Woods Miller Five Photographs EPS 431, New Learning November 24, 2008

INTRODUCTION

The photographs I have provided are snap shots of my practice of teaching music, in a variety of settings, with a variety of my students, in Edwards County, Illinois, which located in the Southeastern corner of the state. It is a rural community with three schools: two preK - 8th grade buildings and one high school building. I teach in the two grade school buildings. In the smaller school, West Salem Grade School, I teach all of the music courses and in the larger school I am the preK and kindergarten music teacher.

WEST SALEM GRADE SCHOOL BAND REHEARSAL – The A Flat Concert Scale (Grades 5-8)

2. In this moment of rehearsal you see passive and experiential learning. Students are essentially “reciting” their knowledge of the A flat concert major scale. However, it is not entirely repetitious, monotonous nor does it require little thought. It does require a great deal of concentration, as a student playing an instrument is constantly evaluating the tone they are producing and how it relates to the groups sound around them combined with guidance from the instructor. 3. The purpose of this learning is to establish and reinforce individual musicianship fundamentals and develop the skills associated working in a team environment. 4. The type of individual who is disciplined and subordinate thrives in this environment. Students who are overly social or have short attention spans don’t do as well in this environment as there is little to no individual instruction or guidance. 5. The strength is that a large group of students can participate in this setting. Some groups number in the 100’s, mine is 26. The weakness is that the director does most of the criticism and gives most of the direction in the way of musical decisions. 6. This situation works best with large groups.

EVENING FATHER-DAUGHTER TRUMPET LESSON – Get your bell up! (9 year old)

2. Passive and Experiential learning. I instruct the trumpet player, she plays, we both evaluate and attempt again. 3. The aim is to learn how to learn to be a better trumpet player. The teacher analyzes, diagnoses and prescribes. This provides a model of thinking for the student. At certain point the teacher lets go and prompts the student to take those steps. 4.All learners learn well with this setting! The instructor can tailor the instructional needs of the student pedagogically, be it adjustments to the students cognitive abilities, personality, temperament, physical limitations/advantages and work ethic. 5. There is a limited one source of information and how it is interpreted; the book and the teacher. 6. This works best with students who are “self-starters” and can embark in focused and deliberate individual study.

TUESDAY’S CLARINET SECTIONAL – The paradigm shift! (Grades 5–7, West Salem Grade School)

2. Collaborative student guided learning. The students are rehearsing in a small group setting and evaluating their own playing with little guidance from the instructor. (I was taking the picture) 3. The purpose of the circular seating arrangement is for the students to begin to take ownership of their own learning and musical decision-making. The instructor becomes the facilitator and co-designer of learning. 4. The only students who could not learn well in this situation is one that cannot accept constructive criticism from their peers or lacks skills in conflict resolution. To put it simply students who are not team players that prefer to work alone. This situation works well with most students since they do not want to be the “weak link” in the group holding back the performance ability of the group. 5. The strengths are that the students take ownership of their learning and it is highly motivational. The weakness is that it must take place in a small group setting. 6. The more mature the student-musician the better this situation works as they have acquired many skills from didactic mode of learning. I would not try this with beginners.

SWIMMING OUR SWAMMIES OUT! (Early Childhood, Albion Grade School)

2. Active and Experiential learning. I decide what songs to do and suggest movements but the students get to enjoy dancing silly and expressing themselves with movement. 3. The purpose is not a study of music but to improve motor skills and communication skills through dance and song. 4. Students who have physical limitations may not be able to participate in this type of learning. Regardless, it still elicits an emotional response that no other subject provides. Any learner who is not afraid to “shake their sillies out” will benefit from this type of learning. 5. These activities get all of the students involved but it is largely teacher centered and didactic in nature. 6. This works best for students who need development in the afore-mentioned areas of motor skills and speech.

DANCE LIKE FRANKENSTEIN! (Kindergarten, Albion Grade School)

2. Here you see experiential and student guided learning. This was taken during the month of October and we were dancing like various Halloween characters that the students suggested. 3. The purpose of this learning is to develop motor skills and various means of self-expression through movement and song. The students get to be creative in who we select as our character and we interpret the character through dance. Also, we get to have fun celebrating Halloween! 4. Students with visual or physical disabilities may not get to fully participate in this activity. However, they can still sing. If a student has a haring impairment they can still dance. The only students who would not benefit are the ones who chose not to participate. 5. The strength is that the activity engages the body, mind, voice and heart (emotions) all at once. Also, that students are creative and co-creators of knowledge. 6. The younger the student the better this kind of activity works. Kindergartners aren’t afraid of being silly or of making mistakes.