PLE- Group Differences Forum

Group discussion is a learning and communicative strategy I believe should be incorporated in some kind of way no matter what grade level. Even if it is kindergarteners discussing what they feel about their day or the weather outside! Our group forums spurred many conversations and I gained insight to many aspects of each group discussion. Honestly, like one of our classmates brought up, I had not even thought about ELL students in my classroom and how difficult it would be if I didn't have training, or there wasn't some kind of program they could take part in.

Something I would have changed with the activity was definitely the way our group presented our article initially. I like to think since we were first we were the guinae pigs (heh). BUT, if I had to detect
and pick apart/explain a complicated article- I would skip all the complicated numbers! Something that could have helped people with each topic was to write down 2 things they found most valuable out of their articles to share with the class. Maybe this could be done by emailing the professor and having her print them out. Yes, it would take more time, and honestly I remember almost all the topics vividly, but if we had to add something it may be something to think about.

Regardless, each group presented information that will be useful in the classroom by recognizing issues such as race and religion in our students, and how we as teachers can incorporate teaching these topics without offending students and being fair.

-For the most part, I reached my goal as to participation in the group discussion. I tend to have an opinion about a lot of things, so my goal was to pose more questions and listen rather than talk to much!

PLE Barb Rentenbach Response

I really enjoyed attending the session with Barb Rentenbach and Lois the "smiling shrink". I had heard about Barb's disability and how she communicated with people, but obviously it was still a shock seeing as I have never really been in contact with someone with severe autism. I was absolutely amazed by the readings read by us that Barb wrote. Being declared as profoundly "retarded" at 19, and now seeing what she has overcome, and accomplished is amazing. Her vocabulary and knowledge of the outside world is incredible and motivating.

Barb wanted to get across the significance of being facilitators as teachers. She has worked with her facilitator, Lois, for years to become an accomplished writer. They key is as teachers is to discover what our students with disabilities are passionate about, and their strengths. If a child with ADHD is in your class, which is more common, medication is not necessarily always they key. Get them up and moving, and figure out their learning strategies and what works best. Patience is something all teachers must encompass.

When seeing Barb, and hearing her turrets, it is hard not to judge what she is capable of in comparison to "normals" as she calls them. That may sound terrible. But I have come to realize after her writings that she can feel all the same emotions, can understand physical contact, including sexual contact, and wishes to communicate with those she wishes. Imagine how hard it would be to be mute when simply wanting to explain a simple situation and typing painfully slow- but thats what works for Barb. Facilitating takes time, and we have to give those with disabilities a chance to express themselves the way the want.

PLE 10 Language and Cognitive Development

Question: Theories in educational psychology promote the idea that language plays a critical role in cognitive development. Examine Table 2.2 (p. 51), paying particular attention to the age range that you are interested in teaching. Consider how you might incorporate or adapt the strategies presented for use with your own students.

Language development plays a critical role in each classroom learning environment. Whether it is learning vocab in math, science, visual art, creative writing, or music, students can expand their brains by extensive vocabulary usage as they continue through each grade level. I will be certified K-12, and it is important for me to incorporate appropriate vocabulary usage in the music classroom for all grade levels. 

A bulleted point that stood out to me under the "3-5 suggested strategy" was "having students create short stories that they present orally in writing." A recording can be played by the teacher, or a piece on the piano, and the students can narrate a story that ties along with the music. For more advanced students (middle school), students can describe the music using musical terminology such as "piano" for soft, and "forte" for loud. In the same sense, under the "9-12 suggested strategy" in table 2.2 "distinguish between similar words", students can come up with synonyms and antonyms for musical terminology. 

Antonyms:

Accelerando- A symbol used in musical notation indicating to gradually quicken tempo.
Ritardando- A symbol used in musical notation indicating to gradually slow down tempo. 

Synonyms:

Decrescendo- gradually reducing force or loudness
Diminuendo- gradually reducing force or loudness

PLE 9 Self Efficacy and Self Regulation

Question: How might self-efficacy and self-regulation contribute to the intervention plans you use in your case study?

Often times teachers overlook the importance of finding the good or something right in a student's work or behavior. As a music teacher, I myself, sometimes am quick to think "no, that's not the right note," or "you are not interpreting the musical phrasing correctly." This can be somewhat of a flaw in given teaching styles. As soon as students, especially younger ones, feel put down, or that they are not doing things correctly, their self efficacy is effected. This in turn effects their behavior, attitude, and success in the classroom. They must be motivated, and it is the educator's job to build them up, and make them feel like they can accomplish anything. 

In regards to Cherie, something has to be said to her to change her behavior so that it is not distracting to other classmates. In addition, something should be said from the teacher in regards to her learning- and how although she may be very entertaining to students in recess, or outside of school comical exchanges, her behavior isn't for a classroom environment. Cherie must encompass self regulation to know what she is doing isn't benefiting her education, or the education of others. Now, this may sound over her head. So wording things in simpler terms for her to understand for example, "Am I going to have to separate you from the entire class?" She needs to comprehend that taking something away from her may cause her not do do as well in class, or have as much social interaction with friends in class, because she cannot stay focused or behave. If she realizes this, then she is self-regulating. SElf regulation is an aspect of learning that should be learned from a very early age in order to fully be involved in a day care, or classroom to learn in a social environment.


Helping younger children with self regulation


http://www.youtube.com/watch?v=VSCMD0Et9rw

PLE 8 Behaviorist and Constructivist Interventions

Consider your CSEL intervention case study. Are there tools from a behaviorist view for either encouraging productive behaviors or discouraging undesirable behaviors that you could apply to the case? What are they?

Looking back at the middle school CSEL case study, I believe there are several approaches to productive behavior. I had originally mentioned giving Cherie attention, but not necessarily giving her the attention she desired. The suggestion was to call her out in class and move her to the front of my classroom which is sometimes embarrassing for a student at the middle school age. However, this action may not encourage good behavior always, because it is not taking anything away from Cherie that would be desired, if that makes sense. In a behaviorist view, students learn by changes in behavior- and although Cherie might be embarrassed by having to get up in front of the class to move, there is no contrast in that the other students are praised for good behavior. 

Clearly Cherie's "funny" behavior is affecting the students learning because they are more concentrated on her. Not allowing the class to receive their "music note" sticker for the day, (in hopes of getting 10 for a music game choice day) for those contributing to Cherie's bad behavior would hopefully catch their attention. Walking around and handing out free "2 minute" ipad usage pass for good behavior, the ones not laughing at Cherie, may also catch the class's attention. (iPad time is something I have observed in my field experience in the music classroom)

Now, compare the interventions that you have identified above with what you think might work from a cognitive or constructivist viewpoint (you may need to Google for ideas but it's okay to just speculate based on your prior knowledge).  How do they compare to behaviorist tools?  What are the benefits of each theory, and what are the deficits? Which theory might play a larger role in how you determine classroom management? 


Knowing now that a constructivist viewpoint is developing knowledge through experience, a Cherie-type situation might be difficult to handle through a constructivist view pertaining to classroom management. Because in constructivist learning theory, the teacher is more passive and acts a facilitator, I am finding it difficult to provide examples how to handle issues that arise in classrooms through a constructivist view.  All classes are different, but it some cases, giving students more leeway might in fact cause more disruption because of the students' freedom and them being responsible for their own behaviors. In a behaviorist classroom, it is pretty clear what is expected, and the punishments that will ensue with bad behavior.

I did find something that is encouraging for people like myself who find the constructivist theory attractive --especially for me, as a "special area".



"Structure is one of the conditions of freedom. Yet we cannot leave it at that, for paradoxically there can be no freedom without some element of constraint. Thus within the structure of a learning situation there are always some constraints--yes, even in the most apparently "free" classroom, . . . . Students are constantly making language choices. Still, they are not "free" in any radical or idealized sense . . . there is a lot of structure . . . (p.116).

What Sheridan is saying here is exemplified in a constructivist class. Unless kids are provided with behavioural parameters, nothing gets accomplished because they don't know what it is they're really supposed to do. But once these behavioural parameters are established, there can be a lot of choices within.

The paradox about student centered instruction is the more control you turn over to the students the less you need to worry about control, and, in fact, the students are quite able to look after themselves and, even more, look after each other. In a constructivist classroom, control comes from students' involvement in responsibility rather than external imposition, freeing the teacher to focus on students learning, a profitable situation for both students and teachers.
Actively and interactively involved students, negotiated curriculum, and redistribution of power, control, and responsibility all contribute to a relationship between students and teacher that promotes a situation where learning thrives. With the development of a constructivist philosophy, a teacher of any discipline is able to create a classroom environment within which students are able to become autonomous learners."

Master's Thesis entitled "The Road to Knowledge is Always Under Construction: A Life History Journey to Constructivist Teaching".
Audrey Gray


I think finding a balance is key. This will be probably one of the greatest challenges for me as a future music educator. In my field experience, students often see music class as "fun time" or "play time". Obviously classroom management issues will arise when there is singing, dancing, playing instruments, etc. And although I want my students to have fun while learning, I need to approach all my classes in a way that it can be a social, interactive environment, but still enforce respect and appropriate behavior.

PLE 7- Metacognition

Consider a lesson plan you might use.  Which metacognitive skills/abilities are involved as students gain facility/knowledge in this domain?


Lesson plan for first grade general music: Teaching basic rhythm in common meter (4/4)

I think once I have used kinesthetic skills such as clapping, singing, dancing to beats in a 4/4 pattern, I would want to show my class how to relate the theory of a simple music pattern by painitng (not literally) a picture in their mind of how music and math are inter-related. Activating metacognitive skills such as learning things outside of class will help facilitate the knowledge they are learning.

For example-

I would present an actual dollar bill in class and have them pass it around:

This represents a whole (total) dollar, which is equal to a whole note, or 4 beats, an entire measure. 

Then I would pass around 4 quarters:

I would then explain how 4 quarters equal one whole dollar. And that there are 4 quarter notes equal to one whole note, or the entire measure in 4/4 time signature.

Metacognitive skills include:

• Self assess  (using instructor-provided tool) learning styles and preferences, strengths and weaknesses
• Share and explain their own learning preferences and learning strategies to others.
• Describe how one’s learning preference affects how one learns.

https://www.dllr.state.md.us/gedmd/cs/eslcsmeta.pdf

Students at the end of class can respond to what type of learning they preferred, whether it was visual through seeing money, or learning kinesthetically.

PLE 6 Constructivist Approach

Question: Make a list of the sequence of skills necessary for ultimate mastery of the content of your lesson through a constructivist approach. Which of these learning activities/skills lend themselves to student’s individual or group construction? How might you structure learning activities that lead students to discover these skills/principles? 



In an approach to teach music and art during the time period of WWI, the teacher will first discuss the history of WWI while engaging the class with questions and response of the time period. To include social interaction, the teacher can spit the class into groups to create their interpretation of  historical events that they have grasped from the text by making a timeline.

Next the teacher will incorporate music and art of the time by letting the class listen to band marches written for WWI and show slides of artwork done throughout the DaDa movement.  A constructivist approach would be letting the class interact with each other to come up with a piece of work to demonstrate in front of the class what they have learned in this arts/humanities unit with music and art. The students draw from the aspects they have learned in order to "teach" the class a song, skit, or show a piece of art as a way for the teacher to assess in an engaging and fun environment  During class time, the teacher should move about the room to assist students and ask questions to encourage creative thinking skills. 

I feel that in my area, music, a constructivist approach will almost be an every day teaching in order to assess students. The students should feel comfortable to ask questions and to perform in front of one another.  Below is a quote from an article in ERIC.

"A Constructivist View of Music Education: Perspectives for Deep Learning"

"A constructivist music classroom exemplifies deep learning when students formulate questions, acquire new knowledge by developing and implementing plans for investigating these questions, and reflect on the results." -  Sheila Scott

PLE 5 Chapter 6 Question 2 [Memory]

How might your knowledge of the memory processes guide your instructional decisions?

In the music classroom, memory can be a very important aspect of learning. It may not be as significant to memorizing math equations, historical dates or people for a standardized test, but encoding information for students in music will still benefit them in the long run.

Repetition is key. I like to think of Bruner's 'spiral curriculum' concept. 

Walker, Robert. Innovation in the Music Classroom: II The Manhattanville Music Curriculum Project. Psychology of Music, Vol. 12, No. 1, 25-33

Repetition is key and learning can be done by the sequence effect. I believe setting short term goals for information to be stored in students' minds will help them to rememeber musical concepts and skills, and repeating these skills on a daily information starts the memorization process. This will eventually be applicable as they move to each grade level. Applying music to stories and ideas has a successful impact in creating an aural image for student learning and can be easily retrieved because of its' uniqueness. 

PLE 5 Chapter 6 Question 1 [Cognitive Learning]

What are the essential skills and/or learning outcomes you want your students to know and be able to do that relate to cognitive learning?


I think in my music classroom, there will be many skills involved that relate to cognitive learning. Much of cognitive learning is the process of information that the students are learning. This process can include learning by model, listening, and reading. Listening is an essential skill in the music classroom. This includes peer interaction by listening to different musical phrases, for concepts within the music and scores, and learning together how to actively make music. The teacher can help guide students by doing clap rhythms or singing for students to hear phrases in a variety of ways. 

I also believe the use of representations help students learn cognitively. In my classroom, maybe this could be finding a story to read along with the piece of music, or a historical background that paints a picture of what the music should sound like. After writing this post on my personal thoughts, I actually found a study online that investigated children's perception of melodic construction in hope of finding clues about their broader cognitive development in nonmusical domains. 

Here is a short excerpt from the study:



"Bamberger (1991, 1994) also advocates using children’s descriptions as crucial 
evidence for understanding a child’s musical development. In Bamberger’s (1991) 
experiments with Montessori bells, children are asked not only to build a melody, but also 
to make instructions for someone else to play the melody. This type of response is 
specifically designed to produce a broader scope of children’s cognitive abilities. 
Bamberger (1994) also draws on children’s verbal descriptions, drawings, and spatial 
ordering of the bells as possible ways to externally reveal the private and internal nature of 
inner hearing, approximating a more genuine understanding of musical development 
(Bamberger, 1991; Bamberger, 1994; Hargreaves, 1986)"

http://www-usr.rider.edu/~vrme/v17n1/visions/article3

PLE 4 Chp. 14 Assessment

 Prompt:

Think of a lesson plan from your licensure area.  Knowing that assessment is an integral part of teaching, explain at least four informal and formal assessments that you will use in your lesson plan to provide you with feedback and involve the students in assessing their own learning.

My teaching area is music education. This includes primary, secondary and high school students. For each grade level, the National Standards for Music Education must be met, and because of this, formal AND informal assessments should be utilized throughout the school year. Below is a list of the National Standards for Music Education provided by the National Association for Music Education. (NAfME is an organization and credible website that the entire nation utilizes for music education) All music teachers must meet these standards and plan their lessons accordingly.

1. Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music.

3. Improvising melodies, variations, and accompaniments.

4. Composing and arranging music within specified guidelines.

5. Reading and notating music.

6. Listening to, analyzing, and describing music.

7. Evaluating music and music performances.

8. Understanding relationships between music, the other arts, and disciplines outside the arts.

9. Understanding music in relation to history and culture.

These are a few assessments I have come up with to cater to my specialty area:

Formal assessing for music students would include:

1. Individual Playing Tests (This would coincide with the performance aspect of the national standards)

- Students will show their ability of range, repertoire, technique and musicality 

2. Composer of the month essay (This would coincide with the history/culture aspect of the national standards)

- Students will write one or two paragraphs at the end of every month about the biography of a composer and his/her time period. 

3. Computerized Standardized Listening Exam (#6 and #7 shown above)

 - There are music theory technologies available in certain schools for students to use in a lab.

4. Yearly Final Exam (All standards minus performance)

- This would be a test including a composition portion, listening portion, analyzed portion, and music history portion.

Informal assessing for music students would include: 

1. Group ensembles performing in front of the class

2. Composition Project (writing your own music to share)

3. Multimedia presentations (video, group projects)

4. Relay Music games for assessing music theory and terminology

 * THIS IS A GREAT SYLLABUS I FOUND ONLINE FOR PROGRAMMING AND ASSESSMENT IS HELPFUL FOR ALL AREAS NO JUST MUSIC. Please take the time to just copy and paste the link and scroll through.

 http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=6&ved=0CFAQFjAF&url=http%3A%2F%2Fwww.boardofstudies.nsw.edu.au%2Fsyllabus_sc%2Fpdf_doc%2Fmusic_710_support.pdf&ei=jEEVUbSsC4m-8ASDmoGwBg&usg=AFQjCNH8a6V8qE0rY8mFKLCXCyHgnhIzeA&sig2=pAvBgWhzkNp6HcYQPWQyVg&bvm=bv.42080656,d.eWU

PLE 3 Creating a Learning Environment

* Please note I wrote this as it applies to my area of study which is music education.

Creating a conducive learning environment is a significant component for classroom management. I know that classroom management will be my biggest struggle as a first year teacher, especially in the music world. Not only do I have a classroom full of students, but also expensive instruments, stands, and stacks/files of music to store. 

Organization
First, in order for my students to have an effective learning environment, it is important to have an organized classroom setting. Instruments should be easily accessible and chair set up should be in place before students arrive to class.  Students will assume the teacher is disorganized if the classroom is disorganized. Space is always an issue in music classrooms, especially if the classroom is shared for general music, strings, choral and band. Music classrooms should have a specified place for instruments and book bags. Storing school supplies, sheet music and folders underneath chairs can sometimes get messy. It is more practical to have a space where the students can store instruments throughout the school day. Purchasing shelves for students’ music folders to prevent the students’ loose sheet music from getting lost also might be a good idea! This also can start a music library for the classroom.

Some teachers overlook the significance of keeping track of students in a music setting like orchestra for example. This is especially prominent in high school orchestra when students seem to wonder in late to class. No matter what grade level the orchestra is, it is probably a good idea to have an organized grade book with every student’s name and dates across each row. This ensures that you have a clear record of class attendance and tardiness. The instructor may even want to assign duties to certain students to keep them on their toes. Electing secretaries to take attendance and librarians to organize and hand out music is a great benefit. This helps out the teacher and is also fun for the students so they feel they hold some sort of power.

Fun and Helpful Learning Atmosphere 

I think for any grade level, students love coming into a classroom that feels positive and is exciting to be in (instead of boring).  Posting images on walls of instruments, historical composers, and musical notes adds character to the classroom. In addition students should know what is expected of them in a positive way instead of a demanding way.If one student is talking or playing their instrument while the teacher is talking, it spreads like wild fire and soon you have a big mess. This can be shown as easily through a behavioral chart or outline posted in the classroom. Margaret Merrion in her book, "Instructional and Classroom Management for Music Educators" provided a chart for classroom management for music. This can be arranged for any subject.

1.     In assigned seat when the bell rings

2.     Is prepared for class with all materials, (Instrument, music, pencil)

3.     Demonstrates proper posture when playing.

4.     Is quiet during rehearsal when not playing.

5.     Shows respect for self and others

6.     Shows respect for all instruments.

7.     Participates appropriately during rehearsal.

8.     Goes above and beyond.

TI think these things will help students to interact, learn well, and reduce behavioral problems. 

CCSEL Study

I I chose to look at the middle school case study. There will be many cases in a music class where I'm sure students will act out like Cherie. In most cases, I feel these students are looking for attention, so the best thing to do would be give them attention, but not necessarily the attention they want. I would use tasteful remarks to the student ensuring them and convincing the class that what they are doing isn't funny. In hopes that the class would respond, I also think moving the student to the front of the orchestra (or classroom) would help them be more attentive instead of goofing around. 

PLE 2 Motivation

Now that I have somewhat figured out how to work blogger, I can share my thoughts we discussed in class on the topic of motivation. Assuming our class knows the differences between intrinsic and extrinsic motivation, I will share my thoughts as a future educator on this topic. 

In my field of teaching, intrinsic motivation in music students is something that I am constantly, and will constantly strive for. Music class is a speciality area. Some view music as a less important subject area, or maybe a class that is not necessary in the school system. It is the first thing that is on the chopping block when budget cuts are brought to the table. It is my responsibility to promote advocacy for music in public schools, and show administration why it is significant in a student's education, (this is a whole other realm/topic!) therefore instilling personal autonomy, and self determination in a student is equally as important. 

Once students pass middle school, they are free of "general music" or "general art" classes. It is high school when they have options as to what classes they can take, and what ensembles to participate in. Connecting with students and applying what is taught in class to things they enjoy, or skills they can relate to will intrinsically motivate them. It is extrinsically motivating activities or rewards that cause a burn out in students desire for musical involvement. This can be assumed for any educational subject area. Habitual practice of music scales, or assigning book assignment math problems every class doesn't necessarily boost creativity. 

"If you pay somebody to just stand on a golf course, for example, you undermine intrinsic interest, but if you pay them to learn how to play golf, you enhance intrinsic interest."

However, the thoughts I have are, should there be a balance of intrinsic and extrinsic motivation in the classroom, and if so, what should that be? I thought the article I found that included a study done on motivation was quite interesting. Feel free to share thoughts.

http://www.psychologytoday.com/blog/who-we-are/201005/motivating-students-learn

PLE 1 Introduction401

My name is Lydia Kabalen and I am a second year grad student in Music Education. I missed the first day of class due to scheduling issues, but I am very excited to learn and work with all fields of education in this class.