Assessment and Technology

In my final blog for my Technology Assisted Music Learning course, we discussed assessment and professional productivity and how technology can be incorporated to enhance the processes. Technology can often make tasks simpler, quicker, and more accessible to the teacher, parents, and students.

To begin with, there are two main types of assessment, formative and summative.  According to Marzano (2006), formative assessment “involves both formal and informal procedures that provide information for the teacher and feedback to the student during the learning process. The goal of formative assessment is to allow the teacher and student to adapt their learning approaches to better achieve learning goals” (p. 146). While summative assessment “summarizes learning at a particular point in time, typically at the end of a project, unit, semester, or entire class. Through a summative assessment, teachers can determine whether students have accomplished learning goals and are ready to move on to new material or whether they need remediation” (p. 146). A teacher must use both forms of assessment to ensure their students’ success. Overall, formative assessment is used throughout the learning process, while summative assessment is used at the end.

In addition to formative and summative assessment, music courses also have authentic or performance-based assessment, which is equally as important. “Authentic [or performance-based] assessments require students to perform a task rather than to select or describe a response on a paper-and-pencil test” (p. 147). Music courses require this type of assessment due to the performance aspect of what they teach.  “A cognitive understanding of something doesn’t necessarily translate to the ability to do that thing (of course, the opposite is also true)” (p. 147). In music courses, teachers must use authentic or performance-based assessments in addition to paper-and-pencil assessments to determine the appropriate learning goals and scaffolding for their students. To become life-long musicians, students must be able to perform well on both forms of assessment, paper-and-pencil and performance-based.

Now the big question, how to use technology to make assessing students easier, quicker, and more interactive. During this module, we discussed numerous technology programs and apps that are useful for assessment. The first was Google Forms. Google Forms is a cloud-based program that can be used to create online tests and rubrics. Instead of creating a paper-and-pencil test that needs to be hand graded, a teacher can create a test in Google Forms using multiple choice, single text answer, paragraph answer, multiple checkbox answer, or drop-down list answer questions. After a student completes the test and submits their answers, their responses are automatically filed in a spreadsheet document, also contained in the cloud. Teachers can then use a program called Flubaroo to grade and email scores and test results to the students and/or parents. Additionally, teachers can use Google Forms to create online rubrics for papers and projects. The teacher can then complete the rubric for each project and likewise email results and comments to the students. Why create and grade a test when you can have technology do the grading for you?

In addition to Google Forms, a second technology tool we discussed was the SmartBoard. A SmartBoard is a phenomenal tool that increases the active engagement of students in the classroom exponentially. Students adore the opportunity to volunteer and interact with the board, by moving objects around the board, sorting items, or making selections.  Teachers can also use the board to create interactive assessments that can be saved for review after class or presentation. Teachers can also find numerous activity and assessment programs designed specifically for SmartBoards for free or purchase.

The final two programs discussed were programs used school-wide. For example, my school uses Aspen X2, which contains all grades and student information in one central cloud-based program. This allows grades and teacher feedback to be easily accessed by students and parents. A second example of a school-wide program is Class Dojo. Class Dojo is an online positive behavior incentive program, in which students are rewarded for positive behavior through Dojo Points. Likewise, students can lose points when the teacher deems it necessary. At fixed points throughout the year, students can attend incentive programs, such as a Fall Festival or Spring Fair, based on how many positive Dojo Points they have received. Additionally, parents are connected to the Dojo program and receive immediate notifications when their child receives a positive or negative Dojo Point. This keeps the parents informed on what is happening in the classroom at all times.

When incorporating technology, it is up to the teacher to determine what works best for him/her and the students. Technology will not replace generic forms of assessment, but it can make it simpler, quicker, and more accessible to the teacher, students, and parents.

References:

Bauer, W. I. (2014). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. New York: Oxford University Press.

Designing Meaningful Instruction

During Module 6 of Technology Assisted Music Learning, we discussed the process of designing instruction. As a music educator, it is vital to remember that students learn in multiple ways. “Driscoll (2002) describes learning as contextual, active, social, and reflective” (pg. 160). Students learn material that is presented to them in context based on previous knowledge. In addition, students learn through active and social engagement in the classroom.

Singing games in a music classroom is a great example of Driscoll’s learning description. Singing games not only encourage proper technique and application of material, but they also force the students to engage with each other. Students engage with others by picking new volunteers or working in small groups to complete the task of the singing games. In addition, a singing game includes the whole class participating together, which relies on active and social engagement from all students. Also, the singing games often require students to reflect on their own performance or the performance of their peers. Finally and most importantly, students enjoy playing singing games, because they are learning while playing a “game.” Students enjoy watching their peers succeeded and the engagement of being a leader or a picker of a new volunteer.

With these concepts in mind, when designing instruction for my classroom, I often use backward design. “Backward design or backward planning is an approach in which the teacher begins with the end in mind” (pg. 165).  More often than not, I determine what the final product or goal of a lesson is, then I plan backwards on how the lesson should start. I do this by breaking each step of the process down to the smallest chunk. I then teach those chunks in order to reach the final product or goal. Overall, I firmly believe it is easier to use backward design, because you have a clear vision of what you want the students to accomplish.

For example, I determined I wanted my students to partake in a partner activity in class. Then, I decided I wanted the partners to compose and perform short rhythmic patterns for each other, and then reflect on their performance. Once I had the final vision of the activity in mind, I was able to determine the main topic (rhythm reading and writing) and the information that needed to be taught prior to beginning the activity. Thus, I preceded this lesson with shorter lessons on quarter and eighth notes that required the students to draw the notes, as well as lessons on composing as a class with volunteers. Finally, when the students arrived at the partner activity lesson, they had the base knowledge and skills needed to be successful and it flowed smoothly. Backward planning allowed me to created this unit of lessons easily and present them in a flowing manner for the students.

In addition to backward design, when planning lessons for my classroom, I do my best to include teacher-centered and learner-centered instruction. Young students need a large amount of teacher-centered instruction, but they also need some learner-centered instruction, in which students work together or on their own to accomplish a goal. “A variety of factors that include student developmental levels, the classroom environment, time constraints, and desired learning outcomes will all influence the use of a particular approach” (pg. 170). However, the most difficult factor for me, when using learner-centered activities, is the time-constraint. I see my students 2 times every 6 school days for 30 minutes. By the time I teach the material and pass out materials necessary to accomplish a learner-centered activity in the 30 minute time frame, including entrance and exit procedures, there is often not much time for the students to complete their activity. In order to accomplish learner-centered activities, I must use 2 class periods to cover the material and conduct the activity. Thus, I find it difficult to plan many learner-centered activities.

Overall, no matter what form of activities and learning you present to your students, the most important part is the guarantee that students are learning the material needed to be successful in music. As a music educator, your job is to use your instruction design knowledge to design lessons that reach all students at all levels, and bring them to the same general level of music knowledge. By doing this, you will be creating life-long musicians and music learners, who can learn in a group or on their own.

References:

Bauer, W. I. (2014). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. New York: Oxford University Press.

Listening and Not Only Hearing

As a music educator of younger students, it is important to me that students are listening to our musical selections and not just hearing them. I want them to actually listen for key concepts and melodies as I ask them too. However, I often struggle with knowing if the students actually understand what I am asking them to listen to.

According to Bauer (2014) in Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music, there are two types of listening, intuitive and formal. Intuitive listening is “a natural process whereby the individual listener has control over all aspects of the listening experience” (pg. 121). Formal listening, on the other hand, is “usually very teacher-centered and analytical, often focus[ed] on musical elements, formal structures, and other facts related to the music” (pg. 121). I know my students spend a lot of time intuitively listening to music inside and outside of school. For example, the gym teachers use popular music as a timer for the students during activities, and the general education teachers use music as brain breaks and rewards. Finally, I cannot count how many times I have heard, “Now watch me whip, now watch me nay nay” in the hallways. I love knowing my students are listening to and enjoying music, but when they come to music I want them to listen not just for words or dance moves, but to listen.

To do this, I often have students move to the music selections. For example, we are studying music genres this year, and we are starting off with marches. Today, we learned about John Philip Sousa and marched to the steady beat of The Stars and Stripes Forever. Considering my students are only 5-8, we spend most of our time keeping a steady beat to the music, however, we also spend time on mood where we will move to the flowing sounds of the ocean or Symphony No. 40 in G Minor.

In order to incorporate more technology, I would like to use my Zaption project or a SmartBoard listening map with the students. I made a video of John Philip Sousa’s The Liberty Bell using a YouTube video of the Marine Band. In the video, the students will listen to the piece, analyze the music as piano or forte, learn about the conductor and the Liberty Bell, and pretend to play in the band. My Zaption video can be viewed below.

I am considering doing a SmartBoard listening map with Hungarian Dance #3 by Brahms. Around Halloween, the students and I will listen to the piece and develop a story about a group of trick-or-treaters and then encounter something dark and mysterious based on the mood of the music. To accompany our story telling, I would like to incorporate a listening map via the SmartBoard. I am thinking we could organize with shapes to represent each section of the story, and then, write the story inside the shapes as it progresses. This would be a lesson on or introduction to forms, because we could then change the shapes into letters. I think a listening map and story telling in this manner would keep the students much more involved and actively listening.

References:

Bauer, W. I. (2014). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. New York: Oxford University Press.

Practice and Feedback Produce Life-Long Musicians

According to Bauer (2014) in Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music, students “need to develop the ability to diagnose their own musical performance problems and then utilize appropriate strategies to address those issues” (p. 99). During Module 4, we focused mainly on methods and technologies to help students develop their own musical abilities and practice strategies.

To begin with, we discussed the importance of practice and practicing correctly. It is often a struggle for music teachers to get their students to practice at home, especially when they must find time to do so between dinner, homework, sports, and leisure time. A student’s will to practice is affected intrinsically (internally) or extrinsically (externally). First, students experience intrinsic motivation to practice or make music, because they simply enjoy the process; they enjoy singing and/or playing instruments. By producing a good product and achieving success, students are rewarded intrinsically through music. Likewise, students are also motivated to make music extrinsically through family, friends, and teachers. Knowing these facts, how can we encourage our students to practice at home? And, how do we ensure they use good practice strategies? (Bauer, p. 94)

One way is through technology! For example, “Researchers have found that students generally prefer to practice with accompaniment…some students believe that practicing with accompaniment allows them to learn music better and to learn it more quickly” (Bauer, p. 94). Teachers can provide accompaniment recordings through many sources, such as CDs, audio recordings, or SmartMusic.

Of the three, I would like to focus on SmartMusic. SmartMusic is a newer program that is subscribed to through schools and music teachers. Students can then access the database at school or at home via the Internet. SmartMusic is beneficial in many, many ways. First, it is a database of accompaniment recordings from early elementary school to collegiate levels. Second, as a student plays along with the accompaniment, the program will alert the student to mistakes in pitch and rhythm. Thirdly, SmartMusic is a great resource to assist in good practice habits. Most young students practice their music by playing a piece from beginning to end without stopping and without regard to mistakes. With SmartMusic, students are forced to reflect on their performance by reflecting on simple questions, such as “Did I miss accidentals?” or “Did I play that rhythm incorrectly?” In addition, students are able to play through difficult sections by using a looping tool within the program. This process of performing, reflecting, and practicing will not only improve a student’s performance, but it will also teach them to become self-correcting musicians. Musicians who can self-correct and self-monitor will be much more successful in their future music making experiences.

Although, however wonderful SmartMusic is, in the end, it is still only a resource. A computer program cannot provide feedback on tone and breath support, nor can it teach a student how to articulate or good practice strategies. Thus, it is crucial that students also receive feedback from their instructors.

“One of the most powerful ways to enhance achievement is to provide students with appropriate formative feedback that allows them to gauge their performance in relation to specific criteria” (Bauer, p. 99). Formative feedback should give students a clear understanding of what they did well, what they need to improve, and how to improve it. The model for positive feedback should be an Oreo cookie. A teacher should state something positive about the performance, then state what the student needs to improve, and end with another positive statement. The last positive statement should be how to correct the issue and encouraging to the student. An Oreo model will extrinsically motivate the student to practice and provide constructive and relative feedback.

In the end, as music educators, our job is to create life-long musicians. With proper feedback and practice strategies enhanced through the use of technology, students will not only enjoy music making, but they will become self-monitoring and more successful musicians.

References:

Bauer, W. I. (2014). Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music. New York: Oxford University Press.