocate for elementary school jazz education for a number of reasons.  For one, we are exposed to jazz and its influence in most of the music we hear each day, whether it is on the radio, on commercials, or in videogames and the movies.  Second, folk music is fairly well represented in the curriculum of the average music program and I would like to see jazz get at least that much coverage.  Finally, because jazz is America's original music, the study of jazz can be integrated into so many content areas like social studies, language arts, and even science, and we are missing some great opportunities to teach students core values of democracy, creativity, and cooperation by not prioritizing early jazz education.  Now, having said that, should music educators be experts on jazz and folk music?

Let's look at folk music, which has been incorporated into music education from the early grades for many years.  Are all music educators experts on folk music?  Probably not.  But many have a deep love for the music and know that it is an important part of the music curriculum to teach folk songs like If I had a Hammer and This Land is Your Land  to students as a way of not only encouraging musicality, but as a way of fostering community and creating that shared experience that we all share as Americans.  You do not have to be an expert on folk music to teach it, but you do have to have enthusiasm for teaching is, and knowing why you are teaching it should be a motivator.  I feel the same way about jazz, but its is perhaps a bit more complicated, but not need be. Some genres of  jazz, such as Be-bop and fusion are seen as set aside only for the virtuoso, and that may intimidate some educators.  However, classical music has its' share of virtuosity and we do not shy from teaching it ourselves.  Indeed, classical music is the foundation on which we teach.  Yet, jazz, and music influenced by jazz, will become more and more important to our students as they progress.  So many young students will play in jazz settings of various kinds, or one day decide to enter a jazz program on the college level or realize that they want to become professional jazz musicians. One of the laments that I often hear from a friend of mine who is a professional jazz musician and teaches jazz history on the college level is that students do not spend enough time listening to jazz; they cannot listen to a tune and tell you who's playing on the record; some are not even that interested and find the task to be a chore.  Listening to jazz records is an integral part of the study of jazz, primarily because its' history is so very much a recorded history, and it is not  just casual listening that I'm talking about, but critical listening is essential, and that skill should be taught early in the game.

 Why not start jazz education as early as possible?  There needs to be more exposure to jazz in the schools so that more future music educators are exposed to it and gain an understanding of the art form and understand its importance in American history and  music education, Fortunately, it is happening, and organizations like the Theolonius Monk Institute of Jazz and its educational arm, Jazz in America,  that shares free lesson plans - grades 5 and up -  are dedicated to providing music educators with the tools and lesson plans and ideas that can really help them get comfortable teaching the valuable concepts in jazz without being a experts in jazz. Just like you do not have to be Pete Seeger or Mozart to teach folk music or classical music, you do not have to be Charlie Parker. to teach jazz.  But you should know the importance of jazz to American culture. Jazz music is American music.

I'd like to close this blog with an anecdote.  Not long ago, I had a substitute teachin gig at an elementary school where the fifth grade students eagerly played the songs they had learned on their recorders for me.  Since I would not have time to teach them a new song, I shifted our lesson to jazz and showed them how they could swing on their recorders to Duke's Place, which would only require two notes: G and C.  The classroom was low on technology, not even a computer for  me to access, but armed with my tablet and portable bluetooth speaker, I pulled up Duke Ellington and Louie Armstrong's version of the tune on Youtube and  away we went.  I was even able to have an eager student conduct the ensemble, and I tell you, that kid was beaming because he was swinging!  I was called back to that substitute assignment the next day, and decided to do something different with the second class of fifth graders that I would see that day.  When the students came into the music room, they surrounded me and insisted that they learn the song that the other class had learned!  When students talk among themselves about what a great time they had learning about jazz so much that others want to join in the fun (and learning), I can't think of a better reason to teach jazz to students as early as possible.

Reflection on Lesson

For a class assignment I had to teach the first five minutes of a beginning trumpet lesson to an imaginary fifth grader.  No problem, except that "imaginary" fifth grader was my course instructor.  Not having any background in brass made me very nervous about teaching the lesson, but I spoke to the band teacher at the elementary school where I was substitute teaching in general music.  He gave me his methods for starting a student off on the trumpet, which focused on getting a sound out of the mouthpiece.  "Great," I thought.  That would take up more than five minutes. I looked at a few youtube videos made  by music teachers on how to teach beginning trumpet.  I toyed with the idea of buying my own mouthpiece to demonstrate, but decided against it.  "Not necessary," I thought. Then I realized that buzzing made my ears ring and itch, and it felt very uncomfortable.  I doubted I could go through with the lesson.

My turn would be the second to last person out of about 16 students, so I earnestly took notes on the teaching methods of my classmates as each took his/her turn.  Most of the focused on a lot of terms, such as the parts of their instruments, either flute, clarinet, trombone, or trumpet.  For the most part, I noticed that the major drawback of that approach was that five minutes ran out before the "fifth grader" was able to make a sound out of his instrument.  I felt better about deciding to go straight to the mouthpiece to produce a "buzz."  I was thrown a curve when my "fifth grader"  had never played Hot Cross Buns before! (I wanted him to buzz the song with his mouthpiece.)  I had been teaching elementary recorder and generally assumed that all fifth graders had played recorder and would have learned the song already.  So that was a good lesson for me - never assume any pre-knowledge for a beginning student.  Five minutes went quickly, thankfully, and I did learn a lot about teaching beginning band instruments.  Less talking, more demonstrating, focus on one or two necessary procedures, and repeat, repeat, repeat.  Less is definitely more.

NYC's New Second Avenue Subway Art Features George Braith

My uncle, George Braith, Jazz Saxophonist and inventor of the Braithophone, can be seen in a mosaic in New York City's new Second Avenue Subway at the 72nd Street Station. Uncle George is known for recordings on the Blue Note and Prestige labels during the sixties, and for playing jazz on the streets of NYC during the eighties - you could usually catch him on Avenue of the Americas and 42nd Street near Bryant Park.  He was even captured in an opening scene of the movie Moscow on the Hudson doing what he does best.

How to Deal With Difficult People

I was thinking about a recent class discussion on how to deal with difficult colleagues, and came across this article on dealing with difficult people in the workplace in general.  I think these tips are relevant to our discussion on the topic.

https://www.linkedin.com/pulse/how-smart-people-handle-difficult-dr-travis-bradberry

A New Blog

Welcome to my new blog on teaching music.