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Common Core Rehearsals: Listening, speaking, reading,
writing AND playing
2014 Illinois Music Educators Conference
Dr. Richard Cangro, presenter Western Illinois University
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Our time together today… • Reflect on what we want students to know and be able to do in music when they graduate.
• Discuss how to proactively embed some Common Core ideas in the overall picture of developing student musicians.
• Take away some ideas and strategies for developing independent musicianship in our ensembles.
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What Common Core, Danielson Framework, 21st century skills, new National
Standards in Music are all trying to dissuade…
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“I expect you all to be independent, innovative, critical thinkers who will do exactly as I say.”
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Shared Expectation
“The Standards insist that instruction in
reading, writing, speaking, listening, and
language be a shared responsibility within
the school. . . . .”
From the Common Core State Standards for English Language Arts & Literacy in History/
Social Studies, Science, and Technical Subjects, pg. 4
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Common Core Standards
ELA
Reading
K-‐12
10
standards
Writing
K-‐12
10
standards
Speaking and
Listening
K-‐12
6 standards
Language
K-‐12
6 standards
Math
K-8: Priorities for Fluency and Conceptual
Understanding
9-12: - Number and quantity - Algebra - Functions - Modeling - Geometry - Statistics and probability
Standards for Mathema/cal Prac/ce
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CCSS: College and Career Ready -‐ 7 abilities
• Students who demonstrate independence. • Students who build strong content knowledge. • Students who respond to the varying demands of
audience, task, purpose, and discipline. • Students who comprehend as well as critique. • Students who value evidence. • Students who use technology and digital media
strategically and capably. • Students who come to understand other perspectives and
cultures.
Students who provide evidence of their thinking
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Now for the $1,000,000 question…
How do students provide evidence of their thinking in music?
…I already know what you will say...
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”Through their performance”
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The Mission of a School
… is not to cover content, but rather to help learners become thoughtful about, and productive with, content. It's not to help students get good at school, but rather to prepare them for the world beyond school…
- Grant Wiggins, Understanding by Design author
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Thoughtful, or something else??
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Compare that to this…
Trumpets, play louder! Saxophones – play together!!
Flutes, You are rushing! Violins, stop screeching!!
Sopranos – where are you?
Tubas, get the Freshman out of there!
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Some questions to ponder in developing artistically performing musicians…
• Should your students be able describe the pieces they are performing using music terminology and metaphors/similes?
• Should your students be able to provide a description the composer’s intentions?
• Should your students be able to provide a description of how their voice/instrument fits in the ensemble tone/sound palette?
• Should your students be able to describe their opinions about the pieces they are performing?
• Should your students be able to describe relationships between pieces they are performing?
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Shouldn’t your students have the opportunity to answer
these questions?
Wouldn’t that be profound?
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What can you tell me about this piece?
What do you notice?? What do you like/dislike about it? Jot some things on the back of your handout regarding the melody, harmony, tone, mood, etc…
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What did you notice… partner…
Listener #1 With the person next to you…STEP 1 -‐ Describe the mood of this piece and how it is reflected by the instruments used by the composer. STEP 4 -‐ Describe why you do or do not agree.
Listener #2 With the person next to you…
STEP 2 -‐ Describe why you do or do not agree.
STEP 3 -‐ Describe how the composer uses and abuses
the melody.
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Speaking and Listening (Anchor Standards)
#1-‐3 Comprehension and Collaboration • CCSS.ELA-‐Literacy.CCRA.SL.1 Prepare for and participate
effectively in a range of conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.
• CCSS.ELA-‐Literacy.CCRA.SL.2 – Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.
• CCSS.ELA-‐Literacy.CCRA.SL.3 – Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.
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ANOTHER THING THAT CCSS HELP US TO THINK ABOUT…
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Here is an example of advertising what we value as music
educators…
Music
Report card for little Justin Timberlake
Is this truly a portrait of your instruction?
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Are we providing deep understanding?
Is there a lasting effect of our instruction that
supports what we purport to value?
Have we done a good job convincing the public that our discipline is more than performance
and exhibition?
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A profound music education begins when we can describe what we value as a good musician… …and then lead students in that direction by providing authentic music opportunities in their music education.
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All these skills should center on one thing…
Musicianship drives the bus!
Are we bringing music out
of our students, or are we stuffing music in?
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LET’S EXPLORE THIS FOR A BIT…
He’s looking for musicianship!
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Amazing Grace John Newton (1725-‐1807)
Amazing Grace, how sweet the sound,
That saved a wretch like me. I once was lost but now am found, Was blind, but now I see. T'was Grace that taught my heart to fear, And Grace, my fears relieved. How precious did that Grace appear The hour I first believed.
Through many dangers, toils and snares, I have already come; 'Tis Grace that brought me safe thus far, and Grace will lead me home. The Lord has promised good to me. His word my hope secures. He will my shield and portion be, As long as life endures.
What does this text mean?
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CCSS Anchor Standards for Reading
• CCSS.ELA-‐Literacy.CCRA.R1 -‐ Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.
• CCSS.ELA-‐Literacy.CCRA.R2 -‐ Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.
• CCSS.ELA-‐Literacy.CCRA.R4 -‐ Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.
• CCSS.ELA-‐Literacy.CCRA.R5 -‐ Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.
• CCSS.ELA-‐Literacy.CCRA.R6 -‐ Assess how point of view or purpose shapes the content and style of a text.
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Oh My Gosh!!!!! What have we done!!!
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• Listened • Sang • Harmonized • Analyzed • Improvised • Notated • Composed • Read music • Learned about history
• Developed an opinion • Developed an understanding of music and text
• Made a connection to another discipline
• Evaluated • ?????
List the things we just did (or could have done)…
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NOW COMPARE THAT TO THIS…
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Voluntary Content Standards
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 performance
8) Understanding relationships between music, the other arts, and disciplines outside the arts
9) Understanding music in relation to history and culture
MENC National Standards for Music (1994)
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National Standards in Music
Another way to think about them…
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CPR – 3 Artistic Processes
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Remember…
These activities are what the
STUDENT
will
DO
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CPR – 3 Artistic Processes
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CPR provides depth in music learning… …when integrated
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Eugene Corporon (U. of North Texas)– from The Quantum Conductor (1997)
While correctness is one of our goals, we must realize that “making right” is not necessarily “making music.” The objective elements in music are much more important to understand that simply eliminating error is useless unless we find expression in the process. An over-‐concern with accuracy may drain the spontaneity of a group and spontaneity is the all of great music making. At some point we must stop correcting the grammar and start reading the story. The process must be about creation, not mindless repetition.”
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Apparently there is more to music than playing the
notes!
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Is it important… • For students to make musical decisions?
• For students to know when and why to perform loud and soft?
• For students to know when they are performing incorrectly, or too loud, or too short, or…
• For students to be able to describe and choose music they listen to, and/or perform intelligently?
• For students to reflect on their performance and what music means to them?
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Riddle me this…
• Who chooses the literature for your ensemble/class? • Who makes all of the musical decisions? • Who starts, stops and leads the ensemble/class? • Who listens and makes changes based on what he/she
hears? • Who provides the most feedback on student
performance? • Etc…
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Is it important… • For students to make musical decisions?
• For students to know when and why to perform loud and soft?
• For students to know when they are performing incorrectly, or too loud, or too short, or…
• For students to be able to describe and choose music they listen to, and/or perform intelligently?
• For students to reflect on their performance and what music means to them?
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The Mission of a School
… is not to cover content, but rather to help learners become thoughtful about, and productive with, content. It's not to help students get good at school, but rather to prepare them for the world beyond school…
- Grant Wiggins, Understanding by Design author
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One main goal of music education …
To develop independent learners…
Students who are able to make music, reflect on music, describe music, etc.
without you.
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Amazing Grace (Joseph Brackett, 1848)
– CPR style Singing – melody, bass line, harmony
Improvising – patterns, chords, melodies
Notating – melody, harmony
Composing – duet
Responding – listen, compare, evaluate
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Amazing Grace– write the melody
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NOW WRITE THE CHORD PROGRESSION ABOVE EACH MEASURE…
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Task 3 (a doosey!!) 1. On the 2nd line, compose 1 measure of music to go
along with your melody on your paper.
2. Trade your paper with the person next to you.
3. Look at the paper in your hands and make sure it is accurate AND SINGABLE.
4. Compose the second measure on your partner’s paper.
5. Give the paper back and watch your partner cry!
6. Repeat steps 1-‐5.
7. When you have two finished compositions, softly sing the duet.
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What did you notice about composing with a partner?
Think and describe your thoughts about your compositional process during this activity.
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CPR in the Common Core Frame of Mind…
Students describing a process through writing… • CCSS.ELA-‐Literacy.CCRA.W.4 Produce clear and coherent writing in
which the development, organization, and style are appropriate to task, purpose, and audience. Prompt: Write program notes for an ensemble composition including history, performance considerations, and things to listen for in the music.
• CCSS.ELA-‐Literacy.CCRA.W.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach. Prompt: Write a narrative on how to compose a melody.
• CCSS.ELA-‐Literacy.CCRA.W.6 Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others. Prompt: Add your program notes to the ensemble blog/discussion board. (Free blog -‐ Wordpress.com)
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Ed Lisk (1996)
“If conductor/educators do not allow the students to
learn and discover how to expressively play based on
their current level of musicianship and consequently
develop their ability to make informed music decisions,
we will inevitably have to repeat the same instructions,
thus cumulatively waste time in the long run.”
(Creative Director, p.21)
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Which do you prefer? Choice 1 Choice 412
Leeeeeeeet’s get ready to rumble!!!!! Speaking and Listening CCSS in handout…
Start @ :27 Start @ :40
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Speaking and Listening Anchor Standards
CCSS.ELA-‐Literacy.CCRA.SL3 -‐ Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric. CCSS.ELA-‐Literacy.CCRA.SL4 -‐ Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.
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Moral of the story...
Go beyond the notes –
engage your students to think…
Ø In music (psychomotor)
Ø About music (cognitive)
Ø Through music (affective)
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So what do all of these things on the horizon have in common?
• 21st century learning (the 4 Cs)
• Common Core State Standards
• Revised National Standards in Music (Fall 2014)
• Danielson teacher evaluation model
Opportunities for student reflection
on their work