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#mufu2013 What I learned: Session 4 - Mark Phillips

Over the last week I have been blogging about the 2013 Musical Futures conference.

Mark Phillips


The last formal session of the first day was given by Mark Phillips, Ofsted HMI and national advisor for Music.




Ofsted have released a number of publications this last year, all available here. If you are a music teacher in any sector in the UK and have not already read these, I would urge you to stop reading this blog and read them now!

There has been a lot of open and frank discussion of these publications and Ofsted wider role on the teachingmusic forums. Again, if you have not signed up to this website do it now.

Meeting Mark confirmed what I had determined from the publications, he is a thoroughly decent and sensible chap, and makes excellent suggestions for how music ought to be taught. I still wonder about "rapid and sustained progress", and will come back to this in another blog post, but Mark was very clear about what he expected from music teachers, departments, schools and their wider partners.

If I could share only one thing from the session, it would be:

THERE ARE NO SUB-LEVELS IN MUSIC.
THERE ARE NO SUB-LEVELS IN MUSIC!


Let's stop for a mid-phrase appraisal. The first 3 notes were a 5c.



Joy of joys, the chosen one come to lead us to Zion! Except that in really it is not quite as simple as that as we all know. There was still much chagrin, in that Senior Management in many of our own schools and those we work with do not seem to be listening to Ofsted's recommendations. There are a number of accounts on the teachingmusic site of documents being placed in the hand of senior leadership and promptly ignored.

I understand the need to input sub-levels from a tracking point of view, but when they are arbitrary to the point that thousands of man hours are being lost across the country as heads of music departments are having to invent something to fit.

We do report sub-levels in our school, though thankfully only once a term. We have no criteria for what a 5c looks like in comparison to a 5a, we just use our best professional judgement based on how many of the statements in each of the NC levels ring true for our students and our SMT are happy to accept our judgement here. There are many inspirational heads up and down the country who talk about professional trust. I think of colossi like @johntomsett who, if his staff are not teaching in the afternoon, he trusts to go home, and do their work when it is best for them and their families. Yet many schools are run on fear (and it is easy to understand whY), and this is where much of Osfted/Gove-bashing is perpetrated. I an not suggesting that the system for inspection is perfect, nor would I suggest Sir Michael would pretend that is the case. But it is a case in point that despite very clear messages from Ofsted which you can read in  @oldandrewuk 's here, staff are still being told that learning outcomes must be shared, or discussed, or developed with the students. There does seem to be some impotency on Ofsted's part in terms of getting this message through to school management regimes.

I did ask the question to Mark: "Would Ofsted use an inspection report comment upon the effective of management, where school diktats were having a detrimental effect on music lessons?" The answer was pretty much no, but Mark was at pains to point just how much of a nonsense it was to spend 15 minutes of a one hour music talking about the music that you were going to make before you made it, which by the way is not appraising music. If I could sum up the rhetoric of "Wider Still, and Wider", it is that music lessons and music teaching and assessment should be musical and holistic.


Just a reminder...

THERE ARE NO SUB-LEVELS IN MUSIC!

Mark also made the valid point that if the excuse is in the interests of fairness and you want Music to report data in the same way as other subjects, then give us the same amount of contact time and let us see less kids.


The other main thrust of his presentation was to challenge the long entrenched inequalities in participation. I had hoped to share his presentation with you but trust me in saying that the statistics were not easy to read. Again there was some contest that this is not the case in all schools, and in fairness Mark recognised this, but on the grand scale, the least affluent students take part in music less than those from better off backgrounds, those who do not speak English as a first language take part in music less than.... You can see where I am going here, LAC, SEN, the same is true. This is something that we need to tackle as a community, and by that I mean all stakeholders in music education, Ofsted, senior management, hubs, teachers, parents, governors and government.

The last name there is important, in one of his better acts, Mr Gove has protected (albeit falling year on year) funding for music through the hubs for the next three years. But as Mark Phillips would ask "So What?"

What are we going to do with this money to make sure that Wider Opps, First Access, FSM and LAC remittance schemes have a lasting and musical legacy for our countries?

I don't have any answers or silver bullets. But I did have an extremely positive meeting with our hub leader, and members of our primary/secondary partnership last night which put the wheels in motion for our plans to address these issues.


What I do know at this moment in time is that Musical Futures has and continues to transform my department. As a means of giving all students access to music, valuing students' existing musical experiences and helping students to see themselves as musicians, this is the driving force of change and progress in our classrooms and practice rooms.


Oh, and one last thing:


THERE ARE NO SUB-LEVELS IN MUSIC!

#mufu2013 What I learned: Session 3

The third session was with Lucy Green, upon whose research the MF informal learning model was developed.

Lucy is currently studying the impact of adopting an aural learning approach in peripatetic lessons.

C# is NOT the same as Db!!!!!



Thankfully, we have come a long way from the clichéd view of the forbidding piano teacher and battered knuckles.

We started the session by experiencing the same process that the students in Lucy's study went through, that is learning a piece by ear that Lucy had composed. The process was very similar to the original pathfinder project based on 'Word Up' by Cameo.

What was fascinating was hearing Lucy describe the various approaches that students take when asked to copy by ear for the first time. Whilst categorising is always a balancing act between usefulness of grouping data together and maintaining integrity to the individual responses, there did seem to be commonalities between students' responses.

"Learning styles" have been much discussed across the blogosphere, but in this instance the word has real currency, especially when are genuinely multiple means to the end. We were able to listen to some of Lucy's students attempts to play by ear. Lucy described a number of different and common approaches:


  • Impulsive - starts to play immediately, fixes quickly on their "own version", plays repeatedly without checking for accuracy, little fear of the task.
  • Practical - has a strategy, i.e. uses a scale or related notes to find an anchor then constructs the music from there, listens intently and then responds regularly
  • Shot in the dark - hesitant at first, performs isolated notes without connecting to each other or the track.
  • Theoretical - Asks questions about the music, seems to want to mentally map the music first before playing.
  • Perfect pitch - Plays correct notes straight away, then might display any other style after that.
This was interesting in itself, and I am sure that any music teacher would recognise much of this, especially if they have tried aural learning with their students.

At the end of the session I was left thinking about the way that I connect the learning that happens in my practice rooms with my students and their instrumental teachers and what happens in the classroom. This is also something that has been raised in network meetings in  our hub, and it is something I need to work on for sure.



As a Musical Futures champion school, I couldn't honestly say that all of my peripatetic teachers understand the model, or use their lessons to build upon the learning that happens in our lessons.

I asked myself a number of questions that I imagined a departmental inspection by Ofsted might raise. As a head of department, do I make sure that:

peris all know what students are studying in the class?

peris know/understand the MF model?

peris use MF approaches as appropriate?

peris develop all aspects of musicality, and not just performing?

I have to admit the answers to all of these in most cases was either sometimes, or a straight no. Certainly at Key Stage 4&5, I try to make sure that peris know when performances are coming up and what pieces students should be working on for coursework, but on reflection it strikes me that this is a very polarised use of my peris.

I have to say that currently, I have the best team of peris that I have ever had in my time at Cramlington, and that the responsibility for the above questions lies solely with me.  Again in fairness to them, they do take a rounded approach beyond mere performance, but this is down to their own skills and not any initiative on my part. What is clear is that a more joined up and holistic approach is needed if there is to be a proper link between classroom and practice room.

I think to the videos here, where Ofsted highlight the good practice that Flegg High School (another MF champion) have demonstrated such a joined up approach, through their hub and the head teacher working with a specialist adviser to help him to understand key issues of music education. From the videos it is clear that the music service have a clear idea what the musical needs of the students in the school are, and are able to advise on what would work in their particular context.


As well as addressing the questions above, it would seem sensible that to ask for my peris to be able to observe my classroom as part of their CPD, ideally with some "An introduction to Musical Futures" style sessions too.

Non of this is rocket science, and I am sure that many schools already do this, but this is what I learned.

#mufu2013 What I learned - Session 2: Classroom Workshops

The first practical session was a chance to look at Classroom Workshops as an approach to whole class interactive teaching.




The Musical Futures guidance for classroom workshops can be found here.

The methodology arose from the work done by the Guildhall Connect programme.

The basic premise is that musicians work as a large ensemble to develop a piece through a collaborative and holistic process, where the key skills of appraising, performing, improvising and composing each inform each the other.


This session was led by the impressive Robert Wells, and followed the usual process of warm-ups which led into whole class work, followed by break-out tasks which fed into the final piece.

There is a discussion thread on the Musical Futures network thread on classroom workshops here. I would not begin to pretend to be an expert, but having used the approach for a while now, I'd like to think I can give some share some advice that has helped me on my way. Already it has been notes how this way of working can seem daunting at first, in my mind this is for a number of reasons:


  1. Perceived issues with classroom management - In fact, I have rarely found this to be a problem. Provided you have already established rules for when to play and when not to, the students have little time to think about anything other than music. As you become more used to working in this way, students will spend increasing amounts of time playing/discussing/refining and even the most tricky students seem to buy into it. I think this is in part due to the pace that comes with classroom workshops, but also the sound of 30 people playing together really is wondrous to a disaffected young person.
  2. Not having instruments - This is a genuine issue in many schools, but percussive pieces work really well in classroom workshops, and body percussion is instantly available if you don;t have a trolley full of stuff to whack. The voice is also crucial in any music teaching, and Ofsted have recently highlighted an issue with a lack of high quality singing in schools, especially Secondary. The argument that "My students won;t sing" just doesn't cut it I'm afraid. To me, the mind and voice are the first instrument, regardless of any instrumental experience. Singing is cultural thing and so it takes time for it to become pervasive in school, especially with older children. We are nowhere near where we want to be as a school yet. However we ought to be teaching our students to sing and use their voice to understand music. This is where the warm-ups come in. More on that later.
  3. How can students be learning? They often seem to be simply playing repeated patterns - Yep, it's great isn't it? I've never sat in a communal space in an African village, but I've seen videos and heard recordings, and I'm just about certain that actually experiencing such music would put to shame anything I have ever managed to thrash out on a stage. Incidentally, it is of great interest to me that as the musicologist Nicholas Cook points out, the people of many African tribes would not understand our concepts of performing, composing, listening or improvising, to them they are all one and the same thing. This is why I love to teach using workshops, it is the time when I fell most able to do holistic music making alongside my students. If you are genuinely concerned that students will perform simply repeated patterns, then address this in the way you plan the sessions. Have some students work on longer phrases, or work on the structure of the piece such that there are demands in variety and technicality that challenge your most able pupils.
  4. I am not a very good composer, I feel a little naked - To this I would say from the outset, be sure where you are tight, and where you are loose. That was a great piece of advice given to me by a great man named David Jackson, at the time he was talking about curriculum design but it applies equally here. By that I mean, once you know what you are trying to teach/introduce through the workshop, you can decide what devices/structures are immutable and where you will allow creative input from the students. It is actually rather scientific when you think about it, but to the kids it is magic. In reality it is a trick, as before the workshop starts you should have an idea of some scaffolding musical ideas that will guide the composing process, which could be echoing phrases or two note motifs as in Robert's workshop. For minimalist music you might insist on phase shifting or note addition for example. I think this seemingly boundless opportunity is what scares some teachers, but if you decide in advance, 'What do I want the kids to learn?', the rest becomes more easy, listen to them and guide them in a semi-predetermined direction. Much creativity comes from constraint!

The session with Robert was a timely reminder for me in many respects.

Yes, there were some great ideas for warm-ups, but there is a danger with many of these sessions that we leave with only brilliant ideas for activities we could try. Don't get me wrong, it was genuinely inspiring to work alongside so many other creative and enthusiastic people, and there was a real buzz as we left the conference with conversations about all the things we would try when we got back to school.

However, what is central to Musical Futures is the pedagogy, not the activities. Musical Futures is not and never has been about leaving kids in a practice room, that is just poor teaching. It is about the pedagogies of Informal learning and Non-formal teaching.


So here's why, under the bonnet as well as on the shiny surface, Robert's session (which can be found here) was so brilliant. 



Warm-ups should link to the learning - In particular, copying Robert's movements the beat after he made them tied in directly with the musical intentions for the session; to form consonances and dissonances through echoing of phrases.

We should start from our students' own musical experience - We sang Ba Ba Black sheep as an ensemble, but in completely free time, changing syllable/pitch only when we need to breath. The sound was genuinely breathtaking and at once complex, but all from the simplest and most recognisable of starting points. The constantly shifting textures and note clusters were immediately reminiscent of the stimulus material we listened to before the workshop.

That choice within workshops should be framed - So that the learning intentions are delivered. Once we had decided on the simple two note motifs that would form our theme, Robert gave us break-out tasks, that whilst offering creative freedom i.e. develop a second part in harmony with the first, would always feed back into the final piece in a way that Robert had planned for.

Workshopping can be used to teach any style/genre or tradition - Our break out group actually talked a lot about harmony, that might well have been the lesson, it wasn't in this case but I hope you get the picture. Whilst workshopping musical theatre you may have some students looking at a whole class agreed chord progression, looking for opportunities to use inversions to create idiosyncratic bass movements commonly found in the genre, whilst another two groups may be tasked with the composition of two melodies over the same progression, each using a particular interval, aiming for melodies of entirely different character.

The stimulus piece was Ascent by Schnittke.





I did also discover that I am a guitar feedback inducer, maybe I am made of Kryptonite, or something.



References:

Cook, N (2000). Music: A Short Introduction. Oxford: Oxford Paperbacks.

#mufu2013: What I learned - Session 1

Last week, for the first time, representatives from Musical Futures champion schools across the whole of the UK converged on a frankly Kremlin-esque diocese in Leeds for the annual Musical Futures conference.



There was so much to take from the two days, it seems sensible to break it down session by session.

Photographs and videos from both days can be found here.

Session 1 - Keynote: David Price
You always know you are going to get something frank, and honest from David. Much of his address focused on a reflection of 10 years of Musical Futures, which at first was a project, then an initiative, an approach and now could be described fairly as a movement. I believe a third of schools in England now run at least part of their curriculum using the musical futures pedagogies.

Most teachers are well aware of the tiresome merry-go-round of initiative after initiative, where the big thing is AfL for a few years, then focus shifts to differentiation or 21st century skills.

Musical Futures longevity for me is as a result of a few simple factors.

Firstly it was built upon sound classroom research and as such was a ground-up model. I don't know many sectors where research and practice are so disparate as education, this was not the case with Musical Futures. Don't get me wrong, I know there are some fantastic things happening, but I would challenge anyone to argue that there is not a significant voice with an "up there/down here" attitude.

In the sciences for example, research and practice are in essence the same thing. How many schools have proper links with their local universities with teachers acting as researchers and the universities with fellows on the ground as it were.

Secondly at the heart of Musical Futures, is the attention to the traditional disconnect between students experiences of music in and out of school. 

Finally, it is impossible to deliver Musical Futures without teaching musically, or as Ofsted would say, music is the target language. The two main pedagogies of Informal Learning and Classroom Workshops are ways of working where teachers play lots and explain little.


At home our students are practically all avid consumers and often creators of music, and yet in many music classrooms they sit behind desks (nothing wrong with this in a non-practical subject) learning from worksheets (you see where I am going here).


David also outlined six imperatives of social learning:

  • Do it yourself (autonomy)
  • Do it now (immediacy)
  • Do it with friends (collegiality)
  • Do unto others (generosity)
  • Do it for fun (playfulness)
  • Do it for the world to see (high visibility)
David is someone with whom I have worked closely over the years, and it was clear to me where his thinking had come from, Much of my own current thinking on education has come from a visit to High Tech High in San Diego, which I have written about often on this blog.

There is always a danger with lists, that they become just that, slogans which are banded  about in schools with senior management crying joyously "Riiiiiiiiight" as they tick off there catch phrase check-list proclaiming about just how much the staff know their stuff.

I think the arts are special. There is an inherent freedom within them to do things a little bit differently. The above list sings projects!

David talked about the next steps for Musical Futures and how we can continue to innovate for another 10 years. One area that I intend to focus on is on how Musical Futures can exist in a Project Based Learning framework.

If we are to continue to thrive and grow as a movement (and it really does feel like that, I have  never been to a conference with such a sense of shared purpose and community), then we need to think about what next. There were pilots for approaches to singing and music technology which I will discuss in later posts.

The conference was genuinely superb, far and away the best music CPD I have ever had, and there were lots of little nuggets, things you could immediately take away and use with your classes and I intend to share these. But on a more important level I hope to use the next few posts to reflect upon how this fits into the bigger picture of Musical Futures continued evolution, and the challenging vista towards which music education is currently peering anxiously.

Creative Curriculum Design: Where are we now?

My last post talked about our inspiration from High Tech High


What have we done with this?
In this post I mentioned issues in our Create curriculum with:

  • Naivety in expectations of students; ability to be self-determinate
  • Authenticity of enquiries and a lack of clear idea over intentions and content
  • Shoe horning disciplines (music, media, drama) together
  • The constant herding of students from one place to another, with limitations on opportunities for students to get to know their teacher limited as a result

The running joke in the Create department for a while now has been: "Can we do the same thing next year?" and the curriculum has been in a constant state of flux as we have tried to work out what works.

We are now in a position where the curriculum is fairly settled and we have made the move from enquiry to project based learning. There is still an element of discovery learning in every module, but these exist within the confines of a clearly defined product and so we can prepare more easily for any unintended but fortuitous (or perhaps advantageous is a better word)  outcomes that may arise. The document below outlines the curriculum, with a focus on music and progression across the two year course, and how this feeds into Year 9.

I have looked at it from both a landmarks point of view, in terms of the key concepts that we intend to deliver in each year, and also from the perspective of how each unit develops  depth, complexity and range of students' musical responses through a variety of styles, genres and traditions.

Structurally we have made some changes to the way students move through each year, and I think that we retain an element of student choice, especially in Year 8, whilst allowing us as a team of 6 teachers to see less kids and more often.

Students have 150 minutes of Create each week. In Year 7 they begin in the first term with a more recognisable carousel around the three disciplines, learning key concepts that will be needed for the course i.e. stop motion animation, video/image editing, ensemble & instrumental skills, musical devices, stagecraft, working with scripts etc.

The first project which takes place in term 2 is "CLV Hits". This involves the production of a music video, where students rehearse and record the audio for their track, animate in sync with the audio and choreograph dance routines. These three elements are then edited back together to make the final product. At this stage we are quite tight about the parameters of the product as this is the students' first experience of a project. The tracks are predetermined, so that it does not matter in which order the students visit each discipline. Typically students will spend a block of around 10 hours with teacher working on each element for the video.

In term 3 in Year 7 student have their first opportunity to chose their project from:

  • Frozen Moments - Making soundscapes and a slow motion (a la Matrix) "moving painting" that captures the most climactic moment from the students' favourite books.
(The project plan can be downloaded here, the full plan is also shared at the bottom of this page)
  • Radio Play - This project is still being designed but students will study seminal works and create their own radio play.
  • Charlie and the Chocolate Factory - Students will put together a stripped back production of the play and compose leitmotif to form the musical backing.

Then in Year 8, students can choose their route through the year. Their are two projects that last a whole year (making a film, and making a fitness DVD). This is necessary to give the students time to create work of the quality that meets our expectations. With projects the rule of thumb is do it yourself, then multiply the length of time it took you to do it by ten! There are also two routes whereby students complete a project in each term.





As a result students see only one teacher each term or in some cases half term in Year 8. We still use the products to give students an insight into works of art outside of their cultural frame of reference, for example Japanese art music plays an important role in the Frozen Moments project. The products that they are making are authentic and clearly defined, though with increasing scope to be creative and present a range of outcomes as they progress through the two years. I am though a firm believer that there is much creativity that is born of constraint so we are not nearly as naive as we were at the outset of the course, where we imagined students might roam free, becoming a film director as the whim took them, then suddenly swap to scoring their film when the wind changed,

The disciplines tend to exist in pairs, so that one does not become the poor cousin in the project, and where synthesis of all three is sensible, these are year long projects.

The one area that still needs most work is in public exhibition. Some projects have involved links to professional composers via Skype or artists coming into school to critique work in progress but this is not yet embedded.

The model is not perfect but it is so much more manageable and effective then our first rambling efforts. In music, Ofsted highlight the importance of regular and sustained music making, and in a year long project, students have an intense burst of music for a term, then less practical music making for the rest of the year. Clearly this is not ideal, and as  head of music, I feel uneasy about this to an extent. That said, from the a whole school perspective and head of Create, if I were to ask myself do our kids get a good deal, I would say "Yes they do."




Musical Futures: Transition




The videos below are taken from our Primary transition: "Play Day" which was organised by my fantastic colleague Jo Watson and took place last week. Students in our feeder primary schools had been working on the song "Stand By Me" using lesson plans and resources provided by Jo. The notation is available as a link at the bottom of this post, and was kindly arranged on our behalf by Alex T Y Au, an undergraduate.

The idea was to capitalise on the wider opps and peripatetic tuition happening, and to use the enthusiasm and skill of the music coordinators in the primary schools.

There was also an opportunity to introduce the children to our staff, our students and our Musical Futures pedagogy, based on learning aurally through "informal learning" and "non-formal teaching", and also to build a sense of belonging to the school by working together for the day on our premises.

Students will pick up where they left off in September by using classroom workshops to refine their performance of "Stand By Me" with a segue into "Beautiful Girl" by Sean Kingston, leading to a whole class composition using either the chords or riff as a stimulus.

I have included the lesson plan for their first 75 minute session in September too.

I couldn't be happier with how the day went and am so grateful to Jo in particular but to everyone involved and can't wait to work with these students in September.







Thanks to Emily Segal for the arrangment


75 minute Lesson Plan

Stand By Me Arrangment - Sibelius File

Gallery of Images

SOLO: Part-whole analysis when performing/encountering new music


“SOLO: Part-whole analysis when performing/encountering new music”

To find out more about Bigg’s SOLO taxonomy go to Pam Hook’s site: http://hooked-on-thinking.com/

There are also some excellent blogs by @DKMead @LearningSpy @Totallywired77 and @lisajaneashes

This is a process I use to help students uncover the functions of the constituent parts of music by asking them to make predictions, take something away and comment on how close the result is to their prediction. It works particularly well when looking at a number of pieces of music from a particular genre or tradition where stylistic conventions can be drawn out from a number of examples.

The ideal is for the students to perform the music but it can be done with recordings, though you will need to use some software to recreate the music so that parts can be muted i.e. Sibelius or Cubase. In this instance I often look for MIDI files of the pieces of music and import them into Sibelius.

I think this process serves to show how the taxonomy is not necessarily linear or a hierarchy, but that we can look at it and use it help students understand a particular piece of content in a way that uses the taxonomy in a bespoke fashion. The end in this instance is that I want students to understand the relationshipsbetween parts of a piece of music yet the means i.e. the process leads them through the extended abstract.

The purpose for this method is that in doing so students will be able to internalise the sounds through performance and focused listening. Also listening to their predictions gives me an insight into their existing technical language and their knowledge of both the new music encountered and their awareness of the more fundamental relationships that can be applied to particular musical patterns or devices. The predictions will be particularly difficult for your students to make at first, but they will get better with practice.

Dependent on the ability of your students you choose your involvement in instructing them at each stage of the process.

Step 1:Listen to the music and describe what you hear. Make a list (Factual description only, no critical judgements)
Uni/Multi-structural understanding

Step 2:Break the piece of music down into parts that “belong” together, these may be based instrumental sections in a concerto for example or based on constituent elements i.e. riffs vs melodies in a pop song
Multi-structural understanding

Step 3:Choose a part to leave out of the music. Predict what the music will sound like without that part. For example leave the second violin out of a string quartet.
Extended Abstract

Step 4:Perform or play the music without that part, listening critically.

Step 5:Critically comment on what the music sounded like: how did it change? How close was our prediction?
Relational understanding

Step 6:Compare the whole music (all parts) with the part taken out. Now describe the function of the part, analogies work well here.
Relational understanding

A worked example might look something like this (I would draw the table on the board).

I use this particular song with my Year 7s before they go into bands to learn the song. We perform it first as a class and these are typical answers (We do this is Sept so I can’t find any photos sorry, will put some up when I do it again next year). I try to use their language during the lesson and use this as an opportunity for them to learn the proper terms by crossing out words and adding new vocabulary.

The Ting Tings – That’s not my name

Parts
Describe
Predict if removed
Comment when removed
Function
New words
Chords – Guitar & Synth
Two chords, using simpler version of the bass rhythm.
It will just sound pretty much the same but quieter
It sounds hollow in the middle
The chords are filling in between the lines like colours on a painting

Bass
Same notes played low then high.
Music won’t sound as low pitched.
It doesn’t sound as “beefy” as before.
The bass is like a plate that the rest of the music sits upon.

Vocal melody
Very repetitive and short notes.
More boring.
You can hardly tell what song it is anymore.
This is the catchiest bit.
Hook
Vocal counter melody
More flowing and more like a tune.
It will just sound like the first chorus where it’s not there.
It doesn’t feel like it is going anywhere now
It gives the song a lift by adding more in.
Thicken texture
Percussion parts
Mostly follows rhythm of bass.
All the other bits won’t sound like they’re in time
It does sound in time but you wouldn’t want to dance to it any more
The beats are like the engine driving the music on
Rhythms

A response to the mobile debate (amongst other things)



Andrew Old recently posted on the why allowing mobiles into classroom is lunacy here:
This is why I think his argument here is flawed. It was written as a direct comment to Andrew, and so it refers to him as the second person. I have asked him if wants to delete the comment to allow for readability and brevity in the pages so I have also posted the comment here. It got a little long winded so maybe this is a better place for it.
It is interesting that you seem to have a habit of taking a quote and misrepresenting it as in this earlier post re: Francis Gilbert
I take the quote not to mean that more learning is bad, clearly this is lunacy, but the obvious meaning is that the learning seems joyless, which is bad in my book. On engagement, your weasel word stance is also flawed. Willingham does not discount the importance of motivation, in fact he makes pains to state that without it, learning is inhibited. There is evidence (http://www.alfiekohn.org/teaching/pdf/The%20Risks%20of%20Rewards.pdf)
to suggest that external motivators instigated by the teacher can work short term, but longer term this damages students’ willingness to learn. I recognise the strengths in this argument, and in the report I cite, the “kefir” experiment seems to be used by proxy for learning. This an area of personal interest to me at the moment as I have perceived a change in the motivation of my students since the adoption of Project Based Learning as one of my teaching methods. My reading around the subject has only just started and my mind is far from made up, though my gut instinct is to support the article.
If we take engagement to mean simply entertainment then yes, this is not desirable. I prefer to take engagement to mean students developing an intrinsic motivation to work and do well as a result of a well designed and well executed curriculum that presents content in a meaningful and purposeful way. My preferred method is project based learning which may or may not include direct instruction as appropriate, though again I know you are not a proponent of project based learning and have Hattie’s effect sizes to post in return here.
My interest in project based learning stems from firstly, my subject (music) which lends itself to working towards a product, where knowledge is acquired through purposeful play on the journey towards this product. Secondly, I was lucky enough to visit High Tech High in San Diego last year and as a school that delivers entirely through PBL in all subjects but Maths, I was awestruck by the quality of students’ work, knowledge and the engagement (see my earlier diefinition) of students with the curriculum content. I really think if you had the chance to see this place you would love it Andrew. You might not come away banging the PBL drum, but the structures in place for staff and students were unlike anything I have ever come across in my admittedly short career. Staff and students expect each other to be exceptional and have protocols for making sure that happens.
I am not best writer and can’t really express or impress the extent to which I found this place is a learning nirvana. For anyone or reading this or if you haven;t already done so, their delightfully clunky website is worth a visit and you can find some startling statistics about the impact of their curriculum design on
their students.
You write lucidly and argue well Andrew but there is a joylessness here that I sense is a result of you feeling at odds with what you would deem the prominent progressive educationalist view.
Correct me if I am misrepresenting you, but I believe you have previously questioned my professionalism when you said of my use of SOLO:
“If your classes benefit from being given bad ideas about how thinking works, it just makes me wonder what you were doing before.”
We later had a lengthy discussion about the nature of SOLO, you seemed to agree with the statements that thinking is based on knowledge, that we understand new things in the context of things we already know, that we make predictions when encountering new knowledge again based on what we already know. This to me is the essence of how SOLO can be used to observe learning outcomes. I described SOLO of a map for knowledge, you actually corrected me and I thank you for the clarity it gave me in that SOLO can help develop a map of knowledge. At no point in the use of the taxonomy is content knowledge ever abstracted out. SOLO is not used to measure thinking, it is used to measure outcomes or in other words depth of content knowledge.
Personally, I am a little disappointed that when a teacher says that they have tried something with success, that you use your own beliefs and stance to criticise this. I aim to do nothing in my class that serves anything other than the learning of my students. So long as you and your students are doing well, who am I to say that you are wrong? We hold very different beliefs about education I am sure, but I absolutely respect your resolution to educate your students in the way you deem best.
If this is a misrepresentation of the tweet, then I humbly apologise. I have tried to present a clear representation of not just the tweet, but the conversation.
In this post and in my case you mistakenly lambaste what was later qualified as an emotive statement. Of course we should not ban PCs, and of course we should manage their use so that technology is used to serve learning.
As a music teacher I deal primarily in “skills”. In terms of an epistemology of music, this could be describes of knowledge how to. This is where I err from Willingham’s view that factual knowledge precedes skill.
Students are perfectly capable of making music and internalising sounds before they are aware of or acquire the factual knowledge associated with those sounds. There may be some related and elementary factual knowledge such as “this is how to hold a guitar” but that is not directly related to the ability to imitate a phrase for example.
There is an inherent and unhealthy need in western culture to make music into something tangible, which is a result of a traditional hierarchical model applied to music, where the composer sits atop a chain which runs through performer to consumer. The distinction between performer/composer/listener would not be understood in many cultures. There is some excellent research on this the musicologist Nicholas Cook.
By the way I don’t think that project based learning’s requirement for a product is at odds with this observation, as the musical learning is a result of the product, but is not the product itself.
Musical progression is a difficult thing to describe non-musically. Musical Futures has had a massive impact on music education and at its heart is the teaching of music musically. Students experience and internalise sounds first, then learn the factual knowledge associated with this.
As a music teacher, and one who uses a Musical Futures approach, I support the exploration of the judicial use of mobile technology. The potential in the devices seems worth exploration, and the barriers presented are exactly that. They are bad things. They are bad things that we might overcome. The reasons why I think they could be useful are:
Many of these views are supported in the surprisingly excellent Ofsted triennial report into music in schools: Wider still and wider
0 To use as a recording device to demonstrate musical progression musically. Assessment that is musical can not be done on one piece of work but against a portfolio of evidence. This is not teaching for evidence by the way, I teach for learning.
0 Accessing resources such as musical scores, or instructional videos for example. I can’t physically directly instruct 30 students on how to play drums, flute and guitar at the same time. I can if I’m on a video.
0 Music technology is a career path for students, for example mobile devices can use garage band, which is an exceptional piece of software. I can’t afford macs.
This last point is important. I could use other devices to do these things, but they cost money and most students have mobile devices which can already do these things, and by their nature they are mobile, I physically don’t have space to put any alternative technology in my practice rooms.
Let’s not have a knee jerk reaction. Let’s look at something that has potential, but needs to be investigated. Let’s disagree with each other in a way that does not question our ability to do well for our students.

ANDREW'S RESPONSE


The stuff about mobile phones I hope to cover (either directly or indirectly in a future blogpost), however, I will try to deal with the other points.
1) It is not “misrepresentation” to sum up what you think somebody’s opinion amounts to. I directly quoted Francis Gilbert’s words.
2) “joyless” is not an “obvious meaning” in anyone’s book. In fact joy is quite a difficult concept. I tend to view it as the rewarding feeling arising from the exercise of virtues. Obviously it can also mean “happiness” or “pleasure”, but that would fit my interpretation of FG’s argument perfectly. If you have another definition, one that would actually help your point, go ahead and give it, but as things stand you actually seem to be strengthening the case for my interpretation.
3) You don’t actually appear to have stated what the flaw is with my argument about engagement unless it is the straw man that I am against students being motivated. Obviously I want students to be motivated to learn, I just consider motivation to be a means not an end.
4) Rewards and punishment are about desert, not about motivation. That’s what makes them distinct from bribes and threats. I would never seek to justify them simply as motivators, or indeed concern myself too much with manipulating others.
5) I’m not aware of effect sizes for project-based learning, although I do have a few research articles on it waiting to be read. I’m generally against it on the grounds that it tends to involve groupwork and discovery learning, both of which there is good evidence against in most contexts.
6) My objection to SOLO taxonomy is that, if we respect existing bodies of knowledge, we simply have no need for any new system of structures in which to arrange that knowledge. That’s what academic disciplines are, an arrangement of knowledge. SOLO appears to do the same job badly, providing no useful insight and no obvious benefit. The reason I don’t accept anecdotal evidence for it, is because I have heard the same evidence for so many other schemes that are completely contradictory and the only way to sort between them is with things like a coherent explanation and good empirical evidence.
MY RESPONSE
1) Perhaps misrepresentation is the incorrect word in this instance, I do think your interpretation of "more learning = bad" makes seems to make a rather incongruent jump to serve the purposes of the content of your blog. Who would rightly believe that learning is bad? Yes FG may have a stance against private schools that I also find in need of some more coherent argument but to suggest that he finds learning to be bad by proxy seems a little implausible.

You did misrepresent my twitter post though to serve this blog post as I later qualified this as an emotive statement, again clearly I do not believe that PCs should be banned.

2) 3) 4) 5) The use of the word joy I feel is appropriate for such young children. Drill has its place. I am firmly in favour of students learning their times table by rote. Using memory to assist in calculation seems an entirely appropriate way to teach numeracy. I am not so sure about sitting in silence to read though as I fail to see how this maximises the use of the teacher. You do say that the ability of young children to learn of their own accord is no excuse for not teaching them. Guided readings seems a more appropriate way to check understanding.

You qualified that you were being flippant about play in the same post, but my use of the word joy links to my definition of engagement.

I'm going to talk about personal experience here so you might want to just skip past this part. I went to a school where I learned by rote. I did quite well. I have a good memory, this helps. I think the skill that I developed best at school was being able to copy from the board without looking at my page. I honestly think that other than one superb Physics teacher, I could have done without most of the rest and just bought some textbooks. In class I would finish copying out twice as quickly as the rest of the class and then hid that I was finished and messed around. My education was entirely joyless, I took no reward from learning and I was not engaged, I had no intrinsic motivation... and yet I was successful in terms of academic grades.


I am pretty good at maths but fairly artistic and so was told I could not be a graphic designer and was coerced into an engineering degree. I lapped up the maths in the first year but had absolutely no passion for the subject whatsoever. I got 91 for the maths module and 6 for the design as I stopped turning up for those sessions (I doubt I would have done much better though). I was not ready for the work that was required as I had been spoon fed for 7 years. I decided to follow my passion and studied music, later becoming a teacher after taking a community music module and working in my old primary school. I adore my job and count my blessings each day. We cannot be passionate about every discipline and nor should we expect our students to be, but we should find ways to expose the passions of our students. If we do not make learning a reward then this is less likely to happen.

I agree wholeheartedly that motivation is a means and like you I think it something we should aim to instil. If learning is to joyful in that learners experience "the rewarding feeling arising from the exercise of virtues" during the acquisition of knowledge; at this early age then yes play is important in the sense that young children are trained to see learning as a game where learning=winning.


The quote moves from saying that such an over-academic (key word over, not academic) focus may be unsuitable for younger children, and then says that his child benefited from "learning" by doing. At no point does he say that his child learned more in the private school, this is something you have determined by elevating their teaching methods. It is the means that he is talking about and not the ends, the teaching method and its appropriateness for the children, not the amount of learning. Yes, his views seem dogmatic with regards to private schools from what I have read, but to make the bold claim that he believes learning must be bad is a step too far.

Education should be joyful by your definition. Engagement is a virtuous means. My definition of engagement as "an intrinsic motivation, to connect with one's own education as a result of seeing learning and quality outcomes as a reward" does not seem that far away from your stance.

I recognise that with the Learning Futures scheme for example you disagree with their notions of school as base-camp, extended learning relations and school as learning commons. I take issue with your categorisation of engagement as a weasel word because the word is not the problem, rather interpretation of the word and its misuse. Yes learning will not always be nor should not always be fun, nor should we look to entertain our students. However we should absolutely look to find the means to develop our students' intrinsic motivation through a "culture of quality" as Ron Berger would put it, where the work matters and is the reward, and learning is the virtue. My preferred method here is PBL and Critique.

http://www.hightechhigh.org/unboxed/issue6/collaboration/

Again I know as this involves some discovery learning as part of a blend and collaboration you would take issue with this, but having seen it in practice at HTH, and the way that content is scrutinised in a robust manner I am happy to use it. 80% of feedback students receive from peers is wrong. There may be an argument to avoid peer assessment, however students' peer assess informally as a matter of course. Why not try and teach them to be better assessors? Short term you might argue, "Why not teach them some stuff instead?" but my experience leads me to believe that in music less breadth of content covered with greater depth makes students more musical though this is difficult to quantify empirically. I suspect that long term I am doing the right thing for my students in spending curriculum time deliberately using and manipulating the collective intelligence of the class to challenge the quality and depth of content. Already the musical quality of their compositions, their attitude towards redrafting, understanding of and use of technical language is improving.


The above might all seem terribly flowery in its language and not rooted in empirical evidence but these are views that I hold as a result of my own experience and my reading. These are my beliefs. The things we disagree upon is a tension we are never likely to resolve. The issues I take with your posts are technical; the leap to “learning = bad” is too far I think, you used my quote without qualification, you state that engagement is a weasel word when in fact it is the interpretation of the word that is the issue. Your argument against the use mobile technology to an extent relies upon and certainly assumes a homogeny of context.

6) I absolutely respect academic disciplines and their inherent differences. I am a musician and I find it difficult to accept that non music specialists can make sound judgments on the quality of a lesson in 10 minutes in an inspection for example. The use of SOLO should bedone in context. It does not for example suppose that making abstract generalisations of a quite simple rule is higher order then understanding complex relations of causality: For example:  2,4,6,8 – What is the next number the nth term=(n-1)+2 therefore the next term is 10 would be classified as extended abstract. However clearly this is not deeper content knowledge than understanding and articulating how the Treaty of Versailles was a cause of World War II which would be classified as relational.


What SOLO does is give you a shared language of learning; it helps you to form a map of content knowledge (again thanks for your wording). In a more discrete context it helps students understand how they might be able to use their new knowledge. It does not exist to supplant the existing bodies of content knowledge. I find it useful to plan questions. Many others find it useful to signpost a way for their students to display deeper learning outcomes with discrete curriculum content.

I absolutely disagree that it abstracts knowledge from the picture or that it presents an incorrect model of thinking. It is used to measure depth of content knowledge.

Hattie says it is a “defensible method of teaching material” here: http://t.co/mFBTqccb though without effect sizes. He also uses it to measure depth of student learning here: http://t.co/h0GLQndi

There may not be a need for it, but if it works in your context and helps why not use it? A bit like mobile technology.
 
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