In chapter one I think what I really liked about this is the approach to new genres in the examination. Students don't always want to listen to classical music but often are forced to participate in ensembles and listen to ONLY this kind of music. I'm not saying that I don't approve of it but I am saying that if we want to teach students about music why are we covering music that isn't even very relevant to their everyday life. If a large chunk of your class listens to bossa nova music, I would love to see students engaged in listenings and observations and performances involving this kind of music. These are the steps we need to think about when engaging students. In chapter two we discuss the processes of group learning. I am going to use the example of students who want to perform together, they take time to think about their organization of what a band is. Why do they do that, and where did they get these ideas? It's from opportunities to be engaged in situations where the student is almost imitating a professional band. These can be good ways for students to develop shared goals so they can understand what they want from each other in the group. A challenge we can run into in situations with this is students not wanting to play specific parts and being used as a “placeholder” for a part. This overlaps a lot of what I got from chapter three with the understandings of the harmonic structure of the tunes they like. I would encourage the students to not only look at instrumentation but take time to look at the music as a whole for their particular taste, form, and ability.
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Through my reading, some topics I would like to bring up that made me think as I was reading. What ways can we engage the students in class with listening to music. We often have the students sit down and listen to music, however we need to think about our active engagement in the classroom. What kind of things do we do while listening to music? We dance, we tap our foot, sometimes we even exercise, this makes it part of the experience. So I believe this is an important part when talking about music in the classroom, I would like to have the students in my classrooms become more active when we listen weather it may be passing a ball or dancing. It is also important to involve the student in the selection process for the rep, students who are involved in this decision feel more engaged in the music making processes automatically. We also talked about students expressing their actual feelings for particular genres of music in the classroom free of picking what's “popular” just to fit in. first the students can take time to analyse music in their class that they would like to learn more about, taking time to identify not the chord progression even but something as simple as the form. We also discuss the personal particular meaning of different musical phrases in the world. These can be related to a TV show or maybe related to something in our culture. All covered in class first must have some sort of positive meaning in the student's life, this is important because without original meaning or thought, the students will have nothing to build off of except for what happens in class by itself, this would be limiting to the classroom and not challenging the student to develop a personal enough musical experience. Students need music in the classroom that has influenced their life in some positive way.
The points that stuck to me a lot through this reading were the emphasis on students learning without you actually being there. We saw how the two students influenced one another, and it mentioned in this that there was no teacher present, however I would like to make the argument that they were each others teachers in these situations. This experience allows for so much more to happen “in the classroom”. These students are as it describes in the book bridging the gap between one another's differences in music.
When watching a video In my beginning methods music education class, we were comparing two classrooms. One classroom had organization and students who were interested and engaged, the other had the complete opposite. We talked about things that can cause a classroom to turn out like the second one, and I think it is well exemplified in the first example in the book. The students are learning music they want to learn, they are doing it how they want to do it, they don't feel like they are in a class or are preparing for an assessment. Students who are doing all of the following would have the maximum potential for success and to be engaged in class. However, meeting goals and VA standards. We need to keep in mind what these students should be able to do by the end of this class, a lot of the time we use the SOLs to determine the path of which we would teach, but what we could do is redo it so its meeting these standards of learning but it is engaging material that will best interest the students for a curriculum for example, 5.2 The student will sing a varied repertoire of songs alone and with others, including. Who says the students can't sing “Stayin Alive” by the Bee Gees. I think we choose to give students classical rep to perform for things like these because WE are scared of change, we need to be more open to adaptation of the music in the classroom.
This book provided a general better understanding of teaching in diverse cultured classrooms. As it discussed we talked about in the book, we have learned about teachers from all different atmospheres teaching in all different scenarios, it has taught me that even as a teacher and with different methods from every other teacher in the world, you can't change the culture of the classroom. This can offend students and make them uncomfortable and unwilling to learn. As a teacher we need to first take the time to establish ourselves in the classroom as models but not dictators. Ways we can do this is, by making the students feel included and give them equal opportunity. Some students might choose not to engage in class discussion and thats alright, as long as it an available option for them. Other students might try to form social groups within the classrooms and this is heathy, however, if the students are forming this based on cultural backgrounds, encourage the students to find other ways to connect. We as teachers also need to be aware of the specific places we teach, it can be difficult to include the minority, however, a good teacher will do whatever it takes to make sure every student is involved and not excluded based on culture.
Some processes we took in this book study group were reading most of the book on our own time, it is important to make sure you hold yourself accountable for this, because this process can be tedious if people are not reading the chapters on time. This aloud us to make sure that we can have our weekly discussions on the chapters. This can be engaging and exciting, as we take the time to cover the key points and type out our ideas for each chapter. We would also make sure that we were each filling out the doc in between each meeting so we would spend less time typing and more time chatting. We would also take time to cite out information from the book so we could hold each other accountable for the information that we gather. For this I have read chapter 4 of ALICE M. HAMMEL'S "Teaching Music to Students with Special Needs" I would like to start my first small discussion on page 81. On this page at the bottom they discuss the importance of attending IEP meetings as a music teacher. I wanted to talk about this because when I was in 11th grade my band director attended one of my IEP meetings. During this meeting I appreciated to see the concerns that my band director had for my education, he discussed what things might help with my classes and some concepts that might assist me in my classes to come. He also became more aware of what things I was going through in my classes in the future and I noticed a difference in tone in how he approached teaching me in class and making sure he helps me anyway he can. I would like to ask everybody a question, this being in what ways can you find out about your students disabilities and help them and get them the particular attention they need, especially when it might not be something documented by the school board?
Hammel, A., & Hourigan, R. M. (2017). Teaching music to students with special needs: a label-free approach. New York, NY: Oxford University Press. My second point I would like to discuss is the students with emotional challenges page 91. One thing that has been talked about in this section is students having trouble picking up on social cues, this can be very difficult (Fair is not equal), is what they described it as. People who don't pick up on social cues, might be better off sitting next to individuals who are good role models or friends who support them and help them pick up on social cues better. I had a few people like this in my class and I could see these things influenced in class, its more of people hanging out in groups and the groups sit together and make these unsaid decisions of social cues together. A question I would challenge my class to think about, is how can we make sure that the students who have issues with social cues, are not taken advantage of in class? especial since the students like this are very emotional and something like this can make a mess of things very quickly. Hammel, A., & Hourigan, R. M. (2017). Teaching music to students with special needs: a label-free approach. New York, NY: Oxford University Press. Critical pedagogyTheorist of this include
This theory challenges the students to think, usually their is a goal set in mind but the teacher sets up a course so might the student reach it through finding their way in these objectives that force them to critically think. The role of the learner in this atmosphere is to take the learning process seriously and really think outside of the box on how they might achieve the objective. The role of the teacher in this position is to challenge but not overwhelm the experience, overwhelming it can soil and make the student feel upset because they don't understand the concept. |
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December 2019
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