Sunday, October 24, 2010
PE_6 Garage Band and iMovie_ Practical Application
Here is the final product of our effort to create an "informance." We call this our PSA or public service announcement. We had fun making this. I hope you at least smile when you watch :)
Wk_4 Readings_ARP
Inclusion of Technology Resources in Early Childhood Education
Fred Kersten (2006)
A very practical “how to” article, Kersten described was in which adults, both teachers and parents may have provided musical learning opportunities for children ages 0-8. He emphasized the psychomotor, multimodal and social aspects of music and how these areas may have been addressed. He also stressed that technology-inclusive activities needed to be developmentally appropriate for students, based on knowledge and assessment of each child (Kersten, 2006).
Throughout the reading, suggestions were given for consideration, which included physical access and comfort, the child’s mental readiness, finding meaning and relating past experiences from life to interactions with the computer. Kersten stressed that children should have been constantly reviewed and technology “scrutinized” to be sure the child’s ability matched the technology applied (Kersten, 2006). Specifically for music educators, 3 lesson plans were provided and recommended they be tried in classes.
The article was helpful in that it gave ideas and suggested plans that were both practical and accessible. Many of the ideas could have been extended to the upper elementary grades, an often-neglected group in these types of studies.
Turn up the Music with Digital Technologies
Annette Lamb and Larry Johnson (2006)
This article, though geared directly to school librarians, discussed practical and useful ways to have used music to learn across the curriculum, in the library.
Sectioned into various types of resources, Lamb and Johnson provided lists of websites, their potential uses and these resources were free. The listed categories included databases, music blogs, Web radio and podcasting, music video, music search engines and means to have acquired music through Creative Commons Licensing (Lamb & Johnson, 2006).
Following a rather large list of resources, Lamb and Johnson (2006) then listed ways and means to have used music resources to further studies in other curricular areas. Again, included with these ideas were listed valuable potential resources where these ideas could have been explored.
However, the most prolific statement in the article, and it came from librarians, which echoed thoughts that already existed in the minds of most music teachers: “Music is for the whole brain and possibly the first of the intelligences to develop” (Lamb & Johnson, 2006). “The potential for music learning is enormous” (Lamb & Johnson, 2006).
Social Context and Music Learning
Ray M. Legette (2000)
“Students must be able to relate what they learn in school to how they live and what they do outside of school” (Legette, 2000).
In this article, Legette (2000) discussed the importance of social context in musical learning. If the instruction were not relevant and meaningful to the learner, then the learner would not have retained the knowledge or experience.
Legette quoted the Tanglewood Symposium from over 30 years ago:
Music of all periods, styles, forms, and cultures, belongs in the curriculum. The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teenage music, avant-garde music, American folk music and music of other cultures (Legette, 2000).
It stood to reason, then, that this statement, though nearly 40 years old, since this article was written, that the statement remained true today.
Used as an example, students who were raised in the “hip-hop” culture may (will) have had difficulty relating to Beethoven on the first day of class. One possibility suggested by Legette was to start teaching from hip-hop and then expanded learning to have included other times, and cultures (Legette, 2000).
Exploring an Inquiry-Based Stance for Planning and Instruction in General Music Education
Sheila J. Scott (2008)
Scott discussed an example of constructivism and how this inquiry based learning theory was implemented in the general music class. The article outlined the basic premise of constructivism, how it operated in theory and then in practical usage. “Constructivism is founded on the belief that students make meaning of educational situations by relating past experiences to their current environments (Scott, 2008).
Students were not an “empty slate” to be filled. Rather students were possessors of knowledge and experiences that when shared in social contexts and interactions, the knowledge of all, including teacher and students were expanded.
The article then summarized a constructivist styled unit of study around a theme and open-ended questions. Students then created projects, solved problems, analyzed music, and even crossed curriculum with learning in language arts and social studies.
The appendix provided a very simplified, but helpful step-by-step process of how one used the inquiry-based model. In addition the author’s contact information was provided if one desired to make further inquiries.
Saturday, October 23, 2010
PE_5 iMovie Garage Band a Practical Application
After we got permission to put the video up on to the district’s homepage, we had to make the video. We set up a time, created the script, and found our setting, decided to use my classroom for this video. We grabbed an instrument, set up and created the video. We did our dialogue, and of course it needed editing (my job).
I included part of the unedited video. I wanted to share some of the fun we had. Once we completed the video, I went home, and edited, adding a loop from Garage Band. See the next post for the complete project!
PE_4 iMovie GarageBand and Practical Application
As I pondered on what I can or should do for this last week of assignments, it dawned on me that perhaps I had already completed it without realizing. Since the point of the work here at Full Sail is to USE the technology in everyday settings and situations, I had done just that. Not only that, but I got a colleague involved with it.
First you need to know why we have decided to make a video. An idea came from an article we read SEPARATELY in the Music Educators Journal, September 2010. At a meeting we both approached each other with the idea so we decided to have an “informance.” An informance is a presentation about music to a particular audience, usually parents. The plan is to have 6 sessions during the school year, each lasting a total of 1 hour. The sessions are broken down by grade level:
K-1 October 27, 2010
Grade 2 November 9, 2010
Grade 3 in January
Grade 4 in March
Grade 5 in April
Summer Activities in June
We alternate schools where the informance is held, we team teach lessons in about 20 minutes, have related activities and discussion for 20 minutes and then have refreshments and continued discussion. The idea is to inform parents as to the value of music education, what children experience in class and encourage parents to create musical experiences for their child in very fun and EASY ways.
So now that you know how this started, you need to know a little more detail. Both of us are camera shy, LIKE HUGE! So for us to be in a video is a big deal. The video is affectionately known as a “public service announcement” to publicize our informance. We got permission to put it up on the districts front homepage (another big deal!); lo and behold, they actually did it. Step one now complete!
Come back for the next installment of the saga!
PE_3_GoogleDocs_iMovie_GarageBand
PE_2_Google_GarageBand_iMovie
As I continue to work on my projects, I started with iMovie. I took screenshots of my iGoogle and Google docs and inserted them into iMovie. I adjusted the length of each clip using the inspector, in an effort to create a uniformed length of clips. I also inserted transitions in between each clip to visually mark the changes into the next section. See a screenshot that will be in my final video.
Since I chose the theme of cartoon for my introduction and transitions, I used a similar effect on the clips through the clip inspector. Once all that was completed, credits added, etc. I made note of the total length of time the video lasts. This step was in preparation of creating “my song” in Garage Band. The final garage band piece turned out to be 2 minutes in length, twice the length I needed. However, now that it is created, I can use it in other situations if desired.
Come back next time to take a listen to my tune and see my final post PE_3_GoogleDocs_GarageBand_iMovie. I hope it puts a little groove in your step! ENJOY!
Friday, October 22, 2010
PE_1_GoogleDocs_iMovie_GarageBand
This week for my Personal Experience assignment, I will be combining Google docs, garage band and iMovie. Odd perhaps, but I felt it was necessary. Since coming into EMDT at Full Sail, Mac was new to me. Anything to give me more experience in using Mac applications is helpful.
I am finding that the best way to learn some of these applications and skills is to watch a tutorial and then jump in. I have to confess, sometimes, things just don’t seem to work the way I think they should. I have difficulty with things sometimes; it seems I just don’t “get it” quick enough sometimes. It’s the trial and error, the experimenting, the struggling that ultimately helps me grasp the concept and skill. I am unfortunately one of those who have to learn the hard way. However, learning is the goal, whatever the route might be.
The ultimate presentation (PE_3) will be a video with an original iMovie and garage band loop combination displaying my Google Docs and site for my school district, that is now moving to Google Apps for Education.
Thursday, October 21, 2010
Some News!
Sunday, October 17, 2010
Wk_3Readings
Week_3_Readings
Will Technology Transform Music Education? by David Beckstead (2001)
In this article, Beckstead discusses the historical views of composition and the changing perspective it now holds in music education. In our Western culture, composers were usually viewed as the musical “elite” to which most of people would never attain (Beckstead, 2001).
In American music education, composition is most often neglected in class. However, in Great Britain, composing/composition now encompasses nearly 1/3 of the music curriculum at all levels. This is mainly due to the shift of thinking about composition. To the Brits, what is most valuable is the creative process in making music, rather than the traditional concern of notation and performance. That is keeping music in the realm from which it originates, the realm of sound (Beckstead, 2001).
Unfortunately, after a thorough historical and philosophical overview of composition, Beckstead does not answer the question posed in his title. He discusses the nature of technology in music as either being a tool of efficiency or transformation. In Britain, it is transformative. In America, it is still used for efficiency. Perhaps it is best the question is not answered by Beckstead, but rather should be answered by those who are daily in the classroom, looking for the best way to reach their students.
Engaging Music and Media: Technology as a Universal Language by Glen Carruthers (2009)
Music and technology are compared and contrasted in this article by Carruthers. Specifically, both music and technology are seen as “engaging.” “And of course engagement is the core to effective learning,” (Carruthers, 2009).
Following the comparisons, Carruthers discusses the uses of technology, and does in fact reference the article above by Beckstead-efficiency or transformation! Carruthers continues his discussion as he talks about the “democratizing power of technology,” (Carruthers 2009) in that technology makes music available to everyone at all levels of participation-composer, performer and listener (Carruthers, 2009).
Action Research in Music Education by Colleen M. Conway and James Borst (2001)
According to Conway and Borst, the majority of music educators have little concern for what research is being completed in music education. Conway suggests that music teachers can benefit from becoming involved in action research. She then shares her experiences in the completion of her own action research.
I chose this article because it was one of 3 that I found that was directly related to elementary music and action research. Perhaps there are more articles out there, but I am having great difficulty in finding them. However, Conway and Borst provide an example and discuss the process in which action research can be completed. It serves as an example of what my own research may look like.
The Teacher as Researcher in Beginning Instrumental Music by Colleen Conway and Tom Jeffers (2004)
This article again describes an action research project at the elementary level in music. However, this research was completed in collaboration with a university and public school system. It was used as a tool for professional development.
Again, it was stated, “that the action research model has been under-represented in music education as a design for research,” (Conway & Jeffers, 2004). Conway is co-author of the article listed above on Action Research. This article is now 3 years hence. Citing the article from Janet McDowell, dating 2009, it seems that few music educators are heeding the call to complete research. It is apparent that the research that I (and my fellow students at Full Sail University) will be conducting proves to be very necessary and may serve to fill in some of the gaps that exist in this field of research.
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BP_9_JamStudio.com
Using a fairly simple interface, students just point and click to what they want to do. Each time you log in, there is a very short demonstration on how it works in 3 simple steps. However, I recommend you play around with it before using it in class. There are little idiosyncrasies that make it just a bit confusing, until you figure it out.
Basically, JamStudio is about creating an original background accompaniment in various styles that you can then use to play solos. It is a lot like Garage Band on your Mac Book. However, because it is on the web it is available for anyone on any type of computer. Once you’ve created your accompaniment, you then click on save and it will be available next time you log in.
If you pay for their membership ($24.95/6month) you can click on MP3 and it will email you the completed “polished” version of your creation. Even more important, as a paid subscriber, you have full rights and access to your song and can use it any way you want! (Yes, I am paid up for 6 months! I thought it was worth it!)
To have the “all access pass” to the site, there is a fee as mentioned above. However, educators scroll down (or hit the MORE button), look to the left and you will find a little red button that says “in the classroom.” Click on it and it will give you a YouTube video of how JamStudio is being used in music classrooms, and more importantly how to apply for a grant for FREE access to their site for students and educators. The form is very simple see the screen shot below).
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| Grant application form |
One more thought, if you think this is for music class only, think again. This is a great place for students to create original music for video backgrounds, collaboration across subject areas, multiple intelligence / brain-based learning projects or whatever opportunities you can imagine.
If you are looking for a simple tool to use in class to encourage creativity, critical thinking, collaboration and communication, then JamStudio may be for you. Go, play and have fun.
Sunday, October 10, 2010
W2_Readings
Renate Nummela Caine: 12 Brain/Mind Learning Principles in Action-One Author’s Personal Journey
This article described Caine’s education from childhood to current day. The author compared and contrasted her education at its various stages. In particular she noted the “exceptional teacher” she had as a child in Germany, shortly after World War II (Caine, 2004). This teacher used stories, museum visits, and songs etc. as her teaching tools. The brain, according to Caine, created memories by joining feelings, information and adult experiences into a combination of both fact and hopes of what was believed to be true.
Caine then discussed her emigration and subsequent education in the United States. The most significant remark stated, “No one seemed to care what students thought or felt personally,” (Caine, 2004). She stated that she had experienced 2 different approaches to learning, which directly influenced her life choices. She became a believer as it were in the holistic view of the brain and the human being.
Of particular import were 3 phrases:
1. Plasticity or neuroplasticity in other articles (Jensen, 2010). The brain changes each time it learns and that all are capable of learning at any age.
2. Gestalt psychology, that was to know why and how students learn, one must first know how students related to what material being learned (Caine, 2004).
3. Perceptual psychology, people could change through their own self-awareness (Caine, 2004).
It is possible that through further readings, these phrases become subtopics in Action Research Project.
Dee Dickinson: Questions to Neuroscientists from Educators
This article was a set of questions prepared for the Krasnow Institute at John Hopkins University. The questions in the article are not answered. However, the questions were of great importance in that it discussed the effect of emotions on learning, what Dickinson called “direct instruction” which is textbook driven, drill and practice and “constructivist learning” which is discovering knowledge from many sources and teacher as facilitator. Also discussed was the use of virtual worlds in education. The final question asked in the article was how would neuroscientists redesign the educational system (Dickinson, 2000).
This article though not having the answers again mentions the effect of emotions and learning which appears to present itself as a third possible subtopic in the Action Research Project.
Eric Jensen: Top 10 Brain-Based Teaching Strategies
Jensen is the author of one of the textbooks used at Full Sail University, called Brain-Based Learning 2nd Ed. by Corwin Press, 2005.
In the article noted above, Jensen discussed 10 “macro strategies” for implementing brain-based teaching strategies. He listed them, then offered practical suggestions for their school-wide implementation. Summarized, these strategies were:
1. Physical education
2. Social conditions
3. Neuroplasticity (brain changes)
4. Reduction of chronic stress
5. Diversity of learners, no one is “normal”
6. Teach material in smaller “chunks”
7. Value of arts in education
8. Emotions and learning
9. Rehabilitation of brain-based disorders
10. Memory is malleable-memory can and will change
Janet McDowell: Making Music Multimodally: Young Children Learning with Music Technology
This article was of great value for these readings. In particular, the research discussed was based on the style of Action Research and discussed the modes of learning, aural, visual, gestural, spatial and linguistic. When these modes are experienced in various combinations it is called multimodality (McDowell, 2009).
McDowell continued in the article and stated what have found to be true; there was a body of research on the use of computer based technology in music education at the secondary and collegiate level, but a “dearth of research” at the elementary level (McDowell, 2009) and that most of research that had been done was not conducted in the context of classroom use.
While this was not a “true” action research study (teachers were not the researchers per se), the article was of great value in that it demonstrated what action research may look like in an elementary music setting. It also confirmed the need for more research of this type and at this level of education to assist music educators of young students.
Saturday, October 9, 2010
Friday, October 8, 2010
BP_5
Tools that are useful, unique, and have a social and user-generated component…that seems like the site http://artsedge.kennedy-center.org/educators.aspx Artsedge, sponsored by the Kennedy Arts Center in Washington D.C.
I used to frequent the Artsedge site as recently as last school year. However, the site has been completely revamped and it is fabulous! It has a section for students, teachers, and parents. It has email, social networking links and “My ARTSEDGE” where teachers can save and share lessons!
Artsedge includes, on the educators page, lessons, activities and projects, how to guides, multimedia presentations and tags for further topics. It even has student polls and surveys (check the bottom of the page for links if you visit the site).
What I like about this site is that it includes not just music. That may sound funny coming from a music teacher. However, often links to fine arts, literature and dance are included in my music lessons. Here at Artsedge, such links exist at my fingertips! So if you need links for literature, theater, art, dance, etc., look here!
One more feature included on the Artsedge site is its sponsor link to Verizon’s Thinkfinity http://www.thinkfinity.org/. That’s another whole evaluation. So let me say this, if you want math, science, social studies, history, and etc. go to Thinkfinity! What makes it interesting is the INTEGRATION of subjects and cross-curricular instruction that can happen with a little creativity and collaboration. Try it; you may like it!
So in this post, you get 2 for 1, a special this week! Even better, there is something for nearly every subject and topic, and all kinds of audiences. Enjoy!
Monday, October 4, 2010
BP_4
Finally, a tool any of my students can use! All they need is a computer, and this site called kisstunes.com Continued after the screenshot and screenflow...
(Who's on the top ad banner there? Can it be?)
I have been looking for a full week to find something from web 2.0 tools that would be appealing to both me and my students. As I scoured the Go2Web20 site for a great tool, I was a little disappointed. As a music teacher, I am always looking for tools to get students involved in not just listening to music or playing games that teach music reading skills, etc., but tools that get students creating music. In one of the articles I was reading for my action research, it was stated that students need to be emotionally involved in their learning in order to make it relevant, significant and to create a lasting impact (Bauleke & Herrmann, 2010).
Students are always asking me if they can play the piano. What am I supposed to do with a class of 20 students who want to play the piano, but there is only one instrument? How can I give them all an opportunity to try, without wasting everyone's time waiting for the next person? How can I get all of my students to create their own music without a piano lab?
Then I stumbled across http://www.kisstunes.com !
Answers finally came! It is appealing because it is simple to use, requires nothing but the internet and a computer, it's FREE and it is safe for younger elementary students. This is indeed a rare find because many music sites are barraged with inappropriate material that prevents their use in school. This site goes so far as to request older students to respect the younger ones by posting only appropriate material that all can enjoy.
I particularly like the sharing/comment features. With proper guidance (NO CYBER BULLYING), students can listen, compliment, critique NICELY and interact with each other and their creations. This is all in addition to the creative process itself.
Our district is going to be using Google Apps and soon all of my students will have an email account. Once that piece is in place, and rules of use are in place, I would like to have my students visit this site, create their accounts and experiment.
I also was thinking of ways in which I could use this tool in my action research project. The unit of study is going to be based on the Underground Railroad. To differentiate instruction, I could include this as one of several projects that students can choose to complete the unit. Students could create their own spiritual song, giving hope and direction to other slaves who are making their way to be free. I know it needs to be developed, but the seed is there to grow. I am so excited about this tool!
Sunday, October 3, 2010
W1_Reading
Reaching the “iBored” by Debra S. Bauleke and Kathleen E. Herrmann
This article discussed the complexities of reaching “Gen M” (millennium generation) of students. Bauleke and Herrmann listed the staggering statistics of the number of hours students spent watching television and their use of technology gadgets, sighting in particular the use of iPods (Bauleke & Herrmann, 2010).
The authors continued their discussion of the importance of emotion in the learning process of students. The goal was to create a connection between their personal life experiences and the content material being taught in class (Bauleke & Herrmann, 2010).
The article then described a unit of study in Language Arts and the problem of identifying literary themes. Students connected prominent scenes of the literature with music, video etc. chosen by each individual student. The culmination of the project was students presented their scene, explaining their choice of scene, music and its significance in both story and life (Bauleke & Herrmann, 2010).
While this article does not specifically address the use of iPods in music class, with some imagination and time, similar lessons could be developed for use in an upper elementary music class.
Do Music Teachers Have a Responsibility to Teach with Technology? by Shana Kirk
In the article, Kirk discussed the plethora of technological tools available and synthesized the information into practical advice that could be followed by anyone. She noted first, however, that the goal of all music teachers was to have instilled in their students a desire to continue their musical learning throughout their lifetime. With that ultimate goal in mind, Kirk shared her advice (Kirk, 2006).
She mentioned 3 specific tools that were readily available to all music teachers, a digital recording device, a digital keyboard/piano and the computer/internet. These tools were fairly ubiquitous in our society. Each fulfilled a different function in students continued life-long musical learning. The article also provided ideas that may have been implemented in the classroom, home or computer lab (Kirk, 2006).
Music Technology in the Preschool? Absolutely! By Rachel Nardo
Music technology for young children has existed since 1952! Called the “Eltronovox,” it was the first of many musical toys that has been developed over the second half of the 20th Century and on (Nardo, 2008).
Using technology with young children must be developmentally appropriate for their use. Children need the physical activities of traditional play, and learning opportunities. However, when using technology, the activity needs to be connected and related from the virtual world, back to the real, physical world in order to have meaning. Students need to share and elaborate on the knowledge they gain for mastery of the skill and content (Kardo, 2008).
SMARTer Music Teaching by Karin Nolan
This article described the potential of the use of interactive whiteboards in the music class. It listed a brief history of software and learning tools associated with the interactive white board and implications for its use (Nolan, 2009).
The article was most helpful in that it provided 2 complete lesson plans that may have been used by a music teacher who had the interactive whiteboard equipment.
BP_Diigo Group Jeannine's School Friends
This is my personal Diigo group that I formed. I invited some of my colleagues from work. Anyone who reads my blog is also most welcome to join. I posted a topic for discussion too. Hope you will come and visit. Thanks!
BP_Diigo Group Action Research Group
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