Good afternoon, welcome to today’s session
of the Connecticut arts standards webinars I’m Cindy Parsons hosting today’s session. This is the fifth of our six webinars or plans
over the next uh… actually we have our last one next week, but they’ve been all over this
past spring for the standards rollout. These webinars have been designed to help
arts educators learn more about the new standards and how to implement them in the classroom. Today’s session we will welcome Rich Wells
who is going to be talking about how to connect knowledge and skills through the music standards
in your curriculum planning and writing. Rich was one of the co-authors of the national
music standards, and before his retirement in 2008 was Director of Music in Simsbury
public schools. And was involved in a number of state curriculum
and assessment projects. During our ah… presentation you’re encouraged
to use the chat box which you could ah… find on ah… the right side of your screen
to submit questions and Rich will re…respond to them after his presentation. You can find the chat box in the, I think
the lower part of your screen, on the right side. You may also submit comments and respond to
others comments during the presentation. This session will be archived and available
for viewing at your convenient uh… once the state has finished uh… putting closed
captions uh… to it. So Rich welcome and thanks for taking the
time out of you’re busy retired schedule to be with us. (laughing) (Richard) Well thank you very much
Cindy, Um… there’s quite a bit to cover this webinar and because this I have to move
along at a pre…pretty quick pace. Um… I’ll leave time at the end for, for of the
presentation for questions, uh…and if you’re listening to a recording of this webinar,
um… feel free to email me at this email address that’s on this, this opening page. Um… if you’ve not done so already um…
what’s really helpful, I think, in understanding the standards is uh… getting an overview
of the entire uh… standards and all the various pieces, and I encourage you to listen
to Scott Shuler’s webinar for a more complete view of the standards. Um… also I lis… was uh… had a pleasure
listen to also Kim Yannon’s webinar ah… couple weeks ago and um… she had some interesting
instructional ideas for the process of responding. Showing how learning in one process can be
transferred to another which is something that I’m going to be touching on in this presentation
today. I’d like to do is to begin this webinar by
focusing on some core ideas that guided the development of the standards, and then use
these ideas to present an approach to weaving knowledge and skills through the standards. One of the over …rah..are…. riding core
ideas that guided the development of the standards was a desire to have students become independent
artistically literate musici…musicians. (background beep) We wanted students to be
able to independently carry out the artistic processes. These included creating new works, uh…composing,
improvising, and arranging. Uh… and one, some of the misconceptions
about creating is um… people think of creating as a creativity process, and it, if creativity
we hope all our students are creative in all the processes. Um… but this is specifically creating new
artistic work. Performing leads, needs very little introduction
it’s a core of most of our programs in the state but it’s performing an existing work. Responding involves responding to the works
in performances of others as an educated and informed audience. This process is sometimes confused with evaluation
in the process of creating and performing where we, we ref…, we, se… we think of
reflecting on our own work. Um… but that is really part of evaluation. It shares a lot of the same kind of skills,
and knowledge as in responding um… but the purpose of it is much different. And I’ll show, uh… I’ll explain that a little bit more later
in the process, but responding is specifically um… to artistic works um… of others rather
than of yourself. Some of the other art forms have connecting
as a forth process. Um… in music we felt the ability to connect
was critical to the processes of creating, performing, and responding. How can one create, perform, or respond to
music without connecting to oneself, or to the outside world? So for this reason connecting in music is
embedded within the three processes that I just mentioned creating, performing, and responding,
and does not have a separate set of standards. So I won’t be dwelling on connecting for the
remainder of this webinar. So here are the three processes of creating,
performing, and responding with their associated steps or process components. I can’t emphasize enough the understanding
the nature of these components can help teachers organize instruction, and help students understand
the larger processes. I’d like to keep a say, a few things in mind;
first, the process components do not always occur in the order presented, nor must they
be taught or learned in that order. musicians ness…naturally move back and forth
among the process components as they carry out a process. So for example in performing, we may select
some music to play, we may then start rehearsing evaluating, and refining, as we begin to analyze
and develop an interpretation, and find out the work is just too hard for us to play,
and go back and sel… go and back to the selecting component again. So as musicians we tend to float around between
these processes, and the distinctions are really for learning, and teaching not necessarily
for the, uh… practicing and uh…spe… specified sequence. Since the processes and their components were
used to guide the development of the performance standards, they can be a value… valuable
entry point into understanding individual process standards. So here are here’s uh…I’m going to give
a quick overview of the components in each one of the processes. So creating has four processes imagine, plan
make, evaluate refine, and present. So musicians imagine-ate, uh…um… imagine
to generate material for a new work. They imagine when they develop the overall
concept of the work such as determining whether piece will be sad, or happy or be used for
a particular event, purpose, or be composed within certain guidelines. Um…when we talk to composers as we were
generating the standards we were thinking that imagine was just about creating specific
melodic, harmonic, and rhythmic ideas to support a work. And the emphasis was that the overall arching
conceptualization of a uh… a piece was as important if not more important in getting
those ideas organized. So um…there’s really two components of imagine. Um… just an idea as a, as a mu…music teacher
I know that imagine was kind of, was something new to us when I was in Simsbury. That idea of imagination, um… and it really
didn’t make a lot of sense until I went down, and started talking to the, some of the visual
art teachers, um… which they spent a lot of time in imagine. In thinking about generating idea. They, they create more work than music teachers
have traditionally. So that uh… if you’re ler… trying to learn
the um… creating process sometimes it’s uh… helpful to take a, a walk down to the
visual arts teachers and have a chat with them about some of the ideas that we’re presenting
here. Once an over id… overall idea is um… established
a concept and some ideas have begun to take place. Um… then we want to make some sort of a
first draft of the piece and so that happens during the plan and make stage. This stage really isn’t helped to be informed
by understanding the structure in which music is put together. So analysis if you can analyze, and um…
understand the interpretation of mur…works that you perform and respond to, um… plan
and make is kind of the flip side of it. It’s where we’re creating that form, and structure,
and so it helps inform. It’s where music theory has a connection,
and composition is when we’re trying to create structure to some of the ideas that we’re,
we’re trying to convey. The next stage is evaluate and refine. Um… so whenever we start a first draft,
or we develop a draft, ah… say in writing or in, in music uh… I’d always need some ra… sort of refinement. And a musician’s applied criteria uh… sometimes
traditional, so sometimes there’s some traditional ideas about composition we, we use and sometimes
personally developed. As we know composers often break rules as
well as follow them so that uh… they uh… in a, in a matter of fact they’re, they’re
developing their own personal set of rules that their file…uh… fo…following. As well as uh…um…composers often get feedback
from peers and audiences as they evaluate and refine their work over time. So that’s the evaluate refine stage, and then
the present stage, and that’s at the end of a process of um… where ah… someone who
is creating a work figures it’s time to, to share. It could be um… we could share it, and go
back and work on it again actually, but presenting is where we want to convey um… the music
to other people. And that could be at a public concert, it
could be in class, or it could be individually for a friend, or a teacher, and in school,
in class is often the present stage is at the end of the process where the student hands
in a project at the end of the unit. So that’s a present stage. In the standards these four components imagine,
plan, make, evaluate, refine, and present also have an enduring understanding in an
associated essential question. That uh… again helped define what each one
of these components means. And I find in working with teachers the essential
questions often are very helpful of establishing what each one of these components is about,
and it also they’re very helpful for students. So as we look down the column of essential
questions these kind of are directly linked to mm… to the, the process components and
um… are easy I think easier to access um… and when trying to understand the individual
components. This slide shows the second grade standards;
all the second grade standards for creating. Um…a couple of things to note in these are
that the red type. The red type in the standard refers to words
that are in the glossary, and they have a definition. And I uh… suggest if you’re trying to interpret
what a standard means often having the glossary there is very helpful cause some of these
we had, some of the words we used didn’t have, we wanted to express an idea but they didn’t
have an established definition. So some of these are um… it’s very helpful
to look at a, a glossary to determine what the, the definitions are for these red words. And then you’ll notice there’s italics in
the standards also and this is um… something unique to the music standards. We try to identify those things that change
from one grade to ano… uh… to another by using italics. So the words that are in italics are things
that have changed from first grade to second grade. So these second-grade standards really are
developmentally um…appropriate expression of the process component. And so there was a need, there was a, a desire
to try to, to make them in a way that was um… appropriate for second graders. So these are the ones for second grade for
creating. Moving on to perform. There are five components in performing select,
analyze, interp… interpret rehearse, evaluate, refine ,and present. To select as a performer you really need to
know a few things. First of all, you have to know a variety of
music uh… you can’t make a selection from one piece. So you have to know a very repertoire of literature,
and that’s why students that don’t know very repertoire of mu…music are going to have
a very difficult time with select. And so we need to teach them um… we teach
them a variety of, of musical works. They also need to know about what context
the music is going to be performed in, or what kind of event is the music’s going to
be performed for. Um… and then they also need to know what
the technical skill is going to be in order to um… perform the piece and what is going
to be doable in the short length of time, or the length of time that is required for
student to select music uh… and to prepare it. So select if you look at the standards um…
select is one of those ones that is the most difficult for teachers to get their hand around
maybe, or head around. Um… select at the primary level or the,
um the not primary, but the preschool level maybe just the a…ability to make a choice
between music. And then we make a choice for music that may
be based on some sort of a reason. That a little bit up uh… later grade. And then as we go farther we may select music
that might be appropriate for um… say our grandmother, or from some sort of event in
school. And then we add on selecting repertoire that
has a variety and maybe putting together a program of pieces. Um…so as you, as you look at the standards
you’ll see select is sequenced, and becomes a little bit more challenging as grade levels
increase. Analyze, when we analyze where, it really
has three components. One is structure, and that by structure I
mean how the elements of music are used um… ideas about music theory um… in how music
is put together. There’s also context which is the historical
and cultural context as well as um… things like events and purposes. So that’s context. And then withs… in analyze also comes notation. So the ability to read music would be in the
analyze component. Interpret means to understand the composer’s
intent and develop a personal interpretation. So interpret we have to realize what the composer
was trying to say in the piece but then interpret it in own way. And I remember um… when I was growing up
hearing a, a group called the Swingle Singers and I don’t know other people remember them
that are listening to this but um… They decided that they would do scat singing,
and they would scat saying Bach along with a, a rhythm section. And certainly Bach would not want of, had
not envisioned his music being performed by in a jazz style uh… with a rhythm section,
but it’s a very interesting interpretation and very effective interpretation of the work. So it’s very dramatically from the creators
intent but it was a very good personal interpretation. Rehearse, evaluate, and refine; this is where
probably the uh… performers spend the most amount of time, and there’s really three components
that um… a musician needs in order to be effective at rehearsing, evaluating, and refining. First of all, they have to know what is the
standard of excellence what are they, what’s the standard, the criteria that they are going
to use to judge their performance that’s why we give students the scoring device uh…
before we have them do a performance for us. For a grade or for a uh… for an assessment,
and then the second thing they need to do is once they know what that criteria is, is
be able to identify how well they’re doing compared to that criteria. “So given the criteria how well am I doing?” Um…and then the third component is “What
do I do now? If I’m not doing as well as I’d like what
strategies can I use to improve?” So rehearse, evaluate, and refine really includes
um… understanding the criteria uh… for what makes a good one “How well am I doing
compared to that? and what can I do to improve?” Are the three components, and rehearse, evaluate,
and refine. In present, this is where we actually uh…
present the work for an audience. Much like in presenting for a composition
uh… or in creating we’re now presenting um… for a, an audience in our performance. And um… this is where we want to do with
technical accuracy, and interpretation, but also in a manner appropriate to the audience,
and context. Which is sometimes something we don’t um…
think about. Um… I remember ah…um…when I was first teaching
I had a bunch of elementary instrumental music students that were preparing their first solo
for their parents, and um… they performed their piece very well, but then they just
walked offstage. And I hadn’t taught them that they needed
to bow at the end of their performance, and it really, it was not, I, I should have taught
them. And that is that performing in a manner appropriate
to the audience, and knowing how to bow, and how to acknowledge an audience is certainly
that. So that’s, that’s can, those, those etiquette
or deportment on stage is also part of this. As in creating there are um… enduring understandings
and essential questions. If you use these in your school district or
big Ideas these are certainly um… a good resource for you to use. And again the essential questions um… really
help focus what these are. I don’t have time to, to spend to look through
these in greater detail but um… there are, these are in the document and it pays to,
to ah read through these to understand the process of performing. This is the intermediate ensemble standards
um… and on the intermediate level is really keyed at the eighth grade um…if you don’t
start students til eighth grade certainly they’re not going to be an intermediate by
the beginning of eighth grade. They would probably doing the, the, the novice
level ah… standards. So these uh… adjusts, so those anchored
in eighth grade these standards may vary based on your ensemble. But this is for um… an intermediate level,
and this gives the standards for um… that particular level and you can see how they’re
connected directly to the process components. So this is the final process, responding:
select, analyze, interpret, evaluate, and if you bur… if you can have a good memory
you’ll realize that these were very similar to some of the process components that were
in performing. Um… and they share a lot of the same knowledge
and skills as are needed in order to be a good performer but the reason for them is
a little different. So select um… to choose music appropriate
for specific purpose or context requires that you know a variety of literature, and it also
means that you must know different for purposes and context. This is very similar to performing. The only thing that isn’t really as, as important
in selecting til… first music to listen to is a difficulty level the music. You’re not going to have to prepare it for
a performance. So it doesn’t, difficulty level is not a,
a real defining characteristic in selecting other than it’s exciting to see, hear music
that’s very challenging and perform very well. But it’s not a necessarily ah… a piece that
you would um… is, is predominant in responding as it is in performing. Analyze is almost the same as analyze in performing. You’re again, you’re analyzing the structure,
and the context of varied musical works, but this time it’s to inform the response rather
than the performance. So I can teach a student to analyze the structure
of a piece while they’re performing it, and then while they’re listening to it all’s I
need to do is to have them, uh… make that connection between what they just were performing
to what now they’re listening to. And we sometimes think that students should
be able to do that automatically, but it really requires a transfer of understanding from
the performance and understanding structure of the music you’re performing to understanding
the structure of the music that you’re responding to. That you off…often hear it with good teachers
saying “Remember when we performed this piece? Is this the same is that?” And so they’re making that connection between
performing and responding. So the only difference here is really that
it informs a response not the performance. Interpret means to support interpretations
of musical works that reflect the creators and performers expressive intent. So it’s understanding what the composer or
creator because it could be an improviser or arranger in performers expressive intent
was. What is this performance trying to do? Um… so what is it they’re, what’s their
expressive intent. So in some ways I’m uncovering what the performer,
I’m trying to put expressive intent as a creator, and a performer and responder I’m trying to
interpret that, and uncover that so I understand what it is. And then finally evaluate means evaluating
musical works, and this is, uses pretty of all the same criteria that’s used in both
pe…in…judging a composition or a creative product as it is for a performance, because
it’s, it’s using that criteria to judge whether the work is good. so it’s um…there’s a lot of similarity between
ah…evaluate uh… in creating and evaluating or forming, performing and evaluating in responding. Again it’s, I’m using it to inform my response
or evaluate uh.. my response to, to piece, pieces so again as I look at this it has ah…
enduring understandings, and essential questions and um… again if you look at these are somewhat
similar to the ones that were in performing. And here is the fifth grade standards for
um… responding uh… for general music. And again these are done in a, a developmentally
appropriate way for fifth grade. So this, now I’ve gone through all the processes
um… in this chart. I have highlighted processes that are similar. So select, and performing, and responding,
and analyzing, and perform uh… preforming and responding, and interpret, and uh… performing
and responding. And in some ways plan, and make as a connection
as we talked about for analyze and interpret because we’re trying to put structure in the
music we’re, we’re creating. And yeah, evaluate and refine and, and present
so there is this, this, this chart kind of highlights the connections between processes. So back when we, when the standards were first
released, there was a an interest in finding out, “Well what are the knowledge and skills
that go across processes? If analyze is the same, has the same title
and is muc…there very similar between performing and responding what are the, the components
that go across the processes of knowledge and skills?” And we came up with this chart. So knowledge is structure and context, and
evaluative, evaluative criteria. And in skills: performing creating, listening,
reading, and notating, and evaluating. So I’m going to go, just quickly go over these. Structure is a knowledge of music theory,
notation, and elements of music. These are things that are found in most curriculum
documents and so if you have these in a current curriculum document they certainly can be
applied to the new standards. Context deals with history and culture and
again this area of purpose in venue um… which may be new um… then to some curriculum
documents um… but that’s knowledge of context. And then knowledge of, of value of criteria. What criteria is used to evaluate music in
performances, and so that’s the third one. Then we come to the skill areas, and there’s
a big skill area in performing. And this is um… includes performing with
quality. It’s at performing with a meeting that criteria
that we want and a good performance. There’s ability to refine work, the skills
of being able to refine work, and the skills to use effective presentational skills. And so those are the three areas in performing
skill areas. In creating there’s that demonstrating imagination,
demonstrating craftsmanship, how we organize ideas, and then our ability to express intent. So these are three things that show up in
the standards, that are strands of the creating. Then there’s the whole ability to listen,
and be able to read music, and notate it, and so those are oral and notational skills,
and abilities in those areas, and this is a big one in music. Um…and I would say in all the art forms
we’re probably the strongest, this is the strongest emphasis because we have such a
um… a need to, to um… be able to have these notational and aural skills in music. And then there’s apply evaluate skills so
that’s being able to apply the evaluation criteria that we have knowledge of. So that’s evaluating. So now I’ve gone over skills, and I’ve gone
over artistic processes. So along the top are the artistic processes,
that we presented earlier in the present… in this webinar, and then down the left side
are the knowledge and skills that are required for carrying out these, for these uh… processes. I’d like to do now is do some unpacking of
some standards and see how we might apply a chart like this to the standards. So here is fifth-grade creating in the component
imagine. So I’ve just taken the process of creating
and I’m looking at one component that I’ve imagined, and in fifth grade it, it’s to generate
music ideas such as rhythms melodies, and accompanied patterns within specific related
tonalities and meters, and simple chord changes. So this standard has a lot to do with structure,
knowledge of structure. You need to know musical ideas such as rhythms,
melodies, accompanies, patterns, tonalities, and chord changes. And it also involves creating skills, because
you have to have imagination craftsmanship in order to generate musical ideas. So if I apply this to the chart, I have put
an X in the box for imagine, for structure, and for creating. Some um… dressing the one knowledge area,
and one skill area in that particular standard. So now we’ll look at second grade performing:
analyze. Demonstrate knowledge of music concepts such
as tonality and meter in music from a variety of cultures selected for performance. So when we analyze we need to know structure,
knowledge of structure, and we need to know knowledge of context. So if I put these on the chart in performing:
analyze, we would have structure and context in the boxes. So let’s do another one. This is ensemble proficient so this would
be at the freshmen uh…anchored at the freshman high school uh… level with one year of instruction
in an ensemble, and this is responding: evaluate. Evaluate works in performances based on personally,
or collaboratively developed criteria including analysis of the structure in context. So in order to accomplish this I would have
to have knowledge of the structure, context, evaluative criteria, because it’s based on
person, personally, or collaboratively developed criteria. And then I actually have to present these
using the skill of evaluating. So there’s really four areas in this standard. So if I looked at that it would be evaluation
in responding covers structure, context, evaluative criteria, and evaluating. So now I’ll do three third-grade performing
present. Perform with expression in technical accuracy. If I look at the skill areas that are down
at the, in the smaller print at the bottom of those four areas this is clearly in the
performing category so there would be a box in performing that present. 42:06 So and here’s one more; apply teacher
provided criteria for selecting music to perform for a specific purpose and/or context and
explain why it was chosen. So if I look at this one it has all three. It has context, evaluative criteria, and evaluating. So again if I choose to, I can choose in analysis. I can teach for depth in responding and then
teach for transfer to performing. If I teach to interpret in performing then
I can transfer some of those skills over to responding. So that ability to transfer what we’ve taught
makes teaching a little bit more efficient and allows us to, to ah… save time teaching,
by transferring between processes. So this is teach knowledge and skills in depth
in one process component, and then transfer them to another. So let’s see how this might work as we look
at actual standards. So here is analysis in performing and responding. This is it for ensembles at the advanced level. Examined evaluate and critique using music
reading skills where appropriate. How the structure in context, impact, and
inform prepared in improvised performances. And then in the area of responding demonstrate,
justify how the analysis of structures in context and performance decisions inform the
response to music. So if I teach context and structures in one
area they can transfer to it, to the other. So it’s the similarities between process,
and in fact if you look at the standards, they were written with this kind of similarity
in mind. If I establish what structures and contexts
I’m going to be teaching at a certain level, then I can thread these through the standards. So here’s another one, this is for interpreting
in performing and responding at the fourth grade level. Demonstrate and explain how intent is conveyed
through interpretive decisions, and expressive qualities. And these are specifically dynamics tempo
in timbre. Demonstrate, and explain how the expressive
qualities such as dynamics, temple, and timbre, are used in performers in personal interpretations
to reflect expressive intent. So we can see how these qualities, these expressive
qualities are used in both um… performing, and responding at the fourth grade level. So here is if I did this out at an entire
grade level, went through the standards, and put a box, put an X in the box for each area
that it, it touched on. So if I looked at structure, for example,
and say I was teaching Rondo form I could have students use that in responding so they
could listen to a Rondo form. I could have them perform a piece that’s a
Rondo, and have them create a piece that’s a Rondo. The beauty that having them actually use them
in processes is that they will retain the knowledge and skills that you want to teach,
because they’re actually using them in the actual making, uh… meaning in music. And so that if we look at the processes as
ways of threading knowledge and skills, and bringing meaning to those knowledge and skills
then this kind of chart can be helpful. So it would mean that for structure, context,
for all the things that are on the left, the knowledge and skills that are on the left,
I would for each individual grade level have a sequence that goes through the grades of
how these particular, what’s covered in each grade level, and then I thread them through
the processes. And so you wonder, “How am I going to cover
all the standards?” Well if you thread the knowledge and skills
through them you’re just using some standards to reinforce what students have learned and
you us…some components to actually teach in depth, and it can make teaching a little
bit more efficient. So I’m at about, only if I, do I have a little,
few more minutes Cindy? (Cindy Parsons) Uh..yeah you have about, you
can go about another five, five or six more minutes. (Richard Wells) Good I can do this five or
six minutes. So if I just look at this chart, and I want,
well how do I teach plan and make at the fourth grade level? How do I teach interpret, and responding at
the second grade level? How do I teach select and performance at the
second grade level, or pre-k? There’s some excellent resources that can
help you come up with some ideas about this. Associated with the um.. standards are model
cornerstone assessments. Now these assessments could actually be called
slash units, because they are pretty detailed in what in, in some of the instruction that’s
involved in carrying out the cornerstone assessments. So here is, and I know this is an awful lot
of information to look at, but here are the model cornerstone assessments in creating
at the second, fifth, and eighth grade level. So as I look across these let’s look at imagine
in second grade students are going to exchange four beat rhythmic improvisations with a teacher. In fifth grade they’re going to im… improvise
call-and-response phrases for variety of purposes context using different elements of music. And then in eighth grade they’re going to
select a video clip, and script their poem, and identify beginning, middle, and end, and
then to describe the feeling or expressive intent of each ah… section and then improvise
ideas for each sec…section. So as you can see there’s this progression
going from um… maybe less complex to more complex. If I look at the second grade creating in
present this is the standard: convey expressive intent for a specific purpose, um…and this
is actually one of the model cornerstone assessments that was borrowed from our uh…Connecticut
common arts assessment. uh… the teacher per… will perform a rhythmic
prompt of four beats long, the student then improvises a response four beats long, the
teacher improvises a response for four beats, and then the student improvises a final uh…
response for four beats. And this is the scoring device that’s in so
that in the model cornerstone assessments given a lot of great um… model um… um…
scoring devices. So here is just to see uh… the other thing
about the model cornerstone assessments are actually going to have student work. So let’s see if this works. (recorded audio of beats being sung between
teacher and student) fah, fah, bup, bup bup bup … (Richard Wells) So that student was
the teacher, was the first one, was a prompt that they gave a student, and then the student
improvised based on that prompt, and then the teacher improvised, and then the student
did and so this is the scoring device. Um… and its whether um… they maintained
a steady beat, which the student pretty well did. Um… was it different from the teachers prompt? And yes it was. Was it unique? Yes both of the responses were, ther… were
unique, um… in rhythmic ex…uh… complexity and expressive quality. Interesting thing with this second grade assessment
if you don’t sing the prompt expressively, the students have, are not successful at this
assignment. So the idea of expression with improvisation
is extremely important for the success of this particular um…assessment. So this gives just an example of one component,
and what the assessment is in the model cornerstone assessments, but you can see, you can develop
kind of a unit of instruction around this also. So here’s ensemble performing and this is
at the uh… proficient accomplished and advanced level. This is for uh… ensembles and this shows
again a progression going from ah… one level to another. So some of the things that change here are
the difficulty of the music in proficient, though proficient level is grade 3 music,
accomplished is grade 4, and advanced is great 5 and 6, and this is similar to the um…
both music folks who identify this the same as the NYSSMA manual and ah… grading on
that. So here is a written response of a student
um… to a prompts that get at the analysis, interpretation, rehearsal, plan, and evaluate,
and refine all on one sheet. I love about this assessment is that it is
pretty efficient with um… if you, if you’re thinking, you know, you have to score this
you’re really scoring um… four different areas in a very short length of time relatively
when you think about how many standards this is covering. And then there are scoring devices that go
along with this. So again this is available on the NAfME website. If you go on that you can pick up these tasks,
and also they um… there’s also additional ones on which is at EASTCONN
in Connecticut. So this is responding, and again there’s tasks
here, and you, there’s a sequence of tasks that give some instructional ideas for each
of these as well as assessment tasks, and here is the scoring device for how they’re
scored, and then it gives an example of student work so you actually can see these uh… what
it looks like at a certain level. Um…what the standard looks like. The idea were the standards wa…were that
you can explain what students are going to do, but it makes a much more effective if
you actually can show what students can do at a certain grade level. So again this is all taking this chart in
being able to weave knowledge and skills through, and those are the processes, and for some
ideas for the processes the um… model cornerstone assessment certainly give you some great ideas. And now I can open it up for questions cause
I’m getting hoarse cause I talk too much. (Laughing) (Cindy Parsons) That was great. Uh… Alison uh… if you’re there you can hit the
unmute people. If they have any questions to ask Rich. (Allison) I am on it. Hang on, takes one second. (Cindy Parsons) Great assessments there. (Allison) And everybody should be unmuted. (Cindy Parsons) All right so uh…those of
you that attended thanks for um… for watching uh… Rich’s presentation I’m sure you have some
uh… questions or feed back, ah… feel free to just um… ask them. Anybody? I see there’s like nine people on so… no
questions? (unknown voice) Um this isn’t really a form
of a question, can you hear me? (Cindy Parsons) yes we can. (Richard Wells) I can. (Unknown voice) Yeah I, I just really want
to appreciate that Um… I actually teach in a um… very urban uh…
district down in Bridgeport, if I can say the name, and we were actually trying to model
our assessments after the new ones um…the 2014. We were still using the 94, and one of the
things that people that were designing our curriculum ran into was they were just overwhelmed
with the idea, especially within urban and I, if I can the, some people are complaining
about the transient nature of our students. Uh… there are a lot of students that will
be changed in schools and stuff. Um… this has really been helpful for me
um… what i…if I can get one little comment and just a question is, is regarding the assessments. Um… we actually had a workshop that was
presented by this CSDE um… about a month or so um… a young or, woman came down from
um… thinks she teaches in New Milford, and actually got into an argument ensued um…
among the teachers whether or not the value of the assessments should be used in a, in
a, like a, a, a setting like Bridgeport. My argument was if we don’t have the assessments
then we really all were doing is we’re not teaching a, a class we’re just letting the
kids come and, and do songs, and, you know, play games, and this teacher thought that,
that was sufficient, you know, and it’s been really helpful watching these webinars. The, uh… my idea ,you know, was, you know,
and where I got the feedback from was if we don’t know what our kids are supposed to be
doing by 2nd grade, and what the kids and other districts are doing, how are we supposed
to try and get them at that point? And most of the people just because of the
frustrations and teaching uh… in a, a very urban district like Bridgeport um… sided
with the person that we really can’t teach them. Uh… we either don’t have time or the students
don’t have the readiness so uh… the standards what they’re complaining about the standards
were uh… that they actually expect too much of certain uh… districts like I would, I’m
thinking New Haven, Hartford, and, and Bridgeport, and Waterbury. The district’s like that. Um… I, i know New Haven is doing supposedly some
pretty exciting stuff, but if you could just kind of give some sort of, like a comment
when you have a, a district like Bridgeport um… you know, where a lot of the children
are coming in was the extreme lack of readiness. How would you go about trying to implement
all 11 you know core anchors? Cause what we ended up doing was coming up
with standards for the district that only used four of the standards we basically took
the four first processes of, of each, you know, uh..uh… anchor standard and just said
that was it. We’re not going to go past that. We’re not going to go past when we perform
for kids we’re not going to have them, you know, reflect. We’re not going to have them select; we’re
basically just going to tell them what they have to play and then uh… you know, that’s
the end of the process, you know, any, any comments about that or any sort of like a
guidance so I can try and raise the standards within my district. (laughing) (Richard Wells) Well you, you raised
a number of, of really uh… important issues. Um… one assessment should not be to grade
and sort teachers, but it should be to improve student learning. And I think often in our assessment conscious
world we tend to get integrating, and sorting, and not into really realizing the reason why
we carry out assessments is to improve student learning. So it’s important for us then to assess what
we feel is the most important. And so if you looked at the standards and
instead of saying, “I’m only going to do this and this.”, but said, “What is it that really
is the most important thing for kids in Bridgeport, and how is that represented in the standards?” Um… so and I’m going to be, I’m going to
be presumptuous in the, in mentioning some things that I think might fall into that equation. If I was going to talk about anything would
be that the expressive nature of music. Um… I think in any of the arts, if you can get
kids hooked on the, the meaning of music, and it’s, how it affects them, and impacts
them in their lives, at least you have then a hook that will grab them. Um…and I think you probably have realized
the most successful units you do in school are the ones that really kind of grab kids
and get at the heart of why we do music. So I would say that would be probably the
first point though the oth… the other thing that, that I, I don’t mind dropping some components,
but I think there are some that are probably more valuable than others. So interpretation and performing is certainly
important um… but the other piece that’s important I would think would be the idea
of self assessment. Um… which would get into that rehearsing,
evaluating, and refining. Um… let me, so if I think of it in this
way, I can’t really teach kids, kids teach themselves. So I’m much more effective when kids are responsible
for their learning ra… rather than me as the teacher. As a matter of fact, when you listen to a
ah… a performance by a band it’s not the teacher that’s making the kids play the right
notes, play the right rhythms, play the right dynamics, and perform well it’s the students
that are doing it. And if we can, so our goal as teachers should
be maybe to have them figure out what they need to do to be successful. What makes a better performance? in that if
you, if you can get at that you probably are going to have them be better performers. Um… those are my just initial thoughts on
what you’re saying but I, i would say that self-assessment, how we doing um… and then
ah… get at the heart of why we want to do music. And you have to make those determinations
from looking at the standards and what might be valued the most. (Unknown Voice) yeah that, that, that’s great
um… one of the things, I was listening to Dr. Yannons’s uh… broadcast from a couple
of weeks ago she made some sort of, like a, a comment that if you, I think she was talking
about responding, if you don’t reflect on that response in other words if you don’t
go all the way to the the complete thing it’s really an incomplete process. Uh…like when you perform, uh… like, like
most that, even though I’m in Bridgeport believe it or not most of my children are really young. I actually teach about 93 three-year-olds
and 90 four-year-olds at a, at a magnet school uh… and one of the things I always try and
do with them that’s been really effective is, first of all, I actually let them pick
the songs we’re going to present for the parents. Uh… I’ll take a dozen songs that we’ve done. Uh… unfortunately for the last three years
it’s always been Aiken Drum. That seems to be the song they always want
to come back to. You know, and uh…I try and mix it up, but
each year, I, I think it’s because I do the song all year round, and just do the seasons. So we just finished one we’re talking about
summer vegetables now. Uh… we had one made out of winter vegetables
like squashes, and zucchinis, and stuff like that. So it’s something that’s constantly being
refreshed in the kids head, you know. And then after the performance I’ll actually
show them a video of it, and it’s kind of uh… I’m doing this with four, and four or five-year-olds
so I know it can be done with the older ones, and stuff. But a lot of times uh… for either for a
lack of, of time or if, if you have students that are running into problems with behavior
and they, they don’t want to have, I’ve, I’ve actually heard, I had a student tell me once
a second grade student that he didn’t want to think. He said that it hurt to think, and that I
was making him think too much. He said can that is, is can you just give
me something to hit, like a drum, and that’s basically as far as he wanted to go in the
process, you know. And so a lot of kids like students like that
I will never peg… make it past a second grade class um… doing ah… you know, basically
echoes or uh… some form of a call and response for a, the call is the same, ah…and then
the response is different. But as soon as I start mixing it up, and doing
different calls like you say ah…you know, they get confused, you know, so I can spend
like ah… a six weeks. I’m presenting the same call to them which
would could be like something like um…”I was like a pepperoni pizza,” and then they
would come up and say something “I was like a macaroni pie. I would like a pepperoni pizza. I would like a Big Mac.” Things like that, but it’s, it’s really hard
to get the, the final assessments over the final stages of reflecting, you know. But I really appreciate everything that the,
the group has done I think I’ve attended or at least music specific I’ve attended all
three of the webinar Scott Shuler’s Kim Yannon’s, and then this one. (Richard Wells) So if you look at the pre-k
standards are they, I would assume they’re pretty doable for you. (Unknown Voice) Oh, easily. I, I actually have because I see, I’m, I’m
really kind of, I, I shouldn’t complain about being in Bridgeport except for it’s a hard
district working in. But I’m really blessed and that I teach at
a, um… school where I have uh… a separate class of three-year-olds, a separate class
of four-year-olds, and separate class of kindergartens. The three-year-olds I actually see twice a
week for 35 minutes, the four-year-olds twice a week for 35 minutes, uh… the Kinder’s
I only see once a week just because that’s when they start actually having a separate
library time so each class gets three specials a week, you know. Um…and then I only see them once uh… but
it’s I mean the, what I’m able to get done, you know, with the, especially the four-year-olds,
and then the three year olds I’m, like I say, it’s basically they’re just stuck on taking
drum and, and the, the you know, the mother gooney bird song, you know. Um… but the four year olds I’m in for the
concert coming up I’m doing, I have them doing um… “Oats, peas, beans, and barley grow”, and
then after we do the song with the, the action we actually um… because there is there’s
60% of the school is in urban population, you know, I actually had a, like a somebody,
the students themselves using like a drum machine app that I, I have on my iPad came
up with, I guess you could call, they call them beats. I mean, I call them accompaniments they call
them beats, you know. Biggest challenge I had is, we’re gonna alright
let’s just make a beat and then they just think that I’m supposed to do something that
Kanye West could, could rap over, you know, and so I had them make a little beat and we’re
going to do the song as kind of like as a spoken, spoken verse, you know. “Oats, peas, beans, and barley grow,” you
know. So it’s kind of a rap, and that’s been really
successful with me. Once I have very good kids they have awesome
teachers um… at, at the school, and I get to see them twice a week. Which I think is, is, is, is, is a huge difference
for that age group, you know. But um… so it, it, it, they’re really great
kids I’m super happy with what I can do with them. I’ve done spanish-language songs with four-year-olds
which I’m super happy. But it’s a when I’ve started doing the standards
and I started looking at all these things and even though with I’m with pre-k the biggest
thing is they always say with substantial guidance, you know. When that’s the, the real key, you know, with
pre-k. Once they get to first grade the, the students
are supposed to make more those decisions themselves you know but, but it’s great, you
know, really. I’ve actually signed up for their workshop
coming up like they end of June over at Central.(Richard Wells) Great. (Unknown Voice) Just so I could uh… see,
uh… I’ve actually taken classes of Dr. Yannon
so I, not to be creepy but I consider myself a fan. I think she’s brilliant, you know. And anytime that she gives anything I’m, you
know, trying to uh… absorb that knowledge. So, but anyway, but thanks for your, thanks
for your comments. It’s great. (Richard Wells) Great. Thanks. (Cindy Parsons) Great response, great dialogue
uh… Rich. That was really good information for everybody
um… I don’t know if there’s any other uh… people
out there that have any questions uh… it’s a little after five, but um… …too if anybody
has anything they want to ask. This session will be archive just (available
as soon as) able to uh… close caption it, and links will be sent out to um… anybody
who signed up. So uh… you’ll be able to um… get back
to this um… session anytime you want. Rich thanks a lot for your expertise ah…
and your uh… all your time and energy. This is great ah… great information