I have recently been engaged in some “heavy-duty” teacher reflection. I truly believe that effective educators are disciplined reflective practitioners. To that end, as prompted by some work I have been doing on the district level in my teaching position, as well as my own need for regular detailed teacher reflection, I have decided to present some snapshots of my teaching on my blog. As always, I welcome any perspectives, feedback, or questions. Here’s the first of three posts regarding a unit for my Concert Choir curricular choral ensemble:
The class featured in this entry is entitled Concert Choir, a non-auditioned women’s ensemble that meets daily for 47 minutes. In collaboration with the school guidance department, I have scheduled the choirs in such a way that students of the all-male Bass Chorus have lunch during the Concert Choir class time. This allows these two ensembles to rehearse separately or combined on various days, promoting exposure to varied repertoire and regular interaction among students. Totaling 51 students, Concert Choir is comprised of 25 sophomores, 18 juniors, and 8 seniors. With the Bass Chorus, the choir totals 84 students. Nine class periods were devoted to this unit over the course of three weeks on days without the Bass Chorus.
The students of Concert Choir have little formal musical or vocal training. More musically adept students their age are members of advanced, auditioned ensembles. As a result, planning for this ensemble is challenging as the students represent varied levels of experience. The most consistent challenge is literature selection, as success of the ensemble depends to a great extent on the quality and appropriateness of the music studied. Every choral octavo is presented to Concert Choir as a textbook full of learning possibilities. This approach makes the highest quality music essential because only music of depth, lasting value, and compositional integrity offer the possibilities of multidimensional learning. Instead of questioning, “How can we sing this piece beautifully?” repertoire is presented by asking, “What can we learn from this piece?”
As students who genuinely come to class to improve as musicians, they can be best described as “developing risk takers.” At the beginning of the year, students enter Concert Choir as rote learners and rely solely on musical intuition. As the year progresses, they eventually welcome approaches that require many points of view. Students find themselves challenged to experiment with new techniques, listen and perform styles they probably would not choose themselves, and produce a healthy sound characteristic of mature voices. I empower students to problem solve; gather information for interpreting, analyzing, and critiquing music performances; and identify practical uses for their learning. In the end, the Concert Choir classroom environment often reflects that of a general music course rather than a traditional conductor-centered rehearsal.
The repertoire serving as the focal point for this unit was a Macedonian folk song entitled “Shto Mi E Milo.” Its selection was inspired by Kitka, a professional women’s vocal ensemble dedicated to developing new audiences for music rooted in Eastern Europe. Based in San Francisco, I contacted the ensemble and funded their visit to our Midwestern school by acquiring an artist-in-residence grant. They performed for the entire music department and provided clinics for the choral students. As a result of the relationship fostered from their visit, they provided the manuscript to “Shto Mi E Milo” as well as a translation and interpretation guide.
The goals for this unit were accomplished not only through learning “Shto Mi E Milo,” but also through careful selection of listening excerpts and interviews of professional musicians. I used computer equipment to acquire Real Audio recordings and musical scores from songs performed by Judy Collins and Metropolitan Opera baritone, Jubilant Sykes. These state-of-the-art resources were the result of a three-month process of researching and proposing the purchase of 22 new music computer stations. I persuasively proposed this $109,000 project to the school board that unanimously endorsed its implementation. As evidenced numerous times throughout this lesson, the music hardware and software was thoughtfully selected and is integrated daily throughout the music department to successfully accomplish instructional objectives and goals.
Concert Choir’s first encounter with “Shto Mi E Milo” revealed its musical challenges including homophonic three-part harmony and an irregular meter. The students strategically approached the piece using the movable-do solfege system. While comfortable with this sight-singing method, they were tentative due to the metric complexities. Throughout the introduction, they remained attentive and advocated a strong work ethic. Through student questions posed at the end of the lesson regarding the music’s associated origin and traditions, it was evident that they were intrigued to study the composition further.
Inspired by this curiosity, in this unit, Concert Choir worked towards an authentic performance of “Shto Mi E Milo.” Through listening examples and discussions, students examined vocal styles characteristic of various genres, composers, and cultures. Dialogues focused on the use of lyrics, their relation to music, and the use of the voice to create effect. Additionally, students investigated the influence of musical heritage and training on the performances of various genres, composers, and cultures. Prior to this unit, through internet research projects and listening assignments, Concert Choir surveyed vocal music styles and acquired a general vocabulary regarding vocal techniques and interpretation. They had studied a range of repertoire focusing on healthy vocal technique and music reading skills.
“Shto Mi E Milo” serves as the performance cornerstone to the unit. Based specifically upon the needs evidenced in the first videotape, within short ten-minute rehearsals throughout the unit, students were presented with strategies designed to build fluency toward authentic performance. First, students were guided to use solfege and handsigns to comprehend horizontal intervallic and vertical harmonic associations. I found that students’ conceptual understanding was meaningful when their learning was a result of a discovery process rather than being sung or played the answer, an environment I continued to support throughout this unit. Strategies aiding responsiveness to rhythm included reciting the text as a means of isolating metric patterns. Students were also urged to clap troublesome patterns as a way of eliciting kinesthetic associations. Within daily warm-ups, students were encouraged to sing a variety of intervals without the aid of the piano. Connections were established between this aural experience and the students’ visual recognition of the intervals. Furthermore, to develop tonal awareness, when stopped for corrections and suggestions, students were not always presented the pitches on the piano, but were asked to simply sing upon direction. While floundering in a variety of keys at first, they eventually retained a general alertness to the tonal center.
In addition to objectives discussed above, this unit was dedicated to investigating the ways styles, lyrics, backgrounds, and training are characteristics of various genres, composers, and cultures. On the second day of this unit, students listened to four vocal recordings: Jubilant Sykes, Judy Collins, a 16-year-old soprano, and a 17-year-old baritone performing “City Called Heaven,” “My Father,” “Art is Calling for Me,” and “Zueingnung,” respectively. During this listening activity, students were asked to journal regarding the following prompts: What was the genre of each selection? When might the pieces have been written? How old is each performer?
On the third day, Concert Choir met in the MIDI computer lab where they listened to excerpts presented in the previous class using Real Audio links embedded on the music department’s webpage. The students explored the webpages of Jubilant Sykes and Judy Collins, surveying their upbringing, training, and recognitions. Finally, I had them listen to two audio interviews on the website, one each by Sykes and Collins, describing their performances and influential qualities including historical and cultural context and personal training.
On the fourth day, students listened to the four performances again and completed a chart prompting them to use descriptive words regarding vocal styles and technique used by the artists to convey meaning. In the following class, students were engaged in small group discussions and made comparisons between the young vocalists and the seasoned performers of Collins and Sykes. They connected their observations regarding these performers and their own musical and non-musical ambitions, such as choosing a career, dealing with stereotypes, and making changes.
During the sixth class in this unit, students brainstormed the means a performer uses to communicate text such as inflection, dynamics, tempo, and facial expression. To apply, students were led to sing familiar warm-ups in various vocal styles and moods. Referencing the downloaded sheet music for Judy Collins’ “My Father,” students listened to her performance and marked significant vocal nuances. I then accompanied the students in sight-reading “My Father.” Several students improvised personal interpretations by performing the piece for the class.
The seventh class guided Concert Choir toward a consensus in applying dynamics, accents, and vocal effects in “Shto Mi E Milo.” A Microsoft PowerPoint presentation was shown regarding the cultural background of this Macedonian folk song. It included photos, recorded excerpts, and various musical descriptors regarding the cultural and historical traditions of Eastern Europe. Students then met in small groups and journaled the ways in which their interpretation of “Shto Mi E Milo” changed after learning the cultural and historical backdrop. Several students conveniently commented that the composition is something Kitka would have performed to which I responded by playing Kitka’s rendition of “Shto Mi E Milo.”
In the final two lessons of this unit, students experimented with singing “Shto Mi E Milo” with authentic tone quality. As documented in the second videotaped excerpt, students made a relationship between visual and tone colors by singing the composition reflecting a specific color I held in my hand. The choir gradually progressed from the warm, rich greens and blues to the desired bright sound of oranges and yellows. At several points I used a built-in classroom recording system to provide an opportunity to hear their results as compared to Kitka. Through a series of final discussions, students summarized the ways in which genres, composers, culture, and history all play a role in presenting a composition, and identified the specific vocal techniques and interpretive perspectives musicians must engage to successfully perform.
The following unit was focused on the life and music of J.S. Bach. The students’ attention to specific historical and cultural details in music through the activities of this unit aided their attention to detail regarding Bach’s life and his musical influences. The students were inevitably led to perform, with the Bass chorus, several excerpts from a Bach Cantata as well as listen to musical performances of Bach’s compositions with a critical ear for interpretive details.
From Gregorian Chant and Schütz to Schubert, Kodály, and Reich, Concert Choir is exposed to music referencing a plethora of cultures, styles, and forms. While many students are involved in Neuqua World Voices, the extra-curricular ensemble I conduct dedicated to experiencing music from the world’s cultures, I consistently integrate multi-cultural music within the curriculum. As “Shto Mi E Milo” demonstrates, I challenge students with intriguing compositional techniques that motivates exploration into a composition’s construction. Furthermore, Concert Choir is absorbed in listening assignments I entitle, “Soundscapes.” Through a unique assignment each quarter, students select a recording and give a brief presentation regarding the background, history, and compositional qualities. These exercises expose a variety of musical styles, and allow me to remain connected with popular music culture.
The students of Concert Choir are diverse in their experiences and learning styles, and therefore are presented with varied modes of musical learning. In this unit, students analyzed musical scores, scrutinized performances, and brainstormed ways in which concepts can be applied. They were consistently engaged in decision making, defining contexts, developing and applying musical craftsmanship, and honed the ensemble’s commitment to improvement. The students were committed to discovering and generating musical patterns in listening examples, developed parameters for evaluating music, sequenced and synthesized their interpretations of music and music performances, and grew to value uniqueness and diversity of musical styles.
I work to apply strategies that make climate more hospitable to students and inevitably enhance their educational endeavors. As evidenced in the first videotaped excerpt, I work to assure that students acquire a sense of accomplishment. Students are driven by the need to feel purposeful, which is sometimes the overriding factor leading to musical achievement. I value the students of Concert Choir as individuals by learning and using names, welcoming them to class, and showing interest in their activities. Students feel valued when messages they receive are, “I like your thoughtful answer,” “Thanks for the question,” and, “I care that you learn this concept.”
Throughout this unit, I employed critical thinking exercises within productive listening activities. Accessing the critical thinking ability of students requires a problem to solve that is perplexing to the learning. For example, a journal entry question presented the second lesson was, “Compare these four recordings. Discuss which best conveys the spirit of the composition. Defend your choice by using a descriptive vocabulary of both musical and nonmusical terms.” When encouraged, students showed remarkable ability to hypothesize, analyze, and synthesize. These critical thinking skills nurtured in an environment where all contributions are accepted as worthy, allow students to develop a vocabulary needed to voice opinions within music learning.
Music classrooms geared only to individual achievement work against students’ need to belong to the ensemble. Healthy peer relationships are difficult to foster when learners are not comfortable with their own identity. Security is often more vital to students than exploring and accepting differences. As a result, I use cooperative learning to teach team-building skills, enhance social skills, motivate reluctant learners, and foster learning. In this unit, I found students gave explanations, drew inferences from previous learning, and summarized information, most effectively during moments of face-to-face interaction.
The arts relate to just about any subject matter, no doubt because the subject matter of the arts concerns many aspects of life. For example, the historical and cultural backgrounds of each of the four listening examples were discussed throughout the unit. Students made links between these musical works, history, and social studies. In lesson seven, a presentation was given regarding the cultural origins and traditions of “Shto Mi E Milo”. In deciphering this song, students unraveled complex rhythms through mathematical groupings. Finally, students specifically listened to lyrics, interpreted meaning with literary reasoning, and critically analyzed if performers effectively transferred its sentiments in their expression and technique.