Assignment #4: What kind of music course can address all students?

I wanted to ensure I took as much time as needed for this reading, to really grasp the focus of this chapter. I really appreciated how thorough yet precise Dr. Tobias was in explaining and elaborating on this concept of hybridity. While I was reading this section, I loved how learning with digital media and technology to me might have seemed like a wound up ball of knowledge and experience that I am not familiar with, yet the explanations and examples given here really enlightened me and enhanced my knowledge.

There were a couple terms and ideas that I would like a further explanation on, or even a few more examples given that would solidify my understanding of these concepts. The first one was the terms “multifaceted” or “hyphenated musicianships.” When I break down these terms separately, I understand there meaning, but would like to know a little bit more about what “multifaceted” musicians might look like. The second term that I found confusing was “musical trajectories.” I am not familiar with this word, or have a clear understanding of it in this context. Lastly, the idea that “dichotomies between music and and music technology courses are based on artificial differentiations and assumptions that constitutes important knowledge, skills and understanding” (Tobias, 115). I am unaware of what the term “dichotomies” means, and furthermore would like to break down this concept to smaller ideas.

One of the biggest factors that differentiates a hybrid classroom from more traditional practices such as “music theory” or “band, orchestra and chorus” is the idea of hybrid versus compartmentalized or specialized learning. This concept that “music educators might foster comprehensive environments where technology and digital media can support students’ learning and musicking” with the flexibility of a hybrid class to account for “rich, multifaceted, and dynamic ways in which people know and do music that might not be addressed in specialized classes and ensembles” is what sets a hybrid class apart from a traditional ensembles (115). This understanding for me came after the light bulb that clicked in me, regarding what the word “hybrid” meant! I thoroughly enjoyed the reference to biology, and that mental image that I was able to create in my head depicting the identity of crossovers and combinations embraced by hybridity.

In addition, aspects of a hybrid classroom that might be beneficial to students includes the flexible and comfortable nature of the class, a comprehensive curriculum that could foster musical engagement outside of the traditional ensemble, and a structured avenue of collaborative approaches that would engage in projects that “might not fit within preplanned curricular structures” (118). As a result, multiple forms of projects, connections, and musical engagements would be the offspring of a hybrid class.

On the other hand, music educators might also deal with challenges that come in a hybrid classroom. These challenges might include how to accurately monitor the process over product results in terms of assessments if needed in a school setting, a lack of resources to really establish a strong, resourceful hybrid classroom, or even just the mental drawback of those who are not willing to collaborate and extend their experiences with musical engagements.

To conclude, one of the biggest questions that I have in futuristically designing and facilitating my own hybrid music classroom would be how to balance the “formal,” or traditional aspects of musical engagement with the crossover of hybrid techniques? My biggest fear in starting a class like this would also be the lack of resources and knowledge I have with technology, and therefore I would want to know what are the essential basics that I would need in order to stand on my own two feet!

 

 

 

 

Assignment #3: How is general music evolving?

I have loved diving into these assigned readings for class, as it has really challenged who I am as a learner, but more importantly what values I want to take with me as a future educator. In chapter 12 of “Teaching General Music,” I took a lot of time contemplating the rhetorical questions posed by Lum, and furthermore presented his ideals in my own ideal future music program. The movement behind this chapter is the idea of learners, in this case students in our music programs, shifting from the state of “being,” to “becoming.” I agreed with Lum and his vision of breaking down general “boundaries” that could ultimately help redefine our students musical pathways. Lum further suggested several key areas of improvement that could evolve to a point of learning; such of these points included seeing music education as a becoming, open-ended journey, scaffolding a learning environment where the “pedagogical practice of such general music classroom activities is a shift toward and active engagement and interaction with the voice of an artistic child,” and evolving towards a more learner-centered space, where teachers act as a facilitator or collaborator (Lum, 275).

Lum also touched a lot on the evolution with technology, and its impact in and out of the classroom. He referred to children of this generation as a “digital native child,” which I found very fascinating! There is no question that the level of comprehension and exposure that kids these days have to technology is something we as a society have never seen before. In understanding how technology can be used as a tool to express individuality, and really harness rich musical identities like a traditional music program is run, I believe Lum really drove the point home that with the technology that we have today, channels of communication, creativity, and collaboration are avenues that we should be exploring more as educators in today’s world. This idea of “becoming,” and evolving has really informed me on ways that I would want to facilitate or even design as new music class, as he mentions how a “general music program that embraces becoming will necessarily have to think consciously about student’s involvement and engagement in musical activities” (Lum, 281). I love that!

My biggest take away from this chapter was ways in which we, or I, might update a music program to adapt with society. I love the question posed in this chapter, that states “have we provided enough musical avenues and available resources for our globalized children so they are not walled in by the physical and mental spaces of our music classroom?” (Lum, 283). In regards to technology, with the ability to roam in a ” space” or platform not limited by the walls of the classroom, there becomes a shift between focusing on the product, but rather the process taken to get there. I think one of the biggest updates that can and should be made in the classroom is allowing students to create and explore musical avenues through technology. These trends, and evolutions with technology were not something that I saw in my days, but is the direction that I have seen especially in the internships that I’ve experienced. My hope as a future educator is to hop on the momentum now of this shift in general music, so that I can open the doors for my students begin the open-ended journey through music.

Assignment #2: The Elephant in the Room, or World?

I am marveled at the interactions and take aways that I have experienced just in these first few classes, and hope that it stands as a beacon of what is expected to come! As I reflect upon these experiences, I have recorded several of the questions that have been posed by Dr. Tobias in my journal, where I could later elaborate on my own thoughts and describe my feelings. One of the neatest things that I have experienced so far in this class, is learning and drawing on knowledge from some of my colleagues who have been by my side since day one here at ASU. I feel a sense of security and engagement from this class, and have already started keeping a detailed journal, in hopes to absorb as much knowledge as I can!

I chose to read Williams “The Elephant in the Room” for today’s assignment, and to say that I was thoroughly intrigued by the article would be an understatement. My initial thoughts while diving further into William’s work was where his train of thought, or rather focus of the paper was headed. The “elephant” in the room refers to the growing concern of American music education programs, and the direction needed to be taken in order to adapt to a suitable solution. While Williams provides several statistics regarding   falling numbers across the nation over the years, he further explores the idea of shifting from the “outdated model” of music education programs to more alternative options. Something that struck my attention while reading this article was the statement “it is essential that we offer interesting, relevant, and meaningful musical experiences for all students that also allow them to develop lifelong musical skills” (Williams, 53). This article has several components to its argument, many that I agree with and disagree with; with that said, if there was to be any point that drives the need for this article and call for attention, is it this statement of helping students achieve these lifelong skills.

I was intrigued by the topics such as class size, formal concerts, and instruments, all which play a contributing factor into a music program’s success. I agree with him on these topics and the enhances that could be made in these regards. Student-centerd learning and traditional notation were the two topic that really sparked my interest, and got me thinking about my own musical experiences that I have shared, and will hopefully teach by in the future! He mentions how “when we are passionate about something, as many in our profession are about traditional performance ensembles, it is easy to assume everyone else is similarly infatuated” (Williams, 53). I think with these two categories, and knowing the direction that music programs are headed into, it is critical to contemplate this statement, and realize how to create a thriving environment that everyone can enjoy. I absolutely agree with the idea of student-centered learning, and the process of children discovering, creating, and direct on there own. I can recall throughout my learning career, some of the best learning experiences came from peer-instructed learning. I have also been a firm believer in the idea of rote over note, as I am a dominate aural learner myself. His idea of “new models of education could benefit from involving practices that emphasize aural development” is something I hope to rely on in my own future classroom (55).

To conclude, this article was a fascinating read for me, especially because I see both sides to the “elephant in the room.” I am on board for exploring a new direction of music education programs in the public schools, and scoping out new ways to create musical experiences for all students. With that said, I come from a high school whose musical programs were and continue to thrive in the traditional large ensembles. I am therefore hopeful in completing my internship this semester, in hopes to first hand observe this new direction of musical learning, and the doors that will be unlocked for the world of music and technology!

 

 

 

 

Musical Circles- “Circulating” My Musical Experiences

The reading assigned for today’s class, “Music in Our Lives,” sparked a need of reflection in my own life, and the musical experiences that identify who I am and how I interact with music! I was thoroughly intrigued by the questioned posed in this first chapter, asking how our “own musical background, with its diversity of interests and experiences, can become a source of ideas for planning educational experiences for students” (Barrett, Veblen, McCoy, 1)? During my studies here at ASU, the prevalent thought of what would be my strengths or defining musical abilities that I would lean on as a teacher has really stuck with me. While contemplating the question listed above, and furthermore filling out my own musical circles, I was struck by the extent of just how much music has trailed the course of my life. For example, my family and I have grown up in the world of theatre, and crave any show tune, any time! While completing a couple of my musical circles, such as recordings that I could not live without, musical places that I have been, or even music heard in the last twenty four hours, it was apparent to me how much an impact musical theatre has made on my musical selections, as well as musical experiences. If I were to apply my “special interests, knowledge, or expertise in a particular type of music” (1-2), I would say my musical experiences that I would carry into my future teaching as a choral educator would have a significant influence from theatre. Understanding that these circles, or musical experiences, are constantly “circulating” in and out of our lives, it was quite fascinating to reflect on some musical experiences that I had 20 years ago, opposed to only 24 hours ago, that both contribute to  the way I associate myself and music.

The second half of the chapter opened the door to not only expressing the teacher’s own musical preferences, but the interests of the students that define their “idiocultures.” From my teacher’s standpoint, there is yearning to constantly learn and grow as a teacher, and mentor, and really human. I have not given much thought prior to reading this excerpt about the commonalities that may be found between the teachers and students, specifically in regards to musical interests. Furthermore, it clicked in my head just how powerful a teacher’s musical selections could be when utilizing the resources, knowledge, and skills of the students’ musical experiences as well. As a future educator, I hope to enhance my skills as an innovative practitioner and flexible musician, whether it be in a choral setting, or even a music technology class, where I can draw on several musical circles to further “circulate” the power and impact of music.