Okay, good that looks good.
(Richard Wells) Boy, I am, you know, as you asked me that question how many years I've been
retired. (Cindy Parsons) It's been a long time Rich. (Richard Wells) You know, I ... so I started teaching in 73 so that the
83, 93, 2003, and 5, 2008 (Cindy Parsons)) Okay. (Richard Wells) so that'd be seven years. (Cindy Parsons) well I'm just
trying to remember didn't, uh... what's his name, take over for you, Chris Tranberg? (Richard Wells) Yes. (Cindy Parsons) And then
he's been gone, a while. (Richard Wells) So maybe it was seven years that would, Wait that would seem like
seven years. (Cindy Parsons) At least, I'm just going to say several, can I say several? (Richard Wells) Sure. (Cindy Parsons) Or
until your retirement. Or maybe I'll say 2000 what you say it was 2007? (Richard Wells) 2008 I think, 2008, 2009 maybe I retired. (Cindy Parsons) I'll take 2008. I think it's longer than
that, because Angela's been around a while. Don't you think? (Richard Wells) Yeah, you know you lose
track, you know, it's, it... (Cindy Parsons) Yeah, It's tough being retired, I'm sure. (Richard Wells) It's tough, you know,
sometimes you don't know when the weekends are. Um...(Laughing)
(Cindy Parsons) I have no, I have no... (Richard Wells) Is, is it Sunday today, "No it's Monday." Oh really? (Laughing) (Cindy Parsons) I love it, I love it.
(Richard Wells) Uh... it was fun though I enjoyed Simsbury. (Cindy Parsons) I loved having you. I miss you. (Richard Wells) I remember
going down, and what was it we were doing? The program symphony in Simsbury in (Cindy Parsons) Yup.
(Richard Wells) uh...the adobe page, and I was getting all kinds of frustrated, and (Cindy Parsons) remember that. (Richard Wells) I went down
there for counseling. It was great. (Cindy Parsons) Sorry, that's me.
Alright, I'll, I'll keep it a few sa..., a few minutes after three before we um... we start
Rich okay? (Richard Wells) All right. (Cindy Parsons) So you've got a couple minutes here.
(Richard Wells) So then Cindy you'll be responsible for um... muting people and stuff. (Cindy Parsons)Ah... Allison will, will mute people.
(Allison) Yup. (Richard Wells) Oh wow she's got power. (Cindy Parsons and Allison) we got splendid power. (laughing)
(Richard Wells) Can I send you a few names to mute. (laughing)
(Allison) Permanently, I'll show up at their house for you. (Laughing) mute them the old fashioned way. Um...
so luckily too, Rich, for us everybody starts off
on mute, and then we can unmute them as we deem them worthy. (Richard Wells) Oh, Okay (laughing)
(Richard Wells) So what department are you in Allison? (Allison) So I work with the, um... Department of Education,
the social studies wing, but I'm a history teacher in Fairfield.
(Richard Wells) Okay. (Cindy in the background)(Allison) Um... I've been with the state for a couple years now. (Cindy Parsons) We're giving her an education
in the arts. (Allison) It's been awesome actually. It's so much more fun to do webinars
where you, you you're sort of you don't know a lot. (Cindy Parsons) you've got to pay attention more.
(Allison) Yeah, and I found myself even using some things we've talked about in practice.
(Cindy Parsons) That's cool. (Allison) Yeah. (Richard Wells) Well it's really nice to have educators
at the Department of Education. (Allison) Tell me about it! (laughing)
(Richard Wells) So if people are having trouble logging on do they have someone they can contact?
(Allison) I gave him my email address. (Richard Wells) Oh good. (Allison) So, I, I'm monitoring that. (Richard Wells) Okay. (Allison) So I'll, I'll be muted so I
don't bother you while I'm doing other things like that.
(Richard Wells) Okay. Yeah I remember with the standards project we had to do a lot of the uh...
sessions through WebEx, and I always used to get frustrated, (Allison: "Oh yeah.") because it was, I always had
trouble logging on. So it's kind of my fear of not being able to log on. (Cindy Parsons) Well,
Allison's it's pro getting us on. (Richard Wells) Yeah. (Allison) I'm a one-trick pony. (laughing) All I can do.
(Cindy Parsons) Alright, so let's see what we get here. We got a few people on. Matt DeLong, Liz McGuire,
Frank Kobe. Okay. Alright, I don't see Rich's screen though. (Richard Wells) Oh, I haven't, I could, well, why don't
I uh... I will bring it up just a second.
(Richard Wells) How's that? (Cindy Parsons) Excellent. Okay I'm gonna get started is
that okay? (Richard Wells) Sure. (Allison) Sounds good. (Cindy Parsons) All right, um... Good afternoon, welcome to today's session of
the Connecticut arts standards webinars I'm Cindy Parsons hosting today's
session. This is the fifth of our six webinars or plans over the next uh... actually
we have our last one next week, but they've been all over this past spring
for the standards rollout. These webinars have been designed to help arts
educators learn more about the new standards and how to implement them in
the classroom. Today's session we will welcome Rich Wells who is going to be
talking about how to connect knowledge and skills through the music standards
in your curriculum planning and writing. Rich was one of the
co-authors of the national music standards, and before his retirement in
2008 was Director of Music in Simsbury public schools. And was involved in a
number of state curriculum and assessment projects. During our ah...
presentation you're encouraged to use the chat box which you could ah... find on ah... the
right side of your screen to submit questions and Rich will re...respond to
them after his presentation. You can find the chat box in the, I think the lower part
of your screen, on the right side. You may also submit comments and respond to
others comments during the presentation. This session will be archived and
available for viewing at your convenient uh... once the state has finished uh... putting
closed captions uh... to it. So Rich welcome and thanks for taking the time out of
you're busy retired schedule to be with us. (laughing)
(Richard) Well thank you very much Cindy, Um... there's quite a bit to cover this webinar and
because this I have to move along at a pre...pretty quick pace. Um...
I'll leave time at the end for, for of the presentation for questions, uh...and if
you're listening to a recording of this webinar, um... feel free to email me at this
email address that's on this, this opening page. Um... if you've not done so
already um... what's really helpful, I think, in understanding the standards is uh...
getting an overview of the entire uh... standards and all the various pieces, and
I encourage you to listen to Scott Shuler's webinar for a more complete
view of the standards. Um... also I lis... was uh... had a pleasure listen to also Kim
Yannon's webinar ah... couple weeks ago and um... she had some interesting instructional
ideas for the process of responding. Showing how learning in one process can
be transferred to another which is something that I'm going to be touching
on in this presentation today. I'd like to do is to begin this webinar by
focusing on some core ideas that guided the development of the standards, and
then use these ideas to present an approach to weaving knowledge and skills
through the standards.
One of the over ...rah..are.... riding core ideas that guided the development of the standards
was a desire to have students become independent artistically literate
musici...musicians. (background beep) We wanted students to be able to independently carry out the
artistic processes. These included creating new works, uh...composing, improvising,
and arranging. Uh... and one, some of the misconceptions about creating is um... people
think of creating as a creativity process, and it, if creativity we hope all
our students are creative in all the processes. Um... but this is specifically
creating new artistic work. Performing leads, needs very little introduction it's a
core of most of our programs in the state but it's performing an existing
work. Responding involves responding to the works in performances of others as
an educated and informed audience. This process is sometimes confused with
evaluation in the process of creating and performing where we, we ref..., we, se... we
think of reflecting on our own work. Um... but that is really part of evaluation. It
shares a lot of the same kind of skills, and knowledge as in responding um... but the
purpose of it is much different. And I'll show, uh... I'll explain that a little bit more
later in the process, but responding is specifically um... to artistic works um... of others
rather than of yourself. Some of the other art forms have
connecting as a forth process. Um... in music we felt the ability to connect was
critical to the processes of creating, performing, and responding.
How can one create, perform, or respond to music without connecting to oneself, or
to the outside world? So for this reason connecting in music is embedded within
the three processes that I just mentioned creating, performing, and
responding, and does not have a separate set of standards. So I won't be dwelling
on connecting for the remainder of this webinar.
So here are the three processes of creating, performing, and responding with
their associated steps or process components. I can't emphasize enough the
understanding the nature of these components can help teachers organize
instruction, and help students understand the larger processes. I'd like to keep a say, a
few things in mind; first, the process components do not always occur in the
order presented, nor must they be taught or learned in that order.
musicians ness...naturally move back and forth among the process components as
they carry out a process. So for example in performing, we may select some music
to play, we may then start rehearsing evaluating, and refining, as we begin to
analyze and develop an interpretation, and find out the work is just too hard
for us to play, and go back and sel... go and back to the selecting component
again. So as musicians we tend to float around between these processes, and the
distinctions are really for learning, and teaching not necessarily for the, uh...
practicing and uh...spe... specified sequence. Since the processes and their components
were used to guide the development of the performance standards, they can be a
value... valuable entry point into understanding individual process
standards. So here are here's uh...I'm going to give a quick overview of the
components in each one of the processes. So creating has four processes imagine,
plan make, evaluate refine, and present.
So musicians imagine-ate, uh...um... imagine to generate material for a new work. They
imagine when they develop the overall concept of the work such as determining
whether piece will be sad, or happy or be used for a particular event, purpose,
or be composed within certain guidelines. Um...when we talk to composers as we were
generating the standards we were thinking that imagine was just about
creating specific melodic, harmonic, and rhythmic ideas to support a work. And the
emphasis was that the overall arching conceptualization of a uh... a piece was as
important if not more important in getting those ideas organized. So um...there's
really two components of imagine. Um... just an idea as a, as a mu...music teacher I know that
imagine was kind of, was something new to us when I was in Simsbury. That idea of
imagination, um... and it really didn't make a lot of sense until I went down, and
started talking to the, some of the visual art teachers, um... which they spent a
lot of time in imagine. In thinking about generating idea. They, they create
more work than music teachers have traditionally. So that uh... if you're ler... trying
to learn the um... creating process sometimes it's uh... helpful to take a, a walk down to the
visual arts teachers and have a chat with them about some of the ideas that
we're presenting here. Once an over id... overall idea is um... established a
concept and some ideas have begun to take place. Um... then we want to make some
sort of a first draft of the piece and so that happens during the plan and make
stage. This stage really isn't helped to be informed by understanding the structure
in which music is put together. So analysis if you can analyze, and um...
understand the interpretation of mur...works that you perform and respond to, um... plan and
make is kind of the flip side of it. It's where we're creating that form, and
structure, and so it helps inform. It's where music theory has a connection, and
composition is when we're trying to create structure to some of the ideas
that we're, we're trying to convey. The next stage is evaluate and refine. Um... so whenever
we start a first draft, or we develop a draft, ah... say in writing or in, in
music uh... I'd always need some ra... sort of refinement. And a musician's applied
criteria uh... sometimes traditional, so sometimes
there's some traditional ideas about composition we, we use and sometimes
personally developed. As we know composers often break rules as well as
follow them so that uh... they uh... in a, in a matter of fact they're, they're developing their
own personal set of rules that their file...uh... fo...following. As well as uh...um...composers
often get feedback from peers and audiences as they evaluate and refine
their work over time. So that's the evaluate refine stage, and then the
present stage, and that's at the end of a process of um... where ah... someone who is creating a
work figures it's time to, to share. It could be um... we could share it, and go back and
work on it again actually, but presenting is where we want to convey um... the music to
other people. And that could be at a public concert, it could be in class, or
it could be individually for a friend, or a teacher, and in school, in class is often
the present stage is at the end of the process where the student hands
in a project at the end of the unit. So that's a present stage. In the
standards these four components imagine, plan, make, evaluate, refine, and present
also have an enduring understanding in an associated essential question. That uh...
again helped define what each one of these components means. And I find in
working with teachers the essential questions often are very helpful of
establishing what each one of these components is about, and it also they're
very helpful for students. So as we look down the column of essential questions
these kind of are directly linked to mm... to the, the process components and um... are easy
I think easier to access um... and when trying to understand the individual components.
This slide shows the second grade standards; all the second grade standards
for creating. Um...a couple of things to note in these are that the red type. The red
type in the standard refers to words that are in the glossary, and they have a
definition. And I uh... suggest if you're trying to interpret what a standard means
often having the glossary there is very helpful cause some of these we had,
some of the words we used didn't have, we wanted to express an idea but they didn't
have an established definition. So some of these are um... it's very helpful to look at a, a
glossary to determine what the, the definitions are for these red words. And
then you'll notice there's italics in the standards also and this is um... something
unique to the music standards. We try to identify those things that change from one
grade to ano... uh... to another by using italics. So the words that are in italics
are things that have changed from first grade to second grade.
So these second-grade standards really are developmentally um...appropriate
expression of the process component. And so there was a need,
there was a, a desire to try to, to make them in a way that was um... appropriate for second
graders. So these are the ones for second grade for creating. Moving on to perform.
There are five components in performing select, analyze, interp... interpret
rehearse, evaluate, refine ,and present. To select as a performer you really need to
know a few things. First of all, you have to know a variety of music uh... you can't
make a selection from one piece. So you have to know a very repertoire of
literature, and that's why students that don't know very repertoire of mu...music are
going to have a very difficult time with select. And so we need to teach them um... we
teach them a variety of, of musical works. They also need to know about what
context the music is going to be performed in, or what kind of event is
the music's going to be performed for. Um... and then they also need to know what the
technical skill is going to be in order to um... perform the piece and what is going
to be doable in the short length of time, or the length of time that is required
for student to select music uh... and to prepare it. So select if you look at the
standards um... select is one of those ones that is the most difficult for teachers
to get their hand around maybe, or head around. Um... select at the primary level or
the, um the not primary, but the preschool level maybe just the a...ability to make a
choice between music. And then we make a choice for music that may be based on
some sort of a reason. That a little bit up uh... later grade. And then as we go farther we
may select music that might be appropriate for um... say our grandmother, or
from some sort of event in school. And then we add on
selecting repertoire that has a variety and maybe putting together a program of
pieces. Um...so as you, as you look at the standards you'll see select is sequenced,
and becomes a little bit more challenging as grade levels increase.
Analyze, when we analyze where, it really has three components. One is structure,
and that by structure I mean how the elements of music are used um... ideas about
music theory um... in how music is put together.
There's also context which is the historical and cultural context as well
as um... things like events and purposes. So that's context. And then withs... in analyze
also comes notation. So the ability to read music would be in the analyze
component. Interpret means to understand the composer's intent and develop a
personal interpretation. So interpret we have to realize what the composer was
trying to say in the piece but then interpret it in own way. And I
remember um... when I was growing up hearing a, a group called the Swingle Singers and I
don't know other people remember them that are listening to this but um... They
decided that they would do scat singing, and they would scat saying Bach along
with a, a rhythm section. And certainly Bach would not want of, had not envisioned his
music being performed by in a jazz style uh... with a rhythm section, but it's a very
interesting interpretation and very effective interpretation of the work. So
it's very dramatically from the creators intent but it was a very good personal
interpretation. Rehearse, evaluate, and refine; this is where probably the uh...
performers spend the most amount of time, and there's really three components that
um... a musician needs in order to be effective at rehearsing, evaluating, and
refining. First of all, they have to know what is the standard of excellence
what are they, what's the standard, the criteria that they are going to use to
judge their performance that's why we give students the scoring device uh... before
we have them do a performance for us. For a grade or for a uh... for an assessment,
and then the second thing they need to do is once they know what that criteria
is, is be able to identify how well they're doing compared to that criteria.
"So given the criteria how well am I doing?" Um...and then the third component is
"What do I do now? If I'm not doing as well as I'd like what strategies can I
use to improve?" So rehearse, evaluate, and refine really includes um... understanding the
criteria uh... for what makes a good one "How well am I doing compared to that? and
what can I do to improve?" Are the three components, and rehearse, evaluate,
and refine. In present, this is where we actually uh...
present the work for an audience. Much like in presenting for a
composition uh... or in creating we're now presenting um... for a, an audience in our
performance. And um... this is where we want to do with technical accuracy, and
interpretation, but also in a manner appropriate to the audience, and context.
Which is sometimes something we don't um... think about. Um... I remember ah...um...when I was first
teaching I had a bunch of elementary instrumental music students that were
preparing their first solo for their parents, and um... they performed their piece
very well, but then they just walked offstage. And I hadn't taught them that
they needed to bow at the end of their performance, and it really, it was not, I, I
should have taught them. And that is that performing in a manner appropriate to
the audience, and knowing how to bow, and how to acknowledge an audience is
certainly that. So that's, that's can, those, those etiquette or deportment on
stage is also part of this. As in creating there are um... enduring
understandings and essential questions. If you use these in your school district
or big Ideas these are certainly um... a good resource for you to use. And again the
essential questions um... really help focus what these are. I don't have time to, to
spend to look through these in greater detail but um... there are, these are in the
document and it pays to, to ah read through these to understand the process of
performing. This is the intermediate ensemble standards um... and on the
intermediate level is really keyed at the eighth grade um...if you don't start
students til eighth grade certainly they're not going to be an intermediate
by the beginning of eighth grade. They would probably doing the, the, the novice level
ah... standards. So these uh... adjusts, so those anchored in eighth grade
these standards may vary based on your ensemble. But this is for um... an
intermediate level, and this gives the standards for um... that particular level and
you can see how they're connected directly to the process components.
So this is the final process, responding: select, analyze, interpret, evaluate, and if
you bur... if you can have a good memory you'll realize that these were very
similar to some of the process components that were in performing. Um... and
they share a lot of the same knowledge and skills as are needed in order to be
a good performer but the reason for them is a little different. So select um... to
choose music appropriate for specific purpose or context requires that you
know a variety of literature, and it also means that you must know different for
purposes and context. This is very similar to performing. The only thing
that isn't really as, as important in selecting til... first music to listen to
is a difficulty level the music. You're not going to have to prepare it for a
performance. So it doesn't, difficulty level is not a, a real defining
characteristic in selecting other than it's exciting to see, hear music that's
very challenging and perform very well. But it's not a necessarily ah... a piece that
you would um... is, is predominant in responding as it is in performing. Analyze is almost
the same as analyze in performing. You're again, you're analyzing the structure, and
the context of varied musical works, but this time it's to inform the response
rather than the performance. So I can teach a student to analyze the structure
of a piece while they're performing it, and then while they're listening to it
all's I need to do is to have them, uh... make that connection between what they just
were performing to what now they're listening to. And we sometimes think that
students should be able to do that automatically, but it really requires a
transfer of understanding from the performance and understanding structure
of the music you're performing to understanding the structure of the music
that you're responding to. That you off...often hear it with good
teachers saying "Remember when we performed this piece? Is this the same is that?" And
so they're making that connection between performing and responding. So the
only difference here is really that it informs a response not the performance.
Interpret means to support interpretations of musical works that
reflect the creators and performers expressive intent. So it's understanding
what the composer or creator because it could be an improviser or arranger in
performers expressive intent was. What is this performance
trying to do? Um... so what is it they're, what's their expressive intent. So in
some ways I'm uncovering what the performer, I'm trying to put expressive
intent as a creator, and a performer and responder I'm trying to interpret that,
and uncover that so I understand what it is.
And then finally evaluate means evaluating musical works, and this is,
uses pretty of all the same criteria that's used in both pe...in...judging a
composition or a creative product as it is for a performance, because it's, it's
using that criteria to judge whether the work is good. so it's um...there's a lot of
similarity between ah...evaluate uh... in creating and evaluating or forming, performing and
evaluating in responding. Again it's, I'm using it to inform my response or
evaluate uh.. my response to, to piece, pieces
so again as I look at this it has ah... enduring understandings, and essential
questions and um... again if you look at these are somewhat similar to the ones that
were in performing. And here is the fifth grade standards for um... responding uh... for
general music.
And again these are done in a, a developmentally appropriate way for
fifth grade. So this, now I've gone through all the processes um... in this chart.
I have highlighted processes that are similar. So select, and performing, and
responding, and analyzing, and perform uh... preforming and responding, and interpret, and
uh... performing and responding. And in some ways plan, and make as a connection as we
talked about for analyze and interpret because we're trying to put structure in
the music we're, we're creating.
And yeah, evaluate and refine and, and present so there is this, this, this chart kind of
highlights the connections between processes. So back when we, when the
standards were first released, there was a an interest in finding out, "Well what
are the knowledge and skills that go across processes? If analyze is the same,
has the same title and is muc...there very similar between performing
and responding what are the, the components that go across the processes of
knowledge and skills?" And we came up with this chart. So knowledge is structure and
context, and evaluative, evaluative criteria. And in skills: performing
creating, listening, reading, and notating, and evaluating. So I'm going to go, just
quickly go over these. Structure is a knowledge of music theory, notation, and
elements of music. These are things that are found in most curriculum documents
and so if you have these in a current curriculum document they certainly can
be applied to the new standards. Context deals with history and culture and again
this area of purpose in venue um... which may be new um... then to some curriculum documents
um... but that's knowledge of context. And then knowledge of, of value of criteria. What
criteria is used to evaluate music in performances, and so that's the third one.
Then we come to the skill areas, and there's a big skill area in performing.
And this is um... includes performing with quality. It's at performing with a
meeting that criteria that we want and a good performance.
There's ability to refine work, the skills of being able to refine work,
and the skills to use effective presentational skills. And so those are
the three areas in performing skill areas. In creating there's that
demonstrating imagination, demonstrating craftsmanship, how we organize ideas, and
then our ability to express intent. So these are three things that show up in
the standards, that are strands of the creating.
Then there's the whole ability to listen, and be able to read music, and notate it,
and so those are oral and notational skills, and abilities in those areas, and
this is a big one in music. Um...and I would say in all the art forms we're probably
the strongest, this is the strongest emphasis because we have such a um... a need to, to um...
be able to have these notational and aural skills in music.
And then there's apply evaluate skills so that's being able
to apply the evaluation criteria that we have knowledge of. So that's
evaluating. So now I've gone over skills, and I've gone over artistic processes. So
along the top are the artistic processes, that we presented earlier in the present...
in this webinar, and then down the left side are the knowledge and skills that
are required for carrying out these, for these uh... processes. I'd like to do now is do
some unpacking of some standards and see how we might apply a chart like this to
the standards. So here is fifth-grade creating in the component imagine. So
I've just taken the process of creating and I'm looking at one component that
I've imagined, and in fifth grade it, it's to generate music ideas such as rhythms
melodies, and accompanied patterns within specific related tonalities and meters,
and simple chord changes. So this standard has a lot to do with structure,
knowledge of structure. You need to know musical ideas such as rhythms, melodies,
accompanies, patterns, tonalities, and chord changes. And it also involves
creating skills, because you have to have imagination craftsmanship in order to
generate musical ideas. So if I apply this to the chart,
I have put an X in the box for imagine, for structure, and for creating. Some um...
dressing the one knowledge area, and one skill area in that particular standard.
So now we'll look at second grade performing: analyze. Demonstrate knowledge
of music concepts such as tonality and meter in music from a variety of
cultures selected for performance. So when we analyze we need to know
structure, knowledge of structure, and we need to know knowledge of context.
So if I put these on the chart in performing: analyze, we would have
structure and context in the boxes.
So let's do another one. This is ensemble proficient so this would be at the
freshmen uh...anchored at the freshman high school uh... level with one year of
instruction in an ensemble, and this is responding: evaluate. Evaluate works in
performances based on personally, or collaboratively developed criteria
including analysis of the structure in context. So in order to accomplish this I
would have to have knowledge of the structure, context, evaluative criteria,
because it's based on person, personally, or collaboratively developed criteria.
And then I actually have to present these using the skill of evaluating. So
there's really four areas in this standard. So if I looked at that it would
be evaluation in responding covers structure, context, evaluative criteria,
and evaluating.
So now I'll do three third-grade performing present. Perform with
expression in technical accuracy. If I look at the skill areas that are down at
the, in the smaller print at the bottom of those four areas this is clearly in
the performing category so there would be a box in performing that present.
So and here's one more; apply teacher provided criteria for selecting music to
perform for a specific purpose and/or context and explain why it was chosen. So
if I look at this one it has all three. It has context, evaluative criteria, and
evaluating.
So again if I choose to, I can choose in analysis. I can teach for depth in
responding and then teach for transfer to performing. If I teach to interpret in
performing then I can transfer some of those skills over to responding. So that
ability to transfer what we've taught makes teaching a little bit more
efficient and allows us to, to ah... save time teaching, by transferring between
processes. So this is teach knowledge and skills in depth in one process component,
and then transfer them to another. So let's see how this might work as we look
at actual standards. So here is analysis in performing and responding. This is it
for ensembles at the advanced level.
Examined evaluate and critique using music reading skills where appropriate.
How the structure in context, impact, and inform prepared in improvised
performances. And then in the area of responding demonstrate, justify how
the analysis of structures in context and performance decisions inform the
response to music. So if I teach context and structures in one area they can
transfer to it, to the other. So it's the similarities between process, and in fact
if you look at the standards, they were written with this kind of similarity in
mind. If I establish what structures and contexts I'm going to be teaching at a
certain level, then I can thread these through the standards.
So here's another one, this is for interpreting in performing and
responding at the fourth grade level.
Demonstrate and explain how intent is conveyed through interpretive decisions,
and expressive qualities. And these are specifically dynamics tempo in timbre.
Demonstrate, and explain how the expressive qualities such as dynamics,
temple, and timbre, are used in performers in personal interpretations to reflect
expressive intent. So we can see how these qualities, these expressive
qualities are used in both um... performing, and responding at the fourth grade level.
So here is if I did this out at an entire grade level, went through the
standards, and put a box, put an X in the box for each area that it, it touched on. So
if I looked at structure, for example, and say I was teaching Rondo form I could
have students use that in responding so they could listen to a Rondo form. I
could have them perform a piece that's a Rondo, and have them create a piece
that's a Rondo. The beauty that having them actually use them in processes is
that they will retain the knowledge and skills that you want to teach, because
they're actually using them in the actual making, uh... meaning in music. And so
that if we look at the processes as ways of threading knowledge and skills, and
bringing meaning to those knowledge and skills then this kind of chart can be
helpful. So it would mean that for structure, context, for all the things
that are on the left, the knowledge and skills that are on the left,
I would for each individual grade level have a sequence that goes through the
grades of how these particular, what's covered in each grade level, and then I
thread them through the processes. And so you wonder, "How am I going to cover all
the standards?" Well if you thread the knowledge and skills through them you're
just using some standards to reinforce what students have learned and you us...some
components to actually teach in depth, and it can make teaching a little bit
more efficient.
So I'm at about, only if I, do I have a little, few more minutes Cindy? (Cindy Parsons) Uh..yeah you
have about, you can go about another five, five or six more minutes. (Richard Wells) Good I can do this
five or six minutes. So if I just look at this chart, and I want, well how
do I teach plan and make at the fourth grade level? How do I teach interpret, and
responding at the second grade level? How do I teach select and performance at the
second grade level, or pre-k? There's some excellent resources that can help you
come up with some ideas about this. Associated with the um.. standards are model
cornerstone assessments. Now these assessments could actually be
called slash units, because they are pretty detailed in what in, in some of the
instruction that's involved in carrying out the cornerstone assessments. So here
is, and I know this is an awful lot of information to look at, but here are the
model cornerstone assessments in creating at the second, fifth, and eighth
grade level. So as I look across these let's look at imagine in second grade
students are going to exchange four beat rhythmic improvisations with a teacher.
In fifth grade they're going to im... improvise call-and-response phrases for
variety of purposes context using different elements of music. And then in
eighth grade they're going to select a video clip, and script their poem, and
identify beginning, middle, and end, and then to describe the feeling or
expressive intent of each ah... section and then improvise ideas for each sec...section. So
as you can see there's this progression going from um... maybe less complex
to more complex.
If I look at the second grade creating in present this is the standard: convey
expressive intent for a specific purpose, um...and this is actually one of the model
cornerstone assessments that was borrowed from our uh...Connecticut common
arts assessment. uh... the teacher per... will perform a rhythmic prompt of four beats
long, the student then improvises a response four beats long, the teacher
improvises a response for four beats, and then the student improvises a final uh...
response for four beats. And this is the scoring device that's in so that in
the model cornerstone assessments given a lot of great um... model um... um... scoring devices. So
here is just to see uh... the other thing about the model cornerstone assessments
are actually going to have student work. So let's see if this works. (recorded audio of beats being sung between teacher and student) fah, fah, bup, bup bup bup ...
(Richard Wells) So that student was the teacher, was the first one, was a prompt that they gave a
student, and then the student improvised based on that prompt, and then the
teacher improvised, and then the student did and so this is the scoring device. Um... and
its whether um... they maintained a steady beat, which the student pretty well did. Um...
was it different from the teachers prompt? And yes it was. Was it unique? Yes
both of the responses were, ther... were unique, um... in rhythmic ex...uh... complexity and
expressive quality. Interesting thing with this second grade assessment if you
don't sing the prompt expressively, the students have, are not successful at this
assignment. So the idea of expression with improvisation is extremely
important for the success of this particular um...assessment. So this gives just
an example of one component, and what the assessment is in the
model cornerstone assessments, but you can see, you can develop kind of a unit
of instruction around this also.
So here's ensemble performing and this is at the uh... proficient accomplished and
advanced level. This is for uh... ensembles and this shows again a progression going
from ah... one level to another. So some of the things that change here are the
difficulty of the music in proficient, though proficient level is grade 3 music,
accomplished is grade 4, and advanced is great 5 and 6, and this is similar to the um...
both music folks who identify this the same as the NYSSMA manual and ah... grading on
that.
So here is a written response of a student um... to a prompts that get at the
analysis, interpretation, rehearsal, plan, and evaluate, and refine all on one sheet.
I love about this assessment is that it is pretty efficient with um... if you, if
you're thinking, you know, you have to score this you're really scoring um... four
different areas in a very short length of time relatively when you think about
how many standards this is covering. And then there are scoring devices that go
along with this.
So again this is available on the NAfME website. If you go on that you can pick
up these tasks, and also they um... there's also additional ones on measuresuccess.org
which is at EASTCONN in Connecticut.
So this is responding, and again there's tasks here, and you, there's a sequence of
tasks that give some instructional ideas for each of these as well as assessment
tasks, and here is the scoring device
for how they're scored, and then it gives an example of student work so you actually
can see these uh... what it looks like at a certain level. Um...what the standard looks
like. The idea were the standards wa...were that you can explain what students are
going to do, but it makes a much more effective if you actually can show what
students can do at a certain grade level. So again this is all taking this chart
in being able to weave knowledge and skills through, and those are the
processes, and for some ideas for the processes the um... model cornerstone
assessment certainly give you some great ideas. And now I can open it up for
questions cause I'm getting hoarse cause I talk too much. (Laughing)
(Cindy Parsons) That was great. Uh... Alison uh... if you're there you can hit the unmute people. If they have any
questions to ask Rich. (Allison) I am on it. Hang on, takes one second. (Cindy Parsons) Great assessments there. (Allison) And everybody should be
unmuted. (Cindy Parsons) All right so uh...those of you that attended thanks for um... for watching uh...
Rich's presentation I'm sure you have some uh... questions or feed back, ah... feel free to
just um... ask them. Anybody? I see there's like nine people on so... no questions? (unknown voice) Um this
isn't really a form of a question, can you hear me? (Cindy Parsons) yes we can. (Richard Wells) I can. (Unknown voice) Yeah I, I just really want to
appreciate that Um... I actually teach in a um... very urban uh... district down in Bridgeport,
if I can say the name, and we were actually trying to model our assessments
after the new ones um...the 2014. We were still using the 94, and one of the things
that people that were designing our curriculum ran into was they were just
overwhelmed with the idea, especially within urban and I, if
I can the, some people are complaining about the transient nature of our
students. Uh... there are a lot of students that will be changed in schools and
stuff. Um... this has really been helpful for me um... what i...if I can get one little comment
and just a question is, is regarding the assessments. Um... we actually had a workshop
that was presented by this CSDE um... about a month or so um... a young or, woman came down from um...
thinks she teaches in New Milford, and actually got into an argument ensued um...
among the teachers whether or not the value of the assessments should be used
in a, in a, like a, a, a setting like Bridgeport. My argument was if we don't
have the assessments then we really all were doing is we're not teaching a, a class
we're just letting the kids come and, and do songs, and, you know, play games, and
this teacher thought that, that was sufficient, you know, and it's been really
helpful watching these webinars. The, uh... my idea ,you
know, was, you know, and where I got the feedback from was if we don't know what
our kids are supposed to be doing by 2nd grade, and what the kids and other
districts are doing, how are we supposed to try and get them at that point? And
most of the people just because of the frustrations and teaching uh... in a, a very
urban district like Bridgeport um... sided with the person that we really can't
teach them. Uh... we either don't have time or the students don't have the readiness so uh...
the standards what they're complaining about the standards were uh... that they
actually expect too much of certain uh... districts like I would, I'm thinking New Haven,
Hartford, and, and Bridgeport, and Waterbury. The district's like that. Um... I, i know New
Haven is doing supposedly some pretty exciting stuff, but if you could just
kind of give some sort of, like a comment when you have a, a district like Bridgeport
um... you know, where a lot of the children are coming in was the extreme lack of
readiness. How would you go about trying to implement all 11 you know core
anchors? Cause what we ended up doing was coming up with standards
for the district that only used four of the standards we basically took the
four first processes of, of each, you know, uh..uh... anchor standard and just said that was
it. We're not going to go past that. We're not going to go past when we perform for
kids we're not going to have them, you know, reflect. We're not going to have
them select; we're basically just going to tell them what they have to play and
then uh... you know, that's the end of the process, you know, any, any comments about
that or any sort of like a guidance so I can try and raise the standards within
my district. (laughing) (Richard Wells) Well you, you raised a number of, of really uh... important issues. Um... one
assessment should not be to grade and sort teachers, but it should be to
improve student learning. And I think often in our assessment conscious world
we tend to get integrating, and sorting, and not into really realizing the reason
why we carry out assessments is to improve student learning. So it's
important for us then to assess what we feel is the most important. And so if you
looked at the standards and instead of saying, "I'm only going to do this and
this.", but said, "What is it that really is the most important thing for kids in
Bridgeport, and how is that represented in the standards?" Um... so and I'm going to
be, I'm going to be presumptuous in the, in mentioning some things that I think
might fall into that equation. If I was going to talk about anything would be
that the expressive nature of music. Um... I think in any of the arts, if you can get
kids hooked on the, the meaning of music, and it's, how it affects them, and impacts
them in their lives, at least you have then a hook that will grab them. Um...and I
think you probably have realized the most successful units you do in school
are the ones that really kind of grab kids and get at the heart of why we do
music. So I would say that would be probably the first point though the oth... the
other thing that, that I, I don't mind dropping some components, but I think
there are some that are probably more valuable than others. So interpretation
and performing is certainly important um... but the other piece that's important I
would think would be the idea of self assessment. Um... which would get into that
rehearsing, evaluating, and refining. Um... let me, so if I think of it in this way, I
can't really teach kids, kids teach themselves. So I'm much more effective
when kids are responsible for their learning ra... rather than me as the teacher.
As a matter of fact, when you listen to a ah... a performance by a band it's not the
teacher that's making the kids play the right notes, play the right rhythms, play
the right dynamics, and perform well it's the students that are doing it. And if we
can, so our goal as teachers should be maybe to have them figure out what they
need to do to be successful. What makes a better performance? in that if you, if you
can get at that you probably are going to have them be better performers.
Um... those are my just initial thoughts on what you're saying but I, i would say that
self-assessment, how we doing um... and then ah... get at the heart of why we want to do
music. And you have to make those determinations from looking at the
standards and what might be valued the most. (Unknown Voice) yeah that, that, that's great um... one of the
things, I was listening to Dr. Yannons's uh... broadcast from a couple of weeks ago she
made some sort of, like a, a comment that if you, I think she was talking about
responding, if you don't reflect on that response in other words if you don't go
all the way to the the complete thing it's really an incomplete process. Uh...like
when you perform, uh... like, like most that, even though I'm in Bridgeport believe it or not most
of my children are really young. I actually teach about 93 three-year-olds
and 90 four-year-olds at a, at a magnet school uh... and one of the things I always try
and do with them that's been really effective is, first of all, I actually let
them pick the songs we're going to present for the parents. Uh... I'll take a
dozen songs that we've done. Uh... unfortunately for the last three years
it's always been Aiken Drum. That seems to be the song they always want to come back to.
You know, and uh...I try and mix it up, but each year, I, I think it's
because I do the song all year round, and just do the seasons. So we just finished
one we're talking about summer vegetables now. Uh... we had one made out of
winter vegetables like squashes, and zucchinis, and stuff like that. So it's
something that's constantly being refreshed in the kids head, you know. And
then after the performance I'll actually show them a video of it, and it's kind of uh...
I'm doing this with four, and four or five-year-olds so I know it can be
done with the older ones, and stuff. But a lot of times uh... for either for a lack of, of
time or if, if you have students that are running into problems with behavior and
they, they don't want to have, I've, I've actually heard, I had a student tell me once a second
grade student that he didn't want to think. He said that it hurt to think, and
that I was making him think too much. He said can that is, is can you just give me
something to hit, like a drum, and that's basically as far as he wanted to go in
the process, you know. And so a lot of kids like students
like that I will never peg... make it past a second grade class um... doing ah... you know,
basically echoes or uh... some form of a call and response for a, the call is the same,
ah...and then the response is different. But as soon as I start mixing it up, and
doing different calls like you say ah...you know, they get confused, you know, so I can
spend like ah... a six weeks. I'm presenting the same call to them which would could
be like something like um..."I was like a pepperoni pizza," and then they would come
up and say something "I was like a macaroni pie. I would like a pepperoni
pizza. I would like a Big Mac." Things like that, but it's, it's really hard to get
the, the final assessments over the final stages of reflecting, you know. But I
really appreciate everything that the, the group has done I think I've attended or
at least music specific I've attended all three of the webinar Scott Shuler's
Kim Yannon's, and then this one.
(Richard Wells) So if you look at the pre-k standards
are they, I would assume they're pretty doable for you. (Unknown Voice) Oh, easily. I, I actually have
because I see, I'm, I'm really kind of, I, I shouldn't complain about being in Bridgeport except for
it's a hard district working in. But I'm really blessed and that I teach at a, um...
school where I have uh... a separate class of three-year-olds, a separate class of
four-year-olds, and separate class of kindergartens. The three-year-olds I
actually see twice a week for 35 minutes, the four-year-olds twice a week for 35
minutes, uh... the Kinder's I only see once a week just
because that's when they start actually having a separate library time so each
class gets three specials a week, you know. Um...and then I only see them once uh... but
it's I mean the, what I'm able to get done, you know, with the, especially the
four-year-olds, and then the three year olds I'm, like I say, it's basically they're just
stuck on taking drum and, and the, the you know, the mother gooney bird song, you know. Um... but
the four year olds I'm in for the concert coming up I'm doing, I have them
doing um... "Oats, peas, beans, and barley grow", and then after we do the song
with the, the action we actually um... because there is there's 60% of the school is in
urban population, you know, I actually had a, like a somebody, the students
themselves using like a drum machine app that I, I have on my iPad came up with, I
guess you could call, they call them beats. I mean, I call them accompaniments
they call them beats, you know. Biggest challenge I had is, we're gonna alright
let's just make a beat and then they just think that I'm supposed to do
something that Kanye West could, could rap over, you know, and so I had them make a
little beat and we're going to do the song as kind of like as a spoken, spoken
verse, you know. "Oats, peas, beans, and barley grow," you know. So it's kind
of a rap, and that's been really successful with me. Once I have very good
kids they have awesome teachers um... at, at the school, and I get to see them twice a
week. Which I think is, is, is, is, is a huge difference for that age group, you know. But um... so it, it,
it, they're really great kids I'm super happy with what I can do with them.
I've done spanish-language songs with four-year-olds which I'm super happy. But it's a
when I've started doing the standards and I started looking at all these
things and even though with I'm with pre-k the biggest thing is they always say with
substantial guidance, you know. When that's the, the real key, you know, with pre-k.
Once they get to first grade the, the students are supposed to make more those
decisions themselves you know but, but it's great, you know, really. I've actually
signed up for their workshop coming up like they end of June over at Central.(Richard Wells) Great.
(Unknown Voice) Just so I could uh... see, uh... I've actually taken classes of Dr. Yannon so I, not to be
creepy but I consider myself a fan. I think she's brilliant, you know. And
anytime that she gives anything I'm, you know, trying to uh... absorb that knowledge. So,
but anyway, but thanks for your, thanks for your comments. It's great. (Richard Wells) Great.
Thanks. (Cindy Parsons) Great response, great dialogue uh... Rich. That was really good information
for everybody um... I don't know if there's any other uh... people out there that have any
questions uh... it's a little after five, but um... ...too if anybody has anything they want to ask.
This session will be archive just (available as soon as) able to uh... close caption
it, and links will be sent out to um... anybody who signed up. So uh... you'll be able to um...
get back to this um... session anytime you want. Rich thanks a lot for your
expertise ah... and your uh... all your time and energy. This is great ah... great
information. (Richard Wells) Well thank you very much. (Cindy Parsons) Um...and enjoy your retirement. Are you going to be at
the Summer Institute... at the conference. (Richard Wells) Uh... I don't believe so, no. (background noise; cats)
(Cindy Parsons) Is that your kiddie crying? (Richard Wells) It is the cats woken up
(Cindy Parsons) And, and Jill is here too. So Jill (laughing) (Jill) It was awesome Rich. How how, ya doing?
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