Harvard Reflections: Arts, Education and Learning

This summer I was fortunate enough to have been selected to participate in the first ever Institute on the Arts and Passion-Driven Learning held at Harvard's Graduate School of Education in collaboration with Yo-Yo Ma and members of the Silk Road Ensemble.

photo Andrew T. Garcia

My situation was unique.  I was camping in the Adirondacks for 5 days and planned to continue the same for another 5 days after the Institute.  I emerged from the woods, attended the 2 1/2 day Institute and traveled straight back to the Adirondacks.  While in a hammock at the edge of Rollins Pond, I reflected on the experience.  The result is below. This list is in no particular order and may not even make sense to those outside the context of the experience.  However, I have attempted to expound on the list.  Feel free to contact me for any clarifications or just to connect.

'NOTHING WITHOUT JOY'

This is a quote by Loris Malaguzzi that host and Harvard Graduate School of Education Lecturer Steve Seidel shared at the opening plenary session.  He also concluded the Institute with the quote.  Mr. Seidel was the best of hosts (Yo-Yo Ma referred to him as "Mr Rogers for adults"). He used humor when appropriate but also posed excellent questions to frame the Institute.  Some examples: What is the role of passion in learning? What are the possible roles for the arts? How can the arts deepen learning in other subject areas? How do the arts support students in becoming more engaged, empathetic and responsible participants in their learning?

WHAT'S WORTH KNOWING

This question was also raised by Steve Seidel.  It seems like a simple question but it is so important for all educators to spend some time thinking about it.  Given precious little time in the school day/year, what is worth knowing? And why?  Answers to those questions drive the curriculum and what gets 'learned' in schools.  If you teach something, why did you decide it was worth knowing?

SNAKES (ARE BORN THIS WAY)

As an example of what is worth knowing, the video Snakes Are Born This Way was shown. The 2nd grade class at Conservatory Lab Charter School wrote and performed this parody to share what they had learned about snakes through their learning expedition. The Conservatory Lab Charter School is unique as it "empowers a diverse range of children as scholars, artists and leaders through and El-Sistema-based orchestral education and rigorous Expeditionary Learning curriculum."  As the students tell us: "In 2nd Grade our teachers told us that we would be herpetologists".  And that began the exploration. Worth knowing?

EMOTIONS ARE CONTAGIOUS

More than once Cristina Pato (Gaita player) said this.  The important takeaway is to be genuine in teaching, performing and learning situations.  The more one is open and transparent, the better the learning for everyone involved.  

MAKE LEARNING VISIBLE

Butterfly by Aidan William Garcia, age 6

Making learning visible was a theme of one of the workshops I attended.  There are many ways to do this but so much of the time we feel (as teachers) that we lack the time to follow through on this. However, it is probably the most important part of learning in schools. It reminds me of the quote from Stephen Sondheim's Sunday in the Park With George. The character (and once real life artist) George Seurat sings: "A vision's just a vision if it's only in your head.  If no one gets to see it, it's as good as dead".  Likewise, it easy and tempting to keep learning in the classroom only. But it should be shared.  Starting now.  

COLLABORATION, TRUST=SAFETY AND NEW CREATIONS

Collaboration was a big theme of the Institute since the role of the Silk Road Ensemble involves collaboration 100% of the time.  In their own performances, the musicians are always working together, sharing, experimenting and pushing themselves into new territory. When the Ensemble visits schools (as with the Silk Road Connect venture), collaboration is the name of the game.  There exists the school culture and the Ensemble (made up of members from many different cultures).  In these environments, open mindedness,  negotiation and flexibility lead to trust and true collaboration which leads to a feeling of safety and comfort for all participants.  Once this level is reached the collaborative 'dance' can yield new, spontaneous creations.  Powerful stuff.  How can we create these conditions in our classrooms and schools?

DISCIPLINED IMAGINATION

Yo-Yo Ma described an exercise he uses to spark creativity and new thinking. In a conversation with Steve Seidel, he said he uses something he has dubbed "Disciplined Imagination", the crux of which is to take something known and transpose this to a new setting in your mind.  He used the example of knowing Steve and his thoughts, mannerisms, interests, passions in the context of Harvard and then imagining Steve in other settings and how he might engage, communicate and participate in those other settings.

CULTURE BUILDING

Small and large group conversations in several workshops led to the understanding that, as arts educators and educators in general we are really involved with 'culture building'.  Culture building is laying the foundation of how individuals would act, speak, respond and participate in the classrooms/school setting where collaborative (trust-based) learning would take place.  We spoke of the difficulty of some students bringing jaded and negative attitudes into the classroom impeding trust and true expression, sharing and learning.

photo Andrew T. Garcia

LISTENING

Related to Culture Building is building a 'Culture of Listening' in our learning spaces. Since listening and considering the thoughts, ideas, music, etc.. of others leads to true growth and learning and opens the mind.  A powerful definition for teachers in this context would be "The most experienced learner in the room."

KNOW DEEPLY AND SHARE GENEROUSLY

In a conversation on the final day of the Institute, Mike Block of the Silk Road Ensemble said learning happens and transcends the local environment when one knows deeply and shares generously. Amen.

And there you have it.  Some nuggets I took away from the 1st Harvard Institute on the Arts and Passion Driven Learning.  I have shared generously and hope that these personal recollections are of some use to others.  I will forever be working on the 'knowing deeply' part.

The Power of the Arts for Students

As a Music Teacher, I have been a long-time advocate for the Arts. The Arts make up a significant part of our history and culture. Opportunities to express, create, practice and work toward goals larger than Self are such key factors in nurturing whole human beings. I believe Arts Education has a place for every child in school.

But where do the Arts fit in schools? What does the Federal and State Gov't have to say? I am pleased to be able to report that the arts-including art and music are considered CORE subjects in the Federal NCLB law as well as the MA Education Reform Law. Interestingly, research is being unveiled frequently about how the arts actually assist students to learn and think critically in arts classes as well as other academic classes. Additionally-and this is very compelling!-the field of Neuroscience is mapping HOW the brain processes as a result of immersion in the arts.

THE ERA OF DIY and CONTENT CREATION
As is frequently noted on this blog, the paradigm has shifted in the world and Education must play a crucial role in adopting and exploiting new ways of doing, learning, leading and creating. Parallel to the shift to Standards-Based (Student-Centered) Education, a shift made possible by emerging technologies is the ability for individuals to create their own content (images, videos, music, etc..). This is the commonly called D.I.Y. (Do It Yourself). Education should embrace the DIY movement and allow students and teachers to create as learning process. (Note that creation here is not necessary the culminating activity--but an embedded WAY to learn).

A great example of Combining the ARTS and the DIY Movement comes from students at Boyertown High School in Pennsylvania. Art programs were in danger of being cut, so the students made a video to show how they feel about their art classes. Great work for a great cause! Arts Education.

Music Education Professional Learning Network Launches

Watch Out, Here We Come! The Music Education Professional Learning Network launches today, July 19th, 2010. The site is a "freely available public site specifically designed for Music Teachers, Educators interested in Music topics, and pre-service Music Teachers."

Users must register for an account, otherwise the site is free. The MPLN contains Forums, Groups and News/Info. links about aspects of Music Education. Pre-launch, the site had 68 members who Beta-tested the network. These members are among the top music education professionals with an online presence (music ed. teachers, conductors, clinicians, presenters, bloggers, etc..). One of the greatest attributes of the site is that is it is social media rich meaning that there are multiple ways to share information outside the network on different platforms such as Twitter, Facebook, Yahoo and MySpace. I believe this attribute will insure the site's success. Interestingly, it is also possible to connect IN to the network. For example, by using the hastag #mpln on Twitter, the update will post inside the MPLN network. Nifty!

The launch comes at a time when social networks are becoming increasingly accepted as valid places, forums for learning. There have been a few attempts at creating social networks for music educators but none have achieved a wide membership/following. MENC has had a Mentoring Forum for years (of which I was once a Mentor) but it never quite evolved from the limited 'thread'.

I am convinced that the time is ripe for the Music Education Professional Learning Network. I believe that it will be widely used by Music Education Professionals to connect, discuss, debate, elucidate, elaborate, learn, grow and educate. Is the world ready for Music Education to finally, finally be transformed?

What School Music Programs Should Look Like

In the last post, I suggested a new paradigm for music education in schools. This paradigm would become less-band/orchestra centric and would have as its base teaching non-band/orchestra/chorus students the tools for music creation, mixing and distribution. Traditional performing ensembles should always have a place in school music programs. Instrumental and Choral Programs are often the public face of music programs. They provide good PR but I think it's also time to embrace a much wider conception of what performing ensembles could be in addition to changing the nature and focus of the "General" Music Program.

Increasingly, students are coming to us with skills on (electric) guitar, keyboards and other instruments (mandolin has become popular recently because of it's use by some mainstream pop artists). Students who don't play instruments are coming to us with much greater exposure to music specifically because of pop culture influences (Rock Band, Guitar Hero, Glee, video games, etc..). A 6th Grade student recently asked if we could play the theme to Halo, a science-fiction video game. Why not? If we don't do it at school, students are busy learning it anyway , despite the school music program! This is NOT a position we in Music Education want to be in. Imagine students dropping music classes because they don't do music there (or at least music they know). Unfortunately this happens every day in music programs everywhere. I know a student who won the local 'American Idol' contest but dropped Chorus at school. She didn't see the relevance. There are, of course Music Directors who get it, the one's who understand that connection is more important than coverage. So, to further expand the paradigm shift I am suggesting, here's what I think *secondary music programs should include now:

• A Music technology Classes (formerly called General Music) where students create, remix and share music (and, yeah, learn the basics, too)<---largest population of students. I suggest this for 100% of the school population if possible.
  

• Guitar "Clubs"<---if don't play guitar, have your students teach you. They would love to teach you how to shred a solo.
  

• Jazz/Rock-Pop Ensembles (any combination of instruments/voices)
  

• (World) Percussion Ensembles (mallet instruments as well as djembes, bongos, congas)

• Traditional Music Ensembles (Band/Chorus/Orchestras)
  

*Note that I am addressing secondary music programs, specifically. Elementary programs should, as most do, continue to incorporate movement, singing, Orff instrument playing, rhythm games and general "experimentation" with music.

The 21st Century Music Program

I've written about it already: Music Education must shift (as most of what we do in Education must shift now). But I haven't given a prescription for the shift. I'll focus on music education first since it's where I've spent most of my career.

Once upon a time, as the world was changing and going digital, music was right out front as one of the game changers. Since people love music, they wanted music. As digital formats and broadband increased so did the possibility that music could be made available for next to free. A huge demand ensued. Enterprising individuals with some coding know-how made it possible for people to find music online. That's the beginning of the story and how P2P networking changed the world. The rest is known to us. Napster and other websites that allowed free sharing of music and other copyrighted material were targeted by the RIAA and the copyright wars began.

Now, new modes of distribution and consumption are in place, money is paid to the artists and the world is changed. Of course, the illegal stuff still happens and will continue to-until we radically redfine and de-criminalize file sharing. But it was larely a demand for MUSIC that inspired the whole digital-everything movement. And As Chris Anderson will tell you, once things are digitized, distribution costs are almost nill for a gizzillion copies of the same file (mp3, mp4, .mov, .avi etc..).

So where does secondary Music Education fit into this? Prominently, I think. Center Stage, if you will. Teens and music go hand in hand. They "do" music all the time. In these times, students are downloading, manipulating, re-mixing and listening to music daily. What happens when they come to music "class". What is happening in "General" Music Classrooms today? Do students ever hear "their" music? In a 21st Century Music Program, they should. Do they use technology, loop-based composition software to make their OWN music? In a 21st Century Music Program, they should. Do they get to create and remix music the way they do in the real world? Do they get to download and keep their music as Mp3 files? In a 21st Century Music Program, they should. Is You Tube ever used in music class? i-Tunes? In a 21st Century Music Program, they should be.

It's an important shift because in a 21st century Music Program, there is potential for many more students to be part of the program--shifting it from the old Band/Chorus paradigm and justifying it solidly to School Boards. When you turn all students into Artists, it's difficult to cut a program. That's possible in a 21st Century Music Program.

The Educational Value of SMARTMUSIC

One of the never ending ironies in Public Education is this: Arts in schools get little respect. This is especially true when money is tight and school boards find them to be convenient targets for cuts. The reasons for this are many and deserve examination. However, in this post, I will examine one potential reason and I will illuminate a potential solution for music education-a particular software product marketed under the name SMARTMUSIC that legitimizes the educational value of performing music classes-beyond a reasonable doubt.

I believe one potential reason that arts education (I will focus exclusively on music education for the rest of this post) is that stakeholders have little clue HOW the arts are, in fact, Educational. Arts and music teachers are largely to blame for this because we feed into underlying misconceptions about what we do. For example, a tired argument for keeping music in schools for the past decade has been to cite the so called 'Mozart Effect'. We have told school boards that "music makes you smarter" and that kid's SAT scores will go up as a result. We do this instead of talking about specific habits of mind that are developed in arts classes such as listening, perceiving, making inferences, counting, decoding, communicating, cooperating with others, synthesizing and creating. So, music (and arts) courses are being asked to be saved because they have an apparent, unproven non-music, non-arts specific effect on education. No wonder the argument has little traction. (Incidentally, I hope that high SAT scores are not taken as a serious barometer of intellect or individual learning potential. I hope!)

MISPERCEPTIONS OF WHAT ARTS TEACHERS DO

The reality is that those of us who teach an arts subject spend our entire careers dealing with misconceptions about what we do from those that should know better. Teachers and administrators often make the mistake of believing that students are all "talented" and that what we do on a regular basis is "fun" day in and day out. And aren't we "lucky" to teach the subjects and students we teach. The reality, of course, is that we're often dealing with large numbers of students who have a WIDE range of ability levels and more lesson plans/preparations since we teach discrete 'subjects' such as flute, tuba and mallet percussion in the same day. And, yes, for brief moments (on concert night, for example) the work is highly satisfying but it is also stressful because of the need to differentiate instruction multiple times daily. Concert night is the result of consistently and deliberately working towards (music) education objectives. The kicker is what we do. What we music teachers do is this: We display our work publicly over and over again. We rely on cooperation and measured improvement from the students we teach. No student we teach can fail. Yes, in fact, no student can be left behind (and never, ever was by any competent music teacher).

There, I said it. But let me be explicit: In a math (or science or social studies, etc class), a student can fail to do homework and/or fail to study for tests and, therefore, fail the class (or hold on with a "D" as is often the case for social promotion). The teacher can but does not need to assist the student to do better beyond some basic reinforcements. Not so in music performance classes. NO student can fail. Here's why: because if even one student is playing wrong rhythms and/or notes, the band sounds "off". It's a collective 'bad performance' because of ONE student's shortcomings. The public assessment will be less than. The audience will notice. So what do we do? We make sure EVERY student can play everything correctly, competently and musically before concert night. (By the way, I'm sure the majority of math, social studies and science teachers help their students to gain mastery-I'm just illustrating the point that their reputations are not made or lost in public view via public means of assessment).

From an educational perspective, in music (band) class, we identify misconceptions, make note of them and make sure to re-teach each individual student in need of such "response to intervention". We have always operated this way and always will. Anyone teaching right now knows that "RTI" is one of the current buzz words in Education. Here are a few more:

• Standards-based education
• Differentiated instruction
• Using data to drive instruction
• Performance-based assessment
• 21st century learning
  

Let me now illuminate how these educational objectives are being met in music education programs using SMARTMUSIC software in the band and choral music curriculum.

HOW SMARTMUSIC HELPS STUDENTS LEARN

SMARTMUSIC is the name given to software now available for use by music teachers and music students (MakeMusic, Inc.). Smartmusic is described as "learning software with the power to transform music learning. Students of all ages and skill levels can play or sing with professional accompaniments, making practice both rewarding and fun." It is quietly revolutionizing the field of music education. When used, it transcends expectations, fixes misconceptions and ensures steady progress by student musicians. And best of all SMARTMUSIC can be discussed using an educational lens.


SMARTMUSIC IS STANDARDS-BASED
Smartmusic allows students to perform music along with accompaniments or to simply play a line of music at a time. Music standards such as reading music, understanding and executing musical instructions (articulation and dynamics, for example) are addressed within the context of each composition, exercise or folk song.


SMARTMUSIC ALLOWS FOR DIFFERENTIATED INSTRUCTION
SMARTMUSIC contains music at a variety of levels from basic to advanced. A teacher can assign specific exercises for each student depending on their specific needs (to address misconceptions and weaknesses). These assignments are delivered digitally (via e-mail and by the student signing into the Smartmusic database).

ASSESSMENT IN SMARTMUSIC IS PERFORMANCE-BASED
Proper music instruction has always been performance-based since the only way a student can demonstrate understanding is to execute the skill(s) on his or her instrument. Music Education was doing performance-based assessment long before the term became an Educational Imperative. By it's very nature, Smartmusic uses a performance-based assessment model.

SMARTMUSIC IS DATA DRIVEN
Using data to drive instruction is, again, something that has always been done in music education. However, Smartmusic kicks it up a notch. Data are collected as recordings of student performances. These data are automatically uploaded to a "gradebook" kept on Smartmusic's servers. This gradebook looks like a regular gradebook with columns of assignments. The recorded performances are accessed by clicking an icon next to each student's name. Additionally a snapshot of what notes/rhythms students played correctly or incorrectly is viewable by the click of a mouse. Correct notes/rhythms are green in color and incorrect notes/rhythms are red. Intangibles such as tone quality, intonation, articulation and interpretation can then be rated by the teacher using the mp3 recording. Based on the strehgth (or weakness) of the data, music can be reassigned or new music can be assigned to address particular issues.


SMARTMUSIC IS A 21st CENTURY LEARNING TOOL
SMARTMUSIC makes use of technology in engaging, creative and meaningful ways to ensure high quality, data-based music learning. Importantly, it is a tool that helps music students and music teachers do what they have always endeavored to do-to learn to be competent, independent musicians and to teach music effectively.

Photo credits:
Nationaal Archief / Spaarnestad Photo / J. van Eijk, SFA003001896.
Saxaphoon by Oude School at flickr

NOTE: This blog is in no way affiliated with Smartmusic or Make Music, Inc. The views and opinions expressed in the post are those of educational blogger Andrew Garcia.

It's About Connection

As a middle school teacher, if I have learned anything about being an effective teacher, I have learned it's all about connection. Not connection with 'the class' because there's no such thing as 'the class'. The connection(s) you must cultivate are those between you and each and every student.

Students will largely forget what you say to them but they will never forget how you made them feel. Connection offers the opportunity for you to build trust in students. Sometimes all it takes is eye contact and a smile. That is connection. In other cases, perhaps you offer feedback quickly or you answer an off-topic question (showing your humanity and interest in the student as well as the subject).

In the digital age, we can add e-mail to the list of ways a teacher can connect with a student. Far from being a "cool" medium (as in 'not personal'), I have found that using e-mail increases the opportunity to connect with students. I'm not talking about casual, social e-mails sent from my personal e-mail account to a student over the weekend. And I'm not talking about contacting students through social networks which I feel is Very Bad Idea. (I have told my current students that they can 'Facebook' me when they are 21 years of age, if they still are interested in a connection). Limitations and restraint are essential in the digital age--that's where media literacy comes in which I believe should be mandatory in school now.

What I AM talking about is using class-related e-mail on closed-system accounts such as can be created using Google Apps. All my students have an account at a domain of my choosing. It's closed to the world but all students in the class have the ability to share information, projects and ideas with me or the whole class with the push of a button. My music classes are project-based by design and the instructions for each project are delivered to all students via e-mail. As all teachers know this is where the need for differentiation begins. Some students will read the instructions, do what they say and bang out a quality project in a few class periods. Others will get stuck on Step 1.

If they are stuck, I encourage students to e-mail me questions. It may seem silly (like students texting to each other when they are 2 feet away) but the use of e-mail provides a one-to-one connection with a student. It also provides documentation (data) for me as to what instructions students are unclear about so I can revise as necessary. As I have learned, too, some students embellish their e-mails with smiley faces, color, funky fonts etc. I've also learned that students are more apt to let me know they "don't get it" because e-mailing me is a 'private' communication. I could ask 'the class' as I stand in front of the room if they understand the instructions at which point we could hear the crickets chirp because no middle-schooler is going to admit that they don't get it publicly. One student I taught recently who struggles in school and is somewhat disengaged, sent me 3-4 e-mails per day until she "understood" what to do with each project. I could see the level of trust and connection build as she would add 'random happiness' to her e-mails (in the way of the aforementioned smiley faces). Most of the time when she needed assistance I read her e-mail and her question, I responded (data, again) then I got up and went to her midi station and assisted her directly-in person.

But the catalyst for this one-on-one assistance was an e-mail. A valid connection. Which matters for students. They yearn for it. Connect any way you can. Make them feel that you care about them not just your subject.

Help Obama Make Music A Core Subject

There's a petition you can sign if you believe the following:

Be it resolved that we, the undersigned, agree that all Americans should work to enhance and support music education in our nation's schools. To that end, we call on the U.S. Department of Education and all American leaders to:

• Mandate that music and the other arts be part of every child's core curriculum;

• Ensure music and the other arts are included as a part of a balanced education addressing the whole child, to prepare them for the creative thinking necessary for success in the work force of the future;

• Ensure qualified music teachers and sequential curricula be recognized as the basis for providing all students with substantive education in music and the other arts;

• Ensure programs in music and the other arts provide rigorous instruction, monitor progress and performance through meaningful assessment, and take place within a structure of accountability to school officials, parents, and the community.

Be it therefore resolved that the re-authorization of the Elementary and Secondary Education Act, also known as No Child Left Behind, not only identify music as a core subject, but also recognize music education as a mandatory component of every public education curriculum in the United States of America.

So, why are music programs being cut and staying cut??

Sign the petition here:

http://snipurl.com/hi6a2

Do Your Administrators Advocate for Music In Schools?

The fact of music and art programs being cut from schools flies in the face of the reality of what they bring to the lives of students enrolled in these programs.
I am convinced that school-based administrators and superintendents themselves need to advocate for music and the arts because when music and arts teachers do, school committees believe they are just begging for their jobs.

Here's a principal talking about how her daughter finds great value in her musical studies.

Music Education Must Shift, Part 2

As further clarification and to elaborate on a previous blog post, I offer this post:

Some relevant background information:
1- I've been teaching students (to read) music for 19+ years. It's the primary thing that I do for a living.
2- I do this within the context of a public school system
3- I am aware that, statistically speaking-even in districts where music is strongly supported,
there are still large numbers of the student body who are not involved with music (on the secondary level especially).

EXPAND THE BAND/CHORUS PARADIGM
What I'm specifically addressing is the need for a paradigm shift-away from the Band/Chorus paradigm to a more Universal approach to music learning in secondary schools. Band and Chorus have an important place in school music programs but in the context of a school system -in these times, in particular- enrollment numbers speak to School Boards. Never mind that the Band gets Superior ratings at all festivals. Never mind that the Chorus was nominated for 'Best State Chorus'. It increasingly comes down to numbers for School Boards and Superintendents. It begins to seem elitist when students who don't play a musical instrument, can't carry a tune or read music are excluded from music programs. Where's the equity? How do we justify costs?

Yes, music is a specialized subject. Music teachers are, indeed, specialists. This distinction could be problematic if the specialization was on only one instrument or voice and on only one type of music (western). Music teachers (myself included) need to consider breaking out of our comfort zones. Why? Because of the current financial state of our country and because Globalization is real. All musics in an age of globalization are valid! It used to be (and I'm afraid still is) that music teachers would plan a concert program and leave space for a little "world music" (usually an African-based piece re-written in a Western style by a Western arranger).

So, back to my initial proposition: I believe that right here, right now, music education programs need to teach music differently. First, we need to continue teaching the reading and performing of music to band and choral students. But we must expand the repertoire of these groups to include authentic music of a variety of cultures and countries. Second, we need to teach all non-band/chorus students to experience, analyze and to create music-whether they can read it or not. This can be achieved in a variety of ways...from drumming to the use of software to create loop-based compositions. I believe that music education is becoming closely linked to media education and we must begin teaching both! No matter what pathway students are involved in, they must become music content creators as composers, improvisers, arrangers and performers.

As I have written before and point out here, when music programs achieve high levels of student involvement outside band and chorus, justifying music programs is a much simpler task when budgets dry up. The next blog post will raise the question of whether music teacher ed. students are prepared to embrace this shifting paradigm.