Active Musical Experiences:
Singing
Playing instruments
Moving to music
Reading many types of notation
Writing many types of notation
Improvising
Arranging
Composing
Eat the Donut First:
Experience first
Discuss later
The First Weeks of Kindergarten Music
What to Expect
What do you like?
Eager
They don’t know you - they ignore you
Teacher Demeanor
Acting / Animation / Energy
Musical Content: Curricular Goals
Building Repertoire
Open and Closed Space
Beat Exploration
Vocal Exploration
Lesson Structure
Variety and musical exploration
The Tiny Details
Signs for sit and stand
Where Do the Standards Fit In the Music Curriculum Planning Process?
How do the standards figure into the curriculum planning process? Or would you ever plan with the standards leading the way?
I feel really…. at the mercy of the standards. They have to be really well written, and they are sometimes confusing to me. I know I have a legal obligation to meet them all, but it is sometimes hard for me to do what I think is best and let the standards drive the instruction. I’m lucky in that (___state this person teaches in__) generally does a great job with what they include, but it’s still another angle to pacify.
It’s still another angle to pacify.
Short answer: Curriculum should align to the standards you’re supposed to use
Can feel like the highest expectation with the least amount of training
What are the standards for Music Education?
State Standards
We have many states!
National Standards
We have many nations out there!
AERO standards
School outside the US
A Quick History of the Music Standards
We didn’t always have them! They have been years and years and decades in the making.
Their development parallels the evolution of American history and politics, global history (Russia), our understandings of child development, our philosophies as musicians and educators, and our values as a nation.
Music education existed in what we call The United States for thousands of years
Religious, social, pragmatic (work) education.
Boston Public Schools, 1838 - singing in the congregation - the belief that everyone has a talent from God, and when we ignore that by not educating, we are being disrespectful to God.
Early music teachers were singing school teachers who were previously working with the congregations.
1921 - A Standard Course in Music from Music from Teachers National Association (MTNA)
Aims:
Every child shall have acquired a repertory of songs which may be carried into the home and social life, including “America” and “The Star Spangled Banner.
The children shall have developed a love for the beautiful in music and taste in choosing their songs and the music to which they listen for the enjoyment and pleasure which only good music can give.
Measurements:
Ability to sing pleasingly a repertory of 30 to 40 rote-songs appropriate to the grade, including one stanza of “America.”
The reduction of the number of “monotones” to 10 percent or less of the total number of pupils.
1936 / 1938 - A Course of Study for Music
Some of the Musical objectives:
To help each individual child to use his singing voice well.
To help each individual child to respond to musical rhythm with free and appropriate movements of his body.
To bring the children into contact with a large amount of good music so that in learning to sing beautiful songs and listening attentively to compositions heard they will gradually come to hear more precisely and analytically and will through their singing and listening learn to understand the details of music better and will therefore appreciate it more keenly.
Measurements:
Can they sing many songs from memory, including a few “community” songs?
1976 and 1986 - The School Music Program: Description and Standards from MENC
This one was a big deal - we were paying attention to what other countries were doing specifically in math and science. As a music community we had the Yale and Tanglewood Symposium
Performing, Organizing, and Describing
1986 revised to Performing/Reading, Creating, Listening/Describing, and Valuing
1994 Voluntary National Music Standards:
Standards:
Singing, alone and with others, a varied repertoire of music
Performing on instruments, alone and with others, a varied repertoire of music
Improvising melodies, variations, and accompaniments
Composing and arranging music within specified guidelines
Reading and notating music
Listening to, analyzing, and describing music
Evaluating music and music performances
Understanding relationships between music, the other arts, and disciplines outside the arts
Understanding music in relation to history and culture
2014 - Core Arts Standards
Development tied to NCLB (No Child Left Behind)
Processes:
Create, Perform, Respond, Connect
Eleven anchor standards that are consistent across the Arts
The standards are an indicator of what we value as an educational community. Someone will look back on these in 20 / 30 years and have a commentary about it.
“But They Don’t Tell Me Anything”
Artistic processes vs musical skills
Where Do The Standards Fit in the Curriculum Planning Process
Broad level: artistic processes (the hats we wear as musicians)
Micro level: more nuanced
Why standards-based planning actually doesn’t work (Grade levels and no standardized instruction for music)
The standards are not the curriculum
Quick Tip for Adding More Standards-Based Teaching to Your Plans
Ask why you’re doing the activity
Ask students why they’re doing the activity, why they chose what they chose, what they think about things, etc.
Standards help us develop musical thinkers as opposed to drag-and-drop musical performers.
Long-Range Planning for Elementary General Music
Backwards planning and identifying subskills for elementary music skills
Overwhelmed with starting to plan! I’m a second year teacher - how would you start?
There are two documents that I find to be incredibly valuable as we construct a curriculum based on our own student groups. Those are a curriculum outline, and a scope and sequence. The third documents are concept plans.
Values
What is your mission statement?
This might be a statement that starts
“In this music class……”
“Music is a place where…..”
“Students in music learn…..”
What’s the whole point of what we’re doing here?
Curriculum Outline
We’ll camp here for a while.
This is one of the most helpful references we can have if we’re unsure of where to start! A curriculum outline is where we look at the big picture of our entire program, from a consciously learned concept standpoint. This isn’t the only time students will experience these concepts, but this is the time they’ll be highlighted with conscious vocabulary.
Google “Boler Curriculum Outline” to find some possible examples.
When we start planning with a curriculum outline instead of the activities, we get a more grounded sense of where we’re going.
We don’t need to search for anything on the internet that looks like a fun game - our lessons have a specific purpose because we know exactly what each grade will accomplish from a musical standpoint.
This is broken down by musical concept, rather than by things like how to play instruments, holiday themes, or music genres. This framing is about the structure of music, so students can apply that knowledge to any instrument they want, any genre, or any other musical experience.
Vertical Streams and Horizontal Streams:
Vertical streams - musical elements
Horizontal streams
Musical skills: sing, speak, play, move, read, write, improvise, arrange, compose, aurally identify
Social and emotional competencies (from CASEL): self-awareness, self-management, responsible decision-making, relationship skills, social awareness
Dispositions (from NCAS): Collaboration, flexibility, goal-setting, inquisitiveness, openness and respect for the ideas and work of others, responsible risk taking, self-reflection, and self-discipline and perseverance
There is a specific year students will consciously engage with a specific rhythmic pattern, but there’s not a specific year they’ll improvise. We improvise at every grade level, in every class.
Where to Begin:
Find a curriculum outline and adapt it for your specific situation. If you’ve been at a school for several years, write down what you know you’ve taught, then move on to the next logical thing.
If you’re new at a school, you might be prepared to start everyone at the beginning of the sequence. That’s totally fine!
Having a Progression Matters - Choose One for You
This is a common misconception about the curriculum planning process.
It’s not about whether you start with sol and mi or do re mi. It’s not about how we’re supposed to introduce notation in 2nd grade. It’s about a logical progression of musical concepts that students can build upon year after year.
If you choose to start with do re mi, know there is a lot of research behind that choice! Start with do re mi and then look for the next logical step.
Scope and Sequence
Once we know the big picture, we can break it down throughout the year. The scope and sequence is like our pacing guide for what we’ll teach and when.
Breaking down a Scope and Sequence
It’s not about sticking to the plan. It’s about having a framework.
Concept Plans
Songs to teach the concept and teaching strategies.
How will we move students through experience-based musical learning? This is where all the actual activities happen.
Resources:
Of course I need to mention The Planning Binder here.
“Boler curriculum outline” to find resources you can use
Closing Thoughts:
“I make all these plans but I don’t stick to them”
This is not about making a plan that you have to stick to. This is about having a framework for the year.
The framework is moving from the known to the unknown.
Pre-Assessments at the Beginning of the 2021 - 2022 School Year
Today I’m chatting with my good friend, Anne Mileski about assessment and curriculum at the beginning of the 2021 - 2022 school year.
This is an incredibly unique time for our industry, and it can feel tricky to know where exactly to begin. One of the tools we can use to guide our thinking is a pre-assessment.
So let’s jump in and start thinking through what pre-assessments are, and how we can use them to inform future instruction.
Classroom Management for Elementary General Music (Before the Sticker Charts)
Listen on…
Season 1 | Episode 21
Show Notes
What are some of your procedures for classroom management? I am most nervous about this. I want to build relationships with my students and have something set up that will give them a beneficial musical experience without focusing on anything negative.
Hi Victoria! I am going into my first year of teaching this August (music k-4 of course) and would really appreciate any tips/classroom management strategies that you have :) I love all of your videos, too!! They have helped me feel more prepared and given me some ideas of my own.
This is a subject for a whole book, and with very good reason.
Today we won’t cover every best practice of classroom management. But we will look at the elemental building blocks of a well-run music classroom.
Assumptions
Before we begin, let’s set the backdrop for this conversation.
Let’s assume you like your students and that they like you.
Let’s assume you communicate to your students in a way that is respectful and in a way that models how you want them to communicate with you - we don’t snap at students, we don’t raise our voice when we’re upset, we don’t use sarcasm. Our words and our demeanor are uplifting, even as we redirect behavior.
Let’s assume you’re in a healthy headspace and that you have behavioral management over your own self (there’s no mental health interview for teachers, and teaching can be a taxing job.)
Appropriate Expectations
How long is it reasonable to expect students to sit still?
How long is it reasonable to expect students to stay focused on a specific task?
How long is it reasonable to expect students to be silent instead of talking?
Developmentally, what is the role of conversation and social interaction to this student?
What is a reasonable level of impulse control?
Note: Just because it’s developmentally appropriate doesn’t mean its appropriate in every situation. Our jobs are still to help guide students to situationally-appropriate behavior. But having our own expectations set on the front end can help us make some nuanced decisions.
It is developmentally appropriate for students to push boundaries (talk, to move around, to lose focus, to play loudly on instruments, to run, to care about being first). Our job is to respond in a way that is also developmentally appropriate.
Every lesson needs a developmentally and culturally-appropriate combination of: Movement, choice, social interaction.
Redirect to an Action, not an Inaction
Active music room (research on 5th grade behavior)
What should students be doing? (Joshua Block lesson plan)
Create as many opportunities as possible for student choice
Partner with students - what are students naturally motivated to do?
It’s developmentally appropriate to talk - the answer isn’t “no talking.” The answer is that there are specific times in the class for group work where you need to talk to get something done!
It’s developmentally appropriate to move - include lots and lots of movement.
Every lesson needs a developmentally and culturally-appropriate combination of: Movement, choice, social interaction.
Every Class: Levels of Re-direction
You are the narrator - narrate before there’s a problem in a way that is genuine. Direct your attention purposefully.
Use a quiet signal
Eye contact and a smile
Proximity (respectful)
If you’re already a teacher who moves around the room, this is helpful
Discrete verbal redirection
How do you want to be redirected at a staff meeting? Can you remember a time in school when you were redirected?
To Do on A Really Bad Day
Write the names of students who are following directions, being kind to each other, doing their best. This is not a public list, and students don’t know what you’re writing. At the end of class that list goes to the classroom teacher.
This changes our headspace. From there, we can move toward repairing whatever damage just happened.
Ask the student to stay after class.
Resources:
Classroom Management for Upper Elementary Music - Blog Post
Punished by Rewards: The Trouble with Gold Stars, Incentive Plans, A's, Praise, and Other Bribes by Alfi Kohn
Teaching with Love & Logic: Taking Control of the Classroom: Jim Fay and Charles Fay
What Every Teacher Needs to Know (K - 5 Series) by Margaret Wilson and Mike Anderson
The First Days of School: How to Be an Effective Teacher by Harry Wong
Better Than Carrots or Sticks by by Dominique Smith, Douglas Fisher, and Nancy Frey
Tips for Planning Concerts
Season 1 | Episode 20
Show Notes
What is your process as you start planning programs for the year, and what tips do you have for those of use who are new to them altogether? Thanks for your input!! I look forward to hearing the podcast.
Questions:
How involved is this program? What is the scale of the production that I have the capacity to produce from a musical standpoint?
Programs take a lot of planning and logistics. What is my capacity to be a project manager in addition to a show producer at that scale?
What’s the point of the program? What do I want families, caretakers, colleagues, and the community to see from this program?
Doing the same thing at the same time in the same way I told them to do it?
What is the expectation for the program? And what is the core value of that expectation?
Spring musical / choir concert vs a time for the community to celebrate students
Backwards Plan: Content
What can students do in terms of musical skills?
Where are the opportunities for students to show what they’re learning at a conceptual level instead of what they’re memorizing?
Choose part of the repertoire
Write the program notes
Develop an ostinato for the arrangement
Decide the form
Create movements
Compose a countermelody
Backwards Plan: Repertoire
When is the concert?
What will we know by then?
How can I take out stress on the part of me and my students?
Concert is in April, we need to start preparing concert material in ______.
We need to have ___ songs ready by ____.
Backwards Plan: Communication and Logistics
Many times , most of headache isn’t about the music. It’s about who shows up when and where and what they should be wearing and what spaces are available.
With an order of program logistics, write the date something needs to be complete, and then the date you need to start thinking about the task
Where does this fall in the school calendar? Where does this fall in the school community culture? Talk to administration, sports leaders, other after-school colleagues, and middle school band directors.
How do you reserve the space?
Talk to administration, reserve the space, confirm that the space is reserved, then send an email to everyone involved as a follow-up
What communication platforms already exist? Use them at the beginning of the year and periodically leading up to the event to communicate with staff and families (Friday folders, school newsletter, front desk, etc.)
What support do you need?
An adult to help with risers (family volunteer, colleague, or custodial staff)
Someone to help move instruments
An piano accompanist if students aren’t providing their own accompaniment
Programs
Programs are an artistic and practical way to showcase musical learning. How we prepare them can make a big difference in our own peace of mind and our students’ experiences.
Opening the First Day of Music - An Elemental Conversation with Anne Mileski
Listen on…
Season 1 | Episode 19
Show Notes
Today I’m chatting with my good friend, Anne Mileski about opening routines. We’ll focus on opening the music class during the first weeks of school and beyond.
Let’s jump in!
Opening Routines to Prepare the:
Physical space
Classroom spaces
Music is learned with the body - prepare body musically
Emotional Space
Entering with a smile, eye contact, and a song
Positive behavior re-direction when necessary
Setting the tone for divergent thinking
Social Space
Welcome song, eye contact, and a smile
Assigned spots
Name game
Musical Space
What music will we walk into? Is it pre-recorded? Is it us singing? If it's recorded, is it pop, classical, jazz, reggae, gamelan ensemble, Oaxacan marimba quartet? Is it current pop or classic?
Echo rhythms, echo melodies
In later classes I have a lot of ways to mix up these warm ups. Right now the answers are probably all convergent
Echo rhythms in younger grades: beat motions
Echo melodies: melodic contour using the body
Sing together
The Root Goal:
Get to the core - what are we doing here? We’re making music with people. So let’s get to that right away.