Reading Comments

Student Centered Teachings, Deborah Blair:

Throughout this article we are faced with the constantly dilemma of whether teachers should make the decisions or students. When classrooms are students centered the activities are geared to engage students by experiences making them to think and solve problems musically. In this article Deborah Blair shares how this type of learning enables students to be more free and able to have a greater musical learning opportunity and capability. Since students are “calling the shots” they are going to be more active and responsive in wanting to learn about music allowing them to progress at a more rapid pace. For the kinesthetic learners this is perfect opportunity to be able to excel in their musical abilities. Since students are the “center of the action” as Blair states, it allows for students to really discover themselves and be able to detach from wanting to do things the “right way” or trying to appease the teacher but instead, it is a way for students to truly discover themselves in a musical way and understanding.

Technological Innovation, Patricia Riley:

In todays society it is becoming very difficult to live just a day without technology. Nowadays, technology is being infused not only in workplaces but in the academic setting as well. Patricia Riley discusses how the innovation of technology is currently being used in education but more specifically music. iPad technology is what is specifically being addressed in this articles, how they can aid music education. Through first hand experience, technology is becoming increasingly present in music classes. Teachers are asking students to take out their electronic devices to record a specific song that they performed then later asking them to critique the recording. More specifically in college, vocalists use iPads or other electronics to learn lyrics while, instrumentalists use it for reading music. Right now, technology is fairly prominent in the music education world and it is only the beginning.

Popular vs. Traditional Music, Lucy Green:

Popular music has always been described as mimicking what’s heard, aural learning coping with instruments and improvisation. But, Lucy Green discussed that with popular music there is “informal learning” meaning you learn it on your own without a structure guidance or music. Now students have the freedom on how they choose to learn. When there are no parameters students feel that they can have fun and actually enjoy making music but, when restrictions are present it becomes less enjoyable and it will seems more like an assignment, students in turn won’t joy it because they cannot make it their own. Green discovered in the study that students can learn more by themselves. Independent learning allow for students to not rely on anyone like a teacher but on themselves. Learning independently equips students with a sense of empowerment making them feel like they can accomplish anything equipping them to excel musically.

Philosophy and the Music Teacher: Challenging the Way We Think, Estelle R. Jorgensen:

When I initially read this article, I thought about what is a philosophy in its general aspect, how does it affect others and how can I shape mine to reflect an impact on the lives of students? Throughout the article, the ideas of using empirical data to support your philosophy is encouraged but not always necessary. But as a philosophy should stand, it should be about our findings, opinions and support for those opinions. Philosophies are just supported opinions- supported by paradigms as the author states.This article has showed me that my philosophy should not be just something I agree with, but something that can be supported by various forms of data and should also be something that I am passionate about and something that can be molded and changed with my years and experiences in the field of music education. Our philosophies in my opinion, should reflect who we are not only as a person but as a music educator, this article has made it very clear to me on what my philosophy should be and how to go about developing it further.

The Case Against Rewards, Alfie Kohn:

Throughout Alfie Kohn’s article, it is made apparent that behaviorism is detrimental to students because not only are students expecting to be rewarded after every action executed but their actions are quantified. If a student who is statiscally average throughout their school work B.F Skinner embellishes that they will not succum to anything of great merit. The belief that gives behaviorism its name is “what we are us nothing other than what we do,” (Kohn 9) implicating that we are defined by our actions- which in my opinion is false. If a student performs poorly on an assessment it does not make them an inadequate student. We cannot measure who a person is by their specific actions, it is a flawed system. We live in a take society, it is no longer about accomplishing things for yourself with self motivation however, it is about seeking something in return. Instead of the “do this and you’ll get that” approach, teachers should not expend rewards for “right” doing but instead, voice their expectations of classroom behavior and etc., allowing for an understanding to be made about what should be done and is expected of the students.

General Music as A Cure for the High-Stakes Concert, Matthew Thibeault:

High-stakes exams and concerts are all the rage at the present time, in all schools. But in my honest opinion, they’re the biggest waste of time and allow for teachers not to have the reigns on what they can actually teach. Matthew Thibeault expresses that there are three main problems with concerts and high-stakes test: teaching to the test, evaluations by a single source of evidence and student voice and choice. When teaching to the test/concert there is no time to explore or speak about the meaning and motives behind what is being taught, it is just for teachers to teach to ensure optimal results on the exams. Thibeault quotes Charles Leonhard in articles stating that students who learn only to perform and for performances do not develop the understanding of the music that constitutes music literacy (theory). Which also allows for cramming, cramming is what students result to and in turn learn nothing in the long run but for the moment. I believe that exams cannot measure knowledge, i.e students that are intelligent and perform well in class may be the worst test takers. Elliot Eisher voices that, “Not everything that matters can be measured…” (Thibeault 28) Students everyday lives, achievements and knowledge are to be assessed by a test/concert on one day, which cannot be quantified. What if a student is sick on test day and cannot perform as well, does that mean that they all less knowledgeable? Exams cannot take into account the conditions of the student.

Toward Convergence: Adapting Music Education to Contemporary Society and Participatory Culture, Evan Tobias:

In today’s society, the media is placing a prominent role in various aspects specifically education. Dr. Tobias concentrates on how addressing and embracing participatory cultures in the classroom setting will help students identify and relate to music which will then make them more receptive to learning. Using the various ways of the contemporary society to educate students i.e mashups/remixes allows for them to feel more connected to music and their education. Educators are suppose to reinterpret and expand their teaching styles to accommodate new trends (convergence) much like technology, teachers who don’t embrace it will be replaced by it. Teachers that incorporate students interpreting and performing different pieces that are already established, allow for them to create their own version and be able to demonstrate creativity and inventivity. This allows for no two students examples to be the same encouraging uniqueness and individuality.