Music, Teaching, Learning, and Life

Entries from February 2009

Encouraging Creativity in Students

February 28, 2009 · Leave a Comment

This is a post that includes both observations and questions.  I’m hoping for answers from some of you.

Yesterday at the Dupage County Music Clinic, I attended a concert given by a group called Push.  A couple of the guys started playing together in the spring of 2000 in the percussion studio at Illinois State University.  Since that time,  they added a few members and now include five gentlemen playing an assortment of percussion instruments (primarily drums, marimba, and vibes) as well as synthesizers and vocals.  The group used the following words about themselves in the program:

Beginning as an improvisational percussion group, they quickly began to hone their improvisations into pieces, though still with a heavy amount of improvisation.  Over time the sound developed and the pieces became more concise and focused.  Pre recorded sound, synthesizers and pop-style vocals were utilized and songs formed…Push found it difficult to arrange performances because of their instrumentation, size and unconventional approach.  The University did not consider them a proper concert performance; labeling Push a “pop group” and venues in the town simply didn’t have the facilities to hold them.  So, they decided to file the paperwork to become an official University entity which they could use to book the recital halls and finally perform.  This was done both out of(f) the desire to perform and to thumb their noses at the established ‘proper’ music of which they worked in day-to-day and music students.  They felt it was time that higher music education be forced to deal with Push and their attempt to legitimize (or “concert-ize”) what might be otherwise classified as simply “pop” music.

I must admit, I’m not up-to-date enough in my knowledge of newer music to know if what they did was truly innovative or not.  For the most part, I really enjoyed the concert.  During the first section of the program, however, I did reach a point where I wanted to hear something “different.”  Maybe that was just me and my tastes, though.  In spite of that, I was impressed with this group of young men and how they had approached their ideas and problems creatively and with persistence!

The concert reminded me of the importance of teaching in ways that help students think creatively.  How did the members of Push get to that point?  How were they taught?  How do we teachers approach teaching creativity in the music classroom?

For anyone interested, the link I’ve provided for the group Push includes the piece “The Crawl” on the playlist.  When I heard that piece at the concert yesterday, the triangle provided the “something different” for my ears.  What can I say:  I like triangles! :)

Categories: Uncategorized

Assessment in the Classroom

February 28, 2009 · 2 Comments

Assessment has become a huge issue in recent years.  The model I remember from 25 years ago was one standardized test given a year (or maybe every few years).  Teachers had control over most, if not all, other assessments given in their classrooms.  Now we have the accountability factor of NCLB driving schools to put many more individualized assessments in place in addition to the yearly high-stakes test.

One quality I’ve seen consistently in great teachers with whom I’ve come in contact is that they are constantly assessing students and adjusting their instruction accordingly.  I saw this quality modeled by Jean Hersey and Cynthia Seputa, the teachers of my Orff Level I class.  For instance, during movement activities, Jean’s eyes moved continually around the room, watching to see if we were on track and understanding her directions.  I’ve been privileged to have several outstanding private lesson instructors as well.  These people all watched details of hand position, and embouchure, and listened carefully in order to look for different ways to communicate.  I think there are many music teachers out there who model that kind of assessment!

During the last few weeks my role as an RtI interventionist has been different.  I’ve been assessing all fourth grade students in preparation for a different reading program.  Assessing the students one on one in the area of reading reminded me of of assessment that music teachers do every day, with one important difference:  I only assessed.  The modified instruction won’t happen for awhile.  The date of the assessments for each fourth grader will be within a week or so time period, but the modified instruction for those students won’t even begin for another two weeks; ISAT testing begins next week!  I wanted to be able to stop and remind students of various reading strategies during the testing, but I had to follow protocol instead.  I felt an opportunity for teaching had been lost.  I believe assessment is a vital piece to the instructional process, but I’ve been noticing inherent inefficiencies lately that call for creative solutions.

As students came into the hall to read words for me, many were obviously a little nervous.  It reminded me of a typical response of a music student during a recital!  You have one chance in that setting to “get it right.”  I couldn’t help but think, though, with the fourth graders’ audience of one (me), the environment shouldn’t have felt so stressful for some of them.  I wanted them to feel I was only there to help them, more like a private lesson setting where the teacher listens, assesses, gives feedback, and has you try again.

The experience reminded me of the importance of assessing throughout my school day, even in the midst of a classroom full of 20 to 30 students.  As I look at students and their responses, I become more aware of changes that need to occur in my lesson planning and delivery.

Categories: Assessment

Learning to Listen

February 22, 2009 · 8 Comments

Several experiences and defining moments during the last few years have led me to a realization.  During the first nearly 40 years of my life, my listening skills were sadly underdeveloped.  How could that have been the case for a teacher and a musician?  I’m certain my readers will draw their own conclusions as they continue to read!  I have a distinct memory from my freshman year of high school of my English teacher calling on me with the words “Bonnie with the big ears,” as if I was always in listening mode.   (I was, and probably still am, your classic over-achiever.)  However, even though I thought I was listening very carefully, I’ve discovered recently how much I missed!

My first “ah-ha” moment came during my Percussion Methods class at VanderCook during the summer of 2005.  The instructor, Kevin Lepper, is one of the finest teachers of any subject I’ve ever encountered.  In addition he has a way of calling on various students during class that keeps students on their toes.  You never know when you’ll be next!  During one class in particular, Kevin brought up the previous night’s graduate ensemble concert.  He asked the class our opinions of the colors and balance of the percussion section.  I remember my heart stopping, then beating rapidly!  Would he call on me?  I had NO CLUE how to respond!  Percussion???  Had the percussionists even been a part of the concert?  I had absolutely no memory of hearing their parts!

A second experience also led me to believe that I have a lot to learn about listening.  After many years of sporadic playing and practicing, I started taking clarinet lessons again in August, 2006.  My teacher, Fred Lewis (who also taught my Woodwinds class at VanderCook), soon began to encourage me to slow down enough to listen to every note and every rhythm.  He stops me often to ask what I hear in the areas of tone quality, intonation, and rhythmic accuracy.  Under his direction, I’ve learned to listen at a level more detailed than I had ever imagined possible.

I’ve also had my eyes opened to the power of audiation while playing in the Elmhurst College and Community Wind Ensemble during the last few years.  The director, Judy Grimes, begins every rehearsal with singing intervals and checking for pitch accuracy after a series.  She constantly talks about listening during rehearsals and uses various rehearsal techniques to help us become aware of other sections of the group.

I’m so glad I’ve had these experiences because I’m much more aware of how I teach students listening skills.  I know I still have a long way to go.

Categories: Audiation/Listening · Teaching Methods

Creative Ways to Include Special Needs Students

February 22, 2009 · Leave a Comment

Every time I take another class (well, almost every time), I come away with my mind whirling with possibilities for my music classroom.  Even though I’m in my 16th year of teaching in the public schools, I’ve also concluded that my need for improvement will be never-ending!  I’m taking another class this weekend at VanderCook College of Music called “Creative Solutions for the General Music Classroom.”  It’s a single weekend class in the college’s continuing education program called MECA.  I consider myself very fortunate to live close enough to downtown Chicago to regularly take advantage of VC’s classes!

This particular class is being taught in three sessions by three different teachers.  This morning’s focus was including special needs students in creative ways.  Susan Vaughan, one of five choral teachers at New Trier High School (in Chicago’s northern suburbs), presented ideas from a new course offering at her HS that combines special needs students with a student facilitator/helper.  They call it “High Five Choir.”  Materials I received state:

The High Five Choir provides a safe learning environment in which students of all abilities come together to create and experience music, and build friendships while raising awareness against stereotypes of individuals with physical and mental disabilities.  The High Five Choir provides all students with the opportunity to interact with one another as peers.  Each student facilitator collaborates with the music director in developing specific and general goals while leading a rehearsal through singing, playing instruments, and movement.” (IMEA All-State Conference, Friday, January 30, 2009, 12:30 pm concert program)

As soon as Susan began to speak, I was extremely impressed with her obvious compassion and student-centered philosophies.  The focus of her program obviously includes all students, facilitators and buddies (special needs students) alike.  Facilitators are given responsibilites to pursue training in some of the disabilities represented in the choir, write reflections papers about experiences, and I believe participate in planning and teaching as well.  Each pair of students share a binder including individualized materials needed to help the buddies succeed as well as to aide the facilitator in helping.  Students give each other lots of high fives to celebrate success (thus the name of the program).

Another key idea in teaching special needs students successfully was the need to seek help from the school’s special education teachers and staff.  So often I forget that most basic step!  While talking about the issue, I thought of two fifth grade students who would be better served in my classes if I asked some basic “How do I approach…” questions of the professionals who know those students best!

I have a small amount of experience with these ideas from my last job at Jackson Middle School in Villa Park.  I was asked to teach an 8th grade “Peer Buddy Music” class last year.  The class was comprised of eight special needs students in a single self-contained class along with twelve 8th grade peers.  It was an official class offering that those twelve students elected to take in place of other offerings.  The class lasted twelve weeks at the end of my final year at Jackson.  I responded quite emotionally to Susan’s presentation because of the amazing experience I had from teaching that particular class last year!  The following paragraphs were written in my private blog during those weeks.  (Student names have been changed.)

Saturday, March 8, 2008

Peer Buddy Music

As a part of our school’s 8th grade fine arts electives this year, a new class was offered. Peer Buddy Music is a class for the two multi-needs classes (8 students?) and about ten 8th grade peer buddies. I wish I could take credit for the idea, but I was approached by the school counselor and the two multi-needs teachers about teaching the class last year. The class started this week.

Planning for the class was at the back of my mind for most of the year, but I didn’t put any concrete ideas down on paper until about two weeks before the class started. I was uncertain how to proceed and a little nervous. I was procrastinating! How was I going to put together a music class that would be engaging for both groups of students? Would the eighth graders rise to the occasion, or would they be too “cool” (or self-conscious) to model participation at a very elementary level? Did any sign-up for the class just to be with their friends? Would they comprehend that the class is about more than just them? After three days of class, both groups of students have far exceeded my expectations.

Yesterday was our best class yet. As I’ve been laboring over this entry, I’ve realized one reason that is true. As I facilitated the class yesterday, I focused my teaching, attention, eye-contact, etc. on the multi-needs students much more than previous days. Also, the eighth graders are truly rising to the occasion and are becoming individual teachers to their buddies. I sensed that the class could be a learning experience for the eighth graders. However, this is one of those times in my life when I’m discovering that the experience for all of us is so much better than I imagined it could be.

At the end of class yesterday, the fire alarm went off. We were marching around the room to “Shake Your Groove Thing” (of all things) and having a blast! When we heard the alarm, everyone froze at first. One of the hazards of being a traveling teacher is that I have to remember emergency procedures for each room. In this particular situation, I didn’t review those procedures with the students on Monday–our first day. I was too excited and nervous about getting the class going and just forgot. We have three adult teacher’s aides in the room with us. They helped tremendously with the autistic student who almost immediately started screaming at the high-pitched siren. As they started walking him out, I said to the rest of the class several times, “Stay with your buddy.” John, an eighth grader, kept everyone on track to go out the correct entrance. He took the initiative! One special needs student in particular, a big 13-year old boy who looks normal, walked out with the aides and got away from his buddy, Matt. Matt walked out beside me, and said to me several times, “I can’t find my buddy.” I tried to reassure him that Chad had walked out with the aides, but he was truly concerned for him. There were tears in his eyes!

After we got outside, I saw a few other heart-warming interactions. Kelly tried to reassure her buddy Elaine, who was crying, and tried to help her stay warm by rubbing her arms. Nate let Anne put her hands up his sleeves to help her get warm. John kindly but firmly told Chad that hugging wasn’t allowed, as he tried to bear hug the girls!

I could go on and on, but the bottom line is this. I’m learning that these middle school students have a reservoir of compassion and a heart of service that I’m only just beginning to see.

Sunday, May 25, 2008

Friends from Unlikely Places

During these last few weeks of school, I’ve seen evidence again and again that the value of the peer buddies class goes far beyond music education. In fact, I sometimes wonder how much of the music they will remember. If I taught the class again, there are things I would do differently. However, a dynamic developed over the course of the class that I had hoped for, but was unsure how to foster. Some of the pairs of students became friends.

One pair in particular, John and Jerry, have caught my attention during the last couple of weeks. We changed buddies at about the half-way point, so they’ve been getting to know each other now for about five weeks in music. Jerry is an autistic student with some overt behaviors that make his condition pretty obvious. He’s also one of the tallest boys in the school. When he rocks, screams out, or flaps his ears, it can be scary. If you’re close to him, you feel you could get hurt! I had Jerry paired with a couple of girls for the first few weeks. They tried to connect with him and were successful to a degree. Much of the time, though, they weren’t able to engage him. The adult aides were the main ones who were able to help. I decided to try John with him because John (who is also tall and lanky) is only an inch or two shorter than Jerry. John also seems to have a level of sensitivity not normally demonstrated in a 14 year old boy. Don’t get me wrong–he’s not a crier! He does quietly notice other people and situations, though.

About a month ago I had a substitute teacher covering the class for me. The students watched and sang along with a Disney sing-a-long. I found out after the fact that Jerry has a “thing” for Disney. He also is unable to handle not finishing a Disney movie. He was familiar with that particular tape and knew it wasn’t finished. The aides and John told him we would finish it the next day. The next day, though, I was on to something else. A couple of minutes into the class Jerry started getting distraught. I was clueless to what was happening. Jerry gradually started flapping his ears, rocking, and loudly screaming, “It’s o’kay! It’s o’kay! It’s o’kay!” I tried to teach the class as if nothing was going on…as the aides and John tried to reassure Jerry. The other students got more and more disturbed. The louder Jerry got, the quieter the rest of the class became. I looked at John and saw him with his head bowed seated behind Jerry, gently rubbing Jerry’s back. It was if he wanted so badly to help him, but just didn’t know how.

A little while after they realized they weren’t going to be able to calm Jerry down, the aides told me the reason for his distress. We also sent for the regular special ed teacher. If I’d had the video tape with me, I would have considered putting it in for the last few minutes. Some might call what I’m describing a “tantrum,” but I don’t think that’s what was happening. I think Jerry has a compulsive need to finish certain things, and doesn’t have the necessary tools to handle himself when he won’t be able to do so. I think that’s where the “It’s o’kay!” comes from. It’s an effort to calm himself. We ended up taking the majority of the class down to the special ed classroom to finish up the last 15 or 20 minutes while an aide and the regular teacher continued to work with Jerry. Before we left, John was able to watch the aide and special ed teacher work with Jerry for a few minutes.

John was out sick the next couple of days, but when he returned I noticed a slight difference in how he talked to Jerry. Now when Jerry demonstrates some of his odd behaviors, John just nods his head, smiles slightly, looks at Jerry and repeats after him: “Yes, Jerry, good job!” or “Yes. It’s o’kay.” I’ve also noticed that Jerry is engaging in a more personal relationship with John. There is a level of trust developing that I haven’t seen in Jerry during my limited contact with him. He listens to John. He looks at John. He responds when John shows him how to move his body…or when John stands right in front of him to try to ward off some of the extreme rocking! I think it’s the quiet way John has of looking at Jerry and treating him as an equal. Jerry’s willingness to “look” at John is a big deal because of his disability.

Last Thursday was the annual 8th grade Great America trip. On Wednesday, the 8th grade peer buddies signed up for time slots to walk around with the multi-needs students. Most signed up for the first time slot. John was one of two who signed up for the second time slot. The special ed teacher commented that there was room for them to go during the first scheduled time. John immediately said, “I’m afraid if we do that, they won’t have anyone to be with for the rest of the day.” As far as I know, he stuck to that schedule.

On Friday, I went into the classroom early to set up. One 8th grade boy in particular was still packing up from homeroom before he was off to his next class. He’s one of those students who has the persona of being “too cool” for just about anything but the “coolest.” John was also there along with a few other students. When I cued up our first song on the CD player, the boy said, “What’s that for? That’s not music!” I answered that it was a song we were using in my next music class. He asked “Why?” I explained that it was a class with the two multi-needs classes and that we have a lot of fun. I wondered at the time if he was posturing for John’s benefit, since John was the only other boy in the room? (On second thought, maybe it was for the girls!) John spoke up then and said, “Yes, we have a lot of fun. There are a lot of cool people in that class.” The way he said it didn’t come off as defensive at all. It was obvious to me, and I think the other boy, that John REALLY meant it!

My hope has been that the eighth grade students would learn that life isn’t always “all about them.” I think they are learning that lesson. As for me, I’m learning that I can’t always control the direction that learning goes on any given day. I’ve had to be more flexible in that classroom setting than any other I’ve ever had. And as usual, I’ve learned that I still have a LOT to learn as I go through this life!

Sunday, June 8, 2008

A Few More Thoughts About Peer Buddies

As I’ve thought more about the last few days of peer buddies, there have been many other situations that have come to mind that demonstrate its value. I don’t know that I’ll remember them all, but I’ll try.

I discussed John and Jerry in one of my earlier entries. I failed to mention that I moved Matt to work with Jerry as well. Matt is the typical “spaz” eighth grade boy, one of the shortest boys in his age-group, and very personable and friendly. He is one of the most outgoing students in his class and well liked by students and teachers both (even though he sometimes drives us crazy because of his more immature characteristics). Did I mention that he’s a “spaz?”

During one of the first music classes that Matt worked with Jerry, he seemed a little nervous about getting too near him. Because of Jerry’s towering height (compared to Matt), Matt probably just wanted to be careful not to get in the way. After several weeks of getting comfortable with each other, though, I noticed last week that Matt didn’t move away or seem phased at all when Jerry started rocking and flapping his ears. Matt just continued as if nothing out of the ordinary was going on. He trusted Jerry at that point not to hurt him!

Three of the four multi-needs eighth-graders came to

the end-of-the-year eighth grade dance. Jeff came with his parents and spent most of the evening with his mom. His music buddy, Kathy, managed to convince him to dance once with her and her friends. Would that have happened if they hadn’t gotten to know each other in music class? Maybe, but I doubt it.

Kevin and I also chaperoned Kari’s 8th grade dance Friday night. Kari was THRILLED about that!!! (not!) I saw one eighth grade multi-needs girl. Students greeted her as a friend, and several danced with her also. I wonder how that school facilitates those kinds of interactions?

I had all four of the eighth grade multi-needs students in my music class last year. They always came with an aide who helped them, and I seated them on the end of a row to make getting to them easier. However, they were isolated from the rest of the class. I called on them occasionally, but other students acted as if they weren’t in the room….for the most part. That method of seating and interacting with them wasn’t true inclusion. Students were always surprised when Jeff knew an answer, acted wary of Jerry, and basically ignored Steve who is very low. Chad and Jeff were usually the most “included” because they are most like the “normal” students.

Tim was a multi-needs student who moved away half-way through our peer buddy music class. He was one of the lowest functioning and hardly talked. However, he was always smiling and very sweet. One girl in particular worked well with him. She took the initiative to encourage his participation and participated at his level right along with him. The interesting thing is that Macy is a student who has also had struggles in school. In my class, though, working with Tim, then later Joe, she demonstrated a level of matureness and responsibility many older students might not.

All of the eighth graders received a framed photo of themselves with one of their buddies as a goodbye gift. Macy received a picture of herself with Tim. She sat at the table and cried! They weren’t the “high-drama” tears of an eighth grade girl, but the tears of someone who seemed to realize that she had shared something special with Tim.

As I’ve said before, I don’t know how much of the music the students will remember from this particular class. I do hope that they never forget the special relationships they formed and the larger life lessons they learned.

Categories: Special Needs Students · Teaching Methods

Using “Favorites” in Twitter

February 20, 2009 · 2 Comments

My twitter friend, @Zweibz7 (Andy Zweibel), suggested an idea for a blog post.  I’ve decided to act on his suggestion!

I started using Twitter in November, 2008 after taking a Web 2.0  class at VanderCook.  At the time, I didn’t have much skill, but I had the desire to learn as well as some help from a growing network of friends on the site.  Now that I think about it, Andy was one of the first (if not the first) to help me figure some things out!  Andy is a “go-getter” Music Education major at the University of Miami.  I consider myself fortunate to be able to call him a friend.  Maybe one day I’ll even have a chance to meet him! :)   I probably still make lots of mistakes in communicating on Twitter, but in spite of that, I’ve found it’s  a great tool in connecting with other musicians and teachers.

One aspect of Twitter is especially helpful to me:  the favorites button.  With the favorites feature, users are able to mark tweets (status updates of 140 characters or less) in order to find them later.  I try to “favorite” tweets sparingly to make the feature more useful for me.  I want to be able to quickly navigate to particular tweets from time to time.

I’ve favorited tweets that I find humorous, thought-provoking, or interesting, as well as tweets that have provided information, links, or directions for later use.  (I’ve just thought of a few tweets that I should have favorited now that I’m writing this post.  One is from Andy!)  The following is a list of some of my favorites by category.

1.  Links, Information, or Directions in Tweets

musicedmagic An Approach to Improvising Over Chord Changes http://ff.im/YT3S

shanedhudson Most arts orgs don’t know how web 2.0 works. http://tinyurl.com/avldru

SloaneW RT @perrybelcher: Top 10 Online Tools to Connect With the Obama Administration http://tinyurl.com/98mwdk

TheSCICoach RT @ShaynePacker Welcome new followers. #Happy09 Come check out my website at http://GrandparentsTLC.com

musicinmotion Can’t get a tune out of your head, but can’t remember the name of it? Hum it on Midomi.com to find the title.

TeachaKidd @shareski Interesting post. Good points. But, I think you’re wrong. :) http://bit.ly/iBO

pisanojm New blog post: Announcing The (Almost) Official List Of The 100 Music Education Blogger Campaign http://tinyurl.com/62dd4p

problogger Lots of Buzz today around – How to be Useful on Twitter – http://twurl.nl/00mqjx and Using Twitter the Smart Way – http://twurl.nl/hazq5q

Zweibz7 @bbrown0826 check out http://tinyurl.com/6gnx64 for info on #hashtags

Zweibz7 Interesting comment my prof just made… “so many teachers teach to the middle, instead of reaching ou to the whole classroom”

mariancall Maybe we can be better, maybe we can’t. But that tension is why we tell stories & make art. So happy Christmas, everyone. Keep hoping.

TheSCICoach Opportunities multiply as they are seized. — Sun Tzu

TheSCICoach A real decision is measured by the fact that you’ve taken a new action. If there’s no action, you haven’t truly decided. – Tony Robbins

MCHammer @AustinRM following more people increases the possibility of discovering some beautiful minds…. a wealth of knowledge in the lives lived

bliporto @Zweibz7 Remember Einstein’s definition of insanity: doing the same thing over and over again and expecting different results.

BonnieBrown RT: @WritingSpirit.. TIP #193 And the Truth Will Set Your Writing Free.. http://bit.ly/iHUT

ijohnpederson You did remember to send Obama a card for Presidents Day, right?

TeachaKidd Found on tweet of the year site (still not changing my vote though): “Humor” is what strangers find funny. “Comedy” is

TeachaKidd …what your friends find funny. “Twitter” is what your family finds, and says, “You okay?”

bliporto Migraine + recorders = ☠. I think I’ll write a song featuring the note B for today’s class. I’ll title it “B Quiet”

Categories: Uncategorized

5th Grade Boys and Singing

February 19, 2009 · 5 Comments

In my present job, I’m having my very first experience teaching 5th grade general music.  Up until this job, I had taught every grade level except for 5th and kindergarten.

I was surprised today by some of the boys as we worked on songs for the April musical.  I’m choosing soloists in a few days, and wanted to give students an opportunity to sing in front of the class.  I expected to have mostly girls volunteer, but in both 5th grade classes today, at least five or six boys wanted to try the solos and only one or two girls!  Almost all of the boys who tried sang in the correct range for the songs as well.  Perhaps the ones who volunteered did so because they ARE still confident; their voices haven’t changed yet.  A couple of boys volunteered, didn’t match pitch, then dropped out before their turn was finished, shaking their heads.

I want to be vigilant in teaching the boys now in order to help them maintain some confidence as they enter middle school and their voices change.  If anyone reading has suggestions, please feel free to offer them.

Categories: Singing · Teaching Methods

Learning as I Teach

February 7, 2009 · 4 Comments

As I said in one of my earlier entries, teaching singing has been a real weakness of mine: a pretty big weakness as a general music teacher.  My practice in previous jobs was to spend one music period on each lesson in the music series textbook, then move to the next lesson on the next day.  There were a few songs we would review on a regular basis, but I ALWAYS sang with the students, used the CD accompaniment, and spent only a few minutes in the beginning stages teaching by rote phrase by phrase.  Once again, I sang for them while they listened; then I sang WITH them again.  I rarely listened to the students alone.  We spent plenty of time on performance music, but I always sang with the students until a few days before the performance when I would wonder, “Why aren’t they matching pitch better?!”   In my most recent general music job at a middle school, I hardly ever included singing with the 7th and 8th graders.  I think I made a big mistake there. However, that’s a topic for a different blog post.

After taking the Orff Certification, Level 1, class last summer at VanderCook, I began to realize some things that needed changing in my teaching.  It’s taken several months for the thoughts to crystallize, but I’ll try to be clear.  First, I’ve had to FORCE myself to stop singing with the students.  I think that’s a difficult thing for some of us.  Most music teachers have the experience from their childhoods of excelling in music.  I don’t think it takes us very long to grasp concepts.  We tend to hear music pretty clearly and are able to perform with relative accuracy quickly.  In fact, I believe that if the opportunities were more readily available, a number of music teachers might have been full-time performers instead!  We naturally want to sing with the students because we want to hear the music correctly right away!

That leads me to my second thought:  I’ve had to slow down and give the students more time and practice with each melody.  This year, I’ve used a solfege (do, re, mi) echo exercise I learned in the Orff class.  Using that exercise was my first step in learning not to sing with the students.  It’s also provided an example for me to see the power of repetition of concepts.  I used the exercise primarily with 1st and 2nd graders in the beginning since I was learning right along with them!  We only used “so” and “mi” in the beginning, added “la” after a few weeks, and we’re gradually adding more  scale steps.  I admit, I have a long way to go, especially with the older students, but I’m learning.

During the last couple of weeks, I’ve concentrated on singing ostinatos and rounds with my fourth grade classes.  My goal has been to teach the students independent singing.  I found a nice little round in a Music K8 magazine that I decided to use first.  The first phrase starts on “do,” the second on “mi,” the third on “so,” and the last on high “do.”  I’m also using the old-fashioned autoharp and teaching the students to play the accompaniment instead of using a CD or me on the piano.  I’m making an effort to use the students as the primary “music makers.”  Teaching the autoharp while teaching the song for the round added interest and allowed me to work in a lot of repetition of singing to help them learn the melody before singing the round.  Teaching this way is not in my comfort zone, but I’m getting better at it, and the students were successful singing the round this week!  AND they LOVED it!!!  Using the old-fashioned autoharp and a simple little round, I got goose-bumps listening to them, and they got excited!  Now, mind you, it wasn’t perfect by ANY stretch of the imagination, but it was quite cool never-the-less.

I think my next post will be why I’m FINALLY beginning to understand the value of singing in music classes.

Categories: Teaching Methods

Audiation and Singing

February 1, 2009 · 1 Comment

Occasionally I’ll be in the middle of a teaching a lesson, and several ideas will come together for me in an “ah-ha” type of moment.  I had one of those moments this week.

I was teaching a first grade class a new song alternately by rote and with solfege (e.g. “do, re, mi…”), and a few students in the class weren’t anywhere close to matching pitch.  I’ve already made a couple of conscious changes to my teaching this year.  First, I’m making an effort to NOT sing with my students.  I listen much more carefully to them instead.  Second, I’m trying to remember that I can’t assume they understand every word I say.  Instead, it’s quite possible they misunderstand MUCH of what seems perfectly clear to me! :)   I’m trying really hard to break my instruction down to even more basic steps and TELL students to imagine the pitches in their heads before singing (audiate) then listen to themselves while singing.

As I was struggling with helping the students sing on pitch this week, I suddenly remembered the program I use with my first grade reading group:  Michael Haggerty’s Phonemic Awareness.  The program focuses a lot on recognizing beginning and ending word sounds.  My little reading group needs the extra practice in this area!  It often surprises me how often they mix up the beginning sound with the ending sound.  I’m also surprised by how often one of them will write a word completely backwards:  from right to left rather than left to right.  Sequencing can be a problem for some students!  I’ve known this for some time, but the idea clicked for me in relation to teaching singing this week.  In that moment, I decided to say the words to the 1st grade music class, “While you listen to the phrase, try to remember the first sound you hear at the same time.  Then you can get started on the right sound!”  Was it my imagination, or did they actually do a little better that time?  If that was the case, as with the reading group, I’m certain some students will need more practice…as well as more reminders from me!

I’m also curious:  What kinds of studies have been done related to audiation and teaching singing to young children?  What teaching steps have been proven effective in teaching young children to audiate and to improve accurate singing?

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