curriculumstudieskyliestacey

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Week 9 - Conversations that Matter

If conversations with our students actually form a part of the greater “curriculum of learning”, conversations within our teacher peers form a part of our own growth development as teachers. I truly believe that when we open our minds and hearts to glean and learn from each other, we grow. This can take practice to move away from our natural human-hood attitude of “I’ve got it all sorted” to a less ego-based framework.

Professional conversations are conversations that help us grow to be better professionals. As teachers, they can be centred around topics such as pedagogy, assessment styles, content, best teaching practices, how to creative best learning environments for students with IEPs, use of technology in the classroom, how to handle challenging behaviours and student wellbeing. 

Professor Helen Timpley, Professor of Education from the University of Auckland discusses six “Enablers” that support professional conversations. These enablers impact the quality and outcome of the conversations: context, relationship, resources, knowledge, processes and culture. 

And while conversations can take place formally such as in staff, stage or pre-arranged meetings with individual teachers, they can also occur informally as we interact, observe and learn from each other over lunch or down the hallways.

Image of teachers conversing (Four Tips for Aligning and Integrating Social-Emotional Learning, 2018)

If we learn from each other, put it into practice, reflect and move forward, we are moving towards becoming proficient and highly accomplished teachers, according to the Graduate Teaching Standards (6.3 and 6.4).

References

Teaching conversing [image] (2018). Retrieved November 3, 2021, from https://www.cfchildren.org/blog/2018/09/four-tips-for-aligning-and-integrating-social-emotional-learning/

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Week 7 - deepening music learning with PBL

Project Based Learning (PBL) is a teaching and learning method, that helps students to become more responsible in their education. It involves students responding to a question, problem or challenge, that drives their learning over an extended period of time. Students often work in groups and at the end of the learning period, they either present a product or presentation to an audience. While this learning is taking place, ideally, they are engaging in skills that build the 4 C’s - creativity, collaboration, critical thinking and communication. (Buck Institute, n.d.)

In a music program, the use of PBL can be used to explore ideas such as creating a music newsletter for their classroom, writing an advertising jingle or 2-3 minute sound track, creating videos instructing future music classroom students on concepts that they have learned, creating a remix of a song to perform, creating a musical event such as a bush dance evening or song writing workshop, or using technology programs to write music (Grand Canyon University (2021). PBL in the music program could even delve into more philosophical issues such as exploring the connections between music and science, music and justice issues or the role of indigenous music in society. 

Some tips given by educators include ensuring student ideas and “buy in”, providing key markers along the way for submission of draft ideas, and ensuring there is a solid purpose or audience. (Buck Institute for Education, n.d.)

The challenge with PBL is devising a method that assesses the skills of creativity, collaboration, critical thinking and communication. These are more challenging skills to assess, but incredibly worthwhile skills to focus on to ensure that we are equipping students for lifelong learning.

References:

Buck Institute (n.d.). What is PBL? Retrieved September 14, 2021, from https://www.pblworks.org/what-is-pbl

Buck Institute for Education (n.d.). PBL in a music programme. Retrieved September 14, 2021, from https://my.pblworks.org/resource/blog/pbl_in_a_music_program

Grand Canyon University (2021). Project-based learning in music classrooms. Retrieved September 14, 2021, from https://www.gcu.edu/blog/performing-arts-digital-arts/project-based-learning

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Week 4: The bigger picture

During this season of pandemic, the issue of individualism—that is, concern for oneself can dominate over concern for the community at large—has caused division in our nation. Reflecting on this in the school context, I believe that if schools were to embrace individualism over the whole, equity in the schooling system would crumble. 

We are fortunate that each Australian school is part of a bigger picture, a picture represented by local council, state and federal requirements. These requirements are present to ensure that all students in Australia are on a steady, equitable, progressive path of learning. The curriculum provides goals for learning that teachers work towards with their students. And as Williams (2019) points out, curriculum is not static, but changes to “reflect the current needs of students and society at large.”

Assessment compliance in the music classroom might initially look daunting, however, learning to plan well is the key. Each year a Scope and Sequence needs to be designed. This is a learning plan for the year. This document ensures that topics selected offer variety, providing areas of interest and engagement for different students. It ensures that all the concepts of music are covered, all outcomes are covered and assessments are planned. 

Assessments must include assessing students on performance, composition and aural/listening. In Stage 6, musicology is also assessed. 

Finally, a curriculum is like a road map. While it’s fun and adventurous to take diversions occasionally, the curriculum helps us get to the place we want to get to. It is our map to helping students learn.

Reference

William, M. (2019). Why is curriculum important? Retrieved August 24, 2021, from https://www.classcraft.com/blog/why-is-curriculum-important/

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Week 5 - Unit planning. What type of trip are you taking?

While the initial thought of writing unit plans may cause one to sigh, roll eyes or duck under the covers, writing a unit plan should ideally, build enthusiasm and excitement for your teaching. The unit plan is the heart of what we will be imparting to our students.

There are some key points to consider when writing a unit plan.

Firstly, you need a WHY—where are we heading? Where is our road map taking our students? What are the skills and abilities we wish our students to acquire? What is the knowledge we wish for them to attain that is useable and relevant for their future selves? If we consider the “backwards by design” approach where we look at the skills acquired, the evidence needed to show the skills are acquired, and finally the learning experiences it takes to build those skills, we will end up with a unit plan that has direction.

Then we have the WHAT. What type of vehicle are we using to get to our destination? A rickety old machine that is about to fall apart, or a brand new, functioning vehicle destined for success? When we plan our units, we must ensure we have all the right parts and structure. We must ensure our teaching is aligned with the scope and sequence and all outcomes required to be covered. We consider what type of assessment we wish to use, the content we wish to teach, the resources we have available and what learning experiences are going to engage our students to make their eyes sparkle. 

The WHO is crucial. Who is hopping in our learning vehicle? Getting to know our students, finding our their learning styles, talking to other teachers and exploring what engaged this group of students and what specific needs they may have have, is crucial to personalising your program. Providing differentiation for those who need extra support or those who can dig deeper, helps meet the needs of your students.

Finally, HOW we drive, counts. As teachers, we should never be afraid to seek wisdom, ideas and assistance from other teachers. Many have stood before us, and have much to offer. And our driving, oops, planning must, must, MUST be done with enthusiasm if we are to pass on a love for learning. “Nothing ever good was ever done without enthusiasm.” If we are to help nurture learning for life, our enthusiasm must be contagious. 

What type of trip are you taking your students on?

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Week 6 - Holistic Learning in Music Classes

Just like curriculum embraces each learning moment that takes place within a school setting, holistic learning embraces moments that present opportunities to learn within and beyond the syllabus. Holistic learning recognises each part of the students which I personally like to call SMILES - Social, Motor and Movement, Intellectual, Language, Emotional and Spiritual. Each of these is vitally important to the healthy development of students.

So how can a simple music class embrace all these aspects? That is the challenge! 

The syllabus provides a framework to equip teachers with a checklist to ensure the teaching of content is inclusive of holistic development. We have the General Capabilities which include literacy, numeracy, ICT, critical and creative thinking, personal and social capability, ethical understanding and intercultural understanding. The syllabus also provides cross-curriculum priorities—engaging in learning moments that highlight Aboriginal and Torres Strait Islanders, Asian connections and Sustainability issues. 

Clearly, not each class can accomplish each of these aspects, so we must look at creating opportunities throughout the year to connect in these thought spaces. 

Literacy and numeracy are both areas in which music can easily address. Literacy components in a music class can include the learning of new vocabulary, writing lyrics and looking at the meaning of lyrical content, writing musical reflections, musical analysis and learning how to read notation. Numeracy and music are highly interconnected. The recognising of musical patterns, counting beats, measuring duration, learning the language of musical symbols, groupings, accents and metres are all mathematical concepts. It has been said, “Music is mathematics, the mathematics of listening, mathematics for the ears.” (Karlhinze. Stockhausen)

Our goal as music teachers is to ensure that every opportunity is grasped to learn beyond even music itself.

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Week 8 - ICT in the music classroom

ICT. A blessing or a curse for the classroom? Ten years ago, many argued that it was the future. The best way forward. Innovation. Creativity. Inspiration. 

Today’s teachers are not so sure. Distraction in the classroom through the availability of ICT tools such as smartphones, access to google and more, can tarnish all the gloss from shining on these tools that were introduced with well meaning and hope.

Because technology is not going away, but rather, ever more increasing in possibility and potential, today’s progressive teachers are looking for ways to utilise technology in the classroom in a way that is profitable for everyone, including the teacher themselves. And because there are so many possibilities available that promise so much, the teacher themselves really needs to filter through the options and select with care, apps, programs, tools and other resources that are going to inspire their students in deep learning. 

There are so many options to incorporate ICT in the music field that it can seem overwhelming, but also holds so much potential for learning. Waddell and Williamon (2019) state that “technology has become a presence, if not a requirement, in musical creation, production, expression, dissemination, promotion, and consumption”. The possibilities may seem overwhelming to many teachers. With a passion to simplify the process of discovery for teachers, Katie Wardrobe from Midnight Music (https://midnightmusic.com.au) supports teachers in incorporating ICT in a way that fosters creativity, increases productivity and enhances learning through her podcast, blog, workshops, training and online courses. 

Image of technology in music classroom (Tech & Learning, 2020)

Hilkemeijer (2021) says that when we integrate ICT in the classroom, we need to observe where the students are currently at in the key components of ICT capability, plan to build knowledge and skill in each of these components, embed the ICT in a meaningful and purposeful way, select the most appropriate tools to do so and then practice formative assessment strategies, primarily, observation.

While a complex scenario, it certainly is one worth exploring in order to create a deeper learning experience for our students in the 21st century.

References

Waddell, G. and Williamon, A. (2019). Technology use and attitudes in music learning. Retrieved September 24, 2021, from https://www.frontiersin.org/articles/10.3389/fict.2019.00011/full

Hilkemeijer, M. (2021). How to successfully integrate ICT in your classroom today. Retrieved September 24, 2021, from https://www.ictesolutions.com.au/blog/how-to-successfully-integrate-ict-in-your-classroom-today/

Technology [image] (2020). Retrieved November 3, 2021, from https://www.techlearning.com/news/how-its-done-enhancing-music-class-with-technology

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Week 12 - Connected and Current - How?

Connection matters in life. It provides us with a feeling of support and purpose. Our wellbeing improves. We live life happier. 

Connection image. (The importance of connection, n.d.)

We know this is true for our life at home, with family and friends. And we know it’s true in the teaching space.  Connection with our students, parents, colleagues help us become the best teacher we can be. Why? When we know our students, we are able to prepare relevant materials and learning for them. Knowing their histories, their families, all helps to build more authentic learning experiences as we seek to connect new knowledge with who they are and where they come from. Connecting with colleagues helps us to consider new ideas, confront limits of our own knowledge, learn new ideas and strategies, and provide support for each other.  

The online world also enables us to connect with other like-minded colleagues around the world. Joining forums for specialised teaching areas such as music, enables us to ask questions and share information and support each other. Subscribing to professional journals and newsletters helps us receive current information. Attending professional development seminars or courses helps you up skill and gain fresh insights. Joining professional organisations such as The Music Teacher’s Association of NSW or The Australian Society for Music Education ensures we are connected with current education matters, pedagogy and support. 

Finally, remaining connected and informed with the governing bodies such as AITSL and NESA in Australia, ensures that we are up to date with what the education system requires, and being aware of the resources they provide.

But the big question is “why”. Why does it matter that we remain connected and current? The research tells us that the best educators are those who constantly seek to improve their practice and who engage with their parents, engage with professional learning and engage with their colleagues, teaching networks and broader communities.

References:

Australian Professional Standards for Teachers, AITSL, Retrieved October 28, 2021, from https://www.aitsl.edu.au/teach/standards

Australian Society for Music Education, Retrieved October 28, 2021 from https://www.asme.edu.au

Connection [image] (n.d.). The importance of connection. Retrieved November 3, 2021 from https://www.positivediscipline.com/articles/importance-connection

Connections matter. Beyond Blue. Retrieved October 28, 2021, from https://www.beyondblue.org.au/who-does-it-affect/older-people/connections-matter

Heick, T. (n.d.). What happens when teachers connect? Retrieved October 28, 2021, from https://www.teachthought.com/pedagogy/when-teachers-connect/ 

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Week 10 - Reflective Practice

I remember the first time I finished marking assessments after teaching a music unit to a group of Year 6 students. I walked away wondering, “What had my students REALLY learned?” In talking with a colleague, I tentatively asked, “Is it OK for me to do things differently next time?” I was waiting for that look of condemnation that reflected that I must have done a poor job, but she said, “Of course! We all do that. That’s how we learn and grow as teachers.” Ah, relief! I learnt immediately that if I didn’t meet expectations the first time around, I wasn’t guilty, I wasn’t inept, I wasn’t hopeless. I was ready to learn, try new things, and become an even better teacher next time.

I have come to appreciate the need to put time aside to reflect—whether it be straight after a class, at the end of a term, in a day put aside, or even just an hour here or there looking over programs. Reflection offers us the opportunity to dig deep into our processes, our choice of resources, and our inclusion of things like the General Capabilities into our student’s learning. 

The journalling image (Pexels, n.d.)

As a teacher, there are various ways we can get feedback from others. We can ask our students for feedback. Ideas could include a quick score for engagement and enjoyment, checks on learning through exit tickets, or surveys at the end of each unit. We can ask our colleagues for feedback through observations, sharing videos of classes we’ve recorded or conversations about teaching and learning strategies. Another idea is to develop a shared journal within a teaching cohort where a small group of teachers can reflect together.

We can also take time to reflect ourselves. Journalling or blogging about what worked or didn’t, scoring our classes, being honest—but not critical— of ourselves. Allowing ourselves to make mistakes, look at them honestly and grow, is a mature way to approach life as a teacher. 

As teachers, we want to thrive, not just survive, and becoming a reflective teacher allows us to take care of ourselves in a way that’s sustainable. Reflection also empowers us to find the joy in learning and investigating the teaching/learning process. Although teachers are time poor and have lots of competing priorities, carving out some time in a week, term and year for reflective practice will help make you a better and happier teacher!

References

10 ways to be a more reflective teacher (n.d.). Teach Thought. Retrieved October 15, 2021 from https://www.teachthought.com/pedagogy/ways-to-be-a-more-reflective-teacher/

Journalling [image] (n.d.) Retrieved November 3, 2021, from https://www.pexels.com/search/journaling/

Taggart, G. (2005). Promoting reflective teaching in teachers. Corwin Press, California.

Teachers looking inward: reflective teaching strategies to improve classroom effectiveness. (2021). Bright Hub Education. Retrieved October 15, 2021 from https://www.brighthubeducation.com/teaching-methods-tips/92097-reflective-teaching-strategies/

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Week 11 - Equity versus Equality in the Music Classroom

There is a fence that is difficult to climb. There are two young boys wishing to climb over this hurdle, one being taller than the other. Should I provide each child with the same bench in order to provide equality? Or shall I provide a taller bench to help the shorter child in order to provide equity and equal opportunity? “Equity recognizes that each person has different circumstances and allocates the exact resources and opportunities needed to reach an equal outcome” (Milken, 2020). Equity recognises that the world is not an even playing field, and there are many circumstances that lead to challenges for children at school—trauma, ELL, special needs, poverty and racial bias are just a few. 

Image of Equity versus Equality (Online Public Health, 2020)

 In the music space, there are some practical things we can consider as we journey towards an equitable music classroom:

1. Know every child. Become a close watcher of your students—what they love, struggle with, what instruments they have had exposure to, what music they like to listen to, and what they enjoy doing outside of school. Embrace the concept of storientation—learn to listen before telling. Each child is more than a single story. The more you know about the child, the more you can differentiate and provide equitable strategies.

2. Building on this, consider informal assessment as your best friend. Lean into the child’s learning. Use proximity as your tool. Carry a clipboard around with you to take notes on what you observe. Note down if they are having trouble with reading notation, singing in pitch or finding the rhythm in their bodies. What we don’t know, we can’t support.

3. Become a warm demander (Sarif, 2015). Provide realistic challenges that the child can reach. Expect the best from the child, convince the of their ability and be committed to help them attain. Make the time to spend one on one time as needed. 

4. Make physical accommodations as needed. Left handed students may require a different guitar set up. A child with cerebral palsy may need a partner to help support a drum. Ensure students who struggle with loud noise have easy access to a quieter space.

5. Provide alternative resources and student choice. While equality means giving everyone the same resources, equity means giving each student access to the resources they need to learn and thrive (Safir, 2016). In the music space, this may include providing choice board options, tic tac toe activities, providing scaffolding materials to help learning like colour coded notation sheets and including activities that students can work through at their own pace. Including instruments and activities that are accessible for all learners— body percussion, hand drumming and singing—creates an inclusive classroom. 

6. Embrace culture. Through the lens of culture, we make sense of the world. Let’s not be culture-blind. Culture provides a rich resource for learning. Include music from your student’s cultures as examples to listen to or play. Study instruments from various music cultures. Affirm and acknowledge the power of music around the world and how it connects us as human beings.

References

Equity versus equality [image] (2020). Retrieved November 2, 2021 from https://onlinepublichealth.gwu.edu/resources/equity-vs-equality/

Milken Institute School of Public Health. (2020) Retrieved October 22, 2021 from https://onlinepublichealth.gwu.edu/resources/equity-vs-equality/

Safir, S (2015). The power of story in school transformation. Retrieved October 22, 2012, from https://www.edutopia.org/blog/power-of-story-school-transformation-shane-safir

Safir, S. (2016). Equity versus Equality: 6 steps towards equity. Retrieved October 22, 20s1 from https://www.edutopia.org/blog/equity-vs-equality-shane-safir

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Week 13 - Safety matters in the music classroom

Last year my son in Year 8 started resisting going to school. After weeks of tears and pretend illnesses, I learnt why. He was being quietly bullied by his friends. You see, my son has a small stutter.  During this period of time, his anxiety increased and his capacity for learning decreased. As a mum and teacher, I learnt quickly that students need to feel safe in order to learn well. 

When we talk about safety in the music classroom, we must consider the social, emotional, cognitive and of course the physical concerns and needs. 

Let’s begin with the cognitive. It’s important to ensure that the curriculum, level of challenge and quantity fo work you are providing to, and expecting from, students is suitable so as not to bring create undue anxiety or feelings of helplessness. The Department of Education and Training states that “The level of supervision and instruction needs to be commensurate with the maturity and skill level of students.” (DET OHS Directorate V2. 21/07/08). In the music space, this presents quite a challenge given that some students may have had years of exposure to and individualised instruction in musical learning, while others may have had little. This is the music teacher’s challenge.

When discussing physical safety specific to the music classroom, we need to consider leads and cabling to avoid trip hazards and ensuring they are in good repair to avoid fires or electrical issues, the placement and storage of instruments to ensure they are easily accessible, and the way in which instruments are used. For example, drum sticks and mallets need to be managed carefully as they are pointy objects and if not used correctly could cause damage to somebody’s eye or other part of their body. We also need to be aware of volume that music is being played at so that we don’t cause ear damage.

Other general items worth considering are:

developing a fair and consistent set of class behavioural rules and consequences (Alber, 2011)

establishing systems for handing our materials and working around the classroom space

instructing students in any safety issues, before the activity commences

supporting the school’s wellbeing and support system code

being a good influencer and wearing a hat in the sun

strictly follow child protection guidelines that are in place

and specifically as a teacher:

look after your voice—it is your friend!

seek help if you need to reach high objects—do not climb on desks!

When considering social and emotional safety, bullying is of course, one of the key reasons students don’t feel safe at school. There are many organisations and resources available to help teachers identify and support students in these situations. Linsen (n.d.) notes in Smart Classrooms  that it’s imperative that you know your school’s policy and you work within the school policy. There are other aspects of social safety too—relating to students who identify as LGBTIQ and providing specialised support that they require, and providing respect to students from different cultural, social and religious contexts. 

And of course in this season of covid, as educators, we need to do all we can to respect and adhere to the health guidelines and protocols put in place. Hand sanitisers should be on hand. If you as a teacher are feeling unwell, let someone know. Do all we can do socially distance our students as needed.

The image of a Covid Safety Sign (Covid 19 Classroom Safety Sign, n.d.)

A safe space is a happy space for all, and it allows us all to function and work at our best. For students to learn well, they must feel safe, supported, engaged and connected. (Waldman, 2016)

References:

Alber, R. (2011). 20 Tips for creating a safe learning environment. Edutopia. Retrieved November 3, 2021, from https://www.edutopia.org/blog/20-tips-create-safe-learning-environment-rebecca-alber

Covid 19 Classroom Safety Sign [Image] (n.d.). Retrieved November 3, 2021, from https://www.teacherspayteachers.com/FreeDownload/COVID-19-Classroom-Safety-Sign-Free-Download-5783297

Linsen, M. Bullying in the classroom: the ultimate guide to stopping it. Retrieved November 3, 2021, from https://www.smartclassroommanagement.com/2011/06/25/bullying-in-the-classroom/

Safety in the classroom overview. Retrieved November 3, 2021, from https://rydalmeree-p.schools.nsw.gov.au/content/dam/doe/sws/schools/r/rydalmeree-p/localcontent/safety_in_the_classroom.pdf

Waldman, C. (2016). Four elements for creating a positive learning environment. Retrieved November 3, 2021, from https://all4ed.org/blog/four-elements-for-creating-a-positive-learning-environment/