Understanding the National Core Arts Standards | Nyssa Brown

 
 

Show Notes


In this episode…

01:52 - Nyssa’s role in the 2014 standards, and what the National Standards are

07:38 - What is Literacy?

10:55 - What is a Concept?

15:33 - Enduring Understandings

24:22 - Concepts and Skills

33:25 - Sequencing Understanding

36:48 - What do I do with these standards?

46:10 - Should we teach the standards sequentially?

52:12 - How to connect with Nyssa


About Nyssa

Nyssa Brown is an international arts education consultant with Music Ed Forward who works with educators around the globe to build student-centered, concept-based, inquiry-driven music curriculum. With 25 years of teaching experience with both students and adults, Nyssa empowers learners of all ages to build on their current knowledge and envision new possibilities. 

Nyssa has 18 years of experience in elementary and secondary music classrooms, as well as teaching and leadership experience at the team, school, district, state, national and international levels. Ms. Brown served on the writing committee for the National Core Arts Standards and is an Erickson and Lanning Concept-Based Curriculum and Instruction Certified Trainer. She was one of ten finalists for 2004 Minnesota Teacher of the Year and received a prestigious Milken Educator Award in 2004 from the Milken Family Foundation.

Passionate about teaching in a global context, Nyssa taught at American School of the Hague and the International School of Amsterdam in the Netherlands, The American Embassy School in New Delhi, India and in both Namibia and South Africa, through a fellowship offered by the Eastman School of Music's Umculo: The Kimberley Project. Nyssa is a faculty member of the Kodály Levels Course at Indiana University. With a focus on strong relationships and collaborative processes, she aims to help transform students, teachers and communities through music education.


Connect with Nyssa

Nesting Concepts for Active Music-Making and Active Meaning-Making

Show Notes

In this Episode:

  • 01:44 - Nesting Concepts in Elementary General Music

  • 10:10 - Areas of Balance through Tension

  • 12:16 - Emphasizing Music

  • 12:18 - Emphasizing the Child Over the Curriculum Document

  • 15:07 - Emphasizing a Functional Classroom

  • 17:51 - Possible Applications

  • 18:59 - Transferrable Understanding 1: Ensemble

  • 27:05 - Transferrable Understanding 2: Complement

  • 34:07 - Where to Read More

Getting Started with Centers in Elementary General Music - Aileen Miracle

 
 

In This Conversation….

00:00 - Intro

01:27 - About Aileen

04:05 - Benefits of centers

08:33 - Should we do one concept or more than one concept in our centers?

12:38 - Aileen’s “formula” for center categories

20:11 - Setting up for success

26:45 - Choices, classroom management, and assessment : What to think about and options for structuring

32:45 - Centers for student choice: keeping it manageable and giving students ownership

41:53 - Scaffolding centers throughout grade levels

44:33 - Centers for band and choir

48:30 - Final thoughts and advice from Aileen: Giving grace

50:43 - Aileen’s centers course

52:00 - Where to connect with Aileen

About Aileen

Aileen Miracle just finished her twenty-fourth year of teaching in the Olentangy Local School District near Columbus, Ohio. This upcoming year, she will start a new position in the district, as the Unified Arts Curriculum Supervisor. Aileen received her Bachelor of Music Education from Central Michigan University in 1999, and her Master of Music in Music Education from Capital University in 2003; she completed her masters studies at the Kodály Institute in Kecskemet, Hungary. Aileen has served as President of the Tri-City Kodály Educators in Columbus, President and Treasurer of the Midwest Kodály Music Educators of America, and has served as the National Program Chair for the 2015 OAKE conference, co-chair for the 2019 OAKE conference, and will serve as chair for the 2023 OAKE conference. Aileen has taught Level I Methodology and Folk Song Research for Colorado State University's Kodály Program,  Level I and III Methodology and Folk Song Research for DePaul University's Kodály Program, and Level III Methodology and Folk Song Research for Capital University’s Kodály Program. In 2016, Aileen was awarded “Teacher of the Year” at Cheshire Elementary. She has presented at OAKE Conferences, and currently presents workshops around the world. She enjoys sharing music education ideas through her blog, Aileen’s Music Room, and her podcast, The Music Room. Her family includes her 19-year-old daughter Jenna, who plays flute, guitar, and ukulele, and is an English major at Ohio University, and her 10-year-old daughter Macy, who loves to Irish dance!

Connect with & Learn from Aileen:

Starting from Scratch with 2nd and 3rd Grade Music

 
 

This is my first year in this school who had music right before Covid so the littles k-2 have never had music. In your scope and sequence, you have 1st and 2nd with review, then learning some new concepts. What would you suggest for those littles who have never had music? Similar to Kinder, but a little more complex?

Today we’re thinking through what it can look like to start at the beginning of the music sequence with our 2nd and 3rd grade musicians.

It can sometimes feel like these students are overlooked with teaching materials intended for both Kindergarten / 1st grade, and older beginners.

Let’s take a look at a possible roadmap for the first several months of the 2nd and 3rd grade school year when these musicians are starting “from scratch” at the beginning of the sequence.

In this Episode:

00:00 - Intro, framing the conversation

03:40 - Elemental Questions

04:19 - Skip to the end - a quick roadmap

08:31 - What’s the point of a sequence?

14:27 - What makes something a 2nd or 3rd grade song?

20:30 - What are 2nd and 3rd grade students like?

28:26 - A possible roadmap for 2nd and 3rd grade beginners

Elemental Questions:

  • What is the point of a sequence?

  • What makes something a 2nd or 3rd grade song?

  • What are 2Wnd and 3rd graders like?

What is the point of a sequence?

  • Knowledge builds over time, and we connect new information to previous information.

  • If we want students to interact with new information from a place of knowledge and experience, we need to build that knowledge and experience intentionally from the beginning.

  • We’re never “behind schedule” when we pace our sequence with what students need.

What makes something a 2nd or 3rd Grade Song?

  • We can use extractable phrases

  • 2nd and 3rd grade songs are appropriate for 2nd and 3rd grade musicians, and they align with our curricular objective

What are 2nd and 3rd Graders Like?

  • Responsive Classroom: What Every Teacher Needs to Know

  • Socially: These students love to socialize and work in small groups

  • Physically: 2nd and 3rd graders are very active! They don’t yet have the physical coordination of their upper elementary peers, but they have more motor control than our Kinder and 1st grade musicians

  • Cognitively: Attention spans are lengthening, but are still quite short. These students love using logic to solve problems.

A Possible Roadmap for 2nd and 3rd Grade

Beginning of the Year:

Mi Re Do:

Steady Beat, Rhythm vs Beat, Ta, Ta-di, & Ta Rest:

  • Pajarito Tan Bonito

  • Plainsies Clapsies

  • Cut the Cake

So today we’ve looked at several ways to jump start a 2nd and 3rd grade music program. There are of course more songs and games and activities we could do, but I think this can get us started. And then the approach I chose was based on how I’m thinking about a few things …. What’s the point of our sequence? What makes something a 2nd or 3rd grade song? And what are 2nd and 3rd graders like? 

This is such a fun age group and I think an approach that’s something like what we talked about today - it doesn’t have to be exact - can really help these students shine and get started on a musical and intentional foot. 

Vocal Health for Music Teachers - Dr. Caitlin Moore


 
 

In this Conversation…

00:00 - Intro

02:00 - Dr. Moore’s work and story

09:30 - Soprano vs Alto Distinctions

11:20 - Tessitura and Passaggio

14:00 - What is “mixed” voice?

17:46 - Speaking and Singing with Tension in the Classroom

19:40 - Value of a Laryngologist

21:36 - Body Awareness, Amplification, and Tension

29:52 - Habit Stacking

32:38 - The Tongue, Tongue Tension, and Tongue Release Exercises

43:48 - When Your Voice Feels Fatigued…

51:25 - Where to Find Dr. Moore


About Dr. Caitlin Moore

Dr. Caitlin Moore, mezzo-soprano, is known for her elegant and confident stage presence across diverse vocal styles. She has been praised for her "aplomb and distinction" (Opera Canada) and "magnifique talent vocal et dramatique" (La Presse).

Dr. Moore's recent engagements highlight her versatility including the title roles in the world premieres of Paul Elwood's operas, The Taming and Hedy Lamarr: Snow White Under the Knife, the alto solos in Mozart's Requiem with the Grand Junction Symphony, Fiona in Brigadoon with Loveland Opera Theatre (COVID-19 canceled), and an upcoming tour with a local Irish folk band.

Dr. Moore is an advocate for vocal freedom, authenticity, and diversity, placing a strong emphasis on functional training. Her commitment to these principles is exemplified by her pursuit of professional development opportunities. Dr. Moore was nationally recognized to participate in the highly-selective 2021 National Association of Teachers of Singing Intern Program and currently serves as the Colorado-Wyoming NATS Chapter President. In 2019, she was certified in all three levels at Shenandoah University's Contemporary Commercial Music Vocal Pedagogy Institute as a University of Northern Colorado Graduate Student Association Grant Winner. She participated in New England Conservatory's Acoustic Vocal Pedagogy Workshop and Online Teaching Technology Workshop as a Lee University Young Alumni Grant Winner in 2021 and Boston Conservatory at Berklee’s Advanced Vocal Pedagogy Workshop as a Colorado Mesa University Faculty Development Grant Winner in 2023.

Dr. Moore holds the positions of Instructor of Voice at Colorado Mesa University and Instructor of Voice at Interlochen Center for the Arts where she teaches voice lessons, diction, acting, and contemporary commercial ensembles and labs. Additionally, she successfully manages a thriving private voice studio and regularly conducts guest lectures about expanding one's presence through effective utilization of social media. Prior to her current positions, she served on the music faculties of Covenant College and Chattanooga State Community College.

Dr. Moore received a Doctorate of Arts in Voice Performance, with a secondary in vocal pedagogy, from the University of Northern Colorado. During her doctoral studies, she was honored as a prestigious Doctoral Fellow and received the Graduate Dean's Award for Excellence. Additionally, she holds a Master of Music in Voice and Opera Performance from the Schulich School of Music, McGill University, and a Bachelor of Music and a Bachelor of Music Education from Lee University. For more, visit www.caitlinmoore.studio 

Contact Info:

  • Website: www.caitlinmoore.studio 

  • Instagram: @caitlinhmoore


Why Takadimi?

 
 


The first email said Hi Victoria, I'm a beginning Music teacher and I am keen to know your reasons for using takadimi syllables. :-)

Someone mentioned takadimi and I have been looking at it but I am not totally convinced yet especially for elementary kids over the Tiri system.  However wanted to ask you why you are a convert. 


In this episode….

00:00 - Takadimi

03:47 - Elemental Questions

04:32 - Why Takadimi? TL;DR

10:20 - Beat-based system vs notation-based

11:36 - What is sound before symbol?

14:43 - What do we want to emphasize?

16:40 - History of rhythm syllables in Western music education

17:02 - French Time Names

19:09 - Branches of off of French Time Names

21:22 - Kodaly syllables

22:07 - North American Kodaly syllables

24:12 - Gordon

25:22 - Takadimi

27:31 - Arguments for and against beat-based systems

28:41 - “We want to prioritize sound to symbol”

29:56 - “Too many names makes everything confusing”

32:39 - “We use moveable do, so it only makes sense to use ____”

35:23 - What works best for the ensemble?

36:43 - Wrapping up, moving forward


Elemental Questions: 

  • What is the role of the symbol in a sound before symbol approach? 

  • What do we want to emphasize? 

  • What communication system works best for the ensemble? 

TAKADIMI: 

  • Oriented around the beat, beat function, and musical audiation

  • Not dependent on how music is notated in standardized Western notation

Beat-Based or Symbol-Based 

  • If we use syllables oriented around the beat and the beat subdivision and where sounds live in relation to the steady pulse of music, we call those syllables beat-based. 

  • If we use syllables oriented around how long sounds last and the symbol we use to notate them visually, regardless of where the beat is or what the metric organization is, we call those symbol-based. You’ll also hear people refer to them as length-based, or syllable-based, symbol-specific, notation-oriented, etc. 

What is Sound Before Symbol? 

  • In a sound-before-symbol approach, we want students to hear musical sounds and interact with them and experience them in their bodies as the primary way of knowing music.

  • The label and the notation stem from these experiences. The label and the notation are secondary. 

What is the role of the symbol in a sound before symbol approach?

“the system used must be based on how music is audiated—how it sounds—not how it is notated.” (Dalby, 2015)

“because sound comes before sight, both the rhythm and the tonal syllables must be sound-based rather than notation based.” (Don Ester in Palki, 2010)

This is a view that the whole point of a rhythm syllable system in sound before symbol is that the syllables are oriented around the sound, not oriented around the notation - the symbol - of the sound. 

What do we want to emphasize? 

  • The system we choose will be dependent on what we want to emphasize, and by necessity, de-emphasize

  • So I want to prioritize a rhythmic grid of the beat and the beat subdivision. 

Rhythm Syllables in Western Music Education 

Let’s back up and talk about where these syllables come from in the first place.  

French-Time Names: 

  • Mathematician Pierre Galin

  • Later extended by Aimé Paris, Aime’s sister Nanine, and her husband, and a physician named Emile Chevé, published them in 1844 (Palkii, 2010). 

  • This was symbol-based. 

    • Noir - black 

    • Croche - eighth notes 

    • Blanche - white 

    • double croche - simiquaver 

Branches off French Time Names

  • Now we have some branches off of the French Time Names developed by Galin. It went through several iterations before it arrived at what we call the Kodaly Syllables. 

  • John Curwen adapted the French Time Names for use in Great Britain. 

  • Luther Mason adapted Galin’s syllables for use in The United States and Japan, as did Lowell Mason.

  • Simplified French Names system

    • Ta 

    • Ta-te 

    • Ta-fe-te-fe

Kodaly Syllables

  • Kodaly teachers in Hungary later adapted Galin’s syllables more. We often refer to this as the Hungarian rhythm syllables, or Kodaly rhythm syllables. 

    • Ta 

    • Ti-ti 

    • Tiri tiri

  • When this was brought to North America, a Kodaly instructor named Pierre Perron adapted them again to make the sounds more percussive.

    • Ta 

    • Ti-Ti 

    • Tikatika

Gordon

  • Developed by James Froseth and Albert Blaser in the 1970s (Palki, 2010; Grunow, 2021)

  • Based on audiation

    • Du

    • Du-de 

    • Du-ta-de-ta

Takadimi

  • Richard Hoffman, William Pelto, and John W. White were the people who systematized this

  • Specific collection of vocables, “takadimi” have been used by South Indian classical musicians for a long long long time, but in a different counting system

Criticism of Beat-Based Systems in Favor of Notation-Based Systems… Criticism of Notation-Based Systems in Favor of Beat-Based Systems

Most of us are starting from the same place - we have the same core values around this. 

And that becomes apparent the more journal articles I read. I’m seeing recycled arguments used for both approaches - notation-based and beat-based. 

First Argument: “We Want to Prioritize Sound to Symbol” 

  • Someone who uses notation-based syllables would say “we want to prioritize the sound, and then move from sound to symbol. So I’ll give you the sound, and you write the symbol. Or you hear the duration (the sound) and you write the symbol. There you go. Sound to symbol.”

  • Someone who uses beat-based syllables would say, “We want to prioritize the sound, and then move from sound to symbol. Which means we can’t fundamentally, at the core of the system, base the sound off of the symbol. It needs to be sound-based, not symbol-based. So I give you you a sound, you give me the function. Then we notate it based on whatever notation system we’re using, not the other way around. There you go. Sound to symbol.”

Next argument: “Too many names makes everything confusing!”

  • Jonathan Rappaport, whom many of you may know if you run in Kodaly circles, used the analogy of the same table in different people’s houses. In the takadimi system, why can we notate ta in so many different ways? Why can we notate ta with a quarter note and an eighth note and a half note and a sixteenth note, depending on the context? The one syllable, ta, can have different lengths of sound, and thus, many different symbols of western notation. If I have a table in my house and then we move the table to your house why would we call it something else? It shouldn’t matter where the table is located, it’s still a table. In Kodaly syllables, if we say ta it is always notated with a quarter note, no matter where the quarter note is located. If we say ti, it is always notated with an eighth note, no matter where it is located. Rappaport is making the case that this makes more sense because it is consistent. If i give you tikatika ti-tika tika-ti ta, you know exactly how to write it down in standardized Western notation because the syllables themselves are exclusively oriented around standardized Western notation. Too many names for the same thing - standardized Western notation - gets confusing and it doesn’t make sense. 

  • Don Ester wrote an article about beat-based syllables and takadimi in particular. And he wondered…. In Kodaly syllables, why can we call the downbeat so many different things? In 6/8 or cut time or common time, the downbeat is always experienced as the downbeat. So why do we call the downbeat - which is the same function everywhere, no matter the notation - by so many different names? The down beat could be too or ta or ti or ti - and all the while it’s the same thing. Too many names for the same thing - beat functions and rhythm relationships - gets confusing and it doesn’t make sense. 

Third argument: “We use moveable do. Therefore it only makes sense to use ______” 

If we were to sing mi re do in the key of C, mi re do are the absolute pitches EDC. If we were to transpose to the key of G and sing mi re do, the functional pitch relationship is still the same - mi re do. We don’t change solfege when the key changes because even though they’re placed somewhere else, functionally, the relationships creating the melody are the same. 

  • Rappaport uses this argument to illustrate how it doesn’t make sense to change syllables when sounds move around in relation to a beat if the standardized Western notation of the sound stays the same. It’s still mi re do, just in a different location so just keep the name. 

  • Dalby uses this same argument to illustrate that it doesn’t make sense to change rhythm syllables because the function of the downbeat is still the same, regardless of how you notate it. Peggy Bennett said a similar thing - Why are we willing to teach children a rhythm syllable system that relies on seeing the note and naming the note value, when all or most of us choose to use moveable do rather than fixed do because we believe in emphasizing tonal relationships rather than pitch names? It’s still mi re do, just in a different location so just keep the name. 

Do you see how the question is not which one is better, but the question is, what is this better for? 

What works for the ensemble? 

  • Is the ensemble made up of students we teach? Or is the ensemble the students our colleagues teach as well?


—————————————————————

References & Further Reading:

Bennett, P. D. (2016). Questioning the unmusical ways we teach children music. In Oxford University Press eBooks (pp. 286–307). https://doi.org/10.1093/acprof:oso/9780199328093.003.0014

Bowyer, J. (2015). More than solfège and hand signs. Music Educators Journal, 102(2), 69–76. https://doi.org/10.1177/0027432115611232 

Bullen, G. W. (1877). The Galin-Paris-Cheve method of teaching considered as a basis of musical education. Proceedings of the Musical Association, 4, 68–93. http://www.jstor.org/stable/765284 

Cha, J.-W. (2015). The Takadimi system reconsidered: Its psychological foundations and some proposals for improvement. Psychology of Music, 43(4), 563–577. https://doi.org/10.1177/0305735614528063 

Dalby, B. (2015). Teaching movable du: Guidelines for developing Enrhythmic reading skills. Music Educators Journal, 101(3), 91–99. https://doi.org/10.1177/0027432114565008 

Houlahan, M., & Tacka, P. (2017). Sound relationships: An approach to teaching rhythm according to the Kodály Concept using Takadimi rhythm syllables. Kodaly Envoy, 43(3), 6–13.

Palkki, J. (2010. Rhythm syllable pedagogy- A historical journey to Takadimi via the Kodály method," Journal of Music Theory Pedagogy, 24(5).

Rainbow, B.  (2001). Galin-Paris-Chevé method. Grove Music Online. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000010531.

Rappaport, J. C. (2016). Traditional Kodaly rhythm syllables: Taking a new look. Kodaly Envoy, 42(3), 4–9.

Sletto, T. (2011). A comparison of rhythm syllables and a recommendation. Kodaly Envoy, 37(3), 4–8.

Responsive Classroom for the Beginning of the Music Year - Matthew Stensrud

 
 
 
 
 

This is such a great conversation with my friend, Matthew Stensrud!

We talk about structuring the first elementary general music experiences of the year through the lens of Responsive Classroom.

In This Episode:

  • 00:00 - Intro

  • 01:35 - What is Responsive Classroom?

  • 04:45 - “Misbehavior” through a Responsive Classroom Lens

  • 07:00 - Holding Boundaries During Inappropriate Behavior (3 Steps)

  • 10:16 - Following up with Positive Interactions

  • 12:16 - Responsive Classroom at the Beginning of the Year

  • 15:07 - Opening Routine

  • 18:31 - Teacher Language

  • 27:35 - First Day Activities

  • 31:11 - Structured Choices

  • 34:51 - Closing Routine & Reminding Language

  • 39:50 - Beyond the First Day

  • 41:37 - Procedures to Have in Place

  • 44:11 - How to Connect with Matthew

About Matthew

Matthew Stensrud is an award-winning and internationally-acclaimed Elementary Music and Movement Teacher and currently teaches preschool through fourth grade music and movement at Sidwell Friends Lower School in Washington, DC. 

Matthew received his Master of Music Education from George Mason University and Bachelor of Music Education from the University of Cincinnati College-Conservatory of Music, where he studied with the renowned Orff educator Rene Boyer.

Matthew is an Orff Schulwerk approved Teacher Educator of Movement and currently teaches movement levels at the Portland Orff Course in Portland, Oregon and the William Patterson Orff Course in Wayne, NJ. He previously served on the editorial board of The Orff Echo - the quarterly journal of the American Orff Schulwerk Association - and was a Key Content Contributor to the book Responsive Classroom for Music, Art, PE, and Other Special Areas. Currently, Matthew serves as a Trustee for the American Orff Schulwerk Association.

Matthew presents frequently at schools, districts, state conferences, Orff and Kodaly chapters, and national conferences, and loves sharing with and learning from fellow music educators. You may know him as Mr. S, as you can find him as “MisterSOrff” across social media on Facebook, Instagram, Twitter, and Patreon.

Where to Connect with Matthew:

Songs to Start the Lesson, Songs to Start the Year

 
 




Do you have an entrance song you like to use? I want to work on entrance procedures this year.

Let’s think through some ways to set the tone for learning - both at the beginning of the lesson and at the beginning of the year.

Additional Podcast Episodes:

Opening the First Day of Music - An Elemental Conversation with Anne Mileski

Classroom Management for Elementary General Music (Before the Sticker Charts)

Lower Elementary Songs

  • Engine Engine

  • Feeling Fine, It’s Music Time

  • Hey Betty Martin

  • Caballito Blanco

  • All Around the Buttercup

Upper Elementary Songs

  • To Stop the Train

  • Bonjour, Mes Amis

  • Welcome Welcome

  • Yonder Come Day

  • Pop Songs: Sunday Best, I’m Good, Best Day of My Life

Routines and Procedures for an Efficient Music Room (Conversation with LeslieAnne Bird)

 
 
 
 
 

Today I’m sharing a conversation with the fabulous LeslieAnne Bird, all about setting up music room routines. 

We talk about how to know it’s time to think or rethink routines, and we go over some very specific pain points a lot of us experience in class - things like getting students into the learning space and starting class, lining up at the end, and other things during the actual lesson like passing out instruments. 

In This Episode:

  • 00:49 - The Efficient Music Educator 

  • 01:33 - How do we know we need routines? 

  • 03:59 - Humanizing Routines & UDL 

  • 11:32 - Expectations for Children vs Adults 

  • 15:12 - Entrance Routines

  • 29:05 - Passing Out Instruments

  • 36:54 - Barred Instruments

  • 43:07 - Closing Procedures 

  • 52:04 - Visualize the Situation to Create the Routine 

  • 56:08 - Routines on a Cart 

  • 58:22 - Where to Connect with LeslieAnne


About LeslieAnne Bird

LeslieAnne Bird is a music and movement educator at University Schools in Shaker, Ohio. She teaches general music and choir to fifth through eighth grade young men and is an adjunct Professor at the University of Akron and Cleveland State University. She has previously taught in North Olmsted & Cleveland Ohio as well as in Prince George’s County, Maryland. LeslieAnne is a national presenter. She has served as vice president and membership chair for the Greater Cleveland Orff Chapter and is currently serving as the content curator for the Teaching With Orff community. In addition, she is the owner and CEO of Three Little Birds Music Education Services LLC where she offers teacher training, coaching and musical experiences for children and adults. She earned Orff Certification from Baldwin Wallace University in 2014, and has completed Music Learning Theory General Music Level One, Level One World Music Drumming training, Level One Google Certification and has earned the Ohio Master Teacher designation.

Where to Connect & Work with LeslieAnne: 

Orff Workshops

Custom-made presentation for each chapter. A survey is completed by the members and used to craft the experience based on their wants and needs.

Personal and Group Coaching

  • Long Range Planning

  • Processes & Procedures

  • Building Relationships

  • New to General Music

  • Classroom Organization & Flow Makeover

  • Personal Educational Organization and Systems

In Person and Virtual Professional Development for Music Educators

Workshops and PD sessions on a wide variety of music education topics including:

  • General Music Teaching and Learning

  • Curriculum and Long-Range Planning

  • Classroom Management and Procedures

  • Student Centered Music Learning

  • Instruments (Recorder, Ukulele, Orff Instruments & Modern Band)

  • Folk Dance and Creative Movement

  • The Orff Approach

  • Integrating Children’s Literature in Music Lessons

  • Special Education and General Music

And many more…..Customized sessions for each client.

Back to School Data, Assessment, and Review

 
 
 
 

After the getting-to-know-you activities, after the name games, after the routines….. what’s next?

How do we know where to start the year from a musical content perspective? How will we know what students remember? How can we review and make sure kids aren’t bored? What if we’re at a new campus and we don’t know what students have done? How do we take information from singing games in a way that’s usable?

We probably all have at least a few of these questions, so let’s look at some possible ways to answer them.

This episode is a continuation of two other conversations:

Today we’ll emphasize the data-collection piece of the process.

Elemental Questions

Let’s break this down based on a few core questions:

  • What do we care about? 

  • How will we get information about what we care about? 

  • How will we use that information to tell us what to do next?

Types of Assessments

Three types of assessments can help us figure out what students need next: diagnostic, formative, and summative. The lines between between these assessments blur, both throughout the year and throughout the program as a whole.

Step 1: Active Musical Experience

Our first step is an active, collaborative musical experience - singing songs and playing games. During this phrase, we’ll primary listen and observe three key areas:

  • To what extent do students keep a steady beat? 

  • To what extent do students match pitch in their singing voices? 

  • What is the vibe of the classroom - how do students interact with each other?

We can use individual or group data, and those data can be qualitative or quantitative.

Data Collection for Checkpoint 1

As students are actively musicing, we can collect data that are either qualitative or quantitative, and apply to the whole group or to individuals.

In the first weeks of school, whole-class assessments are likely the most valuable.

Inside The Planning Binder there’s a PDF Seating and Assessment Chart. There’s also a free PDF download in this blog post.

Checkpoint 2: Aural Awareness

Are students aware of what they are doing as they music? How are they thinking about the musical sounds they hear? 

Most of us listening follow sound-before-sight as a guiding principle, which in practice, functions as “musical thinking before symbol.” If we’re going to be on the same page later, we want to see how students are constructing musical maps before we move on.  

This is where data get a little more concrete for us. What do students recall? How are they thinking about musical sounds? 

Other Quick Ways of Collecting Data 

  • Thumbs up, thumbs down

  • Numbers

  • Shapes

  • Self-Assessment

Checkpoint 3: Vocabulary and Symbol

In this third step, we emphasize a shared understanding of musical communication.

Importantly, students have already done the heavy lifting in the previous steps as they actively music and develop the musical definition of the target element.

Facilitating Checkpoint 3

This is a great time for students to be the teachers!

During this phase, we can facilitate think-pair-share activities and gradually transition to group discussions, using specific questions on the board.

Checkpoint 4: Creative Application

In the final checkpoint, we provide students with creative invitations to utilize the musical elements consciously. We might think of t his step as both a summative and formative assessment, as we get information on how we have done as teachers and what we need to do next.

Data Collection Approaches for Checkpoint 4

Data collection methods in this phase depend on the specific creative tasks assigned to students. We consider data related to content objectives, self-assessment by students, and broader concepts explored in the unit. Performance evaluations, self-reflections, and exit tickets can be incorporated to gather valuable information.

Wrapping Up, Moving Forward

We’ve talked today about answering three questions:

  • What do we care about? 

  • How will we get information about what we care about? 

  • How will we use that information to tell us what to do next? 

And we’ve looked at several different types of data that we can weave into the assessment process. 

The important thing about this approach is that it prioritizes what students do with music and how they think about music, over which symbols they have memorized. My administrator referred to it as “hands-on music” and I think that is a great way to describe it. This is hands-on assessment, and hands-on data, that we can use to let us know what to do next.  

Teaching Music at a New Campus (Conversation with Dr. Amanda Hoke)

 

 
 
 

Join in on this conversation with my friend, Dr. Amanda Hoke! We talk about starting music at a new campus, where to begin instruction, her favorite games for older beginners, and the interwoven tie between curricular sequences and student relationships.

Throughout the conversation, Dr. Hoke maintains that building connection with students is a higher priority than any musical achievement we could reach. Specifically at the beginning of the year, Dr. Hoke encourages us to get to know students - their interests, their strengths, and their backgrounds. Her parting advice of “breathe and feel your feet” is a mindful invitation that will serve us all well, regardless of where we teach this Fall.

In this Conversation:

(01:25) - Amanda’s Current and Previous Teaching Situations

(09:20) - Feeling “Behind” with Older Students

(14:27) - Starting Instruction with Upper Elementary

(17:32) - Activities for Upper Elementary

(24:55) - Listening with Your Eyes, Ears, and Body

(27:13) - Where to Begin Musically

(33:09) - “Middle” Elementary, 2nd and 3rd Grades

(36:14) - Changing Sequence Directions

(39:40) - Macro Concepts as the Actual Goal

(41:33) - Doing things Differently From the Previous Teacher

(46:46) - Advice from Dr. Hoke on Starting a New Campus

 
 

I Get Distracted When I Try to Plan

 

 

If you find that you sit down to plan and suddenly feel the urge to do the laundry and organize your cabinets instead of working on a scope and sequence…. if you spend more time scrolling for ideas and inspiration than working on lessons… if you’ve ever felt overwhelmed by the amount of resources you have for planning… or if you feel stuck and unable to make decisions because you’re waiting for inspiration… I think this is the episode for you.

I’d like to encourage you to listen to episode 65 - Where to Start with Summer Planning - before this one, because it sets the context for our discussion today.

What It’s Like To Plan

Overwhelm, too much noise, time constraints, focus issues, and feeling stuck creatively are some of the recurring themes mentioned by teachers. In some form, I believe most of these are almost universal experiences for elementary general music teachers trying to plan their years!

Too Much Noise:

Often, when we sit down to plan, we tend to get sidetracked by seeking external ideas or resources. This excessive search for information can lead to a lack of progress and a sense of overwhelm.

We would do well to recognize when we are crossing the line from gathering valuable insights to drowning ourselves in an excess of information.

Planning Strategies:

To streamline our planning and boost productivity, let's explore three concrete actions and two expectation reframes that can help us overcome common challenges.

1. Sticky Note Savior:

Implementing a simple technique called the "Sticky Note Savior" can help manage distractions effectively. Keep a sticky note or a blank piece of paper nearby while working, and jot down any distractions or tasks that pop into your mind. By doing this, you can acknowledge these distractions without losing focus and address them later.

2. Come Back to This Comment:

Similar to the Sticky Note Savior technique, "Come Back to This Comment" allows you to handle distractions within your work. While typing or working on a document, leave comments for yourself when you get caught up in specific ideas or details that deviate from your main objective. This ensures you capture those thoughts without derailing your progress and can revisit them later.

Reframe: The First Six Minutes

Our brains need about six minutes or so to settle into the activity we’re doing. Before we sit down, we can expect to feel a little distracted, a little unsettled, a little unfocused. If we can sit with a brain that feels distracted, we have a better chance of gently transitioning into a longer period of focused work.

Let’s extend these strategies and the expectation reframe with another set of things I find to be helpful:

3. Just Keep Typing:

Using the approach described by Lauren Graham, the "Just Keep Typing" strategy is especially useful when we’re facing a creative block or feeling overwhelmed. If you find yourself stuck or lacking ideas, continue typing or writing, even if it feels disconnected from your main task. This process keeps our momentum going.

Reframe: There’s No Such Thing as Writer’s Block

Author Seth Godin suggests that there actually isn’t such a thing as writer’s block. We’ve probably all felt like we’re stuck as we’re planning, like we don’t know where to start or we don’t have any inspiration for how to make decisions. Godin believes this is actually a struggle with fear of producing imperfect work, rather than not knowing what to type. We can embrace the idea that it's okay to start with a rough draft or imperfect outline, and move toward improvements along the way.

Overwhelmed by Overwhelm

At the end of the last episode we talked about the difference between feeling overwhelmed, and feeling overwhelmed by the overwhelm. 

Another way to say that - is it possible for me to tolerate feeling a little uncomfortable? Is it possible to practice making imperfect plans on my way to better plans? 

I’m not talking about a mentality that says “get over it and power through by having more self-discipline and willpower.” I’m talking about an approach that has some resilience paired with awareness. We’re building a muscle. 

Where to Start with Summer Planning

Listen on

Apple Podcasts | Google Podcasts | Spotify

Season 1 | Episode 65

Show Notes

…I did minimal preparation for the school year in the summer for years previous, which caused a lot of stress, so I wanted to start planning early on. I began prepping this week and find that I am overwhelmed with the amount of work to do! How would you recommend I use my time this summer?


 
 

As we dive into summer planning, let's explore some key questions to guide our process:

  • How are we doing?

  • Where are we coming from?

  • What do we want out of summer planning?

  • Are we just overwhelmed, or are we overwhelmed by our feeling of overwhelm?

Taking the time to reflect and answer these questions will help us make the most of our summer planning efforts. Let's delve into each question and discover practical ways to approach them.

How Are We Doing? - The Emotional Realities of Summer Planning

Before we begin, let's acknowledge the emotional aspect of summer planning. It's natural to feel overwhelmed, stressed, or rushed when embarking on a significant project like preparing for the upcoming year.

We may experience a mix of emotions, including apathy, indifference, or boredom, alongside our feelings of overwhelm. We might also feel excited and energized!

The tone we set for this conversation will change our experience.

Where are we coming from?

Deep Breath: Reviewing Last Year

There are plenty of things from last year that deserve a “stop and smell the roses” moment.

In this blog post we looked at four categories:

  • Pedagogy

  • Classroom Management

  • Concerts and Sharing

  • “other”

Nurturing Hopes and Dreams

Reflecting on our aspirations for the coming year is an exciting part of the planning process. Focusing on a few impactful objectives rather than overwhelming ourselves with multiple goals can lead to more meaningful progress.

What do we want?

What would make us feel prepared and fulfilled at the beginning of the year? Many of us said things like:

  • Experiences:

    • I take a break first! Rest and enjoy the family, clear the mind, getting ready for the new year ahead of us! 

    • The “win” would be feeling more prepared for fall to allow me to further prioritize my family 

    • Simplifying my plans and not trying to do everything for next year

    • If it didn’t take long  

    • I had a local planning buddy or think tank 

    • I knew where to start 

  • Curriculum & Organization:

    • If I had my assessment planned using backward design

    • An organization tool to lay out the whole years plans and units 

    • I had rep and roadmap for our first concert, and from day 1 to the first long weekend (october) set 

    • Some flexible “bones” and a few really finished out decisions for big events. Like getting as much done for the big performances (stressors) as possible 

    • I had some ideas for my concerts and I knew where to start (curriculum wise) in the fall 

    • I had a long-range plan mapped out with concepts and my chosen songs and activities 

    • The ideas are not the problem, designing the framework of how to organize those ideas is 

    • Outline of monthly songs / goals 

  • Small-level details 

    • My goal has been making powerpoints for songs so I stop remaking the same slideshow 

    • I’ve organized my songs and resources digitally and physically! Helps with lesson planning so much! 

This piece right here is in my mind the most important step. Most of us already know what we want - we want things like flexible bones, repertoire and a road map, long-range plans, a framework for organizing ideas, we want outlines, we want to make the important decisions for stressors….

Defining what we want out of planning will keep us focused as we get into the weeds.

Long-Range Plans: Scope & Sequence

A scope and sequence document serves as a time budget, aligning our goals with the constraints of the school year. By mapping out significant events, breaks, and expected disruptions, we create a framework for the year. We can estimate the number of lessons per month, accounting for potential adjustments and breathing room. This document offers structure, allowing us to envision the flow of our teaching content throughout the year.

Long-Range Plans: Concepts & Songs List

In an active music room, our repertoire plays a pivotal role. Creating a concepts and songs list is an exciting step that grounds our teaching experiences. This list will guide our teaching content and foster creativity.

First Day of School

These plans are informed by the larger direction of the year. Building routines and repertoire experiences can help set us up for future learning interactions.

Feeling Overwhelmed vs Feeling Overwhelmed by Overwhelm.

We’ve talked about the emotional side of planning. We’ve talked about a deep breath, and thinking about where we’re coming from. We’ve talked about what we want out of summer planning. We’ve talked about two documents that can be helpful as we map out the year, and we’ve touched on the first day of school.

A few things to remember as we move forward:

  • As we sit down to plan over the summer, more information isn’t always necessarily better. Sometimes this can leave us feeling more stuck than when we started.

  • One feeling can be interpreted through multiple stories. It’s normal to feel overwhelmed. Hope fully we can feel overwhelmed without being immobilized - overwhelmed - by that feeling of overwhelm.

Before next week, I’d love to hear if any of this rings true for you. Until then, I hope you have a restful week, or at least moments of rest within the week.

Initiating a Difficult Conversation with a Colleague

 
 

I was wondering if you had any advice if a classroom teacher feels that if a student is misbehaving in the classroom, then they can't come to music as a punishment. I feel those who have academic issues actually thrive in music and I want to make that decision if they can participate or not. How do I approach the classroom teacher about this?

At the risk of being redundant, difficult conversations with colleagues are difficult. Let’s talk about some important steps we might want to take as we gear up for this conversation. We’ll also talk about how the answer to the question is in the question itself, and we’ll look at some extra resources to pursue for more information.

For our conversation here, let’s call this student Parker. We want to get Parker back into music class. Not because Parker doesn’t act out in music class the way they act out in their grade-level classroom. They might, and they might not. That’s not really the point. The point is that music is for everyone. Music is for students who struggle in their grade-level classrooms. Music is for students who don’t handle the traditional education system well. Music is for students who need extra skills to build classroom relationships.

This is something that as music teachers, I know we feel strongly about. And we have very good reasons for this position based on child development, educational psychology, and even educational law.

We also feel respected when our colleagues recognize that we are in the school to teach music. We’re professional educators on equal footing with every other teacher in the school, and we’re all working together for the same mission.

The Same Side of the Table

When we enter this conversation, it’s easy to think that we’re going to go present our argument for our side and our colleague will present their argument for their side, and the most rational argument (ours) will win.

When we do this, the imagery is me on one side of the table, and you on the other side of the table. Do you see the issue? We’re structuring the conversation so it’s me against you. When the student ends up in music class next week, it’s a victory for me and for Arts programs everywhere. If the student isn’t in music class next week, I am defeated and I probably feel a little disrespected and devalued. If the student is in music class, I win. If the student isn’t in music class, I lose.

So let’s move from each of us facing each other from different sides of the table. Let’s get us both on the same side of the table, and together let’s face the actual problem we’re both trying to address together: There’s a student who is having a hard time in class. Neither of us want that for this student. Neither of us want that for this classroom teacher.

So the imagery we’ll use here is both colleagues on one side of the table trying to build a solution so the student is supported. If we were to adjust the question, “how do I approach the classroom teacher,” we might ask instead, “what would it look like to link arms with the classroom teacher?” or “how do the classroom teacher and I approach this problem together?”

I See Where You’re Coming From

This is the work we’ll do before the conversation happens at all. It doesn’t need to take a long time, it’s just a quick action we can take to get ourselves on the same side as our colleague. What does it actually look like to approach the conversation from the same side of the table?

Let’s make a quick list of all the reasons this teacher might have for keeping the student out of music class. Off the top of my head here, I can imagine a teacher who is really overwhelmed. If things were working well in the classroom, the student would be in music class and every day would be sunshine and rainbows. So something isn’t working for the classroom teacher here.

I can imagine this student might have work they need to make up. They might have some tasks to do as punishment like writing sentences or cleaning desks. And this teacher doesn’t want to take away the student’s lunch time. We also probably don’t want this student to stay after school. We can’t have them miss recess. So the specials block seems the least disruptive to everyone.

I Can Imagine

One of the uncomfortable truths about colleague relationships is that while there are certainly times we feel that our toes are being stepped on a bit, we also need to acknowledge the times we’ve intentionally or unintentionally stepped on other people’s toes.

I can think of times when I’ve pulled students out of class for musical rehearsals or for a music trip or a special sharing event. I’ve taken up teachers’ time by asking for help with events.

I’ve also done things that I didn’t even know were bothering my colleagues, like making too much noise during class or hogging the copy machine when I need to make a million copies of programs.

The reason to do this type of work before the conversation is that it gets us in the right frame of mind.

Two Ears, One Mouth

The reality is, when we walk into this conversation, there’s a lot we don’t know.

We have our hypothesis about what the teacher might be going through. So now it’s time to fill in some gaps in the situation.

Let’s call this student Parker. So we knock on this teacher’s door after school, and we’re going to listen to what they have to say. Asking about the situation might sound like:

  • “How are things going with Parker?”

  • “We’ve missed Parker in music class. How have things been recently?”

  • “So how is my friend Parker doing? Any improvement?”

And as this teacher talks, we’re going to listen to what they have to say. Because remember when they describe the problem, we’re on the same team.

When they’ve shared their update - whatever the update is - we’re going to start by repeating back to them what they’ve said.

If they’re continuing to have a lot of friction with this student, we’ll say: Yikes. So Parker is still making a lot of noise in class and taking things from other kids’ desks. Or, Wow, so Parker still isn’t finishing their work, even though you really feel like they can do it.

Something to note here very quickly - when we listen and reflect back to the teacher what they’re saying to us, we’re going to describe the specific actions the student is taking, not the description of their character. When we’re overwhelmed, we can sometimes make accusations about a students’ character. This is very normal - Parker is lazy, Parker is manipulative, Parker is disruptive. Even though that’s understandable, it’s not very helpful. So if we can describe the actions - Parker hasn’t finished their work, Parker told a lie to a friend, Parker is yelling during class - we’re looking at the situation more realistically.

The interesting thing about this is that sometimes just sitting down to listen to a colleague can work wonders, and the situation might resolve itself. Checking in with this teacher, they might talk for a bit and then end with saying Parker will be back in music class next week. And even if that’s not the end of this portion of the conversation, we’re set up well to move forward with the next thing that needs to happen here.

Recruiting Cooperation

So after we make sure our teammate is heard, we’re ready to move onto the next phrase: recruiting cooperation. This is where we make sure we’ve stated explicitly that we’re approaching this conversation from the same side of the table.

This might sound like:

  • “You and I both want Parker to have successful time at this school, and I view both of us on the same team here.”

  • “I know we both want Parker to do well, and right now it doesn’t sound like that’s happening. I think it’s going to take a village to support this kid and I want to be on your team to help them.”

The Ask

Up until this point, we’ve spent a lot of time talking about the classroom teacher’s perspective - we’ve empathized with them, we’ve put ourselves in their shoes, we’ve thought about times we’ve inconvenienced them, we’ve listened to them, we’ve reflected their experience back…… And something is still missing: We still want Parker back in music class.

All these steps were important to lay the groundwork for this conversation. And, at the same time we don’t want to hem and haw and dance around the issue and be passive. That’s a pathway toward resentment. So bringing up our perspective might sound like:

  • “Here’s the thing. Right now Parker is missing out on x music project we’re doing, and I’d really like them to be included. Is there a way we can make that happen?”

It could even be more simple than that!

  • “I hear you. I’d really like Parker to be in music class with us. How can I help make that work?”

In answer to the original question, “how do I approach the classroom teacher about this,” the how is already spelled out beautifully! I feel those who have academic issues actually thrive in music and I want to make that decision if they can participate or not. We have the ask right there. How do we approach the teacher? We have our script already. Let’s plug it in.

  • “I’m with you. I’d like Parker to be in music class. I think our students who have academic issues actually thrive in music. I’d also like the curtesy of deciding whether Parker can participate in my class or not. Can we think of another way to redirect Parker’s behavior so they don’t miss my class?”

How can I approach the conversation?

Sometimes I wonder how to approach a conversation, and I’m actually asking a mix of questions:

  • How can I approach the conversation without feeling nervous?

  • How can I approach the conversation without feeling angry?

  • How can I approach the conversation without feeling uncomfortable?

  • How can I approach the conversation so the other person is guarantied to do what I want?

And the reality is we might have this conversation while we feel angry or nervous or uncomfortable. And the reality of human behavior is there’s not a way to guarantee we’ll get the outcome we’re looking for.

But we can speak honestly and respectfully. We can lead with empathy. We can lead by listening.

There are many possible outcomes to this conversation, but importantly, this is not going to be the only difficult conversation we have with colleagues about our programs. Depending on how this talk goes, we might need another conversation with this colleague about Parker. That’s ok.

Today we’ve talked about some ways to approach this first conversation.

There are a few resources I have found to be helpful here:

  • Better Than Carrots or Sticks: Restorative Practices for Positive Classroom Management

    • I’ve talked about this book before in episode 21 on classroom management.

    • This gives some helpful language around why punishments based in isolation can be harmful, and why a community of positive adults are necessary to reach students who are struggling. I highly recommend it.

  • Set Boundaries, Find Peace by Nedra Tawwab

    • You may be familiar with Nedra’s work already. I’m not a relationship counselor so I enjoy learning from all the amazing work she does. When I talked about approaching a conversation while feeling nervous or uncomfortable, that’s something I learned from Nedra.

  • Dr. Becky Kennedy

    • When I talk about approaching this conversation from the same team, that’s something that stuck out to me from a podcast episode by Dr. Becky Kennedy. This is not an episode about colleagues talking to each other to make sure music education is accessible to all learners, but it is an approach I’ve found to be very helpful.

  • Asking for Help, Talking to Parents, and Having Difficult Conversations - Jessica Grant

    • Episode 58 of this podcast also hits on some of these challenges. This was a conversation I had with my friend Jessica Grant who is very diplomatic and level-headed about these things.

How do we approach difficult conversations with a colleague?

We remember that we are on the same team, and we’re both looking for ways to reach a student who is having a hard time in class. For our part, we can lead with empathy and imagination. When it’s time to talk we can actually start by listening. And then we can communicate directly and without apologizing. As Jessica Grant said, “hard things are hard” but hopefully this gets us started on the first steps to approach this conversation.

Teaching Students to Play Songs by Ear in Elementary Music

 
 
 
 

A few days ago on Instagram stories we talked about playing a song by ear. And there were a few follow-up messages about how we might facilitate this process. So that’s what we’ll talk about today.

We’ll talk about what’s really happening when we play by ear, which is that we’re actually just listening and creating meaning out of the melody. We’ll talk about a step-by-step process we can use to play by ear. We’ll back up in case we need to brush up on some prerequisite experiences. And we’ll dive into a few logistics that will help things go a little more smoothly.

I remember learning to play by ear. When I was a kid, I loved playing songs by ear. It was actually a problem as I was in piano lessons because I didn’t want to read the page. (And I know I’m not alone! Maybe you can relate to this.) My sister commented to someone at our house once, “Victoria just plays all the notes on the piano until she finds the one she’s looking for.” And she was right! That was my strategy. I would sing the song one pitch at a time, and do my best to follow it up and down the keyboard. Which was fine if all the pitches were right next to each other. But if the melody ever skipped around, I didn’t have a way to know where it landed. So I would stop the song and sing the pitch I needed to play next. I would sustain that pitch and just play all the keys until I found the pitch that matched the one I was singing. But by then I had forgotten the fragments of the melody I had figured out before! So I had to back up to the beginning and get to the same spot and do the same process over again. This process took a long time. And I am confident it was not pleasant to listen to. It did work for me, I could figure out the song eventually. It just took a lot of perseverance because my strategy was essentially to bang my head against the wall until I knocked the wall down.

I was on the right track, but what I didn’t quite understand yet is that a melody lives in a scalar grid of melodic contour and intervallic relationships. So as long as you know how to think about the song there’s almost nothing between thinking it in your head and playing it on the keys.

Playing by ear is not out of reach for anyone. And it’s certainly it’s not out of reach for the elementary musicians we work with, especially because we can teach a pathway to playing by ear that is intuitive and based on some very elemental ways of knowing music.

Let’s talk about some of those ways.

Making Sense by Ear: Listening to Lines instead of Dots

If we’re going to teach how to play by ear, we’ll need to teach how to listen to music. And there are a few different approaches we could take. You might recall a few options from your aural skills days, solfege syllables or intervals (maybe your school used scale degrees my undergrad did, but I think that’s the exception). Let’s talk about solfege syllables (in moveable do), intervals, and melodic contour as the main tools we’ll utilize for listening.

There’s some interesting research that has been done about how people perceive the music they’re hearing. Are they listening to a series of disconnected pitches that when you step back, end up creating a melody? Or are they listening to a cohesive phrase that moves around scalar grid and is dependent upon tonal context? In other words, are we hearing isolated intervals, or are we hearing tonal relationships?

  • Dowling, W. J. (1986). Context effects on melody recognition: Scale-step versus interval representations. Music Perception: An Interdisciplinary Journal, 3(3), 281–296.

  • Rogers, M. R. (1983). Beyond intervals: The teaching of tonal hearing. Indiana Theory Review, 6(3), 18–34.

For our purposes today, I want to suggest that listening within a tonal context, to a melody that moves along a scalar grid, is the most useful approach. Intervals will be a part of that approach, but measuring the distance between pitches is something we’ll always do within a tonal context, as a way to describe the melodic contour. Because do re mi is a different melodic function than sol la ti even though the intervals are the same distance apart. This is one of the many reasons we use solfege syllables as the primary way to discuss melody. It has to do with listening to function instead of just listening to distance.

When we help students play by ear, one of the important things we can do is help them think about what the phrase contour looks like. We’re listening to a swoopy line that we could paint on a canvas with a paintbrush, not isolated pitches we would dab on the canvas.

We’re combining melodic contour with solfege with intervals to create a painting of the melody that we can transfer to an instrument. It all starts with listening.

Listening Experiences

When we introduce a melody that students are going to eventually play by ear, we won’t start by explaining what intervals are and we won’t start by asking them to memorize solfege syllables.

We’ll start where we always start: active, embodied, communal musical experiences. In an active music room, that looks like a lot of physical, aural, and visual modes of musicing.

Physical, Aural, Visual

In order to play a song by ear, we need to have internalized the song. How do we internalize a song? We use our senses to have repeated, active experiences with it.

I’ve talked about this in a blog post on physical preparation before, but very quickly I think it’s worth mentioning here. Physical, aural, and visual modes of musicing are ways to experience music. They are not the only modes of learning we use, but in my opinion, music can be very easily thought of as something we hear, something we see, and something we physically do.

Playing by ear is an extension of feeling music in our bodies, especially when we talk about playing songs on barred instruments. When the melody steps up, our mallets step up. When the melody skips down, our mallets skip down. So one of the important things we’ll do is find a way to show the melodic contour physically by putting the melody in our bodies. We’ve already talked about one possible way: getting out our melody paintbrush and painting the melody.

Let’s do that with a few melodies:

  • Bitonic: Jack and Jill (s-m)

    • Our paintbrush is basically just moving up and down through space

  • Tritonic: Plainsies Clapsies (s-l-s-m)

    • Our paintbrush is moving up, then down, then down. That pattern repeats over and over.

  • Tetratonic: Ickle Ockle (s-m; s-m-l-s; s-m-d)

    • The first and the third phrase looks very similar to Jack and Jill. The second phrase has a high pitch, kind of like Plainsies Clapsies. The last phrase ends on a low pitch, the lowest one in the whole song.

Sing and analyze the melody

Of the target phrase we’re working with, which word is the highest? What pitch is that? Which word is the lowest? What pitch is that? If there’s a new pitch, is it a lot higher / lower than the other pitches we know, or is it just a step higher / lower?

If all the pitches in the song are known at this point, we can sing on solfege and show hand signs.

  • Bitonic: Jack and Jill (s-m)

  • Sing and move to show: high h igh low low high high low low or s s m m s s m m

  • Tritonic: Plainsies Clapsies (s-l-s-m)

    • Sing and move to show: sol up sol mi sol sol up up sol mi or s l s m s s l l s m

  • Tetratonic: Ickle Ockle (s-m; s-m-l-s; s-m-d)

    • Sing and move to the last eight beats to show: s s m m s m s m low or s s m m s m s m d

The big part of playing by ear happens before we play a single bar. The bulk of the work in playing by ear is figuring out the solfege by ear. Once we’ve done that, there’s a direct line to the instruments.

Sing on solfege and use a visual representation

Inside The Planning Binder, the go-to visual I use for analyzing a melody and connecting it to visual representation is a barred instrument that’s placed vertically, so the low side is on the bottom and the high side is on top. I also like the visual of stairsteps. Another great visual is the five-line staff! Sometimes I combine these visuals, like putting the stairsteps on top of the barred instrument or putting the staff lines behind the barred instrument.

 
 

And at this point, we’re basically done! All we need to know is where to start our melody - what key we’re in - and then we just put the pieces we’ve been singing and moving to onto the keys.

If I tell you where do is on the barred instrument, we can figure out the rest of the solfege family from there! Because I know that a skip above do is mi. A skip above mi is sol. Re lives between mi and do. And la is a step above sol. When I know where one pitch is, I know where the entire song lives on the instrument! Because I know how all the pitches are connected to each other in the melodic line.

  • Bitonic: Jack and Jill (s-m)

    • If sol lives on C right now, we’ll skip down one to find mi (A) and we can play our song from there. If sol lives on G right now, that means mi lives on…. E because mi is a skip down from sol.

  • Tritonic: Plainsies Clapsies (s-l-s-m)

    • If sol lives on G right now, la is on A because la is a step higher than sol. If sol lives on D right now - which we probably wouldn’t do, but it’s good practice anyway - la would live on E.

  • Tetratonic: Ickle Ockle (s-m; s-m-l-s; s-m-d)

    • If we want to play the last eight beats of the song and we decide do lives on C, then that means we skip up past D so mi can live on E. And we skip up again to find sol on G.

We can transpose the song anywhere, as long as the keyboard is set up for it, because we’re looking at a relationship of connected solfege syllables.

In some situations, this is all we’re going to need to do to ask students to play a melody by ear on a barred instrument. But if this is students’ first time playing a barred instrument or playing a melody on a barred instrument by ear, there are a few steps we’re going to need to take. So let’s back up and talk about instrumental experiences.

Instrumental Experiences

The experiences we just talked about lead students to figuring out solfege by ear. Once we know the solfege of a song, it’s a very simple transfer to playing it on a barred instrument, provided we have the appropriate knowledge of the instrument mechanics, and we have some level of proficiency in playing the instrument we’re using. This is one reason we use barred instruments as the primary melodic instrumental experience. The barrier to entry is much lower than say a violin or a recorder. This is what we mean when we describe the instrument as being elemental.

For barred instruments, that mostly just means we know which is the high side and which is the low side. So let’s talk about some of the prerequisite experiences we’ll want to have.

Instrumental Mechanics

When we look at a barred instrument, we can think of it like a mountain or a pine tree, with the short side at the top, making the high sounds, and the long side at the bottom, making the low sounds.

Barred Instrument Exploration

I could probably do a whole episode on barred instrument exploration, because there’s so much fun in how we hold the mallets, how we take the bars off, how we pick up the instrument… But for now, let’s just talk about figuring out which is the high side of the instrument and which is the low side, and connecting it with repertoire.

  • Bitonic: Jack and Jill (s-m)

    • Make your mallets walk, skip, tiptoe, slide, etc. up and down the hill

  • Tritonic: Plainsies Clapsies (s-l-s-m)

    • Drop your scarf from the top of the instrument to the bottom. Throw it from the bottom up to the top, then let it fall back down.

  • Tetratonic: Ickle Ockle (s-m; s-m-l-s; s-m-d)

    • Where is your fish swimming? Let’s swim all the way to the top and splash around, then dip down to the bottom of the ocean.

  • Trichordal: Dona Arana (d-r-m; m-r-d)

    • Help Dona Arana spin her web up and down the instrument

  • Tetratonic: Let Us Chase the Squirrel (d-r-m-s; d-r-m-r; d-r-d)

    • Chase the squirrel up the tree! Chase it down the tree! The squirrel stopped on one branch, which one was it?

The first experiences we’ll have with barred instruments will probably be the barred instrument placed vertically. The next step is to move the instrument horizontally, so that the high side is on the right and the low side is on the left. But notice that the high and low side haven’t changed - we just changed the placement of the instrument.

So now we’ll do the same activities again, this time with the instrument placed horizontally.

Logistics

When students are working on playing a melody by ear, there’s some empty air time we’ll need to be prepared for in class. We want students to figure this out on their own, and in many cases, they’ll just need a few moments to noodle around before the melody is solidified. This is an example of independent work in elementary general music, which can feel a little strange to us because we’re so used to learning that takes place in an ensemble setting.

Everyone has a Job

One of the things I like to do here is to have students work with a partner to figure out the melody. This is because if someone gets stuck, they have a friend there to help them. They can also check their work together instead of always going to the teacher to ask if they’re playing it correctly.

Episode 34 was all about Strategies for Sharing Instruments and one of the most important pieces was that everyone has a job. As students are working together to figure out the melody, one partner sings and plays while the other partner sings and points or sings and does hand signs to the melody. They can sing on letter names. They can sing on solfege syllables. They can sing on text. Everyone has something to do.

Practice Sharing

I like to work toward students sharing mallets without me telling them when to pass mallets off. This is another way we can help students learn to monitor their own work - we’re not scheduling and controlling every single note they play. They have a team task they’re accomplishing together. They don’t need us. That’s the point here!

If students are ready to share mallets without our input, we can let them know how long they have to play and set the expectation that they can share without us telling them when to switch mallets. Then we can give them a heads up when time is half way over, then when they have 20 seconds left. An example script might be…. You have three minutes to work with your partner and figure out this phrase by ear. I know you don’t need me to tell you how to share. I trust you to work together as a team. Then later, You have about a minute and a half left. Just now I walked past a group and I heard someone say, “Here you go, you try now and I’ll point to the bars while you play.” That is exactly what sharing sounds like! And then just a quick note that it’s time to wrap up their melodies.

If students aren’t there yet - and that’s ok! This is a learned skill - a great boundary is to pass off mallets every other turn.

Managing Noise

We’ve talked about sharing mallets, and noise is an important consideration here. If students are using mallets, I recommend flipping them over so they’re not playing with the head, they’re playing with the end of the stick. This makes the sound much quieter!

Another option is not using mallets at all! Students can play with their fingertips instead.

Getting Started: Just one Phrase

If this is a brand new thing for your students, don’t feel like you need to tackle an entire song all at once! Choose one target phrase from a known song, and just try it. See what students are ready to do.

This can work with essentially any song you’re learning. Find a target phrase that has basically all known melodic elements. Walk through the physical and aural and visual steps we talked about earlier if you haven’t already. And then later when you sense that students are ready, ask them to figure out one phrase of the song by ear.

I wish I could go back in time and teach eight-year-old Victoria some of these things we’ll talk about today. Because when you can play a song by ear, without relying on notation, so many musical doors open up. It gives you freedom to play songs from other people just by hearing them in your head, and equally important, it allows you to take the songs you have created in your head and actualize them on an instrument.

Extending a Song Across Multiple Lessons in Lower Elementary Music

 
 

Today we’re talking about how to take one song, rhyme, or activity and extend it across multiple lessons in lower elementary music. My name is Victoria Boler and this is episode 62 of Elemental Conversations.

This is a conversation from a colleague on Instagram and they asked to talk about
”How to add variety and length when extending a song across multiple lessons for younger elementary”

This is a very fun topic for me, because the possibilities are wide open in terms of how we might iterate and reiterate experiences around a song. So let’s talk about some core questions that can frame some of these decisions, because the beauty of this topic is that we can all arrive at different correct answers, depending on how we answer these questions. We’ll look at some strategies for extending a song once we’ve answered our core questions, and then we’ll explore an example or two.

Core Questions when Extending a Song

I mentioned that this topic is fun because it’s so open-ended. There are many many ways we might choose to extend a song! And we can all come up with different pathways, because we can answer these core questions differently.

  • What am I using the song to teach? Why did I choose it in the first place?

  • How can students express the musical concept?

What Am I Using the Song to Teach?

  • What’s the pedagogical focus? Why did we choose it in the first place?

Musical Concepts:

  • This is a question about a musical concept.

  • I’m using “concept” to mean a component, or building block of music. We can have the conversation as to whether or not that’s the best term for what we’re describing. 

  • With younger elementary musical concepts might be things like fast and slow, loud and quiet, steady beat, singing voice, long and short, rhythm vs beat, or ta and ta-di.

  • The concepts we focus on will be dependent on the sequence we’re using. There are lots of sequences out there, and I’m not of the opinion that there is one set specific sequence for everyone, but in many viewpoints on music education, these early concepts of things like singing voice and beat awareness are pretty widely-accepted.

  • The question here is what musical understanding does this song point to? What musical element or core building block are we asking students to explore? This question gives us a topic to center the activities around.

How Might Students Express this Musical Concept?

Now we have a main topic to focus the learning experiences. So what might those experiences look like? This is a question about musical skills.

Musical Skills:

  • Musical skills are the doings of music. These are the musical actions we take to express an understanding.

  • In elementary general music, those doings look like singing, playing, speaking, moving, reading, writing, improvising, arranging, composing, listening, and aurally identifying.

Dispositions:

  • As we execute musical skills, we also interact with ourselves and other musicians. So part of the experience piece is also developing dispositions.

  • The national standards list:

    • Collaboration

    • Flexibility

    • Goal Setting

    • Inquisitiveness

    • Openness and respect for the ideas and work of others

    • Responsible Risk Taking

    • Self-Reflection

    • Self-discipline and Perseverance

  • Depending on your situation you might be using the CASEL SEL framework, or a state or district set of social and emotional understandings.

Lesson Planning Tools

When we have the answers to these core questions down, the lesson extensions kind of write themselves. All we need to do is put students in a setting where they can explore many different skills that point back to the pedagogical purpose.

To do that, we’ll add a few tools to our toolkit to streamline this process even more.

Long-Range Planning and Song Lists

  • Episode 23: Long-range Planning for Elementary General Music

  • When we have a clear idea of where we’re going with this curriculum, all the other decisions in the classroom become easier.

  • We can use long-range planning to get an overview of how we might spend our time in lessons. And when we have a broad view of how we might spend our time, we see how each little activity is linked to the next activity. And the activity after that and the activity after that.

  • So when we sing a song and play a game, that musical experience isn’t isolated. We’re doing it for a specific reason. The song and the game lead to the next activity. And that activity leads to the next activity. The whole process snowballs. And the great thing about that is when the lesson is over, we’ve basically already written the next lesson for next week! We don’t need to reinvent the wheel and come up with a brand new song or game or activity to teach. We don’t need to start from scratch. We just do the next artistic step with that same song. We build on the experience.

  • One specific document that can be helpful with this is a concepts and songs list. This is where we’ll take a list of concepts we’re going to teach - steady beat, high and low, long and short, etc. - and we list out the songs we’re going to use to teach that concept. This is important because the repertoire we choose sets the context for all the other learning experiences that come later. Having a collection of fun and musically satisfying materials is like having a full pantry of ingredients so we always have what we need.

Building an Activity Map

  • So now we have our repertoire. We have our concept we’re going to teach. We have a list of skills and dispositions.

  • How do these all come together in an actual lesson segment?

  • One of the tools I love to use when I feel stuck is an activity map.

  • I’ll take the concept and put it at the top of the page. Then I’ll take the song and put it in a circle in the middle of the page. Then I’ll off-shoot some thought bubbles from that middle song bubble with the labels, sing, play, move, read, write, improvise, arrange / compose, listen, and aurally identify.

  • If I were to do that with the song Bell Horses for sol and mi, I’d put sol and mi across the top of the page. In the center bubble I’ll put Bell Horses. And then I’ll have bubbles coming out of the song title with my musical skills.

    • So maybe we’ll sing the song and play the game, and I’ll put that under sing. And I could stop there. But if I’m trying to come up with many different ideas then I might want to hang out there for a bit. So I might say we’ll sing the first four beats on a neutral syllable. We could also sing it on “high” and “low” or on “sol” and “mi,” depending on where we are in the learning progression. As a B section I could sing a sol and mi melody and students could echo. Someone could sing the first four beats as a solo.

  • There are lots of possibilities! Again, that’s just under one bubble. I can do the same thing for multiple skill bubbles as well.

    • We can pretend to be horses and show the high and low sounds of the first four beats. I’ll put that under move.

    • We can play the first four beats on barred instruments.

    • We can improvise conversations about where we’re going on our horses.

  • This activity map will be tied back to our long-range plans, again, 23 has more information. Because if our end assessment for a unit involves students composing or improvising or arranging, we’re going to want to make sure our activities are leading to that final creative invitation. This activity map is a useful tool for brainstorming, but we’re going to want to make sure we’ve thought through the sequencing of what activities will come first and which ones will come later, that way we’re giving students an appropriate musical invitation in an appropriate order. Because there’s also a consideration here for whatever learning sequence we’re using to teach this concept. In my case I use prepare, present, practice, so that framework is going to guide the decisions I make about what activities to introduce and when.

  • So I don’t view this mind map as a replacement for unit planning, but I do use it as a helpful tool for unit planning because it can really get me out of a rut when all I can think to do is sing the song and play the game.

  • You see how when we look at all the musical media and skills we have access to in general music, one small song can easily take up several lessons!

Length of the lesson

  • That brings me to an important point that might go without saying, but I’ll say it anyway. When I refer to a lesson segment, I mean a short portion of the full lesson, about 2 to 7ish minutes total.

  • This is because we’re working with young students in lower elementary. So our lessons will be crammed with many different activities - maybe 10 songs or so - but each musical interaction will be pretty short.

  • We touched on this in the last episode (Episode 61 - My Students Won’t Stop Talking), but a reasonable length of time for me to stay focused is much much much longer than I can expect from a 6-year-old. So I have to remember to keep these musical interactions brief and go with students’ pacing.

  • The nice thing is, because the length of these lesson segments is so short, that makes it easy to extend a song over several different lessons! 

Song Extension Example

Let’s look at a more detailed example of how one song can live for multiple weeks. In this case its a rhyme.

Pito Pito Colorito - Ta & Ta-di 

This is from the 1st grade ta and ta-di concept plan inside The Planning Binder.  

Introduce

  • Before we even get to the musical skills, we’re going to want to introduce this rhyme! Introducing a song or a rhyme or a game could be its own conversation, but something to think about is that there are so many beautiful and artistic ways to introduce a song. When in doubt, teaching each phrase by rote is a great method. But we can also think about infusing the context of the song into the introduction itself. In this case, the rhyme is about a bird who is going somewhere. So here we go. 

    • T speaks, ss pat steady beat. This rhyme is about a bird. The rhyme asks, “donde vas tan tempranito” - where are you going so early? Where do you think the bird was going? .... Maybe the bird is driving to the beach! 

    • Speak again, ss act out a bird driving to the beach 

    • “Donde vas tan tempranito?” - Where do you think the bird was going? Ss give an answer (riding a bicycle to the store, taking a jet ski to get a sandwich, etc.) You’re CORRECT! 

    • Repeat rhyme with s ideas. Repeat the question in Spanish each round. 

    • Ss speak the first half of the rhyme, T speaks the second

    • Eventually share the rhyme translation

    • Disposition: Flexible thinking - where was the bird going? 

So that’s our rhyme introduction.

Skills

Our skills are going to be speaking, playing, improvising, reading, and arranging.

  • Speak - Speak the rhyme and play the game 

    • Disposition - Collaboration. This is a passing game, and passing games take a lot of group coordination.

    • We could hang out here and just speak the rhyme and play the game and that could be it! That would be enough. But if we’ve answered the questions from earlier, we also have more possibilities we might explore. So let’s look at a game extension.

  • Play - Speak and play game.

    • When someone is out, they choose if they’ll play the rhythm with rhythm sticks one one side of the circle, or the steady beat with a hand drum on the other side of the circle

    • Disposition - Self-discipline - What will you do when you don’t get out and you don’t get a turn with an instrument? Yikes, that's really hard! This is a skill musicians have to practice, because musicians are not always chosen for every part.

  • Improvise - 

    • Seated, pat a steady beat and speak rhyme. As a B section, T claps and asks: Where are you going? Ask four times. Ss speak and clap different answers each time (responses do not necessarily need to be and two sounds on a beat at first)

    • Examples:

      • I am going _____(to outer space / to a restaurant / to the store)

    • After a while, narrow options to answers on the board, written in text only (no notation). Speak all the answers, then repeat activity and ss choose their favorite response

    • Disposition - Flexibility and Responsible Risk-Taking - How many responses can you come up with, while keeping them within the meter? 

  • Read - 

    • Let’s jump ahead to after the presentation moment when we’re using standard Western notation for one and two sounds on a beat.

    • Sight read different options on the board 

    • Where is the bird hiding? The teacher plays a pattern and ss show which one it is 

    • Which one is your favorite pattern? Please show me on your fingers. Flap your arms like a bird when you hear it 

  • Arrange - 

    • Use rhythmic building blocks with places the bird could be going: 

    • In groups of two, ss look at the board and choose a combination to clap 

    • Practice clapping four times in a row

    • Disposition - Collaboration - Students are choosing this combination with a partner 

So for this set of activities, after the rhyme introduction, we had speaking, playing, improvising, reading, and arranging. We used several dispositions along the way: Flexibility, self-discipline, responsible risk-taking, and collaboration. All these activities pointed back to the curricular goal, ta and ta-di.

Do you see how these activities could take up multiple weeks, but it’s not the exact same activity every time? 

OK so that’s in the ta and ta-di concept plan for first grade. Just to camp out here a moment, the other songs in that same concept plan are Bounce High Bounce Low, Engine Engine Number Nine, Hey Betty Martin, Los Pollitos Dicen, Pito Pito Colorito, and Willum He Had Seven Sons. So I don’t want to make it sound like Pito Pito was the only ta and ta-di selection in there.

Pacing across lessons

  • When we talk about transitions, we might be talking about transitions that happen within a single lesson, like moving from a singing game to instruments. But we might also be referring to transitions between actual lessons themselves, from week to week.

  • Episode 47 - Concept Retention Across Several Lessons

  • When we ask students to hang onto information across several lessons, we’re going to need to do some sort of review before we jump into an extension. We need to set the context first. I envision this as looping circle line that circles back and then circles forward. In general, it’s a good idea to refresh everyone’s memory of the rhyme or song by playing the game 

  • Many of these games, even though they’re simple, they’re going to take a while for students to get the hang of. Especially if we want students to be able to sing the song and play the game without our help, it’s going to take a few iterations of exposure. 

  • Review the last class. Take in that data to see if the new extension we had planned is going to work out, or if we need to spend another class singing and playing the game - all good either way - we just need to know where we are.

Will Students Get Bored with the Song?

  • One last thing to touch on - when we talk about extending a song over several lessons, I know there’s a danger of students getting bored with the song, so I want to address that before we head out.

  • Because sometimes students are bored with the song. But sometimes we’re projecting because we ourselves are so tired of the song! 

What can we do about song burnout? 

  • Choose songs you love. 

    • If a song strikes you as cheesy or contrived, there’s probably a good reason! If we have Kindergarten every day of the week, we’re going to end up singing these songs over and over and over and over! So we need to choose songs we’re happy to spend a good amount of time with. There are so many beautiful repertoire selections to choose from. If you don’t care for a particular song, move on. Find a different one. 

  • Keep the musical interactions brief 

    • We’ve already talked about this, so we won’t camp out here. Early childhood activities are short. That’s a good thing for us. 

    • Spending four minutes a day with a song is much more enjoyable than spending forty minutes a day with a song. 

  • Change up the activities 

    • That’s what we’re talking about here. Circle back and review, then change up the activity so its fresh for students and fresh for us.

 

 

So today we’ve talked about a lot of things! We’ve looked at some core questions to ask when we’re extending a song across multiple lessons - Why did we choose the song in the first place and how do we want students to express their musical understanding?

We looked at a few tools to use for setting up activities, like leaning into long-range planning and creating an activity map. We looked at a few examples of a single song reiterated over several weeks, and we talked about transitioning between lessons by reviewing before extending.

My Students Won't Stop Talking

 
 

Hi friends! I hope you are well, I hope you are rested. Today we’re talking about the common situation - when students won’t stop talking. My name is Victoria Boler and this is episode 61 of Elemental Conversations.

This topic came from a colleague on Instagram and they asked for a conversation around “Chatty Kathys and how to help students regain focus”

So today we’re going to dive into one of the most common annoyances for so many of us. They won’t stop talking. They can’t seem to focus. It’s like I’m trying to teach a classroom of squirrels.

Let’s frame this with a few core (elemental) questions. What are developmentally appropriate and situationally appropriate expectations for talking? How are our lessons structured to support students’ motivation and focus? What are some effective strategic actions we can take in the moment - or preferably, even before the moment?

The more I talk, the more my students talk. Am I saying something worth listening to?

You can’t talk and sing at the same time. What action should they do instead of talking?

When Do Students Talk?

  • During transitions 

  • When they’re bored

  • When they’re interested

  • When they’re processing something

  • Basically all the time

Developmentally-Appropriate & Situationally-Appropriate

  • Why do students talk? If we consider behavior to be a window into a deeper need, we can add more context to the story.

  • I had this conversation with one of my nephews and I asked him if he gets in trouble for talking in class. And he does sometimes. And what he told me about it is that he wishes he could talk to everyone in his class all the time. He’s a very friendly and social kid - always has been.

  • Students talk because they are human. Humans are social. There is an appropriate developmental need to talk. If we put a social human in a room with 25 of their friends, the most natural thing in the world they will do is talk to their friends.

  • What are students telling me with their behavior? They might be telling me that my pacing is off. They might be telling me that they’re having a hard time processing something that happened outside of class. They might be telling me their teacher had them taking an hour long test right before this, and then they weren’t allowed to talk in the hallway, and they just need some time to talk! They might be telling me they can’t focus because a situation at home kept them up all night. This is what people mean with the phrase, “behavior is a window”

  • Not everything that is developmentally appropriate is situationally appropriate. But how we frame this problem will impact how we feel about the problem. I am much less frustrated by talking when I see that it is a deeply human need that a child has for social connection. When I’m less frustrated I have more room for patience and optimism. And this is a frame of mind that allows me to be more creative. Creativity thrives on optimism. I’m in a better position to solve the problem when I can approach it without anger.

  • I don’t mean to say that it’s not a problem when students talk at the wrong times. It certainly is. And it’s one of the things that makes us feel just so darn tired and depleted and frustrated at the end of the day.

Who is Actually Doing the Talking?

  • This might be a good time to bring up an uncomfortable truth - who is actually doing the talking during class time?

  • Episode 33 - How Do Music Teachers Spend their Class Time?

  • We can see in research over and over and over again that teachers talk much more than students - even when we think we don’t. That’s the interesting part.

  • I’ve videoed myself teaching and was shocked at how much I talk compared to students! Even as I was bragging to parents about how student-centered the class was, it seemed like every time I skipped anywhere in the video I was still talking.

  • This might be a case of getting rid of the plank in our own eye.

  • This is actually a good thing. If we’re the ones doing the most talking, that puts us in control of the solution. Because what we’ll talk about in a moment is that most of the time, the reason we talk so much is that we haven’t quite ironed out process teaching.

What We Can Do

  • So let’s talk about some concrete ways to help redirect students by focusing on the behavior we can control - our own.

  • The nice thing about the reality of students talking is that when we recognize our role, we have more control over what to do. If the problem is “kids these days,” there’s not much we can do. However, when our expectations are appropriate and we’ve thought through how we are going to frame the activities and guide students through them intentionally, we suddenly see how much the ball is actually in our court here.

Two Core Truths of Students Talking:

The more I talk, the more my students talk. Am I saying something worth listening to?

You can’t talk and sing at the same time. What action should they do instead of talking?

  • These are the golden rule of students talking. The more we talk, the more they talk. You can’t talk and sing at the same time. When there is any space at all to talk…… they will talk. So let’s go back to those reasons students talk and proactively address how to steer the lesson a different direction

Students Talk During Transitions

  • This one is huge!

  • If there is one thing we can do to help students stay focused, it’s thinking through transitions. When will students be moving from one location to another? We can absolutely expect talking. When do students need to set up instruments or other classroom materials? There will be talking here. When will students get ready to play a game? Again. Talking.

  • Often, we can find ourselves taking longer than we expected to set up games, pass out instruments, and move between songs. Thoughtful transitions help us prepare for where the lesson may get stuck, and how we’ll help keep the pacing upbeat.

  • All of these are transitions.

  • I’ll link a video all about music transitions that gives more specific pathways to try, but if you need something very simple and effective, my favorite transition is to have students sing while they ______. Move to line up, sing while you show you’re ready for an instrument, sing while you find a partner, sing sing sing. Whatever activity you were doing before the transition, keep doing the same activity.

    • One note here - when you do this, there will be students who don’t sing, especially at first. That’s ok because all musicians have to practice skills to get better at them. So no one is in trouble when I say to sing as you line up and four kids sprint to line up without singing. We just go back and do it again. This circles back to expectations. I expect that all musicians need practice to develop skills.

  • Another very quick drag-and-drop transition to try is asking students to echo directions - “when you get to the drums” (“when I get to the drums”) “Your hands go on your head” (“my hands go on my head”)

  • Along those lines, especially for older students you can ask them to echo a body percussion rhythm as they move. They’ll stand still when they listen and move when they’re playing. Depending on how long you’ve been at your campus and how much creative experience students have, I also love to ask students to improvise a rhythm as they move. I keep a steady beat on a hand drum and students just move and play to the new location.

  • Again, transitions are huge opportunities for students to talk and for the lesson to go off the rails! Thinking through how we will guide students from one musical part of the lesson to the other will save us so much headache.

Recap: Students talk during transitions. Have a few transitions in your back pocket like asking students sing the song, echo directions, or play body percussion as they move.

Students Talk When They’re Bored

  • If our pacing or our processes are off, students will let us know! If our lesson material is not interesting or relevant, students will let us know! Behavior is a window.

  • Let’s talk about pacing and processing. If students have to wait on us to get our process figured out, they are absolutely going to talk.

Pacing:

  • When our lessons drag on too long with any particular activity, students will let us know by talking. Most of the time in lessons that I’ve given and I’ve gotten to watch other colleagues give, when students talk it’s because the pacing is too slow.

  • I am kind of a stickler when it comes to pacing. I write in the side of my lesson plan what time an activity needs to start and what time it needs to end. The reason is not that those times are etched in stone and I need to follow the lesson plan instead of following students’ interests and needs. It’s actually the opposite. When I can make an informed decision about how long students will likely be engaged in a task, again from a child-development and appropriate expectations standpoint, I am much more likely to keep the lesson moving. Because I have to remember what an appropriate pacing flow is for me is going to be WAY longer than what’s appropriate for students. Even if I feel like an activity has a lot more meat in it, a lot more we can do, to students it feels like the activity has gone on for an eternity. And what will they do when they’re bored and they need to get up and move? They talk.

  • When we think through our pacing, we can cut our losses on a particular activity and move on to the next thing if something isn’t working. We don’t have to drag the activity out and beat it into the ground. We can move onto the next activity and always leave students wanting more.

  • Episode 37 - Organizing the Music Lesson

Processing:

  • Let’s imagine I’m giving directions for an activity. Here’s an example of something I can say to guarantee students will talk….. “OK everyone settle down. This is a really fun song I think you’re going to like. Let’s see, how should we do this… OK…. shhhh…. you’re still talking….. ok I need, no wait… I won’t start until you’re quiet….

  • Now let’s imagine that I do this instead. Students are talking. Without saying anything I do a few body percussion patterns in a row and students echo. While this is happening I’m smiling and making eye contact with some students still finishing up their conversations. I might also change my location in the room to be a bit closer to those students. Then I click to the next slide on my lesson board where I have short, actionable directions and a CTA (call to action) at the end. The CTA might be “Look at me with one eye open and one eye closed when you’ve read these directions.” “Look at me with ____a surprised face, etc.__ when you’ve read these directions” “Sit down when you’ve read the directions.”

  • The difference between the two is that in one example I hadn’t thought through how I’m going to process the game. And between the cracks as I was trying to figure it out, students were talking and that leaves me feeling more and more flustered and frustrated. In the second example I had thought through how I wanted to explain the first steps of the activity, and I wasn’t saying anything at all.

  • I know this takes extra time before the lesson to think through processes.

  • One of the key questions from the beginning was, “Am I saying something worth listening to?”

Interest:

  • We all like to learn about things that are interesting! When our lessons feel relevant to students, they’re more likely to be engaged and on board with the learning. And the opposite is true as well. If students aren’t interested in the materials we bring to class, they’ll let us know by talking.

  • This is one of the principles of Universal Design for Learning under the category of Multiple Means of Engagement. I have a blog post about this that I’ll link in the show notes.

  • Multiple Means of Engagement

Recap: Students talk when they’re bored. We can make changes proactively by thinking through our lesson pacing and our lesson processing, and by creating lessons that students are naturally interested in.

Students Talk When They’re Interested & Processing

  • Paradoxically, I’m also about to tell you students talk when there’s something interesting to talk about. I know. It feels like we can’t win!

  • But what I want to offer here is that students talking about something they’re interested in is a very different tone than students talking because they’re bored. To me this feels like a very different energy - it’s more focused and less scattered. This is actually the kind of talking that we want to hear in the lesson!

  • So the question to me when I consider this type of talking is “When do I want students to talk?” When is it appropriate, or preferable, or necessary for students to talk? Here are some examples of situations where I can take students’ natural inclination to talk, and I can help them guide it to a specific academic area.

  • Let’s imagine students are hearing a song for the first time. I’ll sing the song while we all pat a steady beat, and then I’ll ask students to turn to a shoulder partner and tell them something they notice about the song, and give me a thumbs up when they’re done. I’ll give a few seconds, then sing the song again and ask them to tell someone else what they notice. I’ll give a few seconds, then ask students to listen for how many times I sing x word, or what the highest word is, etc. and then sing the song again. And we’ll keep going like that for a few more rounds of the song.

    • The key here is that I’m asking students to talk, but I’m choosing what I want them to talk about, and I’m giving them many different opportunities to talk to multiple people in the class. I also have a CTA, a call to action, in there so it’s not “talk to your neighbor for as long as you want…” As more students give me a thumbs up the few stragglers will feel a sense of urgency to finish up as well.

  • I might also ask students to talk about something specific while they transition to something else. I’ll put a question on the board and ask students to talk about the topic as they walk to line up, or as they wait for me to give them an instrument, or something along those lines. This can be a great time to review! “Tell your neighbor how Mrs. Boler will know you’re ready for an instrument” “Tell a musician three things we did today in class”

    • Notice here that students are talking, but they’re talking about something specific.

  • We won’t go into this topic in depth here, but group work is another great example of when it’s absolutely necessary for students to talk in order to get things done. If students are working on a rhythmic building block arrangement, they’ll absolutely need to talk in order to create their idea!

Recap: Students talk when they’re interested. Build in time for students to think out loud

Quick Wins:

  • Write down directions

  • Talk quieter

  • Use a silly voice

  • Use interactive speaking (echoing, call and response, etc.)

  • Model, don’t speak

  • Practice the attention signal before its chaotic

  • Use a consistent opening routine

How Do I Want to Spend My Energy?

  • I read a Facebook comment recently about classroom management, and it was something to the effect of “I don’t like the person I turn into when my students won’t stop talking.” And if I had to guess, I would say most of us can identify with that statement. We want to view ourselves as competent, energetic, effective teachers. But when we aren’t prepared for how much students talk, we turn into frustrated, depleted, impatient teachers.

  • All the strategies we talked about today - thinking through transitions and processing, making sure our pacing is appropriate, etc. - All those strategies take work ahead of the actual lesson time. Sometimes we might not feel like taking the time to think through the process part of the lesson. We just want to jot down the song we’ll use and wing it.

  • But there’s a trade off. With the knowledge that students talking is both developmentally appropriate and inevitable, how do we want to spend our energy? We can be proactive, or we can be reactive.

Read More:

If you’d like to read more, there are two books I’ll link to in the show notes that have been helpful to me when I think about this topic.

We’ve talked about a lot today! Hopefully we can see how much control we have over our own behavior, and how taking ownership for our leadership of the classroom is the most effective step we can take toward less talking and more focus. Taking ownership for our own leadership takes time on the front end, but it saves us so much energy. Alright friends. Take care. I wish you all the best. Happy teaching.

Teaching Middle School General Music - Danielle Larrick


 
 

Today I’m thrilled to be sharing this conversation with my friend, Danielle Larrick about teaching middle school and upper elementary general music.

These grades can sometimes feel challenging to teach - our approach will look, feel, and sound very different from other grades we work with on a weekly basis. Students’ interests have shifted from their younger years, their social worlds are changing, and finding activities that match their motivation level can feel like a discouraging search.

Simultaneously, this age group is enthusiastic about ensemble collaboration, and their growing collection of musical skills and consciously-known concepts opens exciting music curriculum doors.

In this conversation Danielle skillfully walks us through ways to approach upper elementary and middle school general music. We talk about how to establish trust, what types of activities work well, and we even explore a drag-and-drop idea you can try right away to refresh your teaching.

In This Conversation:

  • 01:58 - It’s Danielle!

  • 02:30 - Danielle’s journey to middle school

  • 05:47 - What do middle schoolers need?

  • 09:01 - Establishing trust

  • 16:12 - Keeping it simple - Activities that work

  • 22:48 - Giving Options for Musical Challenges

  • 26:30 - Everyone is a Musician

  • 28:56 - Student Motivation & Activities

  • 35:09 - Danielle’s Teaching Situation

  • 36:08 - Music Workshops: Rhythm, Melody, Harmony

  • 40:45 - Structures for Classroom Management During Projects

  • 46:00 - Structuring the Chaos

  • 48:38 - A Rhythm Activity to Try Tomorrow!

  • 58:53 - Engagement and Independence

  • 02:01:29 - The Confident Music Educator

  • 02:06:10 - Quick Questions: What was a recent win in your classroom?

  • 02:07:21 - Quick Questions: What is the next teaching project you’re excited about?

  • 02:08:01 - Quick Questions: What makes you such a good middle school teacher?

About Danielle

For over a decade, Danielle has served as a musician-educator in both urban and suburban settings. She believes in the value of middle school music as a means of identity, expression, and connection. She focuses on designing practical, innovative, and engaging music curricula for middle school students. Motivated by the ever-changing trends in education, Danielle continues to write, present, and create. She is the author of “Middle School General Music: A Guide to Navigating the Unknown”(F-flat Books). In addition, she is the co-founder of The Confident Music Educator , a platform designed to support music educators of musicians in grades 5-8. She currently resides in Lancaster, PA with her husband, son, and Boston Terrier.

Email: musicalmiddles@gmail.com

Instagram: @musicalmiddles

My Teaching Schedule is Way Way Off

Listen on

Apple Podcasts | Google Podcasts | Spotify

Season 1 | Episode 59

Show Notes

Let’s take a deep breath and make a plan.

 
 

The Schedule is Off:

  • We have a hurricane moving through 

  • This flu season is supposed to be bonkers 

  • We have holiday breaks coming up 

  • We have performances we’re prepping 

  • We have everything happening all at once, and it feels so sad and frustrating to plan everything in a spreadsheet, then watch it all become irrelevant, and we’re scrambling to find something to do because all of the sudden every plan we made has completely gone out the window.

What is True?

  • Often, when I feel overwhelmed, it seems like everything is falling apart all at once. 

  • Look at your grades you’re teaching. Very likely, your situation will be something like -  Kindergarten is on track. 1st grade is basically on track but feels off track because the classes talk so much. 2nd grade I don’t even know what’s happening. 3rd grade is on track. 4th was on track but we were getting ready for a concert and now I’m not sure where we are. 5th grade is hanging on by a thread, I don’t even know. 

  • Thought: Everything is broken, I’m dropping every single plate I’m trying to spin 

  • When we get it on paper, we see that three classes are wandering around in space from a curricular perspective, and three classes are on track. 

Centering Reality

  • One possible approach: I’m either the smooth, no stress teacher of the year with everything calm and color coded, or I’m frazzled and burnt out and ready to quit my job and everything is chaos. And if I feel frazzled with one grade, it means everything is frazzled.

  • Another possible approach: There are tweaks I want to make in 2nd grade, 4th grade, and 5th grade to feel more calm in my teaching.

  • The reason this is important is that it changes the problem we’re trying to address. We’re not inventing an entirely new curriculum from scratch for the entire program that needs to last the rest of our year. We’re course correcting three grades 

  • So when we notice all-or-nothing thinking creeping in, it’s helpful to name it. 

  • It’s also helpful to name that when a grade is on course and you feel calm, it isn’t a reflection of your value as a human. When a grade is crashing around in space you feel like each class is herding cats, it isn’t a reflection of your value as a human. 

  • The purpose of the music class is not to get to half notes by January in 2nd grade.

Deep Breath & Brain Dump:

  • With the grade that feels frazzled and aimless, get out a sheet of paper or a curriculum outline, and write down what you have done. What were the musical interactions students had? Write down what you did teach.

  • Ideally this is a list of concepts with corresponding songs and games and activities and projects 

  • Sometimes though, it’s just the songs and games and activities, without being connected with a thread of concepts. That’s ok too!

  • Wherever you are, write it down.

Curriculum Outline:

  • Music teachers think vertically because most of us see the same population multiple years in a row. As students move through our program, what does the development of knowledge and skills look like?

  • This is a broad overview of the entire program, across all grade levels. What will we teach?

  • The format of this document can be anything - but consider grouping by musical elements rather than things like musical genres or how to play instruments or periods in music history. When we plan this way, the emphasis is on foundational musical elements that can be applied to pop music or recorder or listening experiences. Students can transfer their understanding across many different pathways of musicing.

  • This is the program-at-a-glance, and we can have a different list of concepts, we can have them in a different order, and we can go through them at different paces than other people. The point is not that everyone teaches half notes in 2nd grade in January. The point is that there is a logical and artistic flow of musical concepts and skills, so that students can build knowledge sequentially and move from the known to the unknown.

  • If you’re interested in hearing more:

  • Look at where we’ve been - what have we taught, what have students learned, what musical interactions have we had - and move to the next step.

Make a Plan:

Scheduling Breathing Room

  • We know the fall has disruptions. This will happen in the spring too! We can expect scheduling disruptions and concerts and sickness every year.

  • What if, every semester, you had a planned two weeks of “my brain is on fire, we need to get back on track.” You turn on a movie and do coloring sheets, or you do something on ipads that doesn’t need supervision, etc. 

  • It’s like you’re hiring a sub, but you’re the sub 

    • Or maybe - whoah - you actually hire a sub for the day and you go work at a coffee shop, then come back 

  • While students are doing the activity, you’re doing whatever you need to do. You’re organizing the room, you’re taking a breath, you’re going back to repertoire that gets you excited to teach, and you’re making a plan for how to land the plane for the next six weeks. 

  • This is one of the things I’m really happy about inside The Planning Binder - I’ve carved out time every few months for “breathing room.” It’s just empty space in an otherwise very active scope and sequence where we do a fun one-off project.

The Enemy of Understanding is Coverage

  • Howard Gardner

  • Even if you expected to be in a specific place by December, and while that can feel discouraging, I want to caution against an idea that it’s bad to go backwards and build a foundation.

  • Coverage of a document is not the goal. The document needs to be reflective of the real human musicians in the classroom. The document is there to serve a progression of understandings and skills over time.

Asking for Help, Talking to Parents, and Having Difficult Conversations - Jessica Grant


 
 

I’m excited to share this conversation with Jessica Grant! Jessica brings wisdom and encouragement to educators as they face everyday challenges of teaching music.

So often, the challenges of music pedagogy are not the things that weigh on teachers at the end of the day. Communication with colleagues, feeling overwhelmed by the workload, managing difficult student behaviors, and initiating conversations with parents or guardians can feel more overwhelming.

Jessica’s perspective is grounded both in the reality of teaching, and in optimistic encouragement for music teachers.

In This Conversation:

  • 03:03 - It’s Jessica Grant!

  • 03:12 - Jessica’s teaching situation

  • 04:54 - Teaching upper elementary and middle school general music

  • 05:52 - Music is for everyone

  • 08:33 - Self-care and teachers as people

  • 16:58 - Asking for help

  • 20:39 - Organizing volunteers

  • 30:49 - Asking for help with a team mindset

  • 36:59 - Initiating difficult conversations with parents

  • 42:27 - Building bridges

  • 47:24 - The first parent phone call

  • 54:45 - The mindset before the call

  • 01:00:06 - Information without interpretation

  • 01:00:50 - Practice with the positive

  • 01:03:08 - Start small. Start with understanding

  • 01:04:30 - Quick Questions: Why should we write?

  • 01:05:45 - Quick Questions: What was a recent win in your classroom?

  • 01:07:00 - Quick Questions: What is the next teaching project you’re excited about?

  • 01:08:58 - Where to learn more

  • 01:13:19 - Where to find Jessica


About Jessica Grant

Email: contact@jessicagrant.org

I’m Jessica Grant – a middle school general music educator who enjoys sharing music education ideas for you to use in your classroom. I believe that supporting teachers helps make life better, builds connection and allows us to remain in the education field longer because we’re doing it together. I also believe that teachers have identities outside of the classroom that need to be fostered and encouraged. We get so wrapped up in who we are as teachers that it’s easy to put our own needs as humans (roles of mom, wife, friend, etc…) to the side. So I’m here to help with that too.

Interested in working with me?  Check out The Confident Music Educator Course at www.theconfidentmusiceducator.podia.com. Danielle Larrick and I joined together to create this course for middle school general music and upper elementary teachers of grades 5-8.

I'd love to connect with you.  Follow me on Instagram @highafternoonti.  Head to my website at www.jessicagrant.org where you can get my free newsletter, read the blog, and access teaching and goal setting ideas.  Listen to the Afternoon Ti Podcast where you'll hear guests and I share music education topics to help you in your classroom.