Synethesia

In our current discussion of multimodality, Professor Cope has referenced the term synethesia.  This reminded me of a blog post and ensuing discussion I had with some of my New Learning and New Literacies colleagues in our first course together last year.  I thought I would go ahead and re-post some of these thoughts as they seem to particularly applicable now:

As a choral music educator, I am constantly in search of ways to empower my students to perceive and perform musical nuances by thinking in non-musical, more relatable, ways.  Whether it be relating a musical phrase to a familiar landmark, correlating a musical detail to an architectural characteristic, or sustaining an expressive nuance by comparing it to real-life situations, I find that students relate and respond to these educational analogies quite well.

In attempting a particular instructional strategy recently, I purchased and brought an assortment of colored poster board, and simply during the first ten minutes of a choral ensemble’s warm-up time, I presented a different color and asked the ensemble to “sing that color”.  The effects were dramatic!  The ways in which my students responded and differentiated “singing pink” to “singing blue”, and so on, was remarkable.  In the process, we were able to compare, contrast, discern, and decide upon the “color” that best fit the ensemble’s age and experience level (we settled upon “dark purple”).

In reflecting upon this teaching/learning moment, I was reminded of the psychological term of “synethesia” – the neurologically based phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.  In one common form of synesthesia, known as grapheme, or color-graphemic synesthesia, letters or numbers are perceived as inherently colored, while in ordinal linguistic personification, numbers, days of the week and months of the year evoke personalities.  In spatial-sequence, or number form synesthesia, numbers, months of the year, and/or days of the week elicit precise locations in space (for example, 1980 may be “farther away” than 1990), or may have a (three-dimensional) view of a year as a map (clockwise or counterclockwise).   Yet another recently identified type, visual motion → sound synesthesia, involves hearing sounds in response to visual motion and flicker.

The type of synethesia relating my teaching/learning experience last week is sound-color synesthesia, in which individuals experience colors in response to tones or other aspects of sounds. Simon Baron-Cohen and his colleagues break this type of synesthesia into two categories, which they call “narrow band” and “broad band” sound-color synesthesia. In narrow band sound-color synesthesia (often called music-color synesthesia), musical stimuli (e.g., timbre or key) will elicit specific color experiences, such that a particular note will always elicit red, or harps will always elicit the experience of seeing a golden color. In broadband sound-color synesthesia, on the other hand, a variety of environmental sounds, like an alarm clock or a door closing, may also elicit visual experiences^.

While there is no evidence that any of my students actually are diagnosed with synethesia, in the end, I found this experience fascinating, and it has led me to investigate the topic more.  If interested, feel free to watch the video link below regarding a personal account of synethesia:

Finally, while contemplating this entire experience, I can’t help but be reminded about Chris Rice’s song entitled Smell the Color 9. Check it out as a part of the video link below:

A Multimodal Approach

In many regards, studying a piece of music (or any work of art) is often innately multimodal.  As daily life is multimodal (as we constantly toggle between and combine various senses) and the arts are an expression and reflection of daily life, whether it be a poem, painting, sculpture, movie, or song, these all often incorporate and influence a myriad of experiences and applications.

For example, if one was to introduce to a classroom of students the music composition Prélude à L’après-midi d’un faune by 20^th century French composer Claude Debussy, it impressively unlocks numerous multimodal references and applications.  The pedagogical challenge is to simply pick and choose which direction to steer the curriculum!  As you can see below, the classroom experiences and observations could involve listening & performance (musical), kinesthetic (dance), visual (painting), literary (poem), history, etc.

To provide a brief context, Prelude to the Afternoon of a Faun (commonly known by its original French title,  Prélude à L’après-midi d’un faune, is a musical composition for orchestra by Claude Debussy, approximately 10 minutes in duraction.  It was first perform in Paris on Dec. 22, 1894.  The composition was inspired by the poem L’après-midi d’un faune by Stéphane Mallarmé, later formed the basis for a ballet choreographed by Russian Vaslav Nijinski (famously performed by Rudolf Nureyev), and is a musical reflection of the visual French Impressionist era.

The .pdf file linked below provides an excerpt from a high school and collegiate Music Appreciation course textbook entitled Experience Music!, by Katherine Charlton and Robert Hickok, published by McGraw Hill.  This excerpt provides a basis for the multimodal approach to studying Prélude à L’après-midi d’un faune by guiding the teacher and students through music, visual, and historical connections.

imp_full

This textbook is built on multimodality as each topic includes an interactive CD-ROM which illuminates concepts in a highly engaging and interactive way.  Students explore topics as they interact with animation, quizzes, performance video clips, WebQuests, listening activities, and composition activities in which they directly manipulate music elements.  An accompanying website has also been developed to accompany all of the topics.  Specific to the chapter excerpt presented above, the following sites are available:

Web Resources: http://highered.mcgraw-hill.com/sites/0072462442/student_view0/early_20th_century/chapter26/web_resources.html

Multiple Choice Quiz: http://highered.mcgraw-hill.com/sites/0072462442/student_view0/early_20th_century/chapter26/multiple_choice_quiz.html

Listening Guide Quiz: http://highered.mcgraw-hill.com/sites/0072462442/student_view0/early_20th_century/chapter26/listening_guide_quiz.html

Image Bank: http://highered.mcgraw-hill.com/sites/0072462442/student_view0/early_20th_century/chapter26/image_bank.html

Flashcards: http://highered.mcgraw-hill.com/sites/0072462442/student_view0/early_20th_century/chapter26/flashcards.html

Specifically, note the detailed listening guide on pages 3 & 4 which provide a context in which the students can come to recognize and appreciate the tempo, structure/form, instrumentation of the musical composition.  The prompt and accompanying descriptions of “what to listen for” as presented at the top of page 4 is critical for the focus required to fully recognize and appreciate the composition’s qualities.  It breaks the composition up into five sections of which I have included the MP3’s below.

 16-Debussy – Prelude a _L’apres-midi d’un faune_ (Prelude to _The Afternoon of a Faun

17-Debussy – Prelude a _L’apres-midi d’un faune_ (Prelude to _The Afternoon of a Faun

18-Debussy – Prelude a _L’apres-midi d’un faune_ (Prelude to _The Afternoon of a Faun

19-Debussy – Prelude a _L’apres-midi d’un faune_ (Prelude to _The Afternoon of a Faun

20-Debussy – Prelude a _L’apres-midi d’un faune_ (Prelude to _The Afternoon of a Fa

Briefly described below are the various multimodal and interdisciplinary possibilities in which to enhance Debussy’s musical work:

As mentioned above, from a literary standpoint, the basis of Debussy’s Prélude à L’après-midi d’un faune was the original French poem by Stéphane Mallarmé.  It is his best known work and a landmark in the history of symbolism in French literature.  In fact, the French poet, philosopher, and essayist Paul Valéry considered Mallarmé’s poem the greatest in French literature.  Initial versions of poem were written between 1865 and 1867, and the final text was published in 1876.  The poem describes the sensual experiences of a faun who has just woken up from his afternoon sleep and discusses his encounters with several nymphs during the morning in a dreamlike monologue.  An excerpt of the original text is found below:

Autre que ce doux rien par leur lèvre ébruité,
Le baiser, qui tout bas des perfides assure,
Mon sein, vierge de preuve, atteste une morsure
Mystérieuse, due à quelque auguste dent ;
Mais, bast ! arcane tel élut pour confident
Le jonc vaste et jumeau dont sous l’azur on joue :
Qui, détournant à soi le trouble de la joue,
Rêve, dans un solo long que nous amusions
La beauté d’alentour par des confusions
Fausses entre elle-même et notre chant crédule ;
Et de faire aussi haut que l’amour se module
Évanouir du songe ordinaire de dos
Ou de flanc pur suivis avec mes regards clos,
Une sonore, vaine et monotone ligne.

The original frontispiece for the publication of Prélude à L’après-midi d’un faune  is found below (by French impressionistic illustrator and painter Édouard Manet)

 

 

 

 

 

 

A comical cover of the literary magazine Les hommes d’aujourd’hui (1887) representing Stéphane Mallarmé as a faun:

 

 

 

 

 

 

 

 

 

In realm of kinesthetic art, the ballet L’après-midi d’un faune was choreographed by Vaslav Nijinsky for the Ballets Russes, and first performed in the Théâtre du Châtelet in Paris on May 29, 1912. Nijinsky danced the main part himself.  As its musical score it uses the Prélude à l’après-midi d’un faune by Claude Debussy.  The style of the ballet, in which a young faun meets several nymphs, flirts with them and chases them, was deliberately archaic. In the original scenography, the dancers were presented as part of a large tableau, a staging reminiscent of an ancient Greek vase painting. They often moved across the stage in profile as if on a bas relief. The ballet was presented in bare feet and rejected classical formalism. The work was originally (and is still) controversial, as it has a subtle intimate nature, especially when considering its creation and performance in the early 20^th century.

The most renowned performance of Nijinsky’s ballet was by Russian Rudolf Nureyev, whose story is a remarkable snapshot of the effects and impact of the 20^th century Russian communist regime, as Nureyev escaped capture by the KGB and defected to the United States where he was a noted dancer and actor in from the 1960s through the 1980s both on the stage and movie screen.  Nureyev’s influence on the world of ballet changed the perception of male dancers as he crossed the borders between classical ballet and modern dance by performing both.  Today it is normal for dancers to receive training in both styles, but Nureyev was the originator, and the practice was much criticized in his day.  Shown below is Nureyev performing Nijinsky’s choreography of Prélude à L’après-midi d’un faune:

Finally, the modernistic influences of Mallarmé and Debussy are also reflected in the French impressionist painting movement of the turn of the 20^th century in which artists sought to capture the visual impression, rather than the literal reality, of a subject.  Although their work and methods were at first ridiculed by critics, the impressionists persisted in their exploration of the play of light and their use of patches and dabs of color to build up an image.  They were also inclined to work outdoors and effectively explored the element of light.  Mood and atmosphere and the richness of nature were their major inspirations.  In many ways, Debussy reflects the same sentiments in his musical work as renowned Impressionistic artist Claude Monet did his paintings.  Monet’s Sunrise, for example, is shown below:

 

 

 

 

 

 

 

While in many obvious ways specialized arts education curricula and pedagogy differ from that of their core academic counterparts (science, math, etc.), as explored above, the arts are innately multimodal.  As always, I welcome your comments, questions, and feedback.

Blogging about Blogging

Our readings and conversations this week in the New Learnings and New Literacies regarding multimodality led me to focus on the value, purpose, and role of blogs in my PB Wiki post.  I have actually been doing a great deal of research and exploring of blogs in a myriad of niches throughout the internet as I have been trying understand the scope of what blogs are and how they are being used.  Comically, I actually found good deal of blogs blogging about blogging.  How ironic!  But then, when you think about it, aren’t we actually surrounded by these notions of metacognition everywhere?

Take, for example, a recent e-mail that we receive as employees in the school District:

Any emails and any files transmitted with it are the property of the school district.  Within the school district system, any emails and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. If you have received this email in error please notify the system manager. This message contains confidential information and is intended only for the individual named… ect.  Ect.  Ect.

I always find these sorts of e-mails ironic – a meta-email: an e-mail about e-mail!  You get them don’t you?  I especially like the e-mail I got from my wife other day apparently experiencing a computer glitch at home while I was at school: “Hey, did you try to e-mail me?”

But it continues, just think of our last few weeks of classes as we have been writing about writing.  Has anyone else found that mildly ironic?  Or, walk through a Borders or any bookstore and you will see dozens of books about writing… 

Or, what about metasong-writing – songs about songs”?  A few come to mind such as Sara by Bob Dylan, The Band Played Waltzing Matilda, the classical tune Orpheus With His Lute, Paul Simon’s Me and Julio Down By The Schoolyard, etc.

Of course, there’s also meta-movies: Singin’ in the Rain, Sunset Boulevard, 8 ½, The Truman Show, Tropic Thunder, Adaptation, Ed Wood, Barton Fink, etc. others??? 

Musical about musicals?  A Chorus Line and The Producers come to mind right away in that category…

There is no doubt that metacognition is intriguing, as well as all its ancillary, and mildly ironic applications in culture.  Sometimes it’s healthy and fascinating to simply stop to think about thinking, blog about blogging, sing about singing, write about writing, talk about talking…

ELL/ESL ~ World Voices

As we have recently been discussing ELL and ESL programs in school settings, one of the integration strategies seemed to really resonate with me:

Connect with students’ families and culture. Use culturally congruent teaching methods. Incorporate culture and native language, introduce multicultural literature, and draw on the expertise of community members. Give ELL students opportunities to teach others about their first language and home culture.

Related to this, I wrote an article several years ago for an Illinois State Music Educators journal regarding the role of multi-cultural music education.  I just thought I’d share:

     Music is often described as “universal.”  It is a cultural universal in the sense that all societies, to our knowledge, have something that sounds to us like music. However, just because it sounds like music to us does not mean that it is music.  Many societies do not have a concept of music as it has developed in our American culture.  For us, music is a broad concept — it may be vocal or instrumental, sacred or secular, solo or ensemble, and it carries the notion that a pleasant sound is musical.  The notion that all of these sounds — singing and instruments, ritual and entertainment, human and animal — can be brought together under one concept of “music” is not shared by all societies.

     However, music is a “universal” in the sense that all people sing.  All cultures use instruments, or at least some form of sound creation other than the human voice.  In all societies, music is used in religious ritual.  Virtually everywhere, music is presented in units that can be identified as songs or pieces — nowhere do people “just” sing; they always sing something.  Everywhere, people can recognize a tune, a configuration of pitches, whether it is performed high or low, sung by a man or woman.  Finally, it seems that, in all cultures, music is used in some sense for transforming ordinary experience — such as producing anything from trance in a ritual to edification in a concert.

     While we, as music educators, claim that we integrate these multicultural concepts into our classroom, our society continues to grow smaller and more diverse due to development of the internet, ease of electronic communication, and widespread media coverage, which means students are naturally gaining a world perspective more than ever before.  Are we as music educators truly dedicated providing opportunities for students to discover and intimately experience the musical traditions and styles of music from cultures throughout the world?  Given rigorous curricular, preparation for festivals and concerts, and dedication to providing a significant historical music representation for our students, it is difficult to consistently and significantly incorporate multicultural music in our performing ensembles.  Whether part of the curricular school day or outside of school hours, music programs are beginning to offer multicultural music clubs and ensembles specifically designed to expose students to world music.

     In August 1999, at Neuqua Valley High School in Naerpville, Illinois, I created the multicultural vocal ensemble, Neuqua World Voices.  In this ensemble, students discover and intimately experience musical traditions and styles from cultures throughout the world.  Discovering that all cultures use music for common purposes, the students of Neuqua World Voices observe that human beings are far more alike than different.  Experiencing the unique characteristics of a culture’s music, participants come to have empathy and appropriate respect for society’s cultural blend.  Therefore, Neuqua World Voices develops memorable music experiences, social cohesiveness, as well as an appropriate, valuable multicultural awareness of our school and society.

     Recognizing the ways in which school learning experiences need to reflect the global community, Neuqua World Voices is open to all students of the school regardless of their level of musical knowledge. The diverse group of students involved in the ensemble represents a myriad of ethnic backgrounds, cultures, and languages, creating a rich social and musical environment.  The weekly ensemble rehearsals are strategically scheduled for an hour and a half on Tuesday evenings to thoroughly accommodate after school clubs and activities.  In 1999, the ensemble began with 80 students.  Enrollment has steadily grown every year to the current 149 voices.  Twenty percent of the ensemble is not enrolled in a curricular music course, providing these students with consistent, quality musical exposure and training.  In addition to community functions, Neuqua World Voices formally presents seven annual performances in the school auditorium including a professionally recorded two-hour performance in January, two all-school multicultural assemblies in the Spring, and a culminating performance at the school district’s Fine Arts Festival drawing approximately 15,000 in one weekend.

     The philosophical foundation driving Neuqua World Voices encompasses three domains of multicultural education: authenticity, representation, and contextualization.  Authenticity, both in regards to the selection of music that can be considered representative of a culture and its actual performance by people from outside the culture, is valued and esteemed.  An authentic performance by Neuqua World Voices of a given piece or style is always a primary objective.  Authenticity matures through careful, critical listening activities in weekly rehearsals, and inevitably inspires musically acceptable renditions of a song, form, or style.

     Considering the diversity represented in the members of Neuqua World Voices as well as its foundational purpose, I strive to achieve a significant, perceptible representation of varied cultures, ethnicities, historical periods, and genders in repertoire selection. Given the time constraints of the weekly rehearsal schedule, the choice of a single song may likely be the only musical image many students have of a particular culture.  As a result, students are empowered to discover the ways in which a particular culture’s music is similar and different from music with which they are already familiar.  This strategic approach inspires the reinforcement of cultures already studied while discovering the aspects that make a particular ethnic group distinctive.  In a survey last year, veteran members described their most memorable experiences in Neuqua World Voices. The experiences most cited included our study of Navajo ritual music, sacred vocal and koto traditions of Japan, Russian lullabies, marketplace vocal and steel pan music of the Carribean, the performance practices of Eastern European Radio Women’s Choirs, multiphonic singing of Tibet and Central Asia, captivating drumming traditions of the African Ewe, Yoruba, and Shona nations, and the gospel movement of our country’s African American culture.

     The contextualization, or comprehensive and authentic restoration, of a culture’s music is a philosophical cornerstone of Neuqua World Voices.  After much personal research and study, the learning of each piece of music is supplemented with applicable photographs, video clips, maps, a description of current events, political and economic affairs, as well as literature and folklore that all empower complete understanding of the meaning, function, and value of that culture’s music. In addition to strengthening and broadening my own cultural knowledge and insight, every piece of music studied initiates and inspires student questions, observations, and personal perspectives.  In the end, students are asked to provide verbal comments within performances, create PowerPoint presentations, and write program notes publicly demonstrating their comprehensive understanding of the music’s context. 

     Neuqua World Voices has provided an important impetus and model for multicultural education at the local and state level.  Its influential practices and philosophy has permeated into the curricular approaches of our school and large district.  Neuqua World Voices is recognized for its weekly “content integration” of music, visual arts, movement/dance, social studies, language arts, and history. The multicultural model has impacted the music selected in instrumental and vocal curriculum and has inspired the development of a steel drum band and multicultural string ensemble.  Additionally, the musical influences of the ensemble has filtered into the social science curriculum where small entities of the ensemble are often asked to present world musical perspectives in geography, history, and social studies classes.

     Neuqua World Voices is considered the multicultural ambassadors of the school district and makes annual visits to middle and elementary schools to share and support multicultural awareness with younger students.  The ensemble is also frequently requested to perform for community functions and serve as guest ensembles for professional community performances.  In the end, Neuqua World Voices is recognized by our state music education association and government as a model for multicultural awareness, a pathway to the reduction of prejudice among students, and a means of providing equitable pedagogy to all students regardless of their racial, ethnic, or social-class group.

     As our society grows more in its global awareness, our music classrooms need to value the diverse backgrounds, abilities, and perspectives of our students and provide a music curriculum that is inclusive of all students and rich in musical diversity.  Our students manifest a diversity of language backgrounds, culture, ethnicity, gender, socioeconomic status, religious affiliations, physical and mental abilities, literacy experience, musical ability, and others – all of which are opportunities for creating a rich social and learning environment for all.  Music programs, both large and small, need to increasingly reflect a global community and thus draw attention to the cultural significance of music in a variety of contexts.  This awareness begins with the music teacher and is made explicit through planning, articulation of values and goals, as well as through classroom policies, curriculum, and materials.  We as music teachers must be adept at incorporating, providing, and adapting music from new repertoires to develop students’ awareness of world communities and cultures. 

     People are far more alike than different, and the arts can be the most substantial mode through which to teach this significant lesson.

NCLB and Music Ed

I know I am guilty of being a bit on the defensive regarding music education and role it has in the traditional school curriculum.  However, it is important to note that while a good deal of research, surveys, articles and other reliable sources definitely tout the benefit of a music education and the impact on success in other academic areas, I believe it also stands alone in its role in the development of the “whole child”.  That is, study music for music’s sake, not just for its obvious, proven extra-musical benefits.

With that said, however, because No Child Left Behind has forced many school systems to cut back (or cut out) music programs because it is not a point of emphasis in standardized testing, it has caused music educators and advocates to be on the defensive.  So, when it comes to the press release below, it reminds me that music in schools still valued by some even though it is also extremely threatened by others.

As it relates to our recent discussion of NCLB in the New Learnings and New Literacies program, as the lone music educator, I thought I would share:

——————— 

WASHINGTON, DC (November 12, 2007) — At an event with actor and musician “Little” Steven Van Zandt and MENC: The National Association for Music Education, Harris Interactive today released an independent poll which shows a positive association of music with lifelong educational attainment and higher income. Nearly nine in ten people (88 percent) with post graduate degrees participated in music education. Further, 83 percent of those with incomes higher than $150,000 or more participated in music.

With the No Child Left Behind Act currently up for reauthorization in Congress, a discussion on music education is more important right now than ever. Music is recognized, on paper, as a core academic subject but with actual testing in only a narrow range of subjects, music is usually one of the first programs to be cut.

“Research confirms that music education at an early age greatly increases the likelihood that a child will grow up to seek higher education and ultimately earn a higher salary. The sad irony is that ‘No Child Left Behind’ is intended to better prepare our children for the real world, yet it’s leaving music behind despite its proven benefits,” said Dr. John Mahlmann, Executive Director of MENC: The National Association for Music Education. “While music clearly corresponds to higher performing students and adults, student access to music education had dropped about 20 percent in recent years, thanks in large part to the constraints of the No Child Left Behind Act.”

Musician, actor and music education activist Steven Van Zandt adds, “Obviously, music is a big part of my life and I’ve had remarkable experiences as part of the music industry. That is why I am now combining my life’s work and my passion for music education. The Harris Poll and other studies like it document the fact that you don’t have to be a rock star to benefit from music education. Music benefits everyone in all walks of life. Through my Rock and Roll Forever Foundation, I am working with professional music educators on the development of ‘Little Steven’s Rock and Roll High School.” This curriculum will be available at no cost to schools and can help future generations learn about music, history, culture and the arts — all through Rock and Roll.”

“If you want to be a CEO, college president or even a rock star, the message from this survey is: take music” Mahlmann added. “As with reading, writing and arithmetic, music should be a core academic focus because it is so vital to a well rounded education and will pay dividends later in life, no matter the career path taken.”

Respondents of the Harris Poll cite skills they learned in music as helping them in their careers today. Seventy-two percent of adults with music education agree that it equips people to be better team players in their career and nearly six in ten agree that music education has influenced their creative problem solving skills. Many also agree music education provides a disciplined approach to problem solving, a sense of organization and prepares someone to manage the tasks of their job more successfully.

An earlier Harris study shows significantly higher graduation and attendance rates in schools with music programs (90.2 percent compared to 72.9 percent and 93.3 percent compared to 84.9 percent, respectively).

Other studies show the value of music programs to our future generations:

• Students in top quality music programs scored 22 percent higher in English and 20 percent higher in math on standardized tests mandated by the No Child Left Behind Act (University of Kansas)
• In 2006, SAT takers with coursework in music performance scored 57 points higher on the verbal portion of the test and 43 points higher on the math portion (The College Board, Profile of College-Bound Seniors National Report for 2006) 
   

“Parents, educators, state legislatures and the Congress need to take these studies seriously. This relationship between music education and better performance in life is not accidental. How are we supposed to continue as a creative society without exposing our students to the arts? Rock and Roll shapes our culture and is the great equalizer among people of different racial, social and economic background. It belongs in the schools!” said Van Zandt.

 

Multi-Cultural Choral Connections

A Learning by Design Learning Unit

Shown below are several links to provide a glimpse into a learning unit that I have developed and have begun exploring in my high school choral classroom.  The unit has been developed using the Learning by Design model for curriculum development in association with EPS 500.  While the CGLearner website is a wonderful resource, this unit was initially developed using a Corel Draw template before our initiation to CGLearner.  Therefore, at this point I have yet to enter this unit onto the website…

Please review the links below in regards to the unit, and I welcome any and all comments!

1)      LbD Placemat – please see the .pdf below which describes the learning unit and showcases the overall placemat according to the LbD Model.

MultiCultural_Total    

2)     Music Department Website – As referenced in the LbD Placemat, the link below is to a page developed on my music department’s website which provided the initial timeline for the independent learning and assessments of all the performance repertoire as well as the associated MP3 files:

http://www.neuquamusic.org/choir/varsitychamber.html

3)      Link to Blog – the link below is to the blog created for this learning unit.  It contains descriptions of all the performance repertoire and will later host responses and dialogue among my students.

http://nvhsvarsitychamber.wordpress.com/

4)      Evaluations/Assessment Rubrics and Forms – listed below are three .pdf files as referenced in the LbD Placemat that have been developed and utilized during this learning unit.

-          rehearsal-observation-form

-          ensemble-assessment-form

-          solo_performance_rubric

Video Games – A Dynamic Experience

• Hand-eye coordination and other physical skills.
• Multi-tasking skills for the future workplace.
• Effects of risks and rewards.
• Cooperation and communicating effectively.
• Developing strategies for success.
• Deciphering how, what, why, where, and whether in new situations.
• Creativity, imagination, behavior, and character development.

The items above are just a few of the more sophisticated justifications and claims made regarding the educational value of video games. When looking at the list, I must say, it seems pretty appealing. However, one must keep in mind that all the items above can be replicated in other non-video-gaming activities and environments. And, there is something to be said about the ways which all the items above can be carried to an excessive, unhealthy level.
So, to be clear, when questioning the educational value of video games it’s not that I think it’s harmful or bad for children to spend part of their time playing video games, but I would get concerned if children get so absorbed and focused so much of their attention and energy that it takes away from other, more creative and imaginative activities. But, I do think it is worthy to question and study the ways in which the knowledge and skills gained through gaming are so lasting and addicting:

To carry the “educational value of video games” inquiry a bit deeper, I have a tendency to move beyond the obvious and most touted benefits (as stated above) to questioning the long-term dynamic knowledge and skills developed through video games due to the ways they naturally elicit emotional involvement and responses. That is, when deep meanings are engaged and when information is processed so that a person both acquires intellectual understanding or usable skills as well as felt meaning, the experience is much more dynamic. When considering this concept, I am reminded of Gardner’s “genuine” or “deep” understanding.

Many contemporary video games ask the user to construct their own meaning and make decisions based upon the virtual experiences. In my own experience with some games, for example, the emotions experienced, concepts learned, and skills developed are quite vibrant imprint in my memory. Dynamic knowledge is often described as the total of the categories, ideas, and thoughts that we naturally and innately use as we interpret and interact with the world around us – or in this case, the virtual world. This type of knowledge and experienced is often characterized by the capacity for represent a problem in a number of different ways and to approach its solution from varied vantage points, which is often a part of adventurous, contemporary video games.

Let be honest as educators, dynamic knowledge is the type of knowledge we want our students to acquire as a result of our classroom curriculum and experiences. The genuine mastery or competence that they have is the degree to which what they have studied has been incorporated into their perception of the world. In other words, in the same way that a player makes instantaneous associations with previous experiences and learned knowledge to successfully maneuver through a new level or phase of a video game, isn’t that sense of what a person actually believes and perceives at the moment of needed action in the work place or in society in general precisely what success is all about? The dynamic knowledge that seems to addictively lure children in video games is much more personal (but often deceptively so) than the same concepts and skills presented in typical technical or scholastic learning experiences. The dynamic knowledge elicited by video games, I believe, derives its power from deep meaning and intrinsic motivation. It is meaningful because it is based on genuine, personal insight and achievement.

Many tend to focus on the excessive, addictive, and sometime inappropriate qualities of some contemporary video games, and in all honesty, with very good reason. But at the same time, it may be wise for educators to truly look at the ways in which video games draws and motivates children. I believe it is because of the dynamic and satisfying knowledge, experiences, and personalized achievements they make. How can we tap into mimic this in the school curriculum? How can the school curriculum learn from the video game industry and move beyond surface knowledge, or technical/scholastic knowledge, to the development of the more lasting, satisfying dynamic knowledge and skills?

Being a Reflective Practitioner: NBPTS

This week in New Learnings and New Literacies class, I was introduced to a term: Reflexivity – the notion that the learning process is open-minded to include the influences of educators, peers, parents, and other “real world” influences. As a continuation of my PB Wiki post, given that the root derivation of reflexivity is reflect, it reminds me that the most effective educators are reflective practitioners. That is, they are constantly examining, adjusting, realigning, modifying, exploring, and fundamentally, improving their instruction and effectiveness in the classroom. The notion of being a reflective practioner is the absolute antithesis to what is sometimes the poor impression of a teacher: “teaching the same things in the same way year after year.” I am blessed (however, I have also felt the resulting curse) to be wired in such a way that I always need to feel the need to change and improve in my teaching. This is one reason why, in 2003, I pursued and earned National Board Certification. The fundamental philosophy is the notion of standards – not for the students, but rather for the teacher. That is, if a teacher is held to specific, high standards, then the direct result will be, in many cases, a classroom full of successful students that are also achieving their specific national, state, and local learning standards. For more information regarding this incredibly rigorous and valuable program, please visit: www.nbpts.org.

Listed below are the core propositions and standards for a National Board Certified Teacher (NBCT). In many cases they are directly aligned with the notion that an effective educator must be a reflective practioner:

Proposition 1: Teachers are Committed to Students and Their Learning

• NBCTs are dedicated to making knowledge accessible to all students. They believe all students can learn.

• They treat students equitably. They recognize the individual differences that distinguish their students from one another and they take account for these differences in their practice.

• NBCTs understand how students develop and learn.

• They respect the cultural and family differences students bring to their classroom.

• They are concerned with their students’ self-concept, their motivation and the effects of learning on peer relationships.

• NBCTs are also concerned with the development of character and civic responsibility.

Proposition 2: Teachers Know the Subjects They Teach and How to Teach Those Subjects to Students.

• NBCTs have mastery over the subject(s) they teach. They have a deep understanding of the history, structure and real-world applications of the subject.

• They have skill and experience in teaching it, and they are very familiar with the skills gaps and preconceptions students may bring to the subject.

• They are able to use diverse instructional strategies to teach for understanding.

Proposition 3: Teachers are Responsible for Managing and Monitoring Student Learning.

• NBCTs deliver effective instruction. They move fluently through a range of instructional techniques, keeping students motivated, engaged and focused.

• They know how to engage students to ensure a disciplined learning environment, and how to organize instruction to meet instructional goals.

• NBCTs know how to assess the progress of individual students as well as the class as a whole.

• They use multiple methods for measuring student growth and understanding, and they can clearly explain student performance to parents.

Proposition 4: Teachers Think Systematically about Their Practice and Learn from Experience.

• NBCTs model what it means to be an educated person – they read, they question, they create and they are willing to try new things.

• They are familiar with learning theories and instructional strategies and stay abreast of current issues in American education.

• They critically examine their practice on a regular basis to deepen knowledge, expand their repertoire of skills, and incorporate new findings into their practice.

Proposition 5: Teachers are Members of Learning Communities.

• NBCTs collaborate with others to improve student learning.

• They are leaders and actively know how to seek and build partnerships with community groups and businesses.

• They work with other professionals on instructional policy, curriculum development and staff development.

• They can evaluate school progress and the allocation of resources in order to meet state and local education objectives.

• They know how to work collaboratively with parents to engage them productively in the work of the school.

Connexions

Have I been in an educational vacuum?  I just discovered a remarkable on-line source for educational materials called, Connexions.  Has any one else in New Learnings & New Literacies seen this? 

Visit this site:

http://cnx.org/

Essentially, Rice University professor Richard Baraniuk had a giant vision: to create a free global online education system that puts the power of creation and collaboration in the hands of teachers worldwide. He’s realizing that vision through Connexions a website that allows teachers to quickly “create, rip, mix and burn” coursework without fear of copyright violations. Think of it as Napster for education.

Connexions’ open-source system cuts out the textbook, allowing teachers to share course materials, modify existing work and disseminate it to their students — all for free, thanks to Creative Commons licensing. Baraniuk envisions Connexions as a repository where the most up-to-date material can be shared and reviewed (it’s far more efficient than waiting for a textbook to be printed); it could become a powerful force in leveling the education playing field. Currently encompassing hundreds of online courses and used by a million people worldwide, Baraniuk’s virtual educational system is definitely impacting the way people teach and learn.

For those who know me, know that I am addicted to www.ted.com, and yes, you guessed it, this is where I can across Connexions.  Click below to view an extremely engaging presentation by Baraniuk.  Simply put, in surfing through Connections, one finds remarkable application for use in the classroom in virtually every academic arena as well as teacher professional development.  Check it out!

Shakespeare Learning Element Completed

Settings of Shakespeare

A Learning by Design Learning Unit

_________________________________________

Well, I finished teaching the Setting of Shakespeare learning unit!  I learned a great deal from the experience, namely the value of the Learning by Design model.  Since I taught some of the unit while still working out the kinks of the curricular placemat/plan, I was able to reflect and modify as I went.  In the end, the blending of modes and learning styles as inspired by the Learning by Design model was remarkably effective, and I am confident that my students’ experinces were memorable and lasting.

Please review the links below in regards to the unit, and I welcome any and all comments!

1)      LbD Placemat – please see the .pdf below which describes the learning unit and showcases the overall placemat according to the LbD Model.  The first link is the .pdf as produced by the CGLearner tool, and the second link is my original working design as created on Corel Draw. 

-        final_cglearner_element- CGLearner

-        shakespeare_placemat - Corel Draw

2)      Music Department Website – As reference in the LbD Placemat, the link below is to a page developed on my music department’s website which provided the initial timeline for the independent learning and assessments of all the performance repertoire as well as the associated MP3 files:

 -        http://www.neuquamusic.org/choir/vchambershakespeare.html

 3)      Link to Blog – the link below is to the blog created for this learning unit.  It contains descriptions of all the performance repertoire as well as two posts by all my students regarding their experiences with the repertoire.

 -        http://nvhsvarsitychamber.wordpress.com/

 4)      Evaluations/Assessment Rubrics and Forms – listed below are three .pdf files as referenced in the LbD Placemat that have been developed and utilized during this learning unit.

-          rehearsal-observation-form

-          ensemble-assessment-form

-          solo_performance_rubric

 5)      Rehearsal MP3 Recordings – As directed by the LbD Placemat, listed below are MP3 recordings from early rehearsals of three of the pieces of performance repertoire.

 -          take_o_take

-          come_away_death

-          under_the_greenwood

 6)      Final Concert MP3 Recordings – Listed below are MP3 files from the culminating performance of Setting of Shakespeare as performed by my students.  Enjoy!

-          Under_the_Greenwood_Tree_Final

-          O_Mistress_Mine_Where_Are_You_Roaming_Final

-          Come_Away_Death_Final

-          Take_O_Take_Those_Lips_Away_Final

-          It_Was_A_Lover_And_His_Lass_Final