A Custom Curriculum For Fremont Middle School’s 7th And 8th

A Custom Curriculum For Fremont Middle School’s 7th and 8th grade Vocal and General Music Classes

A Curriculum Project Presented to The Music Education Faculty College of Fine Arts Boston University

In Partial Fulfillment Of the Requirements for the Degree Master of Music Education

By Naomi L. Woods

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Table of Contents I.

Introduction

3

II.

Demographics and Music Ethnography A. Demographics of Fremont Middle School and Community B. Musical Ethnography C. Current Music Program Summary D. Application of State and National Standards for Music Education

4 4 8 10 12

III.

A Custom Curriculum for Fremont Middle School A. Guiding Philosophy B. Curricular Vision and Design C. Pedagogical Approach

13 13 15 17

IV.

Curriculum Content A. Broader Choice for Musicing B. Technology C. Cross-Curricular Connections D. Assessment

19 19 22 24 26

V.

Conclusion

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VI.

Appendices Appendix A: Demographic Charts Appendix B: Ethnography Charts Appendix C: Nebraskan and National Music Education Standards

28 28 29 30

VII.

Bibliography

31

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Introduction The aim of this paper is to propose an ideal curriculum for the seventh and eighth grade students of Fremont Middle School in Fremont, Nebraska. As a product of demographical and ethnographical research, this unique curriculum vision is designed to enhance the relevancy and meaningfulness of music education for its current and future music students. Rooted in progressive ideals, this praxial philosophy focuses on budding musicianship through active music participation. Jones, an advocate of the progressive and praxial curriculum, admits that “facilitating musical creativity and lifelong and life wide musicing is dependent on students developing their independent musicianship”.1 Thus, it is important that every modern curriculum includes critically “chosen musical challenges” that will “expose what students don’t know”, while offering aiming to develop their personal artistry through active music participation.2 Therefore, by focusing on democratic ideals, critical pedagogy, and praxial approaches, the proposed curriculum offers opportunities for students to not only learn about music, but to experience music as a living art. Divided into three main sections, this paper is designed to show a need for change, suggest philosophical and practical modifications and then to describe the new curriculum. During the first section of the paper, demographical and music ethnographical data will be situated within the Fremont community, district, school, and current music program offered to seventh and eighth grade students. As a result, the data will highlight changes that should be made in the current music program. Steeped in the progressive and action based praxial philosophy, the second part of the paper will focus 1

Patrick M. Jones, “Moving Forward With Focus,” PMEA News, (Winter 2005): 26. David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford University Press, 1995): 74. 2

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on the development of a new philosophy that will provide the students the opportunity to be active music participants who think critically. Lastly, the third section will describe the curriculum content applications. I. Demographics and Music Ethnography A. Demographics of Fremont Middle School and Community Located in Fremont, Nebraska, Fremont Public School District, FPS, includes eight elementary schools, one middle school and one high school. “The mission of Fremont Public Schools is to produce creative, adaptable, productive citizens committed to life-long learning.”3 FPS is a district committed to excellence in all grades and subject areas. Progressive in ideology Fremont has experimented with two year-round elementary schools and continues to develop new curricular assessment tools. Currently, success in Fremont is measured through test results and “student achievement of the standards in being measured at all grade levels and in all courses.”4 The testing of its 4,597 students is achieved through a series of pre and post tests given in each classroom and for each subject. A district of testing success, Fremont’s “teach to the test” mentality is used both to monitor progress of its students and to “supervise teacher” effectiveness.5 As a result of high testing marks, Fremont has received accreditation from the Nebraska Department of Accreditation and the prestigious North Central Association and Colleges. Yet, though 84% of the middle school students will earn their high school diploma, the success rate does not repeat at the collegiate level (see Table 3). Postsecondary education completion is an ongoing issue despite the close proximity of 3

Fremont Public School District. “Mission Statement” available from http://www.fpsweb.org Internet; accessed 15 October 2009. 4 Ibid 5 Daniel Tanner and Laurel Tanner, Curriculum Development: Theory into Practice, 4th ed., (New Jersey: Prentice Hall, 2007): 161.

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regional schools or the fact that Fremont is home to two colleges, Midland Lutheran College and Metro Community College—Fremont campus. Perhaps the low level of higher degree completion is an indication that the successful testing occurs, our district curriculum does not excite life-long learning. However, in sharp contrast, Fremont Public Schools, F.P.S., boasts a high level of teachers with graduate degrees, 66%, compared with only 44% of teachers state-wide. However, with less than 10% of the general population completing a Bachelor’s degree, the city and district is forced to reevaluate and to take action. In fact, one of the Chamber of Commerce’s stated goals is creating an implementation strategy to improve educational attainment in Fremont.6 Perhaps these figures could also be attributed to the fact that many of Fremont’s businesses do not require Bachelor completion for employment and choose to move elsewhere. However, the lack of continued education also translates to a lack of continued musicing for many of the population. Therefore, it is an improvement goal that cannot be ignored. Though it is situated thirty-five miles northeast of the diversely populated city of Omaha, the area’s largest city, Fremont’s 30, 000 residents represents a much more modest community. A predominantly white (84%) community, Fremont is not an overly diverse population (see Appendix A).7 Largely European in ancestry, German (45%) and Irish (14%) are the two largest ethnicities reported. Consequently, Lutheranism (41%) and Catholicism (31%) are the dominant religions and thus prominent music contributors in the community. However, with the new addition of a recently built bypass, the more diversified city of Omaha continues to expand westward. Making the trip to and from 6

City Data “State Demographics: Nebraska” available from http://www.citydata.com/zips/68025.html Internet; accessed 26 September 2009. 7 Ibid

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Omaha faster has had a tremendous impact on Fremont’s own diversity. This fact is most evident in the recent growth of its Hispanic population (14%) and a slight increase in the African American population (1%). Because students, “equate what goes on in music classes or rehearsals with their music teacher’s own musical values”, it is important to show that all cultures and music styles are valued. In addition, these changes in diversity should be reflected in the musical choices so that students can connect to their increasingly diverse community. Also, music education researcher Patricia Campbell agrees that we should seek to incorporate music that represents the “multicolored experiences” of our students, showing them “that music travels, and even transcends time and distance”.8 Economically, Fremont’s statistics correspond to the national and state averages (see Appendix A). This once thriving agricultural community is now home to businesses that “range from Hormel Foods Corporation with 1,350 employees to JZW, an important company, with one employee”.9 Also, known for its antique stores and lakes, Fremont manages to attract many visiting consumers and tourists. As Table 2 reveals, Fremont is a typical American city. Yet, though these statistics are merely two years old, the recent economic shifts has created much larger disproportions within the district (Table 4). According to the City-data fact finder10, a recent survey revealed a spike in unemployment shifting from 3% in May of 2008 to 5% in May of 2009. A fact that is most revealing in the school demographics. Nearly half of the 991 students in grades six, seven, and eight at the Fremont middle school receive free or reduced lunches. When 8 Patricia S. Campbell, “Embracing the Wide World of Music Cultures,” The American Music Teacher, 49, no. 6 (June/July 2000): 53. 9 Fremont area chamber of commerce “Community Profile Book: Wake Up to Fremont” available from http://www.fremonttribune.com/communityprofile/home.shtml Internet; accessed 26 September 2009. 10 City Data “State Demographics: Nebraska” available from http://www.citydata.com/zips/68025.html Internet; accessed 26 September 2009.

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pairing this statistic with the mobile student population (see Table 4 – mobility), we find that many homes for the middle schools students are not in a stable economic situation. The implications that these demographics determine for curriculum are two-fold. First, due to unemployment increases, tax contributions decline which results in a declining school budget for the district which determines a need for economically conscious choices. Therefore, teachers must be creative and frugal with the purchase choices made for their music programs modeling the skills we want our students to develop. Secondly, this implies that nearly half of our students cannot afford expensive instrumental purchase or private voice or instrumental lessons. Consequently, music educators should incorporate options that provide equal access and opportunities for all students to achieve high levels of musicianship. These choices could include in-school computer software programs, interactive websites, free voice lessons, group lessons, and more. Jones agrees, saying that “we must determine what musicing opportunities exist that student can and are most likely to choose to participate in, in lifewide and lifelong settings, and then help them develop the necessary musicianship skills, knowledge, and habits to do so”.11 Therefore, we must find ways to be creative as directors and educators to reach each individual student at their socio-economic status and level of musicianship. Overall, these statistics suggest a need for a diversified array of musical choices that highlight the rising growth of the community’s Hispanic population, a need for creative and economically conscientious choices that create equal opportunities for

11

Patrick M. Jones, “Music Education for Society’s Sake: Music Education in an Era of global NeoImperial/Neo-Medieval Market-Driven Paradigms and Structures,” Action, Criticism, and Theory for Music Education 6, no. 1 (available from http://www.maydaygroup.org/ACT/v6nl/Jones6_1.pdf): 9.

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students of all financial background, and active musical ties with the community that will keep students involved in lifelong musicing. B. Musical Ethnography In an effort to provide a clearer understanding of the musical lives and ecology of the students, a school-wide survey was administered in September 2009. The survey asked the following questions: “What musical styles/genres do you prefer (see Appendix D)?” “Are you involved in must at school?” “Are you actively involved in music outside of school?” and “What music classes or lessons would you like to take at the middle school that is not offered now?” Out of a possible 991 students 736 surveys were collected providing a large sample of data. Reflecting the culture at large, the student preferences proved that “popular music has a pervasive and undeniable influence”12 on our students. The preference of Rock, Popular, Rap and Country music genres was evident in their equal weight for all three grades. They were also the top four genres preferred out of twelve possible choices. In addition, while some genres showed less popularity among all three grade levels, no genre was excluded entirely by any grade level. Thus, the students of Fremont Middle School revealed their concurrence with popular culture and their open-mindedness to a variety of musical genres. Further agreement was found among the genres that students listed in the other category. Styles such as reggaeton, hip-hop, screamo, punk, heavy metal, techno, and rhythm and blues frequented the list. These expected results echo the research of Hargreaves, Marshall and North which determined that music’s social functions are “manifested in the management of self-identity, interpersonal relationships,

12

David G. Herbert and Patricia Shehan Campbell, “Rock Music in American Schools: Positions and Practices Since the 1960s,” International Journal of Music Education, 36 (2000): 20.

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and mood” and that “listening to popular music is a central part of teen lives”.13 In other words, the students use music to identify with culture, each other, and to deal with their personal issues. However, while all students hold a musical preference, only 48% are involved in the current ensemble program at the middle school. This may be an indication of a student-perceived disconnection between their musical life and school music. Campbell and Herbert point out that “curricular policy that provides little or no exposure to the study of rock music within schools may serve to alienate students.”14 Therefore, an ideal curriculum will increase the number of students “involved in amateur musicing and serve those already doing so”.15 Changes that would attract more students must be explored. Thus, a reevaluation of ensemble choices, genres studied, and the role of the teacher must take place. In addition, increasing the number of students involved at school will only have a long-term impact if these numbers translate to additional musicing outside of school. Whereas 48% of students are involved at school, only 25% choose to transfer their musicing into their personal life. Though opportunities such as choral arts society, Sheltered Reality drumming ensemble, dance classes, a community band, church choirs, Zoe-a summer choir and drama group for middle school students, hand bell choirs, and community theater, many students are either unaware or choose not to participate. According to Jones, lasting musical involvement suffers a “breakdown in the middle 13

D.J. Hargreaves, N.A. Marshall, and Adrian C. North, “Music Education in the Twenty-first Century: A Psychological Perspective,” Cambridge University Press (2003): 151, 154. 14 David G. Herbert and Patricia Shehan Campbell, “Rock Music in American Schools: Positions and Practices Since the 1960s,” International Journal of Music Education, 36 (2000): 20. 15 Patrick M. Jones, “Music Education for Society’s Sake: Music Education in an Era of global Neo-Imperial/Neo-Medieval Market-Driven Paradigms and Structures,” Action, Criticism, and Theory for Music Education 6, no. 1 (available from http://www.maydaygroup.org/ACT/v6nl/Jones6_1.pdf): 9.

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school”.16 Thus, amplifying the musical involvement outside of school will have a broader and more sustaining effect. And, as Jones notes, “we need to reach all students in our schools, not just those involved in school music offerings.”17 When given the opportunity to ask for desired classes or ensemble choice, the vast majority answered “I don’t know”, “none”, or simply left the question blank. Perhaps this was a clear sign of the distinction that students perceive between school music and their popular culture. However, those that did respond offered many similar solutions. Drumming ensembles, dance class, hand bells, musical theater, a second show choir, guitar lessons, and voice lessons all received many mentions. Allsup writes that democratic education “should incorporate the rights and opinions of both teachers and students”.18 Consequently, a progressive curriculum for Fremont middle school should provide both formal and informal opportunities that include the student choices listed above. Although the survey provided a glimpse into the musical lives of Fremont Middle School students, the findings revealed a need to appeal to a wider audience. C. Current Music Program Summary Under the leadership of four music teachers, the Fremont Middle School offers the typical assortment of ensembles for music education. Limited by scheduling and facilities, the performance program is available to all who wish to participate. The sixth grade music teacher is responsible for a year-long required general music and offers an auditioned sixth grade choir, as well, as two non-auditioned seventh and eighth grade female choirs. The band director offers two ability level bands, a stage band, and a jazz 16 Patrick M. Jones, “Music Education and the Knowledge Economy: Developing Creativity, Strengthening Communities,” Arts Education Policy Review, 106, no. 4, (March/April 2005): 10. 17 Patrick M. Jones, “Curriculum Design Part 1: Demographics & Ethnography: Part 1 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 29. 18 Randall E. Allsup, “Mutual Learning and Democratic Action in Instrumental Music Education,” Journal of Researcdh in Music education, 51 (Spring 2003): 27.

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band for seventh and eighth grade students. Meanwhile, sixth grade band only meets in sectionals and performs once a year. The orchestra teacher is responsible for string lessons in grade K-8 and offers orchestra and an advanced Fiddlers ensemble for seventh and eighth grade students. Directing two auditioned choirs for seventh and eighth grade, I also teach the seven-week general music class required for seventh grade students while students in eighth grade may elect to retake the class. Finally, I direct the Show Choir which is an advance dancing choir that performs regularly through the community and competes several times a year. The largest gaps in our curriculum result more from scheduling conflict than teacher or student interest. All performance ensembles must meet either before school or during the first period therefore leaving few opportunities for “student creativity”.19 And, in order to accommodate all four programs, the vocal and instrumental programs meet on opposite days while non-musicing students receive a study-hall. With class periods only 40 minutes long and utilized daily for school announcements, the shrinking and erratic class time is a major issue. Jellison, a senior researcher in music education, remarks about scheduling, “periods for music instruction last on average 38 minutes and for a typical school year based upon 40 weeks of instruction…only 46 hours of music education”.20 After doing the math, these figures proved to be a similar match to the Fremont Middle School program, and in some cases the figures presented were more generous that our program allows. Furthermore, the seven-week rotation cycle of seventh and eighth grade general music means that some students are only experiencing active musicing seven weeks of the school year. 19

Patrick M. Jones, “Music Education and the Knowledge Economy: Developing Creativity, Strengthening Communities,” Arts Education Policy Review, 106, no. 4, (March/April 2005): 9. 20 Judith Anne Jellison, “Senior Research Acceptance Address: It’s About Time,” Journal of Research in Music Education, 52, no. 3 (Fall 2004): 195-196.

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Another major concern presented in the current program deals with the available space. Although the facility is only five years old, growing populations have caused facility issues throughout the district. In the case of the middle school, this means that ensemble sizes must be limited for space availability. In addition, the lack of a performance space causes further issues during concert season with ten schools, elementary through high school, vying for the same time slot and performance venues. D. Application of the Nebraska State Standards for Music Derived from the National Standards of music education, Nebraska has developed list of requirements for the arts and specifically for music at each grade level (See Appendix B). Nebraskan requirements for the arts seem to focus mainly on passive musical interactions. Words such as identify, describe, explain, understand, establish, recognize, and select frequent the list of standards. In addition, the most active standard, “Compose and arrange music” is housed in limiting language, “within specific guidelines” that could stifle the creativity of the student. 21 Compared to the National Standards, which use active words such as singing, performing, improvising, and composing, the Nebraskan standards align more with Reimer philosophy of teaching methods which rely more heavily on listening and vocabulary before activity. Reimer insists that “music education must attend to the materiality of music as one major factor in its goal of enhancing every person’s ability to experience the power of music as fully as possible”.22 Thus, the aesthetics of music are alienated from the act of musicing. This separation of the musical act from the musical

21

Nebraska Department of Education. “Standards for the Arts” available from

http://www.nde.state.ne.us/Assessment/index.html [accessed November 21, 2009]. 22

Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 3rd ed., (New Jersey: Prentice Hall, 2003): 47.

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knowing implies that students must learn first and act later--a method that is in harmony with the pre-test/post-test approach of the Fremont district, but not the active aims of the National Standards. In contrast to the Reimer philosophy of aesthetic education, Elliot contends that music cannot be reduced segmented and sequenced facts of knowledge. Instead, Elliot claims that “music is a human practice, and all musical practices depend on a form of knowledge call musicianship that is procedural in essence”.23 Doing begets thinking and understanding, not the other way around. A pioneer in educational philosophy, John Dewey attests to the fact that the act, through trial and error, ignites the understanding.24 Just as a child learning to stack blocks will falter and try again, so can a musician, through effort and result, refine his or her musicianship. So, while both sets of standards, National and Nebraskan, desire quality music education, the inconsistent approaches require a philosophy that can produce both results. Part II. A Custom Curriculum for Fremont Middle School A. Guiding Philosophy Oppressed by traditionalist approaches, music education, for the most part, serves as a transmission of knowledge, rather than a transformation in musicianship.25 Therefore, a sustaining philosophy must be established in progressive and democratic ideals and practices that are concerned with individual musicianship and lifelong musicing. These ideals are found in the philosophy of praxis. Rooted in the theories of 23

David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford University Press, 1995): 247. 24 John Dewey, Democracy in Education: An Introduction to the Philosophy of Education, (New York: Macmillan, 1916): 181. 25 Patrick Schmidt, “Music Education as Transformative Practice: Creating New Frameworks for Learning Music through a Freirian Perspective,” Visions of Research in Music Education, special ed., (January 2005): 3.

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Paul Freire, praxis education cannot be “purely intellectual; nor can it be limited to mere activism, but must include serious reflection”.26 It is through this collaboration between cognitive and activity based methods that the needs of both the State and National standards are met while also maintaining the vision of Fremont’s mission statement (See Appendix B). Philosophy, according to John Dewy, is “the general theory of education”.27 And Jorgensen contends that theory and practice must shoulder equal responsibilities in a collaboration of mutual edification.28 However, a theory’s relevance and effectiveness is proven through practical application in specific situations. And since, “praxial philosophies of music education emphasize that music ‘ought to be understood in relation to the meanings and values evidenced in actual music making, music listening, and musical outcomes in specific cultural contexts’”, this is a philosophy that resonates with Fremont’s goals.29 Though fragmented into several approaches such as Elliot’s Curriculum as Practicum or Regeleski’s Action, Learning Theory, all are grounded in the democratic philosophy of praxis. Therefore, the new curriculum model for Fremont will be established in the praxial philosophy and based in critical pedagogy and democratic activities that encourage critical thinking.

B. Curricular Vision and Design

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Paulo Freire, Pedagogy of the oppressed, (New York: Herder and Herder): 65. Daniel Tanner and Laurel Tanner, Curriculum Development: Theory into Practice, 4th ed., (New Jersey: Prentice Hall, 2007): 219. 28 Estelle R. Jorgensen, “Four Philosophical Models of the Relation Between Theory and Practice,” Philosophy of Music Education Review, 13, no. 1, (Spring 2005): 27-28. 29 Patrick M. Jones, “Curriculum Design Part 3: Demographics & Ethnography: Part 34 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 49. 27

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Once a philosophy of education is set, envisioning a curriculum involves setting objectives that resonate and breathe life into the chosen philosophy. To accomplish this goal, music teachers must “face reality and reject ineffective approaches”.30 Too long music education has been teacher-centered, product dependent, and non-transformative. Therefore, traditional approaches cannot accomplish the objectives of the praxial philosophy. The highest goal of any music education curriculum must include the desire to develop independent musicians.31 “An essential part of our task is to teach students how to continue developing their musicianship in the future”.32 It is only through independence our students can emerge as musicians and sustain the lifelong process of musicianship. Thus, it is the duty of the teacher to provide musical challenges that will allow us to partner with students in the development and improvement of their musical independence. However, students will only engage in a partnership where they feel safe. Carter points out that when we feel safe, “we have access to feelings, like joy, satisfaction, and ecstasy”.33 Thus, the new curriculum’s success will be in part based upon the ability of the teacher to create an environment that allows students to participate in situations that are vulnerable. And according to Dewy, students who experience happiness during the

30

Patrick M. Jones, “Curriculum Design Part 4: Demographics & Ethnography: Part 4 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 51. 31 Patrick M. Jones, “Curriculum Design Part 1: Demographics & Ethnography: Part 1 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 26. 32 David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford University Press, 1995): 261. 33 Tom Carter, Choral Charisma: Singing With Expression, 2nd ed. (Santa Barbara: Santa Barbara Music Publishing: 2006): 4.

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learning process at school are much more likely to become lifelong independent learners.34 Specifically, students must develop skills in musicianship, which include: music literacy, music interpretation, composition, performance, production, and leadership. And, rather than having students mimic our musicianship, we must allow conscientization, or discovery learning to take place. Therefore, the vision for the Fremont Middle School will be based upon Elliot’s musicianship-centric model, Curriculum-as-Practicum.35 Elliot’s design of Curriculum-as-Practicum aims to motivate student learning by simulating real-life musical experiences in as authentic contexts as possible. Democratic in essence, Elliot implies that current music program discriminate between cognitive music students and performance music students. “A musical double standard is taken for granted: one kind of music curriculum for the majority of students, another for the rest”.36 Therefore, rather than segmented bits of knowledge divided into units to be verbally taught, reassembled into musical notions, and then situated in musicing, Elliot proposes that applied practice and reflective thinking will result in contextualized discovery. Formulated in four stages, orientation, preparation and planning, teaching and learning, and evaluation, Elliot’s curricular model assumes a more holistic approach to music education.37 Rather than isolating music education into parts, Elliot describes the 34

Daniel Tanner and Laurel Tanner, Curriculum Development: Theory into Practice, 4th ed., (New Jersey: Prentice Hall, 2007): 170. 35 Patrick M. Jones, “Curriculum Design Part 4: Demographics & Ethnography: Part 4 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 52. 36 David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford University Press, 1995): 32. 37 David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford University Press, 1995): 256-258.

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interconnectedness of the doer (musicer), the process (musicing), the product (music), and the context in which the musicing takes place.38 His nontechnical-nonscientific contextual approach rejects the rigid linear approach of traditional methods. Instead, Elliot answers the call of Dewey to reconstruct knowledge into “the working power of intelligence”39 that adds meaning to education. Echoing Dewey’s sentiments are the three keys to curriculum presented by Daniel and Laurel Tanner: “(1) the nature and needs of the learner; (2) the kind of society professed, upheld, and sought (e.g. democratic); and (3) the structure and function of the curriculum”.40 In support, Jones describes two specific functions of music education: “to develop [student] musicianship for their personal musical agency,” and “music education should help students succeed academically in other subjects across the curriculum”.41 Therefore, any successful curriculum approach must not violate its learners or their societal rights as individuals. Thus, Fremont’s curriculum design must include opportunities for all students to experience relevant music through a holistic approach of listening, reflecting, and doing. C. Pedagogical Approach The pedagogical approach for the new vocal and general music curriculum of Fremont is Abraham’s Critical Pedagogy for Music Education, CPME. Derived from Freirian concepts, critical pedagogy attempts to foster democratic ideals through an action based conscientious transformation for those involved. Reinventing the wheel is necessary in current music education because the ineffectiveness of traditional 38

Ibid, 40. Daniel Tanner and Laurel Tanner, Curriculum Development: Theory into Practice, 4th ed., (New Jersey: Prentice Hall, 2007): 121. 40 Ibid, 124. 41 Patrick M. Jones, “Curriculum Design Part 4: Demographics & Ethnography: Part 4 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 50. 39

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approaches is evident by the current adult population who, in spite of years of music instruction, are “incapable of and disinterested in doing any of those things”.42 Summarizing Freire’s concepts, Abrahams presents the five key principles of critical pedagogy: “(1) Education is a conversation between students and teachers; (2) Education broadens the student’s view of reality; (3) Education is empowering; (4) Education is transformative; and, (5) Education is political.”43 Critical Pedagogy, first and foremost, views education as a partnership between teachers and students, rejecting the idea of a one-sided transformation. Schmidt, a strong supporter of critical pedagogy, suggests that, “The transformation of both teachers and students needs to occur in order for real learning to take place.”44 Based in this partnership, students and teachers engage in a curriculum that challenges the traditions and seeks for continual growth. An advantage of the critical pedagogy is its ability to be strategically diverse while accomplishing the goals of both traditional and progressive standards. “Students explore, listen, describe, analyze and evaluate throughout”.45 Abrahams provides practical examples such as playing instruments, using hand-signs, physical movement to music, and cooperative problem solving.46 Abrahams’ broad vision provides flexibility and increases the likelihood of conscientization, or aha moment, for all learners. Schmidt recapitulates, “Music education as transformative practice, embraces problem posing, a 42

Patrick M. Jones, “Curriculum Design Part 4: Demographics & Ethnography: Part 4 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 51. 43 Frank Abrahams, “The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review,” Update: Applications of Research in Music Education, 23.2 (2005): 4. 44 Patrick Schmidt, “Music Education as Transformative Practice: Creating New Frameworks for Learning Music through a Freirian Perspective,” Visions of Research in Music Education, special ed., (January 2005): 2-3. 45 Frank Abrahams, “The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review,” Update: Applications of Research in Music Education, 23.2 (2005): 10. 46 Frank Abrahams, “The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review,” Update: Applications of Research in Music Education, 23.2 (2005): 6.

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connection of word to world, and a goal that leads to conscientization”.47 Thus, critical pedagogy values a partnered and personalized educational process that situates learning in the social and political climate of its teachers and students while incorporating varied strategies. IV. Curriculum Content Targeting independent musicianship, the new curriculum for Fremont will seek to broaden the ensemble choices, empower student leadership, strengthen cultural ties, improve cross-curricular connections, involve more technology and promote lifelong musicing. Aiming to be transformative, the program will value depth over breadth and context over content. While music is socially determined, student-centered curriculum will boost individual achievement. Finally, understanding that “through the progressive development of musicianship, all students can achieve self-growth, constructive knowledge, enjoyment, and self-esteem in a musical way of life”, leads to the determination to provide such an experience for all students at Fremont Middle School. A. Broader Choices for Musicing The first step to widening the appeal of musicing to all students is to broaden the choices available. The music ethnography revealed that the students desired a greater variety of musicing, such as, drumming, dance, musical theatre, show choir, and guitar lessons. Incorporating more of these options will ensure student interest. Jones insists that the music and ensembles we choose are determinant in “supporting, sustaining, and reviving the music eco-system in which our students live”.48 Therefore, general music 47

Patrick Schmidt, “Music Education as Transformative Practice: Creating New Frameworks for Learning Music through a Freirian Perspective,” Visions of Research in Music Education, special ed., (January 2005): 7. 48 Patrick M. Jones, “Curriculum Design Part 1: Demographics & Ethnography: Part 1 of a fourpart series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 30.

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class will become an exploration in a variety of student-led ensembles such as drum lines, rock bands, dance groups, and mini-musical dramas. Thus, by diversifying, we not only appeal to a larger demographic, but prolong student involvement and expose students to a great variety music skills and concepts. The music ethnography also revealed the contemporary genre preferences of students as rock, rap, popular and country. In his study of popular music inclusion, Isbell concludes that “At the very least, curricular policies that do not include alternatives to the traditional repertoire may alienate many students”.49 Thus, it is important that new curriculum include music genres that encourage all students to participate in music education. Campbell and Herbert support’s Isbell’s conclusion, adding that popular music “may be among the most powerful tool by which to construct personal or identity and interpret social experiences”.50 By experiencing ‘their music’ teachers can encourage students to experience ‘our music’ and thereby expanding their understanding of music as a diverse human experience that reaches beyond popular culture. The new curriculum will also seek to empower students through leadership and creativity. Student-led ensembles will provide a great opportunity for the partnership of students with students and student with teachers in the problem solving process. Whether in formal ensembles, such as choir, or informal settings, such as general music, “too much control is detrimental to a safe atmosphere”.51 According to Abrahams when teachers partner with their students, “they experience outcomes that are personally

49 Dan Isbell, “Popular Music and the Public School Music Curriculum,” Update: Applications of Research in Music Education, 26, no. 53 (2007): 4. 50 David G. Herbert and Patricia Shehan Campbell, “Rock Music in American Schools: Positions and Practices Since the 1960s,” International Journal of Music Education, 36 (2000): 20. 51 Tom Carter, Choral Charisma: Singing With Expression, 2nd ed. (Santa Barbara: Santa Barbara Music Publishing: 2006): 13.

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transformational”.52 In addition, students will have the opportunity to contribute creatively through writing music, choreographing routines, and developing music-related dramas. “Rarely are students given the opportunity to compose in small, like-minded communities”.53 If students are able to combine their personal creativity with school music it will enable them to experience the multiple dimensions of musicing. In an effort to provide meaning, the student-led ensembles will work toward a community performance. By performing in genre appropriate venues, students will engage in authentic experiences while building musical connection within the community. Jones agrees that by performing in the community students can a bridge the gap for more out of school music opportunities. He also suggests that school find opportunities to bring the community to them.54 Therefore, monthly genre-themed jam sessions will be open to student and community participation. These sessions will be specifically chosen to represent various musical cultures in the community. By including genres such as polka, mariachi bands, Gregorian chant, and Celtic, the German, Irish, and Mexican heritages are able to be explored and celebrated. Finally, reflective music practices will be instituted to encourage dialogue and intelligent music listening. Regeleski adds, “Open concepts constantly evolve and mature, that is, at least, when they are engaged in reflective action”.55 Students will provide program notes for their performances as well as object music reviews of two concerts they attend (which may include the performances of their classmates’ 52

Frank Abrahams, “The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review,” Update: Applications of Research in Music Education, 23.2 (2005): 6. 53 Randall E. Allsup, “Mutual Learning and Democratic Action in Instrumental Music Education,” Journal of Researcdh in Music education, 51 (Spring 2003): 25. 54 Patrick M. Jones, “Music Education and the Knowledge Economy: Developing Creativity, Strengthening Communities,” Arts Education Policy Review, 106, no. 4, (March/April 2005): 6. 55 Thomas A. Regeleski, “Critical theory as a Foundation for Critical thinking in Music Education,” Visions of Research in Music Education, special ed., (January 2005): 17.

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ensembles). These activities will require students to think critically about the music they create, participate in, and consume. According to Abrahams, good music critics “place the music, the performers, and the performance into a context whereupon they make an educational judgment.56 Thus, through this project, the musical cycle comes full circle. B. Technology In an era of i-pods, mp3 players, Garage Band, Sibelius, and computerized music theory, there is a need to renegotiate for more technology inclusion to prepare students for the future. Currently, the Fremont music curriculum includes group piano lessons performed on 30 electronic keyboards, as well as, the twice weekly use of a theory and ear training program, Music Ace. According to Jones, “School music programs can provide opportunities for the creative use of technology in the myriad of musicianly roles that it facilitates”.57 While Fremont is successful in the inclusion of technology, its creativity of employment needs to be improved. First, it is important to connect to the technology that students have the most access to in and outside of school. By reaching students at school and at home, musical creativity is not limited in time or location. Therefore, finding more ways to incorporate i-pods, mp3, and the internet will increase student creativity. One of the ways to incorporate student involvement is through an interactive website. The website will include several pages designated to specific topics: home, photos, calendar, share, and a blog. The home page will set the tone of the website through graphics, announcements, and a small photo collage. The photos page will house several albums and photos of all music classes so that students may feel equally valued in 56

Frank Abrahams, “The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review,” Update: Applications of Research in Music Education, 23.2 (2005): 2. 57 Patrick M. Jones, “Music Education and the Knowledge Economy: Developing Creativity, Strengthening Communities,” Arts Education Policy Review, 106, no. 4, (March/April 2005): 7.

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the program. A calendar page will keep a current date book for parents and students. Students will be able to post videos and recordings (made at school) of their small ensembles, compositions, or any musical act they would like to share. Finally, the blog page will allow students to interactively share their thoughts with the teacher and fellow classmates. Currently, Fremont has not access to Mac computers or garage band. Since my next proposal for technology inclusion involves the use of such equipment, measures such as grant writing, board approval, and facility space will need to be implemented before these changes can occur. The ideal technological situation will allow students access to a Mac computer lab of 30 computers that offers access to garage band. A feature that garage band has are pre-recorded tracks that can be sequenced, layered, and edited to create a personalized soundtrack. As a project, general music students would be presented with a soundless movie clip to which they would add a soundtrack to create mood. Once completed, students would compare their soundtracks with each other while describing the ability of music to add meaning through sound. Through garage band students also have access to software that allows them to create, record, and edit music or video. With the use of the school’s existing sound equipment and microphones, student project could include music videos, music recordings, and multi-track song-writing and instrumental composition. In addition to providing an outlet for creativity, students can develop useful technical skills that can contribute to the current and future music in the community. Also, such products could

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involve cross-curricular connections by “drawing technology, business, and culture into one another”.58 C. Cross Curricular Connections Allsup notes that it was Freire who “called attention to the interdependent nature of democratic learning environments”.59 Jones concurs saying, “[Cross curricular instruction] is very feasible and may be the only way we can musically reach all students”.60 Drawing upon the wisdom of Jones, many of the cross curricular connections were derived from his article, Moving Forward with Focus.61 Successful integration requires intentional collaboration on the part of both teachers. Limited on time, both teachers focused on a one-day integration that could have a lasting impact. Therefore, after consulting the seventh and eighth grade teachers, the following ideas were presented (See Chart Below). CROSS CURRICULAR PROJECT CHART Subject Area

Cross-curricular Project

Math, Physics, Frequency—After discussing the ratios of intervals in relationship to Technology sound waves, students will graph a pitch. Through the use of a graphing calculator and microphone, students will sing or play a pitch as the calculator graphs the frequency. Biology Vocal Production—Students will study the biological components of the voice box (Larynx) and the process of sound production (vocal chords). After watching a live video of a living human larynx in sound production, students will experiment with glottal and non-glottal production. English— Phrases – After analyzing the sentence structure of a musical text, Grammar students will compare and contrast the musical phrasing. Then students will sing the song with the sentence structures followed by the musical 58 Patrick M. Jones, “Music Education and the Knowledge Economy: Developing Creativity, Strengthening Communities,” Arts Education Policy Review, 106, no. 4, (March/April 2005): 7. 59 Randall E. Allsup, “Mutual Learning and Democratic Action in Instrumental Music Education,” Journal of Researcdh in Music education, 51 (Spring 2003): 27. 60 Patrick M. Jones, “Moving Forward With Focus,” PMEA News, (Winter 2005): 26. 61 Patrick M. Jones, “Moving Forward With Focus,” PMEA News, (Winter 2005): 26, 28.

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Social Studies Physical Education, Health Art

Industrial Techniques

25

phrasing. Discussion of why they are the same or different would follow. Politics and Music – Students will compare and contrast the political power or ramifications of contemporary music in the time of the American Revolution with the Civil Rights Movement in America. Evolution of Dance—Students will watch the YouTube video, “Evolution of Dance”. Then, the video will be shown in sections according to musical era and dance. Students must then describe why the musical elements caused the particular style of dance. Matching Eras – In a scrambled pile, students will be presented with photocopies of six famous works of art and six titles to pieces of music. The art work and music represent selections will have one representation from each of the major eras: Renaissance, Baroque, Classical, Romantic, Twentieth-Century, and Contemporary. After listening to a piece of music, the students must successful match the title of music to the artwork of the same era. Students will share and defend their choices to the class, and then the art and music teachers will reveal the correct answers and point out similarities in the matches of music and art. Piano Construction—After discussing the parts of a piano and the method of its construction, students will be coached by the industrial techniques teacher in a step-by-step process to created a one-key piano.

Since students rotate through general music each seven weeks, it would not be possible to incorporate all seven. Instead, each seven weeks would be exposed to one of the cross-curricular projects mentioned above. Jones emphasizes the need to “redouble our efforts to regain relevance for music education,”62 and it is through the incorporation of such projects that music educators can teach students that music is a life-wide experience.

D. Assessment Traditionally, assessment has served to document student progress in quantified measurements such as percentages, points, or ranking. Sequenced (1) pre-test; (2) instruction; (3) post-test, traditional linear methods often judge students based upon a 62

Patrick M. Jones, “Moving Forward With Focus,” PMEA News, (Winter 2005): 28.

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singular product, often produced outside the context of application. Acting as a music critic, critical pedagogy allows the music teacher to act “as the discriminating musical connoisseur and places information into a context that is familiar with the student”.63 If, “the primary aim of assessment in music education is not to determine grades, but to accurate feedback to students about the quality of their growing musicianship”64, then assessment must be individualized while in the context the social musicing. In addition, “Musicianship cannot be assessed adequately by focusing on the results of a student’s individual thinking at one moment in time”.65 So, by understanding that musicianship is, in essence, a procedural knowledge, determines that effective assessment techniques should monitor the process and not just a product. Therefore, a continuous process of informal and formal contextualized assessments will be employed to determine the successful completion of musical benchmarks. Informal evaluations will occur in the context of rehearsals of the large and small ensembles. By providing cues through thought provoking questioning techniques, students will be able to offer internal and external feedback. Also, the student-led feedback will offer further musical challenges to be applied, thereby demonstrating their “musical thinking-in-action”.66 Formal techniques will employ more project oriented processes such as, peer review performances, self-reflections, compositions, authentic live performances, the analysis of professional music, and the completion of a computerized music theory and ear training course. Also, Elliot insists that an important 63

Frank Abrahams, “The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review,” Update: Applications of Research in Music Education, 23.2 (2005): 6. 64 David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford University Press, 1995): 264. 65 Ibid, 264. 66 David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford University Press, 1995): 265.

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part of evaluation is “to record the development of each student’s musicianship in a variety of ways over an extended period of time”.67 Consequently, an import part of the new assessment process will be the continuous recording of rehearsal and performances. By doing so, the students will develop a process-folio that is consistent with Elliot’s Curriculum as Practicum approach. Thus, the new assessment will not only satisfy the burden of proof for parents and administrators, but will also allow students and teachers to view the full process of musicianship. V. Conclusion In summary, Fremont Middle School’s ideal curriculum exemplifies praxial teaching philosophies by empowering students through transformative musical challenges. By exchanging the traditionalist pedagogy of director-oriented and product-centered music education for a democratic approach that is student-centered and process-oriented, Fremont will increase amateur musicing and ignite the lifelong development of musicianship.

67

Ibid, 283.

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VI. Appendices APPENDIX A – Demographic Charts Table 1. Population and Ethnic Demographics Population Fremont Middle School Fremont Nebraska United States

Median Age

Caucasian

Hispanic

African American

Asian

Other

84%

14%

1%

1%

1%

37.7 35.3

94% 84%

4% 8%

0.6% 4%

0.0% 0.0%

4% 3%

35.3

66%

15%

12%

4%

2%

991 29,156 1,758,800 300,544,200

Table 2. Economic Demographics – 2007

Fremont Nebraska United States

Average Household Size

Owner Occupied Houses/Units

Renter Occupied Houses/Units

Median Family Income

Residents with Income below the Poverty Level

2.4 people 2.5 people

63.4% 64.4%

36.6% 35.6%

$45,960 $47,085

9.6% 11.2%

2.6 people

66.2%

33.8%

$50,046

9.2%

Table 3. Education Level Demographics *F.P.S. = Fremont Public Schools Teachers of F.P.S. Fremont Nebraska

High School Graduates 25 +

Bachelor’s Degree

100% 84% 87%

34% 7% 10%

Master’s Degree of Higher

66% 3% 5%

Table 4. Fremont Middle School Profile 2008-2009 School District State

Enrollment 981 4,597 292,043

ELL % 2.34% 6.04% 6.31%

Mobility % 11.62% 14.01% 11.67%

Poverty % 45.57% 44.81% 38.35%

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APPENDIX B – Ethnography Charts

Musical Preferences Genre Percentage Rock 52% Genre # of Mentions Rap 41% Reggaeton 5 Music Popular 40% 10 Participation Metal Country 33% Punk 3 Musical Preferences Listed as OTHER IN SCHOOL Folk 2% Screamo 3 Classical 13% Hip-hop 2 Ensemble Percentage Reggae 4% Irish 1 Auditioned 20% Latin Pop Choir 10% Blues 2 Non-auditioned 13% 9% Oldies Opera 1 Choir Alternative 11% Inspirational 1 Show 6% GrungeChoir 3% Techno 5 Band 18% Christian 18% Japanese 1 Stage Band 2% Chicano 3 Jazz Band 4% R&B 5 Orchestra 4% Fiddlers 1% Desired Additional Music Choices Desired Activity Percentage Drumming 25% Dance 35% Musical 20% Theater Guitar Lessons 18% Voice Lessons 14% Talent Show 8%

APPENDIX C – Nebraskan and National Music Standards Nebraska Music Education Standards – GRADES 7 & 8 M1.1. Understand the connections between music and significant, individual experiences. M1.2. Identify or create musical works which have a strong personal significance to an individual.

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M1.3. Select or create musical works that relate to the learners' lives and discuss the relationship. M2.1. Explain how the creative elements in music become powerful vehicles for communicating past, present and future messages. M2.2. Explain the connections between music and significant individual experiences. M2.3. Identify the expressive musical elements (rhythm, melody, harmony, texture, tone quality) in live or recorded music. M2.4. Describe how the expressive musical elements reflect the feelings of characters in program music. M3.1. Recognize distinguishing characteristics of musical styles that represent various cultures and historical periods. M3.2. Identify by characteristics, classify by style and explain the meaning of the music in its time and place. M3.3. Understand how the value of music changes when viewed from different cultural perspectives. M4.1. React to a piece of music through moving, illustrating, verbalizing and writing. M4.2. Establish criteria for analyzing an audience reaction to various types of concert settings. M5.1. Develop criteria for making informed critical evaluations of the quality and effectiveness of a piece of music and apply the criteria to their own performances and the performances of others. M5.2. Develop vocabulary which describes the various music elements/events. M6.1. Recognize characteristics of music from different historical periods and other cultures. M6.2. Identify music from our own cultures which might play a similar function to music from another time/place/culture. M6.3. Interpret a piece of music through narration or illustration. M7.1. Recognize and demonstrate how manipulating the basic musical elements may alter the meaning.

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M7.2. Identify music from our own cultures which might play a similar function to music from a similar time/place/culture. M8.1. Compose and arrange music within specified guidelines. M8.2. Develop criteria for selecting music. M8.3. Demonstrate how the creative elements in music become powerful vehicles for communicating past, present, and future messages. National Standards in Music Education 1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.

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VII. Bibliography Abrahams, Frank. “The Application of Critical Pedagogy to Music Teaching and Learning: A Literature Review.” Update: Applications of Research in Music Education 23, no. 2 (2005): 12-22. Allsup, Randall E. “Mutual Learning and Democratic Action in Instrumental Music Education.” Journal of Research in Music Education 51 [Spring 2003]: 24-37. Campbell, Patricia S. “Embracing the Wide World of Music Cultures.” The American Music Teacher 49, no. 6 (June/July 2000): 52-53. Carter, Tom. Choral Charisma: Singing with Expression. 2nd ed., Santa Barbara: Santa Barbara Music Publishing, Inc., 2006. City Data “State Demographics: Nebraska” accessed 26 September 2009; available from http://www.city-data.com/zips/68025.html; Internet. Dewey, John. Democracy and Education: An Introduction to the Philosophy of Education. New York: Macmillan, 1916. Elliot, David J. Music Matters: A New Philosophy of Music Education. New York: Oxford University Press, 1995. Fremont Area Chamber of Commerce. “Community Profile Book: Wake Up to Fremont” accessed 26 September 2009; available from http://www.fremonttribune.com/communityprofile/home.shtml; Internet. Fremont Public School District. “Mission Statement” accessed 15 October 2009; available from http://www.fpsweb.org; Internet. Friere, Paulo. Pedagogy of the oppressed. New York: Hederan and Hederan, 1970. Hargreaves, D.J., Marshall, N.A., and North, Adrian C. “Music education in the twentyfirst century: a psychological perspective.” Cambridge University Press (2003): 147-163. Hebert, David G., and Patricia Shehan Campbell. “Rock Music in American Schools: Positions and Practices Since the 1960s.” International Journal of Music Education 36 (2000): 14-22. Isbell, Dan. “Popular Music and the Public School Music Curriculum.” Update: Applications of Research in Music Education 26, no. 53 (2007): 54-61. Jellison, Judith Anne. “Senior Research Acceptance Address: It’s About Time.” Journal

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of Research in Music Education 52, no. 3 (Fall 2004): 191-205. Jones, Patrick M. “Curriculum Design Part 1: Demographics & Ethnography: Part 1 of a Four-Part Series on Curriculum & Assessment for Music Education.” PMEA News 71, no. 1 (2006): 26-30. _____. “Curriculum Design Part 3: Curricular Models, Pedagogical Approaches, and Content: Part 3 of a four-part series on Curriculum & Assessment for Music Education.” PMEA News (May 2007): 50-57. _____. “Curriculum Design Part 4: Curricular Models, Pedagogical Approaches, and Content: Part 4 of a four-part series on Curriculum & Assessment for Music Education.” PMEA News (May 2007): 50-57. _____. “Moving Forward With Focus.” PMEA News (Winter 2005): 22-29. _____. “Music Education and the Knowledge Economy: Developing Creativity, Strengthening Communities.” Arts Education Policy Review 106, no. 4 (March/April 2005): 5-12. _____. “Music Education for Society’s Sake: Music Education in an Era of Global NeoImperial/Neo-Medieval Market-Driven Paradigms and Structures,” Action, Critism, and Theory for Music Education 6/1: http://www.maydaygroup.org/ACT/v6n1/Jones6_1.pdf. Jorgensen, Estelle R. “Four Philosophical Models of the Relation between Theory and Pracitce.” Philosophy of Music Education Review 13, no. 1 (Spring 2005): 21-36. Nebraska Department of Education. “Standards for the Arts” accessed November 21, 2009; available from http://www.nde.state.ne.us/Assessment/index.html; Internet. Regeleski, Thomas A. “Critical Theory as a Foundation for Critical Thinking in Music Edcuation.” Visions of Research in Music Education, special ed., (January 2005). Reimer, Bennett. A Philosophy of Music Education: Advancing the Vision, 3rd ed., New Jersey: Prentice Hall, 2003. Schmidt, Patrick. “Music Education as transformative Practice: Creating New Frameworks for Learning Music through a Frerian Perspective.” Visions of Research in Music Education, special ed., (January 2005). Tanner, Daniel, and Laurel Tanner. Curriculum Development: Theory into Practice. 4th ed., New Jersey: Prentice Hall, 2007.