Field Work Reflection 1

With this being the first week at the community center, much of the class was spent introducing the instruments and activities that will used in future weeks. It was wonderful to see the students getting excited about music.

During one portion of the lesson, the parts of the ukulele were identified. The instructor walked around to ensure that each of the students got a close look at each of the parts. The students were excited to see a new instrument and wanted to touch it. Towards the end of class I was working one on one with a student, playing with the drums in GarageBand. At first the student was quiet and timid but once I showed him some of the capabilities of the app he was very excited to try it out. He had fun moving around the instruments to change the loudness and complexity of the rhythms. I offered some suggestions of things that he could try, but once he gained familiarity with the app he did not need additional guidance.

This field work showed me that students are very technologically capable and are excited to try new things. I learned that my role as an instructor is not to dictate everything the students do but to provide students with tools so that they can learn through experimentation and exploration. Noodle time is very beneficial because it helps students learn more about the instrument or technology they are using, it encourages them to be creative, and it helps them learn through play.

Written Response 2

Many suggest that music education in its current format is outdated and that there should be a larger use of innovation such as using technology to make music. However, few address how these changes could be made and it is a daunting task to completely revamp music education. Fortunately, Williams suggests 10 ideas in his article entitled “The Elephant in the Room.”

His first idea is to focus on smaller class sizes. Many educators try to recruit large numbers to their ensembles, but this causes some problems. While it is very good to have many people participating in music it is better to have many smaller ensembles, allowing for learning to take place more easily. His second idea is that education must be student-centered rather, not teacher-centered. Rather than having a director make all of the decisions, it is important to include the students in the learning process and let them make some of the decisions. His third idea is very similar and suggests that students should also be able to make some of the creative and musical decisions in the classroom.

His fourth idea is that formal concerts should be reduced or illuminated to take the focus off of the group and put focus on the individual. Other assessments should be considered so that individual progress is measured. His fifth idea is that classrooms are using outdated instruments. Music will be more relevant to the students if newer instruments are being used in the classroom. Similarly, his sixth point is that music education should focus on newer musical styles in an effort to be more relevant.Seventh, there needs to be a larger emphasis placed on aural learning than on written notation. Aural skills will serve students in any musical style, however written skills are only used in some styles.

Eighth, many do not currently make music once they are finished with school. It is important to help students find autonomy in their music-making so that it can become a lifelong process and pursuit. Ninth, the current structure makes it difficult to join in ensemble in later grades. It is important to create inclusive ensembles where people can begin making music no matter their age or previous experience. Lastly, it takes several years to proficiently play in instrument, which limits a student’s ability to participate and make music outside of school. Ideally, classes would be sequenced to allow students to become proficient in their instrument within a shorter timeframe so that they can more easily make music outside of school and in their personal lives.

As music educators, it is important to continue moving forward and not become stuck in the traditions of the past. Williams has radical ideas that would completely reshape the world of music education. It may not be practical to apply all ten of his suggestions, but even making small changes in the classroom will make music education more relevant to students today.

Written Response 1

“Music Education at the Tipping Point” by John Kratus discusses the evolution of music over time as well as the need for music education to change over time. Too often the music outside of school continues to grow and develop while music studied in school was written decades or even centuries ago. While I am not suggesting that all of the music studied in school must be modern, it should not be completely excluded either. It is important to study quality current music to allow students to connect and relate at a more personal and emotional level.

This week I was observing an elementary general music classroom. The teacher planned a movement activity with the song “Happier.” As the music began to play the students instantly recognized it and became very excited. Many of them asked if they were allowed to sing along. Isn’t this what we want in music classrooms? Shouldn’t students be excited to participate and want to sing?

There can often be a gap between the music studied in school and the music that the general population listens to. But if we can close this gap we can make music education relevant to society. My goal as a future music educator is to include a variety of repertoire in my lesson plans, including current music. I want my students to feel that the music they are experiencing is exciting and relevant to their lives so they will see a need for music education in their lives.