This has been a topic of debate for as long as I can remember: how much should students be required to practice?
First, let me say that I have tried three different methods in my 6 years of teaching. The first method I tried was to send home "practice assignments" each week - every student would get a personalized practice slip for what they needed to practice each week. The second method was in response to being totally overwhelmed by the amount of work needed to keep up with that: I did not require students to turn in any form of practice slips. The third method is common among band teachers, and I remember my band teachers using it in elementary and junior high: requiring students to practice a certain amount of time each week. Some schools require an hour and a half or more, some require thirty minutes or less. I require my students to practice for 45 minutes a week.
Now, how much should a first or second year band student be required to practice? Let's look at the method that doesn't work before comparing the other two.
At one point in my teaching career, I decided to forgo practice requirements completely. The students complained about having to practice, and even the parents were complaining about the students having to practice! I was completely buried with other concerns, so I thought to myself that this was one battle I would be willing to lose. When I told the students that they didn't have to practice at home anymore, two things happened. First, the students celebrated because they hated doing it and it meant they had less homework each week. I watched as instruments were left at the school day after day, week after week, weekend after weekend. The second thing that happened is that the students stopped getting better at their instruments. The only time that they played them was together in class, which means that they never played them alone and probably never heard their own sound apart from the rest of the group. Sure, we worked through songs in band class, but it was usually one or two of the more talented students that carried the rest of the group. Some of the students couldn't play a song by themselves even at the end of the year. So, getting rid of practice requirements made life easier for everyone, but it also made the band much worse, and it meant that educational goals weren't being met. My opinion: having no practice requirements is the worst option available.
Between the two remaining options, each one has clear benefits over the other. The main benefit of sending home individualized practice sheets each week is that the students have obvious goals and will know what they need to spend the most time practicing. The main benefit of requiring a flat-rate amount of time per week is freedom from the logistical nightmare of creating individual practice slips for every student, every week. I think that the best place to start is the flat-rate method for that reason, but I also see the benefit of trying to work towards the more student-centered individualized plans.
Thursday, October 5, 2017
Sunday, October 1, 2017
Problem with the old curriculum: Finding a solution
The first week with the old curriculum was very refreshing. I've taught it for five years and I remembered why: it has a great balance of singing and activity. Also, all of the materials are already there, and I don't feel like I have to create something from scratch. It's a pre-designed curriculum that covers six years of elementary music education.
Now into planning the second week, I have come across an old problem. The old curriculum uses the Kodaly methodology of teaching solfege, or in other words it has a very specific progression of which solfege notes are supposed to be used and in which order. That in itself is not the problem. The problem is that the curriculum takes traditional folk songs and changes the melody to fit the Kodaly progression - and not just by a little bit. This week the song Clap, Clap, Clap Your Hands is reduced to a simple So-Mi pattern. My conscience is offended by the thought of teaching this to the children.
So, seeing as how teaching the false version of the song is not an option for me, I need to find a new solution. Right now, here are my thoughts: the solution has two parts to it. The first part is to keep the traditional folk songs that are included in the old curriculum but use them as listening activities, for there are many great recordings of these songs available online. The students can even sing along with the recordings, but the main goal will be to experience the traditional folk music in its original form. So, the first part is to change the melodies back to their original form. Now I am no longer a conscientious objector to the old curriculum. This will require me to design my own activities to support the new goal of active listening.
However, that leaves a gap in the old curriculum, because the songs were being used to teach the students how to use solfege. This of course is a monumental part of their education, so I will need to be very diligent in seeing that it is not neglected. My current plan of action is to use an alternative curriculum to supplement GamePlan. A few years ago, I attended a workshop with Dr. John Feierabend and was completely convinced about the accuracy and efficiency of his methodology. I purchased his curriculum Conversational Solfege, but I haven't done anything more than glance through it to understand its core tenets. So, my plan is to open up this second curriculum any time that the old curriculum uses modified folk songs to teach solfege. The most important thing is for me to try, or to at least begin trying. I will see how everything fits together as I go along, but my gut tells me that this will be successful.
Now into planning the second week, I have come across an old problem. The old curriculum uses the Kodaly methodology of teaching solfege, or in other words it has a very specific progression of which solfege notes are supposed to be used and in which order. That in itself is not the problem. The problem is that the curriculum takes traditional folk songs and changes the melody to fit the Kodaly progression - and not just by a little bit. This week the song Clap, Clap, Clap Your Hands is reduced to a simple So-Mi pattern. My conscience is offended by the thought of teaching this to the children.
So, seeing as how teaching the false version of the song is not an option for me, I need to find a new solution. Right now, here are my thoughts: the solution has two parts to it. The first part is to keep the traditional folk songs that are included in the old curriculum but use them as listening activities, for there are many great recordings of these songs available online. The students can even sing along with the recordings, but the main goal will be to experience the traditional folk music in its original form. So, the first part is to change the melodies back to their original form. Now I am no longer a conscientious objector to the old curriculum. This will require me to design my own activities to support the new goal of active listening.
However, that leaves a gap in the old curriculum, because the songs were being used to teach the students how to use solfege. This of course is a monumental part of their education, so I will need to be very diligent in seeing that it is not neglected. My current plan of action is to use an alternative curriculum to supplement GamePlan. A few years ago, I attended a workshop with Dr. John Feierabend and was completely convinced about the accuracy and efficiency of his methodology. I purchased his curriculum Conversational Solfege, but I haven't done anything more than glance through it to understand its core tenets. So, my plan is to open up this second curriculum any time that the old curriculum uses modified folk songs to teach solfege. The most important thing is for me to try, or to at least begin trying. I will see how everything fits together as I go along, but my gut tells me that this will be successful.
Thursday, September 28, 2017
Giving up on writing a new curriculum.
What I've realized is that designing a comprehensive K-4 Elementary Music Curriculum from scratch is like trying to design, code, and do graphics for your own computer game - there is no way for one single person to do a good job because of the amount of work that it takes. I've been working hard for several months trying to create my own elementary curriculum, but I have been met with limited success. I also am struggling to really properly design a coherent process or procedure that goes from Day One of kindergarten to the Last Day of fourth grade. It's too hard to figure out what to do first, next, etc., when I'm also having to teach the classes, keep up with paperwork, rehearse band and choir classes, plan concerts, and still try to have time for my life outside of work. It is exhausting, but it has not been fruitless.
Yes, I am giving up on writing my own curriculum from scratch. I plan on going back to the old curriculum that I used when I first started teaching, one that has elements of Dalcroze and Kodaly and Orff all mixed in. One that already has a large list of songs, poems, games, activities, and other materials ready for me to use. However, even though I am using an old curriculum, I am approaching it with a new perspective that I have gained from trying to design my own. I am not going to pursue it like I used to, but I am going to use it in a new way. I will still add extra materials here and there, and omit certain songs and activities, but I am planning on teaching my new curricular ideals through the old curriculum. In other words, I am planning to tweak each lesson to focus on the musical goals that I have chosen through much study and deliberation. Many lessons will not require much change. Some will only need a small change. The point is that now I have an understanding of the Big Picture, and that will guide my teaching.
Yes, I am giving up on writing my own curriculum from scratch. I plan on going back to the old curriculum that I used when I first started teaching, one that has elements of Dalcroze and Kodaly and Orff all mixed in. One that already has a large list of songs, poems, games, activities, and other materials ready for me to use. However, even though I am using an old curriculum, I am approaching it with a new perspective that I have gained from trying to design my own. I am not going to pursue it like I used to, but I am going to use it in a new way. I will still add extra materials here and there, and omit certain songs and activities, but I am planning on teaching my new curricular ideals through the old curriculum. In other words, I am planning to tweak each lesson to focus on the musical goals that I have chosen through much study and deliberation. Many lessons will not require much change. Some will only need a small change. The point is that now I have an understanding of the Big Picture, and that will guide my teaching.
Tuesday, September 26, 2017
Secondary Band and Choir Thoughts
In my school, our first concert is in the middle of October. That leaves about 8 weeks to get ready for it and then 9 weeks before the Christmas program. In other words, there's a first quarter concert and a second quarter concert. This post is about what I should be teaching the students during those first two quarters.
In Choir, I have been teaching the students how to sing using the Kenneth singing method. It is a sequential approach to getting them to sing well, and it covers the physical skill of singing with a good tone and with good technique. I have found this to be effective in giving them a foundation to putting on a good first concert - at least enabling them to do so because they will have a good sound.
TL;DR: Teach fundamental singing technique in the first quarter, then teach elements of sight-singing in the second quarter. Teach rhythm reading in band during the first quarter, then teach scales during the second; focus on tone and technique always. In both groups, begin heavy on the warm-up portion and then spend less and less time as performances approach (but always spend some time even if only one minute).
In Choir, I have been teaching the students how to sing using the Kenneth singing method. It is a sequential approach to getting them to sing well, and it covers the physical skill of singing with a good tone and with good technique. I have found this to be effective in giving them a foundation to putting on a good first concert - at least enabling them to do so because they will have a good sound.
TL;DR: Teach fundamental singing technique in the first quarter, then teach elements of sight-singing in the second quarter. Teach rhythm reading in band during the first quarter, then teach scales during the second; focus on tone and technique always. In both groups, begin heavy on the warm-up portion and then spend less and less time as performances approach (but always spend some time even if only one minute).
Tuesday, September 19, 2017
First units in Kindergarten: Focus on the right topics
How do you start a new year in kindergarten? My experience and my vision as a music teacher in a public school tell me that you have to start from the very beginning, from the most basic musical concepts, and approach curriculum and lesson planning as if the students might have zero knowledge about music. That means starting with concepts that are both foundational and easy to learn. With that in mind, I think that the first topics in kindergarten should cover Fast/Slow, Loud/Quiet, and then High/Low. Now, these may be interchangeable in order, but I think that all three should be covered before anything else.
Wednesday, September 6, 2017
Direct Instruction vs. Self-Directed Learning in Music
This essay is about using direct instruction in the music classroom, where the teacher takes full responsibility of presenting new information and also assessment, versus the use of self-directed learning, where the students take responsibility for what occurs.
As musicians, many would agree that the majority of our practice routine is self-directed. Even in rehearsals, where the conductor gives constant direct instruction, much of our performance is a result of self-directed playing because there are simply too many variables for the conductor to control all at the same time. Therefore, it is imperative that young students begin to learn about self-directed learning techniques early in their musical career.
In direct instruction, the teacher shows the students how to put the instruments together and goes along to check and make sure that they are correct. How would students go about the same task using self-directed learning? It is a simple thought process that occurs as a result of an implicit goal: "I want to play that instrument." Most young students do not need to be taught to want to play, it is natural for them to be eager to start playing. But right away, they run into a problem. How are they supposed to play when they don't know how to put the instrument together? The direct-instruction model requires a teacher to provide that information and feedback, but in self-directed learning, the student must search for their own answers. In this age, most of them would turn to the internet and search for 'how do i put a clarinet together' or something similar. That is the essence of self-directed learning: the students learn how to find their own solutions and apply them.
One might take this to the extreme and only use self-directed instruction. For a young student, this could be dangerous for two reasons: one, the student doesn't always find the right information. In this case, it might end up in a damaged instrument. And two, the student doesn't always know if they are right, or in this case, whether or not they've put their instrument together correctly, resulting in further problems when the student begins to play.
That's where I would like to coin the term "self-directed learning assistant," or in other words, a teacher. Students should be encouraged to learn on their own, but also they should be encouraged to seek help from another person when the circumstances demand it. As the classroom music teacher, I need to teach the students how to be self-directed and then be available to assist them if they need help. Most classroom activities are teacher-led by nature, so I need to give extra consideration to finding the best opportunities to make self-directed learning a success.
As musicians, many would agree that the majority of our practice routine is self-directed. Even in rehearsals, where the conductor gives constant direct instruction, much of our performance is a result of self-directed playing because there are simply too many variables for the conductor to control all at the same time. Therefore, it is imperative that young students begin to learn about self-directed learning techniques early in their musical career.
In direct instruction, the teacher shows the students how to put the instruments together and goes along to check and make sure that they are correct. How would students go about the same task using self-directed learning? It is a simple thought process that occurs as a result of an implicit goal: "I want to play that instrument." Most young students do not need to be taught to want to play, it is natural for them to be eager to start playing. But right away, they run into a problem. How are they supposed to play when they don't know how to put the instrument together? The direct-instruction model requires a teacher to provide that information and feedback, but in self-directed learning, the student must search for their own answers. In this age, most of them would turn to the internet and search for 'how do i put a clarinet together' or something similar. That is the essence of self-directed learning: the students learn how to find their own solutions and apply them.
One might take this to the extreme and only use self-directed instruction. For a young student, this could be dangerous for two reasons: one, the student doesn't always find the right information. In this case, it might end up in a damaged instrument. And two, the student doesn't always know if they are right, or in this case, whether or not they've put their instrument together correctly, resulting in further problems when the student begins to play.
That's where I would like to coin the term "self-directed learning assistant," or in other words, a teacher. Students should be encouraged to learn on their own, but also they should be encouraged to seek help from another person when the circumstances demand it. As the classroom music teacher, I need to teach the students how to be self-directed and then be available to assist them if they need help. Most classroom activities are teacher-led by nature, so I need to give extra consideration to finding the best opportunities to make self-directed learning a success.
Monday, July 10, 2017
Things That I Wish I Had Known My First Year - Part 1
This is the beginning of a series of posts for first year teachers about first year teaching. There is no substitute for experience, nor is there any pill you can take or book you can read that will give you experience. Beginning to teach with no experience is one of the most difficult things you will go through in life, especially if you do not have an experienced mentor to rely upon. However, by reading about the first year experience, you will have a better perception of what first year teaching will really be like.
What is the first thing I should do after I accept my new teaching position?
When I had accepted my first job offer, it was in March of 2011. I had about six months to get ready for teaching, so here is what I did: I spent about two weeks formulating ideas about how to teach K-12 Music, and then I spent the rest of the summer playing mind-numbing amounts of video games. Big mistake. I thought that I could spend about two weeks before the school year started getting my classroom together, and that was also a big mistake. As a new teacher, I really didn't understand how much stuff there was to go through: file cabinets, desk drawers, bookshelves full of mostly old music teaching books, bookshelves full of mostly old band music and choir music, containers of stuff that had been used in previous plays and music programs, shelves full of instruments in both good and bad conditions, closets full of really old uniforms... you get the idea. A lot more than I could handle in two weeks. So here's my suggestion: the first thing you should do when you accept a new job is to head there as soon as possible and start going through the stuff. Figure out what materials you need to organize right now (desk drawers, filing cabinets for important documents) and what materials you will most likely be using at the beginning of the school year (instruments, band and choir music, lesson plan or curriculum books, computers, etc.) and figure out where you can put all of these things so that they are readily available when you need them. Decide how you want the room to look and function, and then start working towards putting things where you think they should go. Also, decide which things are okay to just leave there for now - like that shelf full of Silver-Burdett books from the 1960's - and which things need to go in the trash can. BE VERY CAREFUL not to throw away things that shouldn't be thrown away. Most schools have a detailed process for throwing out old equipment or books. But a lot of times, there are cheap instruments that are simply beyond repair, file cabinets full of photocopied music, packets of home-made teaching materials that you probably won't ever use, and a variety of other junk that is just sitting around taking up space. Check with the principal, and then chuck it in the bin or send it away to the magical land of school storage. Depending on how long it's been since someone has done this, it might take a very long time to go through your room or it might be an afternoon project. Assume that it wasn't very high on the priority list of the teacher who left at the end of last year. Figuring out what you have and what you don't have sets you up for the next step: how are you going to manage day-to-day paperwork and what are your classroom rules going to be?
What is the first thing I should do after I accept my new teaching position?
When I had accepted my first job offer, it was in March of 2011. I had about six months to get ready for teaching, so here is what I did: I spent about two weeks formulating ideas about how to teach K-12 Music, and then I spent the rest of the summer playing mind-numbing amounts of video games. Big mistake. I thought that I could spend about two weeks before the school year started getting my classroom together, and that was also a big mistake. As a new teacher, I really didn't understand how much stuff there was to go through: file cabinets, desk drawers, bookshelves full of mostly old music teaching books, bookshelves full of mostly old band music and choir music, containers of stuff that had been used in previous plays and music programs, shelves full of instruments in both good and bad conditions, closets full of really old uniforms... you get the idea. A lot more than I could handle in two weeks. So here's my suggestion: the first thing you should do when you accept a new job is to head there as soon as possible and start going through the stuff. Figure out what materials you need to organize right now (desk drawers, filing cabinets for important documents) and what materials you will most likely be using at the beginning of the school year (instruments, band and choir music, lesson plan or curriculum books, computers, etc.) and figure out where you can put all of these things so that they are readily available when you need them. Decide how you want the room to look and function, and then start working towards putting things where you think they should go. Also, decide which things are okay to just leave there for now - like that shelf full of Silver-Burdett books from the 1960's - and which things need to go in the trash can. BE VERY CAREFUL not to throw away things that shouldn't be thrown away. Most schools have a detailed process for throwing out old equipment or books. But a lot of times, there are cheap instruments that are simply beyond repair, file cabinets full of photocopied music, packets of home-made teaching materials that you probably won't ever use, and a variety of other junk that is just sitting around taking up space. Check with the principal, and then chuck it in the bin or send it away to the magical land of school storage. Depending on how long it's been since someone has done this, it might take a very long time to go through your room or it might be an afternoon project. Assume that it wasn't very high on the priority list of the teacher who left at the end of last year. Figuring out what you have and what you don't have sets you up for the next step: how are you going to manage day-to-day paperwork and what are your classroom rules going to be?
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