As this couse draws to a close, I am reflecting holistically. If we are to consider technology as a means to drive music education, we need to also be certain to conserve the traditional aspects as well.
Throughout the course, we have used a variety of different programs to assist us in developing assignments and assessments. By completing projects such as this, we are able to more thoroughly comply with national, state, and local standards via incorporation of technology.
The WebQuest is an ideal way to have students complete studies in music education using technology only. We can use these for students to access important information that will enhance and supplement their knowledge base. If we would like our students to understand concepts more in-depth and then apply them to their performance skills, the WebQuest route would be successful. This was the idea behind the WebQuest that I designed over Impressionism - focusing on the aesthetics of music, and how music affects the listener.
The completion of the e-portfolio was a return to my undergraduate days as Ball State pioneered these for music educators. At the time, our portfolios were organized by the INTASC principles and the National standards. I believe INTASC is now obsolete, but it was very effective at the time. As I departed school and in the job market, I was able to send my e-portfolio link to potential employers. While my paper portfolio was far more impressive, (technology was not as affordable as it is today) the electronic version provided adequate information including my resume and philosophy of education, As Well as several artifacts demonstrating my competency. I certainly appreciate this still being a focus of Dr. Bauer.
Sunday, April 27, 2014
Saturday, April 19, 2014
Week 7
This week focused on the use of technology for the use of assessment and professional productivity. Here is where I feel technology makes its perfect fit into what we do daily. I have used a variety of technology programs to give presentations, communicate information, record data, keep student records, manage finances, as well as create assessments. I have used Microsoft Office, Movie Maker, Finale, and Charms Office Assistant.
The use of the Google tools to create assessments and presentations is great to know, since I am a Google user already. It's great that we can generate quizzes or surveys through these means, and do so quickly and efficiently. Being able to immediately share or publish this information is an incredible advantage.
The vocabulary discussed in the chapters this week were a good reminder of the vocabulary discussed in the Assessment in Music Education course last summer. The more we are comfortable with this terminology, the more effective we can be on our campuses, and with our respective administration(s).
What we can benefit from this information should be obvious - technology drives everything today. We can communicate whatever we need to with the click of a button. Our staff send weekly e-mails out through our parent liaison that describes, in detail, what is happening in the program that week. We also maintain a web page with all of our information, and a Facebook page that we send information to. I use an app called Remind101 to send text messages to students and parents.
Technology is the present and the future - use of these methods would be perfect for many of the operations in general music classrooms, but also in the administration of secondary performance classrooms. We do this every day.
The use of the Google tools to create assessments and presentations is great to know, since I am a Google user already. It's great that we can generate quizzes or surveys through these means, and do so quickly and efficiently. Being able to immediately share or publish this information is an incredible advantage.
The vocabulary discussed in the chapters this week were a good reminder of the vocabulary discussed in the Assessment in Music Education course last summer. The more we are comfortable with this terminology, the more effective we can be on our campuses, and with our respective administration(s).
What we can benefit from this information should be obvious - technology drives everything today. We can communicate whatever we need to with the click of a button. Our staff send weekly e-mails out through our parent liaison that describes, in detail, what is happening in the program that week. We also maintain a web page with all of our information, and a Facebook page that we send information to. I use an app called Remind101 to send text messages to students and parents.
Technology is the present and the future - use of these methods would be perfect for many of the operations in general music classrooms, but also in the administration of secondary performance classrooms. We do this every day.
Sunday, April 13, 2014
Week 6
This week's Module was centered around Instructional Design and Technology.
Technological advances permit educators to design and deliver instruction in ways that are far superior to the past. The wealth of resources are vast, and other web-based music materials allow for instant access to so many possibilities at the click of the mouse. Many teachers are using social media to interact with their students - I in particular use an app called "Remind 101", which is a free SMS program that permits me to text information to my students using my mobile phone, but it does not use my phone number, and the students/parents cannot text back. Programs such as these are giving teachers more freedom to connect with students without the "unethical" problems to haunt them.
The reading discussed several concepts about instruction, and how to use technology legally in these parameters. My top five list was as follows:
5. Logistics
We focused on this heavily in the summer training sessions for our district this year. We have all been provided with a copy of "The Fundamental 5" by Sean Cain and Mike Laird - we studied this book, and had multiple discussions regarding its contents. One of these fundamentals is called "The Power Zone" - it encourages that we instruct in the power zone, which involves us actually being all over our classroom, instead of in a stationary place. Talk about difficulty when you are trying to run a wind rehearsal! However, this is a part of how I set up my ensemble, so that I can be off the podium and to any player or section in the band in a heartbeat. Proximity of players to other players, where the projector is located, how the stereo system is set up; the logistics of your classroom play a highly pertinent role in the success of your instruction, and the absorption of the material.
4. Learning in Context
One of the most important statements ever made to me in undergraduate was spoken by a professor for a class that really did not hold a lot of value for music education majors: “You have to make whatever it is that you are doing relevant for you, and the people around you.” Students today DO NOT CARE about what they are learning if it does not CONNECT with them. Period. Now, consider that music students at the secondary level are generally do not require additional motivation other than they WANT to be there – there is always a small percentage of them that stay in band purely for social reasons, so making connections with them between what they like and what they can learn is essential. Our district and campus strongly promotes building relationships with all of our students, particularly those that are considered to be “at risk”. The more we can know about who we are teaching, the more we can relate our subject to their interests and what makes them tick.
3. Correcting Misconceptions
I purchased a book in undergrad called “Lies My Music Teacher Told Me”. In this book, several examples were provided of misconceptions and/or misinformation – things like “There are only 12 major scales”, and “Practice Makes Perfect”. We need to take a step back and try to understand what is realistic, and ensure that our students understand that as well. Truth be told, there are15 major scales, and only perfect practice makes perfect (practice makes permanent). To quote one of my mentors: “Even the doctor who graduates last in his class is still called doctor.” Think about that for a second – we try so hard to teach our students that less than 100% is unacceptable, (see video on YouTube by Dr. Jack Stamp http://www.youtube.com/watch?v=mw4vqll9cAM – Why Music Matters) who wants to be under the knife of the surgeon who is only correct 96% of the time? Who wants to drive over the bridge engineered by a fellow who is 99% on his calculations? We always have to be thoughtful of what the students believe they know, what they really don’t know, and be ABSOLUTELY certain that whatever we deliver to them is correct.
2. Differentiated Learning
Ultimately, this concept does not even warrant a discussion because it’s something we must do all the time in high school band. The topic as listed is only one half of the battle – not only do we need to recognize differentiated learning, we have to actually differentiate instruction. This goes back to the learning styles everyone talked about for ages: Audio, Visual, and Tactile/Kinesthetic. Beyond that, I refer back to Learning in Context. As teachers, it is part of our responsibility to know our students well enough to make our delivery methods effective for EVERY one of them. Yes, this is a pain. Yes, this is time consuming. But…so what? We need to reach “Every Child, Every Classroom, Every Day”.
1. Backwards Design
I decided to mention this point because it is such a hot topic in education today. This is another educational practice that was adopted by our district this year, so when I took the Instructional Design course, I was excited to know much of what was being discussed. Our campus has also used some of the same materials as the course (Teacher’s Toolkit), which was also encouraging. Secondary instrumental music classes are designed in this manner without even applying the moniker. Everything we do for the entire school year is based on the end result. Marching band shows are planned months in advance, using information about the students we currently have, and the ones we will be acquiring from the middle schools. Concert repertoire is studied and selected months in advance to produce a fantastic performance. Contest pieces are selected months in advance to ensure the best possible rating at contest. Solo and Ensemble, District/Region/All-State Band etudes, audition materials – all selected and provided long before they are going to be performed to ensure the success of the students. Some of these things are governed by the state; others are well within our control, but everything we do, ALL YEAR LONG, centers around the end result. We continuously ponder: where do we want to be when this is over, and will our students be stronger musicians at the end of the year because of the choices we have made?
One of the other topics discussed in the reading was Copyright, which I would have included if it was a Top 6 list. Copyright laws are stringent, and more often than not, we violate those laws. While "Fair Use" and "Fair Dealing" are terms that are thrown around by educators like it protects them, more often than not, they are still breaking the copyright law. We consider educational use - but there are correct ways to do this, and incorrect ways to do this. Just because we own a copy of something does not give us the right to make additional copies and distribute them. This is something that is very important for all educators to understand, IN PARTICULAR, music educators. Admit it, everyone has "made copies" of literature as to "not destroy" the originals.
I found it fun to revisit the concept of WebQuests again. As a student at Ball State University, we completed WebQuests as part of our MusEd courses. This is an effective means to have the students complete tasks while being in their comfort zone (behind a screen). We didn't have YouTube when I was an undergraduate, so now the extents of web-based lessons reach even further; not to mention the VAST number of other webpages that are music-centered.
Technological advances permit educators to design and deliver instruction in ways that are far superior to the past. The wealth of resources are vast, and other web-based music materials allow for instant access to so many possibilities at the click of the mouse. Many teachers are using social media to interact with their students - I in particular use an app called "Remind 101", which is a free SMS program that permits me to text information to my students using my mobile phone, but it does not use my phone number, and the students/parents cannot text back. Programs such as these are giving teachers more freedom to connect with students without the "unethical" problems to haunt them.
The reading discussed several concepts about instruction, and how to use technology legally in these parameters. My top five list was as follows:
5. Logistics
We focused on this heavily in the summer training sessions for our district this year. We have all been provided with a copy of "The Fundamental 5" by Sean Cain and Mike Laird - we studied this book, and had multiple discussions regarding its contents. One of these fundamentals is called "The Power Zone" - it encourages that we instruct in the power zone, which involves us actually being all over our classroom, instead of in a stationary place. Talk about difficulty when you are trying to run a wind rehearsal! However, this is a part of how I set up my ensemble, so that I can be off the podium and to any player or section in the band in a heartbeat. Proximity of players to other players, where the projector is located, how the stereo system is set up; the logistics of your classroom play a highly pertinent role in the success of your instruction, and the absorption of the material.
4. Learning in Context
One of the most important statements ever made to me in undergraduate was spoken by a professor for a class that really did not hold a lot of value for music education majors: “You have to make whatever it is that you are doing relevant for you, and the people around you.” Students today DO NOT CARE about what they are learning if it does not CONNECT with them. Period. Now, consider that music students at the secondary level are generally do not require additional motivation other than they WANT to be there – there is always a small percentage of them that stay in band purely for social reasons, so making connections with them between what they like and what they can learn is essential. Our district and campus strongly promotes building relationships with all of our students, particularly those that are considered to be “at risk”. The more we can know about who we are teaching, the more we can relate our subject to their interests and what makes them tick.
3. Correcting Misconceptions
I purchased a book in undergrad called “Lies My Music Teacher Told Me”. In this book, several examples were provided of misconceptions and/or misinformation – things like “There are only 12 major scales”, and “Practice Makes Perfect”. We need to take a step back and try to understand what is realistic, and ensure that our students understand that as well. Truth be told, there are15 major scales, and only perfect practice makes perfect (practice makes permanent). To quote one of my mentors: “Even the doctor who graduates last in his class is still called doctor.” Think about that for a second – we try so hard to teach our students that less than 100% is unacceptable, (see video on YouTube by Dr. Jack Stamp http://www.youtube.com/watch?v=mw4vqll9cAM – Why Music Matters) who wants to be under the knife of the surgeon who is only correct 96% of the time? Who wants to drive over the bridge engineered by a fellow who is 99% on his calculations? We always have to be thoughtful of what the students believe they know, what they really don’t know, and be ABSOLUTELY certain that whatever we deliver to them is correct.
2. Differentiated Learning
Ultimately, this concept does not even warrant a discussion because it’s something we must do all the time in high school band. The topic as listed is only one half of the battle – not only do we need to recognize differentiated learning, we have to actually differentiate instruction. This goes back to the learning styles everyone talked about for ages: Audio, Visual, and Tactile/Kinesthetic. Beyond that, I refer back to Learning in Context. As teachers, it is part of our responsibility to know our students well enough to make our delivery methods effective for EVERY one of them. Yes, this is a pain. Yes, this is time consuming. But…so what? We need to reach “Every Child, Every Classroom, Every Day”.
1. Backwards Design
I decided to mention this point because it is such a hot topic in education today. This is another educational practice that was adopted by our district this year, so when I took the Instructional Design course, I was excited to know much of what was being discussed. Our campus has also used some of the same materials as the course (Teacher’s Toolkit), which was also encouraging. Secondary instrumental music classes are designed in this manner without even applying the moniker. Everything we do for the entire school year is based on the end result. Marching band shows are planned months in advance, using information about the students we currently have, and the ones we will be acquiring from the middle schools. Concert repertoire is studied and selected months in advance to produce a fantastic performance. Contest pieces are selected months in advance to ensure the best possible rating at contest. Solo and Ensemble, District/Region/All-State Band etudes, audition materials – all selected and provided long before they are going to be performed to ensure the success of the students. Some of these things are governed by the state; others are well within our control, but everything we do, ALL YEAR LONG, centers around the end result. We continuously ponder: where do we want to be when this is over, and will our students be stronger musicians at the end of the year because of the choices we have made?
One of the other topics discussed in the reading was Copyright, which I would have included if it was a Top 6 list. Copyright laws are stringent, and more often than not, we violate those laws. While "Fair Use" and "Fair Dealing" are terms that are thrown around by educators like it protects them, more often than not, they are still breaking the copyright law. We consider educational use - but there are correct ways to do this, and incorrect ways to do this. Just because we own a copy of something does not give us the right to make additional copies and distribute them. This is something that is very important for all educators to understand, IN PARTICULAR, music educators. Admit it, everyone has "made copies" of literature as to "not destroy" the originals.
I found it fun to revisit the concept of WebQuests again. As a student at Ball State University, we completed WebQuests as part of our MusEd courses. This is an effective means to have the students complete tasks while being in their comfort zone (behind a screen). We didn't have YouTube when I was an undergraduate, so now the extents of web-based lessons reach even further; not to mention the VAST number of other webpages that are music-centered.
Sunday, April 6, 2014
Week 5
In this week's coursework, we were exposed to a variety of activities, all of which hold high value in the music education classroom.
In our discussion this week, we were prompted to reflect on how we use technology to elicit student response to music. As with much of this course, having to reflect on what we do or do not do brings us to the realization that we implement technology in our classrooms more than we understand. As stated in the discussion board post, I use YouTube to generate listening guides and reflections for my students. There are so many high quality videos of master teachers/conductors, professional performing ensembles and the like, it would be virtually impossible to run out of things to distribute to the students. As a result of a one of these listening assignments, I had a student create this image for me - I'm so humbled by and proud of this, I cannot resist sharing as often as possible:
This student was impacted by the listening in this fashion - only by being asked to sketch something if visual imagery comes to mind. I was anticipating animals, landscape, colors and things like that; but was presented with this. AMAZING! This and many other online resources can be used to supplement instruction, plus give the students the access to many of the pieces that they are playing in class every day, being played by the finest musicians.
The other educational components of this week's materials was the Instructional Software Evaluation and the Social Bookmarking project. The Instructional Software Evaluation was very useful, because it required that we searched, in-depth for effective means of instruction and/or assessment via technology. Since I teach secondary school exclusively, I selected to evaluate the SmartMusic program because of its value to the secondary school band classroom. This program provides such a valuable resource for the students AND the instructors. Its objectivity in assessment provides concrete feedback to the students and measurable data for the administration.
Social Bookmarking is something that I had never heard of until now, and I'm glad it was introduced. This makes perfect sense for all of us who are using online information to create or modify instruction, or to those who use web pages to enhance the students' learning. This type of categorization makes for a quick and easy way to access what you need when you need it. Along with this, to complete the project, we had to seek out resources either on the internet by ourselves, or using web pages or links provided for us. There were many resources that I saw that I did not know existed, so the search alone was very educational.
In our discussion this week, we were prompted to reflect on how we use technology to elicit student response to music. As with much of this course, having to reflect on what we do or do not do brings us to the realization that we implement technology in our classrooms more than we understand. As stated in the discussion board post, I use YouTube to generate listening guides and reflections for my students. There are so many high quality videos of master teachers/conductors, professional performing ensembles and the like, it would be virtually impossible to run out of things to distribute to the students. As a result of a one of these listening assignments, I had a student create this image for me - I'm so humbled by and proud of this, I cannot resist sharing as often as possible:
This student was impacted by the listening in this fashion - only by being asked to sketch something if visual imagery comes to mind. I was anticipating animals, landscape, colors and things like that; but was presented with this. AMAZING! This and many other online resources can be used to supplement instruction, plus give the students the access to many of the pieces that they are playing in class every day, being played by the finest musicians.
The other educational components of this week's materials was the Instructional Software Evaluation and the Social Bookmarking project. The Instructional Software Evaluation was very useful, because it required that we searched, in-depth for effective means of instruction and/or assessment via technology. Since I teach secondary school exclusively, I selected to evaluate the SmartMusic program because of its value to the secondary school band classroom. This program provides such a valuable resource for the students AND the instructors. Its objectivity in assessment provides concrete feedback to the students and measurable data for the administration.
Social Bookmarking is something that I had never heard of until now, and I'm glad it was introduced. This makes perfect sense for all of us who are using online information to create or modify instruction, or to those who use web pages to enhance the students' learning. This type of categorization makes for a quick and easy way to access what you need when you need it. Along with this, to complete the project, we had to seek out resources either on the internet by ourselves, or using web pages or links provided for us. There were many resources that I saw that I did not know existed, so the search alone was very educational.
Sunday, March 30, 2014
Week 4
This week was a good reminder of how well we generally have it when it comes to technology in the music education classroom. Even though there may be limitations to what we can use or have access to, developments in free materials on the internet make things even more reachable than ever.
The text discussed a variety of programs that are available, most of which I have the ability to use in my classes. Music notation software, SMARTMusic, YouTube, Metronomes, Tuners; these things are used regularly in many schools across the country. Something as simple as a metronome/tuner is considered technology, even though it seems almost "silly" to think that.
Although I did not make mention of this program in my discussion post this week, we also use a piece of online software called "Rhythm Bee" in our beginning band classes. This is something that does cost money and must be renewed each school year, but is accessed through the internet and provides a multitude of lessons about counting rhythms. I am not sure if this is being used outside of Texas, but we have been using it for the past three years, and it does seem to be effective. I would like to see it used past the beginner level, but to my knowledge, there is not an upper tier set of lessons.
The project for the week focused on using Audacity to create remixes of sound files. This program is simple enough for a novice to use with a little bit of training, and while not entirely expansive with production tools, certainly provides adequate means to be creative. I have used similar programs in the past to write/mix/produce electronic music with some colleagues, but those were far more advanced and required a lot of tutelage. But with the experience that I have, I was able to quickly manipulate the files to produce my project(s). In the Lynda chapters, there was lot of information that was certainly geared toward some of the more advanced vocabulary. Understanding sound waves and frequencies is not exactly the easiest thing to do, but having a basic grasp of how to look at those on the program is definitely needed.
Ultimately, we have a wealth of performance-based technology at our fingertips. Some of it is free, some of it costs money, but ALL of it is educationally valuable.
The text discussed a variety of programs that are available, most of which I have the ability to use in my classes. Music notation software, SMARTMusic, YouTube, Metronomes, Tuners; these things are used regularly in many schools across the country. Something as simple as a metronome/tuner is considered technology, even though it seems almost "silly" to think that.
Although I did not make mention of this program in my discussion post this week, we also use a piece of online software called "Rhythm Bee" in our beginning band classes. This is something that does cost money and must be renewed each school year, but is accessed through the internet and provides a multitude of lessons about counting rhythms. I am not sure if this is being used outside of Texas, but we have been using it for the past three years, and it does seem to be effective. I would like to see it used past the beginner level, but to my knowledge, there is not an upper tier set of lessons.
The project for the week focused on using Audacity to create remixes of sound files. This program is simple enough for a novice to use with a little bit of training, and while not entirely expansive with production tools, certainly provides adequate means to be creative. I have used similar programs in the past to write/mix/produce electronic music with some colleagues, but those were far more advanced and required a lot of tutelage. But with the experience that I have, I was able to quickly manipulate the files to produce my project(s). In the Lynda chapters, there was lot of information that was certainly geared toward some of the more advanced vocabulary. Understanding sound waves and frequencies is not exactly the easiest thing to do, but having a basic grasp of how to look at those on the program is definitely needed.
Ultimately, we have a wealth of performance-based technology at our fingertips. Some of it is free, some of it costs money, but ALL of it is educationally valuable.
Sunday, March 23, 2014
Week 3
This week was an interesting topic - these technology driven classrooms. I am a traditionalist by nature; I want students in my ensemble(s). As the director of a band program, it is my priority to see students through middle school and into the high school band program. While I can appreciate the use of technology to reach these "other 80%", it irritates me to no end when many of these students should still be in my classroom instead of some kind of alternate music classroom. I feel this is causing an uphill battle to reach higher altitudes, instead of helping with recruitment and retention. This is actually a possible "out" for students to bypass the workload of being a traditional music student and providing an alternative. I want them to keep playing their horns. We keep an open door to teach anyone who wants to commit to becoming a performing musician - just come talk to us, we'll do the work if you'll commit.
Regardless, the online program was fun. I have some experience working with electronica, so there was some familiar territory to tread here. However, there was no musical structure to learning how to use the program. If anyone were to venture into this, the products would most likely be by chance. If this were to be utilized in a setting for a music theory class or something similar, the students would actually begin to grasp musicality, theory, form, style etcetera. To just use this as a teaching method would be ludicrous, and in a sense blasphemous to those who came before us in the field.
Ultimately, I want students to become advocate as well as performers. If they can appreciate the art form at a high level, much can be gained. Using technology as a means to an end is not right, and it will be the demise of traditional programs. Most districts don't have the money to make this possible anyway - the ones who do, are VERY lucky.
Regardless, the online program was fun. I have some experience working with electronica, so there was some familiar territory to tread here. However, there was no musical structure to learning how to use the program. If anyone were to venture into this, the products would most likely be by chance. If this were to be utilized in a setting for a music theory class or something similar, the students would actually begin to grasp musicality, theory, form, style etcetera. To just use this as a teaching method would be ludicrous, and in a sense blasphemous to those who came before us in the field.
Ultimately, I want students to become advocate as well as performers. If they can appreciate the art form at a high level, much can be gained. Using technology as a means to an end is not right, and it will be the demise of traditional programs. Most districts don't have the money to make this possible anyway - the ones who do, are VERY lucky.
Sunday, March 16, 2014
Link
Here is the link to NoteFlight score:
http://www.noteflight.com/scores/view/c9f0d0276ff66d58026e0f98b6ba5e340a77cc17
http://www.noteflight.com/scores/view/c9f0d0276ff66d58026e0f98b6ba5e340a77cc17
Saturday, March 15, 2014
Week 2
This initial post is coming from 37,000 feet. Thank you Southwest Airlines!
Week two and it's focus on improvisation was enlightening. The material provided in the text about improvisational methods (by list) was a new way to categorize the approach to teaching this technique to students. As a high school student learning to improvise, I once studied a book that focused on the whole-brain/thought process. I saw a lot of similarities between that book and the Kratus list in the reading. As I posted on the discussion board for the class, I drew the parallel between the two methods and came to the self-assessed conclusion that the Kratus list provides a broader spectrum in which all of the activities would fit within.
The online programs are interesting and can be useful, but I am not connecting the technology to improvisation. This appears to be geared toward arrangement, open creativity, and things of this nature.
Week two and it's focus on improvisation was enlightening. The material provided in the text about improvisational methods (by list) was a new way to categorize the approach to teaching this technique to students. As a high school student learning to improvise, I once studied a book that focused on the whole-brain/thought process. I saw a lot of similarities between that book and the Kratus list in the reading. As I posted on the discussion board for the class, I drew the parallel between the two methods and came to the self-assessed conclusion that the Kratus list provides a broader spectrum in which all of the activities would fit within.
The online programs are interesting and can be useful, but I am not connecting the technology to improvisation. This appears to be geared toward arrangement, open creativity, and things of this nature.
Week 1
It was interesting to learn that there are technology standards in reading the text. Each year in our district, we complete what is called a Star Chart which assesses our use of technology in the classroom, what kinds of technology we have available, and what kind of training we have received. However, it has been difficult to implement technology into our daily classes because of gaps in what is there.
The Texas Essential Knowledge and Skills (TEKS) set also has technology requirements, but are not easily met for the same reasons.
I also enjoyed the program that we used to complete the composition component of the week's assignments. It was a lot of fun creating different combinations and eventually recording the final mix.
The Texas Essential Knowledge and Skills (TEKS) set also has technology requirements, but are not easily met for the same reasons.
I also enjoyed the program that we used to complete the composition component of the week's assignments. It was a lot of fun creating different combinations and eventually recording the final mix.
Wednesday, August 14, 2013
Week 8
Research has always been an intrigue. I have never thought myself bold enough to venture out into the world of research in music education, even though I am savvy enough to know its value. As an educator in the public education system, I have always thought it to be dangerous to "stick my neck out" and actually conduct research on topics that interest me. What if something I decide to pursue creates conflict, or harms my reputation? What if something I research is considered controversial, exposing, or "unethical"? Even though the truth is being sought, sometimes it seems as though it's best to leave it undiscovered. You never know what rocks you may turn over, or what kinds of snakes are waiting underneath them. If I were in a position of higher education, I would definitely be more willing to conduct research, and it likely would be required. At this point, I'm not sure how much I will actually do because of my schedule demands as the administrator of the program, and a performing musician - there's just not a lot of time. The information attained has brought much relevance with it. I know that there are techniques I can use in my own program that can assist us in making things better for our students, even using simple questionnaires or surveys. What is most important is my students' music education, and if research becomes a part of that process, then that is the path I will follow.
Having completed a Master of Education degree, I understand: the need to find better methods for classroom instruction, classroom management, how to decipher state and federal data, how to determine when a program is suffering, or when change is necessary. Sometimes it's purely a case of egocentrism, "what's in it for me?" when in fact, the focus needs to be on the development of the students. I do believe integration is possible, where there's a will, there's a way. Again, if it is the best interest of the students' education, it would be our responsibility to ensure their success.
I'm dedicated thoroughly to the action research project that I have begun in this course. I plan on furthering my work on this project throughout the remainder of the program. This particular course of research has been of peak interest to me since I was an undergraduate student of Dr. George Wolfe. I'm sure I will learn more about this topic in other courses, and as I continue to review additional literature. I am looking forward to conducting this research with my own students to determine a route of easing their performance anxiety, and also sharing my findings with the rest of campus to be used as relaxation techniques for testing.
It's going to be a fun, albeit CHALLENGING ride!
Research has always been an intrigue. I have never thought myself bold enough to venture out into the world of research in music education, even though I am savvy enough to know its value. As an educator in the public education system, I have always thought it to be dangerous to "stick my neck out" and actually conduct research on topics that interest me. What if something I decide to pursue creates conflict, or harms my reputation? What if something I research is considered controversial, exposing, or "unethical"? Even though the truth is being sought, sometimes it seems as though it's best to leave it undiscovered. You never know what rocks you may turn over, or what kinds of snakes are waiting underneath them. If I were in a position of higher education, I would definitely be more willing to conduct research, and it likely would be required. At this point, I'm not sure how much I will actually do because of my schedule demands as the administrator of the program, and a performing musician - there's just not a lot of time. The information attained has brought much relevance with it. I know that there are techniques I can use in my own program that can assist us in making things better for our students, even using simple questionnaires or surveys. What is most important is my students' music education, and if research becomes a part of that process, then that is the path I will follow.
Having completed a Master of Education degree, I understand: the need to find better methods for classroom instruction, classroom management, how to decipher state and federal data, how to determine when a program is suffering, or when change is necessary. Sometimes it's purely a case of egocentrism, "what's in it for me?" when in fact, the focus needs to be on the development of the students. I do believe integration is possible, where there's a will, there's a way. Again, if it is the best interest of the students' education, it would be our responsibility to ensure their success.
I'm dedicated thoroughly to the action research project that I have begun in this course. I plan on furthering my work on this project throughout the remainder of the program. This particular course of research has been of peak interest to me since I was an undergraduate student of Dr. George Wolfe. I'm sure I will learn more about this topic in other courses, and as I continue to review additional literature. I am looking forward to conducting this research with my own students to determine a route of easing their performance anxiety, and also sharing my findings with the rest of campus to be used as relaxation techniques for testing.
It's going to be a fun, albeit CHALLENGING ride!
Sunday, August 11, 2013
Week 7
As this term winds to an end, I force myself to reflect on the past two and half years of my life in graduate school. I have learned a great deal in my first two courses at the University of Florida. The research course has definitely been the most challenging by far of ALL of the graduate courses I have completed, but the information is very valuable.
I have to say that the importance of relaying information is crucial. Whether this is being done from the office at work, or reporting the findings of research, communication must be clear and concise. I enjoyed distributing the questionnaires for this particular week's assignment. The most encouraging aspect being that the participants were very excited about filling the questionnaires out for me. Also, there were several questions asked about where this project was headed; the interest in the topic was overwhelming.
I am looking forward to following through with this research proposal. While there is a great deal of additional organization necessary to ensure a quality product, I believe that the data gathered can help to improve performance for students of all ages. What is even more intriguing is that the administration on my campus may be interested in the results as well. If these techniques can help improve relaxation in performance settings, it could certainly help in test taking scenarios as well.
It will be interesting to see how this plays out over the next several months as this research takes place and data is continuously evaluated. My original hypothesis was incorrect, there is no correlation between 14-18 year olds and their level of performance anxiety. I expected that older students would feel more comfortable in performance settings, but some of the older students' levels of anxiety were equal to, if not higher than that of younger students.
As this term winds to an end, I force myself to reflect on the past two and half years of my life in graduate school. I have learned a great deal in my first two courses at the University of Florida. The research course has definitely been the most challenging by far of ALL of the graduate courses I have completed, but the information is very valuable.
I have to say that the importance of relaying information is crucial. Whether this is being done from the office at work, or reporting the findings of research, communication must be clear and concise. I enjoyed distributing the questionnaires for this particular week's assignment. The most encouraging aspect being that the participants were very excited about filling the questionnaires out for me. Also, there were several questions asked about where this project was headed; the interest in the topic was overwhelming.
I am looking forward to following through with this research proposal. While there is a great deal of additional organization necessary to ensure a quality product, I believe that the data gathered can help to improve performance for students of all ages. What is even more intriguing is that the administration on my campus may be interested in the results as well. If these techniques can help improve relaxation in performance settings, it could certainly help in test taking scenarios as well.
It will be interesting to see how this plays out over the next several months as this research takes place and data is continuously evaluated. My original hypothesis was incorrect, there is no correlation between 14-18 year olds and their level of performance anxiety. I expected that older students would feel more comfortable in performance settings, but some of the older students' levels of anxiety were equal to, if not higher than that of younger students.
Sunday, August 4, 2013
Week 6
The summer has drifted by quickly, no sooner did I blink than I was back in the south Texas sun for marching training. Regardless, here we are, being reflective.
This week's topics were a little easier to deal with because they were familiar. Having covered some of the data collection methods and how to break data down in the Assessment in Music course made the information comfortable to digest. Admittedly, as most textbooks, the reading isn't always easy to digest. With the intensity and rigor in the field of research, the coursework has raised a bar of demand in my arena. The last time I was required to complete this must research was in Music History as an undergraduate. My attachment to being a traditional student makes this difficult, but I'm learning as I go.
I was appreciative of the structure suggestions in the reading. The information was helpful, and it assisted in expanding my knowledge base for data collection. The assignments were also beneficial because I had to recall how to do all of those things again. The project is coming together, but what was once a thought of simplicity has become far more demanding. When I originally was going to help in the design and implementation of a similar study in 2002, I wasn't going to be doing it alone. This would have been a study between my saxophone professor and me, so we could have designed everything together. This is why Dr. Wolfe will play an important role as this develops into my thesis. His experience and resourcefulness will be of great value in this endeavor, and while we're not working side by side, we'll still be working together. This is what we planned to do a long time ago, so I'm excited to see it all come to fruition.
As the research continues, I'm more and more intrigued by how this study can be applied to general life experiences. Some people have an innate fear of night driving; could learning to use breathing help soothe this ailment? Driving in traffic, job interviews, standardized tests, DATING(?), coping with any kind of stress - this is just the tip of the iceberg. Cultures around the globe have used meditation as a means of focus and alleviating stress for generations. If a practical application can be found, why not implement it?
This week's topics were a little easier to deal with because they were familiar. Having covered some of the data collection methods and how to break data down in the Assessment in Music course made the information comfortable to digest. Admittedly, as most textbooks, the reading isn't always easy to digest. With the intensity and rigor in the field of research, the coursework has raised a bar of demand in my arena. The last time I was required to complete this must research was in Music History as an undergraduate. My attachment to being a traditional student makes this difficult, but I'm learning as I go.
I was appreciative of the structure suggestions in the reading. The information was helpful, and it assisted in expanding my knowledge base for data collection. The assignments were also beneficial because I had to recall how to do all of those things again. The project is coming together, but what was once a thought of simplicity has become far more demanding. When I originally was going to help in the design and implementation of a similar study in 2002, I wasn't going to be doing it alone. This would have been a study between my saxophone professor and me, so we could have designed everything together. This is why Dr. Wolfe will play an important role as this develops into my thesis. His experience and resourcefulness will be of great value in this endeavor, and while we're not working side by side, we'll still be working together. This is what we planned to do a long time ago, so I'm excited to see it all come to fruition.
As the research continues, I'm more and more intrigued by how this study can be applied to general life experiences. Some people have an innate fear of night driving; could learning to use breathing help soothe this ailment? Driving in traffic, job interviews, standardized tests, DATING(?), coping with any kind of stress - this is just the tip of the iceberg. Cultures around the globe have used meditation as a means of focus and alleviating stress for generations. If a practical application can be found, why not implement it?
Sunday, July 21, 2013
Week 4
7/21/13
This week certainly made me think about the topics that interest me from the standpoint of ethics. While I have a small background in the analysis of ethical scenarios from the ethics course in Administration, it did not cover the depths of research. Both of my topics can technically be considered "unethical" based on the reading. With one topic focusing on the discomfort imposed on an individual in a performance setting, the participants would be subjected to a degree of psychological turmoil. In reflection, I wouldn't compare that to locking a claustrophobic person in a small room for an extended period of time, but for some people, the performance anxiety is so severe, it causes serious mental and sometimes even physical distress (sickness). The difficulty in completing this research would be the participants I have available to me; high school instrumental musicians. I would need to approach this very carefully to ensure that no one feels obligated to participate and that those who do, are not over-stressed. As minors, any kind of project like this would require informing parents and a consent form to be kept as documentation. I think this could be hugely successful in application as the article I reflected upon for this week showed. I've been intrigued by this idea for over a decade, and would sincerely like to see it through.
The other topic could be considered "unethical" because it would focus on demographics, which in turn can easily turn into drawing parallels between negative data and ethnicity. Obviously, the goal is not to slap labels on anyone, rather purely to gather and disaggregate information to determine demographic roles in program participation and success in school. Tracking/Labeling/Targeting is all technically illegal, so as with the other topic, the research would have to be approached very carefully.
I believe any research that is done by public educators carries a certain level of risk. Conducting significant study does leave the educator exposed to potential criticism or attack. This is the same for anyone doing research in a field that is so "out in the open". However, autonomy/academic freedom/constitutional rights only carry so far in public education. Given this thought, I have been wary and shied away from any kinds of projects that could be considered even the slightest bit controversial. I have wanted to implement the studies on breathing for years, not only for my students, but to share with the administration and general population of the school. If we can pinpoint a technique that alleviates performance anxiety that doesn't involve the medical field, just think how we can increase student achievement on testing and study habits. Studies have shown that there are methods out there that calm the mind and body and productivity is increased as a result.
There is much to consider going forward.
This week certainly made me think about the topics that interest me from the standpoint of ethics. While I have a small background in the analysis of ethical scenarios from the ethics course in Administration, it did not cover the depths of research. Both of my topics can technically be considered "unethical" based on the reading. With one topic focusing on the discomfort imposed on an individual in a performance setting, the participants would be subjected to a degree of psychological turmoil. In reflection, I wouldn't compare that to locking a claustrophobic person in a small room for an extended period of time, but for some people, the performance anxiety is so severe, it causes serious mental and sometimes even physical distress (sickness). The difficulty in completing this research would be the participants I have available to me; high school instrumental musicians. I would need to approach this very carefully to ensure that no one feels obligated to participate and that those who do, are not over-stressed. As minors, any kind of project like this would require informing parents and a consent form to be kept as documentation. I think this could be hugely successful in application as the article I reflected upon for this week showed. I've been intrigued by this idea for over a decade, and would sincerely like to see it through.
The other topic could be considered "unethical" because it would focus on demographics, which in turn can easily turn into drawing parallels between negative data and ethnicity. Obviously, the goal is not to slap labels on anyone, rather purely to gather and disaggregate information to determine demographic roles in program participation and success in school. Tracking/Labeling/Targeting is all technically illegal, so as with the other topic, the research would have to be approached very carefully.
I believe any research that is done by public educators carries a certain level of risk. Conducting significant study does leave the educator exposed to potential criticism or attack. This is the same for anyone doing research in a field that is so "out in the open". However, autonomy/academic freedom/constitutional rights only carry so far in public education. Given this thought, I have been wary and shied away from any kinds of projects that could be considered even the slightest bit controversial. I have wanted to implement the studies on breathing for years, not only for my students, but to share with the administration and general population of the school. If we can pinpoint a technique that alleviates performance anxiety that doesn't involve the medical field, just think how we can increase student achievement on testing and study habits. Studies have shown that there are methods out there that calm the mind and body and productivity is increased as a result.
There is much to consider going forward.
Sunday, July 14, 2013
Week 3
7/14/13
This week has been full of re-acquainting myself with how to research a broad number of topics. During my most recent Master of Education program, the research being done was very specific and the databases were quite limited. More so, I haven't had to focus on researching literature since I was an Undergraduate, so a decade of displacement has taken its toll. In my current position, action research just hasn't taken place - we tend to be tied up enough with operating the program and fulfilling all of the responsibilities assigned by the campus and district. There's that whole compliance and accountability component of public education that cannot be avoided.
However, having completed the readings and participated in the other activities, I'm intrigued as to how I can begin implementing action research into our program essentially building into the general lesson plans. Integrating a hidden agenda never hurt anyone, right? In the long run, I'm thinking a lot more about the ailments of our programs and how we can work collectively to do the research necessary to repair those.
Through this week's assignments, a lot of frustration has surfaced since things are so much bugger now than I remember when I was at Ball State. I also am realizing how difficult it is for me to not be on the actual campus to participate in classes and visit libraries and the like. I suppose it's just a personal idiosyncrasy, or an issue of pushing out of a comfort zone. This is the first all-online program that I have ever participated, so it's an adjustment for sure.
I enjoyed having to reflect on my thoughts from week one. The topics that I listed on the discussion board are very intriguing to me, and I'm thinking that it would be worthwhile to actually complete both of those projects. I believe that the students in my program could benefit from this research and ultimately alleviate a great deal of stress for the staff. I'm curious to see where this goes...
This week has been full of re-acquainting myself with how to research a broad number of topics. During my most recent Master of Education program, the research being done was very specific and the databases were quite limited. More so, I haven't had to focus on researching literature since I was an Undergraduate, so a decade of displacement has taken its toll. In my current position, action research just hasn't taken place - we tend to be tied up enough with operating the program and fulfilling all of the responsibilities assigned by the campus and district. There's that whole compliance and accountability component of public education that cannot be avoided.
However, having completed the readings and participated in the other activities, I'm intrigued as to how I can begin implementing action research into our program essentially building into the general lesson plans. Integrating a hidden agenda never hurt anyone, right? In the long run, I'm thinking a lot more about the ailments of our programs and how we can work collectively to do the research necessary to repair those.
Through this week's assignments, a lot of frustration has surfaced since things are so much bugger now than I remember when I was at Ball State. I also am realizing how difficult it is for me to not be on the actual campus to participate in classes and visit libraries and the like. I suppose it's just a personal idiosyncrasy, or an issue of pushing out of a comfort zone. This is the first all-online program that I have ever participated, so it's an adjustment for sure.
I enjoyed having to reflect on my thoughts from week one. The topics that I listed on the discussion board are very intriguing to me, and I'm thinking that it would be worthwhile to actually complete both of those projects. I believe that the students in my program could benefit from this research and ultimately alleviate a great deal of stress for the staff. I'm curious to see where this goes...
Sunday, July 7, 2013
Week 2
7/7/13
With the second week of Research in Music Education completed, I have found myself drawn to the discussion of variables in research. I suppose, more so, that it's the variables in application to what is occurring in my classrooms each day. Independent Variables versus Dependent Variables - the verbiage is actually quite deceptive. When we consider the term "variable" we think of things that can be manipulated or solved for, like in mathematics. Whereas, in this case, we have more of a "cause and effect" scenario, technically, VERBATIM. The independent variables are the ones that can be more adjustable, the "what can we check" item of the research. We can vary the ways that we look at things and determine what exactly we are trying to find. I am looking at this almost like an equation: X+Y=Z. The independent variables (X,Y), when researched will eventually result in a definitive answer (Z). At least this is my interpretation of the procedure, ergo my formulated opinion.
What are the variables in my own setting that are independent? If we are seeking to answer specific questions about productivity in the program, are we looking at the proper things? This is where the information gathered in the reading is becoming more useful. As with the assessment course in the previous term, the verbiage and terminology is exposing a great deal to me that I did not fully understand or appreciate in the past. This is why I am here - to grow professionally for myself and the people around me.
With the second week of Research in Music Education completed, I have found myself drawn to the discussion of variables in research. I suppose, more so, that it's the variables in application to what is occurring in my classrooms each day. Independent Variables versus Dependent Variables - the verbiage is actually quite deceptive. When we consider the term "variable" we think of things that can be manipulated or solved for, like in mathematics. Whereas, in this case, we have more of a "cause and effect" scenario, technically, VERBATIM. The independent variables are the ones that can be more adjustable, the "what can we check" item of the research. We can vary the ways that we look at things and determine what exactly we are trying to find. I am looking at this almost like an equation: X+Y=Z. The independent variables (X,Y), when researched will eventually result in a definitive answer (Z). At least this is my interpretation of the procedure, ergo my formulated opinion.
What are the variables in my own setting that are independent? If we are seeking to answer specific questions about productivity in the program, are we looking at the proper things? This is where the information gathered in the reading is becoming more useful. As with the assessment course in the previous term, the verbiage and terminology is exposing a great deal to me that I did not fully understand or appreciate in the past. This is why I am here - to grow professionally for myself and the people around me.
Sunday, June 30, 2013
6/30/13
The first week of Research in Music Education has been enlightening. While this idea can be intimidating, more so avoided, I believe professionally that doing more research, or research in general can benefit me, my staff, my students, and all of the programs. We can likely improve upon all of our methodologies, find more in-depth information about our students and their backgrounds, pay innate attention to what works and what doesn't etc.
As educators, we need to remember it is OUR responsibility that EVERY student is enriched by what we do. Sometimes that requires stepping out of our comfort zone, just like we expect of the students. Food for thought...
The first week of Research in Music Education has been enlightening. While this idea can be intimidating, more so avoided, I believe professionally that doing more research, or research in general can benefit me, my staff, my students, and all of the programs. We can likely improve upon all of our methodologies, find more in-depth information about our students and their backgrounds, pay innate attention to what works and what doesn't etc.
As educators, we need to remember it is OUR responsibility that EVERY student is enriched by what we do. Sometimes that requires stepping out of our comfort zone, just like we expect of the students. Food for thought...
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