This Is Your Mrain on Busic

This past October, I had the pleasure of meeting Christopher Woodside (@MarylanDChris), Assistant Executive Director at National Association for Music Education (NAfME) and music lobbyist, at the PMEA District 7 Music Conference. He opened the conference with a talk about reinventing music advocacy, which inspired a previous blog post on this.

Me and Chris Woodside at PMEA District 7 Conference. Photo by me.

Me and Christopher Woodside at PMEA District 7                   Photo by me.

Christopher’s National Voice of Music Education talk brought focus to the idea that music educators we are advocating that learners participating in music helps score better on standardized tests. This is what we think that administrators and classroom teachers want to hear and will keep us in our classrooms. This is one way of advocating. NAfME and the Broader Minded movement has another idea.

I share the belief that music positivley impacts academic achievement. I think that it goes beyond that. Understanding the world better is a residual of learners engaging in the authentic processes of creating and expressing musically. Music shapes the way our students understand themselves and the world around them. The Broader Minded Movement asks everyone to think beyond the bubbles of standardized tests and educate the whole student.

Here is the thing, learning is learning and thinking is thinking. Content areas are a way to curate thinking, much like hashtags. Teaching conceptually and through processes makes the learning holistic. There are unique ways of knowing the world through music that beings out expressive qualities in learners. Performing, composing, arranging, remixing, and genre shifting are a few processes in which learners are asked to collaborate, think critically, communicate, create, revise, and make decisions, all within the constraints of an essential question.

The video below shows how music can be a way to model and practice grit. “I wasn’t good when I started playing music, but I kept practicing and worked hard because I loved it, and I got better. I got blisters on my fingers when learning the guitar, but I played through them and it has made all the difference.”

If you think there is more to a music educate than scoring higher on a standardized tests, please consider joining the Broader-Minded: Beyond The Bubbles Movement and Share Your Story Here.

Thank you NAfME and Christopher Woodside for advocating for us. Read the Press Release Here

From NAfME

From NAfME

BubblesLogo

Voice and Choice in Music Education

Image from www.freegreatpictures.com

Image from www.freegreatpictures.com

Technology integration is most effective when it provides a transparent scaffold within a musical learning experience. The technology provides a differentiated experience from learner to learner, where music learners can have their voice and choice in deciding which technology best suits their needs and how they choose to use technology to support their musicianship. However, it is important not to concentrate too much on the technology itself. The music must remain the focus of the learners’ experience, with the technology becoming a vehicle for learners’ musicianship. Technology simply provides musicians multiple pathways to express, problem solve and show understanding of learning goals, thus fostering divergent thinking.

I have experienced a shift in the culture of my classroom. I find that learner/musicians engage deeply in experiences that connect to the music that is the soundtrack of their lives. It is relevant, current, and forward-thinking; they see themselves as innovators and creators of new music. It is a new mindset, and technology is at the forefront of this seismic shift.

Digital musicians must find a distinctive musical “voice.” They may build on what has gone before, so they may sidestep existing work. Either way, they become a new kind of musician: one who originates and performs, who creates and produces, and who harnesses the potential of technology in new and exciting ways. (Hugill, 2012)

When music learners are given these choices, they begin to take more ownership of their learning and construct their own understanding within an inquiry-based learning environment. Creating opportunities for musicians to show their understanding of musical concepts in their own way nurtures an environment where they feel valued and honored. This model also fosters divergence in the ways different musicians interpret and create music. While some may choose technology, some may prefer creating music with acoustic instruments, and still others may opt for a cappella. The important idea is that all are acceptable. We, as educators, just need to ensure that all are available. Making music on acoustic instruments has been accepted as a way of being a musician for a long time; it is making music through technology that we must now also consider valid.

While it is tempting to just dabble with technology in the musical classroom, it cannot be simply an extra “add-on.” Learning to use technology as a musician should be one of the core processes in the classroom. Technology should be ubiquitous, transparent, and ever-changing; it must constantly evolve along with learning. Educators should not simply plan “Technology Tuesdays” or tell students, “When you are finished with your work, you may play a game on the iPad.” Because learners are not inherently born with an understanding of how to use technology, they need to engage in experiences that foster their understanding of its appropriate uses. If the only way learners use technology in a classroom is to play games after they are finished with a lesson, they will come away believing that is all music technology can be. Instead, technology must support music learners’ engagement in new musical experiences in new ways.