Principal, staff and students of Ahmad Ibrahim Secondary, Anglo-Chinese School (Barker Road), Canberra Secondary, Catholic High School (Secondary), CHIJ (Kellock), Christ Church Secondary, Chung Cheng High School (Yishun), Dazhong Primary, Edgefield Primary, Edgefield Secondary, Fengshan Primary, Greenridge Primary, Kuo Chuan Presbyterian Primary, Loyang View Secondary, Manjusri Secondary, Meridian Secondary, Outram Secondary, Riverside Secondary, Rosyth School, St. Margaret’s Primary, Tampines North Primary and Xingnan Primary.
Editors: Chua Siew Ling & Alvyn Eng
ISBN: 978-981-14-4140-0
Copyright @2020 by Singapore Teachers’ Academy for the aRts
All parts of this publication are protected by copyright. No part of it may be reprinted, reproduced or utilized in any form or by any electronic, mechanic, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the Singapore Teachers’ Academy for the aRts.
sounding the teaching IV
DIVERSITY AND INCLUSION IN THE MUSIC CLASSROOM
A PUBLICATION BY THE SINGAPORE TEACHERS’ ACADEMY FOR THE ARTS (STAR)
Music in Singapore to Advocate Pride in our Cultural Identity
Sum Si Wah Naomi | Christ Church Secondary School
Music Appreciation through an Inquirybased Approach
Soh Chee Suan Mary | CHIJ (Kellock)
Using a Blend of Teaching Approaches to Enhance the Teaching and Learning of Music in Singapore
105
Creative Approach to Classical Music to Arouse Students’ Interest and Develop Active Listening skills
Section 5: Creativity in Music-Making
119
A Learning Experience on Creative Music-making in the Music Classroom
Chan Wee Teng Dawn | Dazhong Primary School
Koh Cheng Yeen | Kuo Chuan Presbyterian Primary School
Tan Wen Siu and Teo Jiamin | Loyang View Secondary School 123
129
A Qualitative Study on How Students Learn during Music Lessons by Making Feelings Visible on Graphic Scores
Sim Kok Heng | Chung Cheng High School (Yishun)
Formative Assessment in Helping Students to Self-regulate Learning
Soh Yang Yit Bernard | Rosyth School
ICT as Enabler: Fact or Fiction? Tabitha Vicky Rajaratnam | Riverside Secondary School 95
Shawn Neo Pin Han | Ahmad Ibrahim Secondary School 90
How Effective is SCAMPER as a Thinking Tool in Helping Music Students Generate Ideas for Music Composition?
Section 6: Assessment and Feedback Section 7: Technology
Recoding the Recorder Module: Game-based Learning to Recorder Playing
Impact of Feedback in a Song-writing Task
Tan Ee Sin | Catholic High School (Secondary) 158
Designing Differentiated Instruction through Guitar Video Tutorials
Soh Pei Wen | Manjusri Secondary School
Foreword
Mr Clifford Chua | Academy Principal | Singapore Teachers’ Academy for the aRts
Teaching is an art and an artistic process. As with all artistic endeavours, one hones one’s skills through practice. I applaud the teachers participating in this issue of Sounding the Teaching IV for taking ownership of their professional development and embarking on this critical inquiry journey to examine their professional practice. These inquiry projects are testimony of our music teachers’ increasing competence and confidence in sharpening their craft.
Critical inquiry provides a platform for teachers to critically reflect on their current teaching practices. These processes in helping to unearth hidden assumptions and/or unconscious biases help strengthen pedagogical content knowledge and practice by being more culturally responsive. Issues surrounding inclusivity in diversity, technological innovation and affordances
are pertinent challenges in our ever-evolving educational landscape and it is encumbered upon the fraternity to collectively respond to these challenges purposefully and confidently. In the bid to nurture classroom cultures that value multiple perspectives, nurture student identities, and develop student-centric, values-driven orientations, our teacher-researchers deployed the music classroom as their educational laboratory wherein they questioned, hypothesised and experimented with strategies to deepen understanding and expertise.
I congratulate all the contributors who have demonstrated incessant hard work. It is a testament to the commitment of our music educators going the extra mile to make learning more engaging and meaningful so as to touch the lives of our children.
Introduction
Chua Siew Ling | Master Teacher (Music) | Singapore Teachers’ Academy for the aRts
Sounding The Teaching IV puts together 22 studies from teachers in the Critical Inquiry Networked Learning Community (CI NLC). It has the largest number of contributions since the first issue, and this publication has much to celebrate.
1. We celebrate the grounds-up initiative of teachers who defined for themselves, what they wish to inquire, what they wish to improve, and what they wish to learn in the process.
2. We celebrate the new-found knowledge as a result of the inquiry projects, which has led to enhancing the professionalism and the growth of the entire music teaching fraternity.
3. We celebrate our teaching community who is now empowered to investigate our own practices using different inquiry approaches of our choices, and where we get together to share our struggles and discoveries, and where we are supported by a community of other teachers investigating similar themes.
Inquiring about Inclusion
This issue is a collection of studies from members of the CI NLC of a diverse nature but which all revolve around the theme of diversity and inclusion in the music classroom. What do we mean by diversity and inclusion? To some extent, it is reflected in the organisation of this publication. The
intent is to illustrate how issues relating to diversity and inclusion are complex, and perhaps these areas of learning can help us develop a more acute and nuanced view of what considerations there are in developing an appreciation for diversity and an inclusive classroom. Let us begin with some questions in each of these areas to awaken our curiosity about diversity and inclusion.
Inclusion
What constitutes inclusiveness?
What does inclusiveness look like in a music classroom?
What makes students with special education needs feel included in our mainstream education?
What strategies can we use in teaching and assessing students to create a more inclusive learning environment?
Collaborative Learning
How do collaborative learning processes impact the musical development of students?
How do our students respond to collaborative learning differently?
Student Motivation
How can we support students so that they become empowered?
How are our students experiencing acoustic and digital instrument learning differently?
How do direct instruction and selfdirected learning impact students’ interest in learning?
How can classroom music learning experiences contribute to lifewide and lifelong impact on students’ enjoyment of music?
Culture and Identity
How can we facilitate students’ understanding of diversity through our diverse musical heritage?
How can we engage students in music genres unfamiliar to them?
What examples are there in blending learning approaches to encourage students’ participation and engagement, and which cater for different learning interests?
Creativity in Music-making
In our contemporary classrooms where there is growing interest in contemporary popular music, how can we make traditional and classical music more accessible to students?
How does creative music-making enhance student engagement?
As many learning strategies focus on the cognitive, how can we also give attention to the affective domain in musical understanding?
How can we help students grow their musical thinking?
Assessment and Feedback
How can we carry out assessment and feedback to influence a sense of inclusivity in the music classroom?
Technology
How can we use technology to increase access to diverse groups of students, thereby fostering a sense of inclusion in the music classroom?
How and why does games-based approach work in engaged learning?
How can videos be harnessed for differentiated instruction and learning?
To what extent can technology help develop a sense of social cohesion as a class; when does it work, and when does it not work?
The above questions have guided the inquiry projects found in this book.
Expressing our Diversity
In the spirit of appreciating diversity in the way we as educators think, the compilation also shares a range of different ways of conducting, presenting and expressing our inquiry knowledge. Some of these inquiry projects explored arts-infused approaches using narratives, drawings and musical notation as critical sources of information. Others explored an eclectic combination of methods including observations, interviews, focus
group discussions, pre- and post-surveys, video recordings and journals. The wide range of approaches demonstrates the multi-faceted ways we can understand our students’ thinking and our own practices.
We believe that different types of contributions and their presentation styles will appeal to different readers. Thus, we included various types of presentations in the hope that our diverse readers could find pieces of gems in this book for their own consumption. Invariably, these different presentation styles led to different lengths and use of spaces. These different presentation styles are coded by the colour of their headers in the book. They include:
Narratives
These stories intends to draw readers into the worlds of teaching as these narratives describe the experiences more vividly, and expound on the ideas of inclusion in more compelling ways.
Short Features
These are intended as succinct representations of studies to communicate key ideas in the most direct way.
Pedagogical Essays
These are projects that provide rich descriptions of curriculum plans and pedagogical approaches.
Arts-infused research
These feature less conventional inquiry
approaches such as examining the drawings or musical works of students.
Evaluative and psychological studies
These are studies that use more scientific or mathematical approaches.
In this collection, readers can also find more provocative propositions amongst the various projects. For example, Sim Kok Heng gave a spin on ‘making thinking visible’ and challenged educators to ‘make feelings visible’, to give more emphasis to the affective domain in our subjects. Shawn Neo and Mary Soh harnessed strategies from other disciplines such as SCAMPER and inquiry-based approach as a means to generate creativity and criticality respectively. In the spirit of inquiry, some studies have also questioned conventional assumptions about learning, for example, Tabitha Vicky Rajaratnam questioned if technology is always able to offer inclusive experiences. Jermain Cho urged for a broadened understanding of inclusivity while Jessica Chaw explored her own vulnerabilities in working with students with special learning needs. There are moments of surprises, moments where we might feel torn or even more confused, and moments which might move us to tears.
All in all, this issue intends to provoke. Let this issue be the start of our collective inquiry in deepening our understanding of diversity and inclusion in our music classrooms.
Section 1 INCLUSION
This section gives attention to the nuances about learning, drawing on stories and sharings of music learning moments, and discussing strategies that can create a sense of inclusion in the classroom.
Chaw Kim Leng Jessica used stories to relate the struggles she faced and how she overcame them as she created an inclusive classroom for her students with special education needs.
Gan Soon Keat Skye shared how he used accommodation in his assessment task to help a student with autism spectrum disorder engage better in his class.
Tan Xi Ling’s study harnessed student drawings amongst other data, to illustrate how students view collaborative learning and how such collaborative learning strategies helped to create a more inclusive environment for all learners.
Cho Koi Hong Jermain called for a rethinking of the term “inclusiveness” and by carefully examining students’ survey responses, demonstrated how a technological module could nurture students’ appreciation for diversity and, how the human interactions in the class is key to developing inclusivity.
Including Children with Special Needs: A Narrative Inquiry in Using Differentiated Instruction in
a Mainstream Music Classroom
Chaw Kim Leng Jessica | Edgefield Primary School
LEARNING FROM LITERATURE
Inclusive Education
Introduction
Learning from Literature
Case Study 1
Case Study 2
Case Study 3
Conclusion References
INTRODUCTION
It started with a boy named Robbie. I taught Robbie when he was in Primary 1 and 2, three years ago. When I first taught him, I knew he was different. He was often in a world of his own. During recess, I noticed him walking round and round a tree happily. He did not interact or play with anyone. But he was happy. Happy to be alone, happy to walk round and round. I thought, Robbie definitely has autism. His form teacher thought so too. I tried to speak to him. He just giggled and smiled.
In the beginning, I was upset with the education system. Why do we accept a child with special needs in a mainstream school? Why is it so unfair to other students who have to accept this child in their class? I was angry because I was trying to cope with all the children including Robbie. I could not complete what I set out to do with the class every week. I could not achieve what I wanted to achieve. For a few months, I was dragging my feet to the music room, dreading to teach the class.
In one particular term, the class had a drama performance. They had to recite a poem with actions on stage as their parents watched. Throughout the seven weeks of preparation, Robbie only managed to say bits and pieces of the poem. During the
full-dress rehearsal, he “freaked out”, refusing to walk onto the stage. I had to call for help from my learning support staff. I watched how she walked with him to his position and told him what to expect – noise, music, audience. During the second half of the rehearsal, Robbie walked with the class, presented some parts of the poem and enjoyed himself.
At this moment, I teared. I was so ashamed of myself. What have I done in my Music class all these while? I have been lamenting and complaining about the presence of students with special needs as they impede the pace of lessons. Why was I so keen that every class must achieve the same outcomes? It was embarrassing that I needed a sevenyear-old boy to teach me a lesson on humility.
Therefore, this inquiry is a study of how I could engage students with special needs in a mainstream music class using differentiated instruction. There were, of course, successful and unsuccessful attempts. I tried, I adapted, and I tried again and again. Any little progress meant a lot to me because it meant I was just getting closer to connecting with these students. This narrative puts together what I have learned from my own journals, interviews and questionnaires.
} Yanoff (2000) distinguished between inclusion and mainstreaming. Inclusion is the practice of placing students with special needs in the regular classroom with non-disabled students and providing specialised services and/ or curriculum for them. In mainstreaming, special needs students placed in the regular classroom receive the same education and services the other students are receiving. In our current education system, what we have is mainstreaming. They learn and attend all lessons together.
} Ashman and Elkins (2005) shared that there must be equity in the integration of children with diverse learning needs and giving them equal access to common educational goals. Integration can be successful when there is support, communication and collaboration
among school community – school leaders, school care support, teachers and students. There are already support in place in schools. For example, there are Allied Educators (AED) for Learning & Behavioural Support (LBS), school counsellors, education psychologists and psychiatrists. For non-academic subjects like Physical Education, Visual Arts and Music (PAM) lessons, we may need this support even more as these classes are usually more active, more experiential and the classroom environment is different. Besides the environment and support, the classroom teacher must be convinced about inclusive education so that special needs students can thrive.
} Yanoff (2000) also shared the essential elements for successful inclusion to take place in the following which sums up my sentiments.
6 Essential Elements for Successful Inclusion 6 Harmful Attitudes that can ruin Inclusion
1. The school sees inclusion as a programme to serve children.
2. The principal sees inclusion as way to better educate students.
3. The parents see inclusion as an opportunity for their child.
4. The teacher sees inclusion as a challenge and an occasion to promote growth.
5. The classmates see inclusion as a chance for personal development.
6. The students see inclusion as an entrance to a more normal life.
Differentiated Instruction
} Differentiation could take place through content, process, product, affect and learning environment according to students’ interests, learning profile and readiness to provide an inclusive classroom (Tomlinson & Tomlinson, 2005).
1. The school sees inclusion as an opportunity to save money.
2. The principal sees inclusion as a way to save space in the school and punish uncooperative teachers.
3. The parents see inclusion as a way to confirm denial of their child’s problems.
4. The teacher sees inclusion as an imposition and deviation from routines.
5. The classmates see inclusion as an opportunity to ridicule.
6. The students see inclusion as an environment of exposure and shame.
} Darrow and Adamek (2018) shared 3 approaches to differentiation – accommodation, modification and adaptation.
Accommodation is used when the teacher believes that all students can achieve the same level of participation
or accomplishment but a student with special needs just needs additional support like using a different musical instrument or covering the holes of the recorder with a tape.
A modification is used when the teacher thinks that a student with special needs cannot complete the same activity or participate together with the class. The
modification is then made to the activity or the product.
An adaptation is used when adjustments are being made to enhance a student’s performance. At the end of the day, the goal of every lesson is for students to participate in educational experiences at the highest possible level based on their functioning levels.
DARREN YEO * (Undiagnosed: suspected of ADHD) CASE STUDY 1
Darren is a Primary 1 boy who has a younger brother. His mother is very supportive and has referred him for specialised help. In the beginning, she did not want an official diagnosis to be done as she did not want Darren to be labelled with ADHD. Currently, she is looking into referring Darren to a psychologist for a proper diagnosis and has the intention to send Darren for behavioural intervention classes and to obtain access accommodations during examinations. In school, our AED LBS Mdm Ummi is now working with him on his behaviour. She also works closely with his form teacher and subject teachers.
“Darren Yong!!!!” I screamed across the corridor outside the Primary 1 classroom. This was my modus operandi for the past few weeks into the first term of the school year. Darren is a 7-year-old boy who has just started his primary school journey. From the start of school, he
has been seen walking, running and crawling around the classroom. His form teacher and subject teachers, including me, are finding difficulties in keeping him attentive to our lessons. To make matters worse, his behaviour disrupts the flow of the lessons and disturbs his classmates.
“Tim, can you hold Darren’s hand as we walk up to the music room?”
I asked. Tim nodded and walked towards Darren. As I looked at the end of the class queue, Tim was running after Darren. The latter refused to be held on and I shouted Darren’s name again. He hid behind a column. I could not see him. The class queue was messy again. The rest of the children were restless and talking loudly amongst themselves.
It was really tough. Tim was a very responsible boy but Darren was not cooperating at all. This happened every time we made our way to the music room. I started to make the class sing some songs that I had taught them. They sang softly, sometimes with actions, as they walked to the room or back to their classrooms. They were practising songs that I had just taught. They were focusing on singing and
walking. But not Darren. He was not singing. He was not even lining up with the rest of his classmates. I called him to stand beside me and hold my hand. He refused. I insisted. He struggled when I held on his hand. I fought him. I held him strongly. On second thought, I was also afraid that I would be hurting him as we both struggled against each other.
Every Monday, the situation could be very different depending on the class’s energy and Darren’s mood. At times, I left Tim to follow him as I brought the class up quickly. Sometimes, Darren showed me his hyperactivity through climbing on the railings or windows in the stairway that I had to “fight” him to stay with us as much as possible.
One day, to my utter shock, I saw Darren trying to climb over the railings and wanting to jump down between the railings. I screamed for him to stop and I ran up, keeping my eyes on him as much as possible. Scary thoughts ran through my mind. I screamed at him. Upon reflection, I thought he did not really understand why I was screaming but he could sense that I was angry and he looked away. I spoke to Darren alone. He stood while I was kneeling down, explaining what he did was wrong. I wanted him to open up to me and remember what was so wrong about his behaviour. I did not want to tower over him and be authoritative. He did not respond much. I could sense that he knew he was at fault.
The situation in the music room was chaotic too. Darren was not the only one who had attention deficit. There were three other boys who lose their attention easily. If I had wanted to concentrate on the rest of the class and allow Darren to move around the music room as he wished, I still could not focus as I would be still worried about Darren’s safety. He would be moving and touching the
instruments, unscrewing my drums, removing the keys from the xylophone, examining how the electrical switches worked or digging dirt at the corners of the room. Once, I asked him why.
“Your room is very dirty. There is so much dirt,” Darren replied. I really did not know if I should laugh or cry.
I needed to help Darren to help myself to be back in control in class. I started trying some strategies to help him.
“Listen here, Darren,” I held on his hand and spoke firmly. Darren was looking elsewhere but me. “Darren, look at me. I have something to tell you,” I spoke gently this time. Darren turned and looked up at me. His eyes were drifting left and right. I nudged again, “Darren, listen. I am going to speak to you. Are you listening to Mrs Lim?” He nodded. “Do you see a box here on the floor?” I pointed at the box.
“Yes,” Darren answered, looking curiously at the taped square on the ground.
“The square is for you when I need you to sit inside. It is only when you don’t follow my instructions during our activities,” I held Darren’s arms with my two hands. “Now, you will have to join us in the circle and follow the lesson. If you walk away from the circle, I will give you a warning. By the third warning, you will have to sit inside the box for three minutes before you can join us again. Do you understand?” I said. Darren nodded his head. Being a highly intelligent child, I was sure he understood. For the first 10 minutes, Darren was able to follow the lesson. Slowly, he started to look elsewhere other than me. He walked backwards, turned around and walked towards the piano in the room. We were singing an action song. I walked towards him, still singing with class, held his hands and brought him back to the circle again.
“First warning, Darren,” I reminded. This happened two more times and at the third warning, I held his hand, “Let’s go to the square, “ I looked at him in his eyes. He struggled, wrangling his hands from mine. But he walked to the square. He sat in the square quietly. I told him to look at the minute hand of the clock. It had to move three circles before he could leave the square. In the next two minutes, I got the class to gather in their usual groups.
I glanced over at Darren and was not prepared to see what I saw. Tears were rolling down from his eyes. He was seated crossed-legged, clenching his hands tightly and looking at the clock. I did not know this way of getting him to focus was hurting him. My heart wrenched. Did I do something wrong? Was there a better and less hurtful way? I forced myself to stand my ground. He looked at me pleadingly, telling me that it was three minutes. As I had promised him, he came back to join the class. He was so focused during the rest of the lesson. But I did not feel good. I could not wipe away the image of his tearful face from my mind. After the lesson, I went to my AED LBS, Ummi. She has been the one working with him right from the beginning of the year.
When I shared with Ummi what happened, she was surprised and encouraging. She said it was a success. It was natural for Darren to feel what he was feeling and she encouraged me to continue my strategies. She would speak to him and get him to share what he was feeling at that moment. The next day, Ummi came to me and told me that Darren did not like the square and in fact, he hated it. He did not want to be trapped inside but he could explain why he was asked to do so. I wondered if I should continue with the “square” treatment.
A week passed and I was looking forward to having Darren for my music
lesson again. Before we entered the music room, I spoke to him alone, reminding him of the square. He looked away. I let go. I had to let go, praying that this would be a good day for us. Just a few minutes into the lesson, Darren already walked around. He played with the ukulele, tried to dismantle the drum set and hit on the xylophone. I told him to go into the square.
Darren refused. He refused to even walk to the square. He stood rooted to the ground. I held his hands, trying to pull him towards the square. I only managed to do so after some struggle. But he refused to step into the square. “Oh my,“ I thought, “this is not going to work. He is challenging me.” I had to think quickly. I remembered a chat I had with one of my Master Teachers (Music) on teaching students with specials needs earlier. She had shared a strategy about negotiation. So, with a deep breath, I held tightly on him and we went out of the music room. He was visibly upset. He tried to hold on to the handle of the door. He wanted to go back in.
“Do you want to go back into the room?” I asked.
“Yes, I don’t want to be here, “ he pleaded. He was on the verge of tearing.
“Well, you can go back inside but you have to choose. The square for 5 minutes or outside the room?” He did not respond. He was thinking hard. I repeated the question.
Very softly, he said, “Square.” I held my breath. So, this might just work. I walked in with him and he really walked into the square. I left my stopwatch on the ground for him to watch the time. He sat quietly, rocking a little forward and back. I continued my lesson. 5 minutes later, Darren put his hand up to inform me that
the time was up. As per negotiation, I allowed him to join the class activities. Oh my, he was so focused and well-behaved after that. Without distractions, the lesson actually went quite well. I held onto the idea of group work for another day as I thought Darren had tried enough for the day. Towards the end of the lesson, I could see him losing his focus. He crawled to the piano and started digging for dust again. I left him there. He was safe and I believed he had reached his maximum tolerance for me. After dismissal, I praised him for a job well done in trying. He gave me a smile.
For the next few lessons, from the walk up to the room to the end of the lesson, Darren was becoming more cooperative. Sometimes, I would hold his hand and sometimes, he would carry something for me. There was still much room for improvement. At this moment, I thought I would like to celebrate this little bit of success! Of course, there were moments when he decided he could not care less about controlling himself. Because I stood firm all the time, he always came back to the square and responded well.
As I progressed together with Darren, I became more daring in trying out different activities with the class and him. My goal was for Darren to be part of the class as much as possible, without singling him out much. He would be able to remind, control and motivate himself to keep his focus. And so, in one of the lessons, I added groupwork. He had to work in a group of six students. Together, they will have to present a simple soundscape to a picture, letting their classmates guess what was actually happening in the picture given. I was surprised that some of his classmates were very encouraging towards him. They agreed to let Darren think of a sound for one of the symbols in the picture. I think it was a good step forward in including
Darren to be part of a group. They presented. I spoke to him about how he felt working together with his friends.
“Did you enjoy making the soundscape with your friends?”
“Ya. I pointed at the paper and my friends followed,” replied Darren sheepishly.
“Yes! You have a very strong steady pulse. You were able to lead your friends in making music together!” I explained what his strengths were. Darren smiled widely. “That was very good!”
“How did you feel about working this with your friends?” I could not help smiling as I asked.
“It was fun,” Darren replied.
“Can you describe why it was fun?” I probed.
“Hmmm…just now, Shannon listened to my suggestion. Then everyone followed what I suggested,” he spoke with excitement.
“Wow, wasn’t that awesome?” I smiled. “Darren, you must keep this feeling of joy. Next time when you are doing group work, you will be able to enjoy this feeling of joy again.” When asked if he would like to do this again, he replied with a loud “YES”. I took the chance to explain again that because he was able to focus on the work to be done together with his friends, the presentation was a success. His eyes glowed. He smiled and nodded his head, promising to behave like this lesson again. I was ecstatic for him to feel success in his efforts and being accepted as a group working together.
What Works
Case Study 1
Negotiation It gives the child empowerment in deciding what he wants when given choices.
Reminders It reinforces what he has been going through the past few lessons and the consequences of misbehaving.
Consistency The teacher could adhere to the said consequences and keep him in check.
Praises The teacher could highlight the specific moments of success and involve the whole class in doing so. This is a great morale boost for the child.
Children with ADHD can look like they are always challenging people around them but they are not always in control of how they are feeling and what they are doing. If we understand that, we would find them highly imaginative and creative. They are willing to try harder in school when they feel that they are being loved by the teachers. I have made that connection with Darren in setting my rules and expectations. I stood firm by my decisions but these decisions have to be thought through with his condition in mind.
In using differentiated instruction, I have made modifications to the environment and the process. Darren needs to feel success quicker than others so that I could keep him on the ball. I have to minimise downtime and prepare for transitions in between activities. I remind him of every little success he has accomplished and of any positive effects he has on his peers. As he is highly intelligent, I do not have to make any modifications or adaptations to the lessons’ objectives but to achieve what he has the potential for. When he sees what he can achieve, I get him to remember that feeling and keep that with him.
Bala is a 9-year-old boy who is now in Primary 2. He lives with his parents and grandmother. He has a baby brother whom he dotes on a lot. His mother is his full-time caregiver after quitting her job to look after him. Bala loves to do colouring. He is
“Children, please choose an instrument that you would like to try first and sit on the stool,” I gave my instructions and went up to hold Bala’s hand to lead him to a seat beside me. As it was the first Programme for Active Learning (PAL) Music lesson for the class, we were going to do community drumming. The objective of the lesson was to
allow the students to experience and explore the different kinds of drums they were presented.
As the lesson progressed, we started playing with the drums. I did call-and-response with the class. Suddenly, I felt a tight grip on my left arm. I turned and was shocked to see Bala gripping my arms with his two
hands. He was screaming. I stopped the class immediately. I held on to his hands and tried to get him to let go of my arm. He did not respond. It was hurting. He was gripping so tightly. Taking a deep breath, I used a calming voice and called out to him. He only responded after a few times. I knew I could not scream nor get angry with him or else the situation would go out of hand. Slowly, I managed to pry his fingers from my arms. I could already see the impressions left by his fingers on my arm.
After the lesson, I spoke to Mrs Tan, the form teacher. She told me that recently, Bala had started to use his physical strength to show his emotions. Just the day before, she was pushed to the ground by him when she tried to get him to sit down in the hall. He had just started on new medications and it would take a few weeks for him to stabilise. She also mentioned that I should not hold onto his hands as that would not work for him. When I spoke to my AED LBS, she shared that she would either ask Bala’s mother to be in school with him or to get him a set of headphones during the coming PAL drumming lessons.
The next lesson came and I was more ready to include Bala in my lesson. As this PAL lesson focused on socio-emotional learning, I thought it was a good learning point for all of us.
“Children, as you can see in the music room, there are five groups of instruments. These instruments are used in making Samba music as you have seen in the video. Choose, with your eyes, which instrument you would like to try first. All of you will get the chance to play on all five groups of instruments. Now, walk to
the instrument that you want to try,” I explained the instructions slowly. The children walked very quickly to the instruments with excitement. I watched Bala. This time, his mother was beside him. She was speaking very softly to him, guiding him to a group of instruments. She chose for him. As the children settled down, I walked up to Bala, “Hi Bala, I am Mrs Lim. We are going to play on these drums today.” His mother smiled at me and turned Bala to look at me. I could see Bala’s eyes drifting to the instruments while I spoke to him.
As the children in the class moved from one instrument group to the next, Bala took part in the activities with his mother guiding him. The loud drum sounds did not seem to cause a meltdown or trigger any outbursts. But I did make some changes to my lesson. As I had experienced his reactions to loud sounds, I instructed the whole class to play at the midlevel sound by indicating that with my hands to show the various volume levels. If I was getting the students to play with all the instruments together,
usually triggered by loud noises and if he is forced to do something that he does not like. He needs strong guidance in his academic work.
I would decrease the sound level. I did not know if the presence of his mother or the difference in the way I conducted the class had managed not to trigger an outburst. I was glad that he had at least managed to experience the lesson with his classmates.
I spoke to Bala’s mother after the lesson. She was very grateful to me for trying to make modifications to my lesson so that Bala could stay on and experience the lesson. All she wanted was for Bala to experience the lessons just like any other normal student. She wanted to see if Bala could improve given his condition as he grew older. As a mother myself, I was actually touched by what she said. It was not an easy job for her. She had to make lots of accommodations and modifications for Bala. Emotionally, she was also facing society’s acceptance of having a child with special needs around mainstream students.
At the final PAL lesson, Bala’s class performed soundscapes for a picture they were given in groups. Before the performance, I conducted a warm-up, allowing students to make sounds with their voices and body. I observed Bala throughout the warm-up. Bala was enjoying it and so did his mother. His mum was watching him tenderly throughout and when Bala laughed, she laughed in tandem. It was amazing to witness a mother’s love for a child in action.
“12345, 12345, 12345…,” I went around in the circle of students giving them a number each. I was going to group them into 5 groups. As I reached Bala, I did not stop but continue with my numbering as I did not want to single him out. I must say that the whole class was a loving and supportive class. They did not push Bala away even when they knew he was going to be part of their group. In the group discussion, I watched silently and was ready to allocate a role for Bala if the group did not work out.
“Bala, can you shake the maracas like this?” asked Jean while demonstrating to Bala how he could shake it. Bala watched and copied Jean’s actions, smiling widely at her. “Oh, you are good, Bala!” she praised. Gosh, they did not even need me there. His mother did not interfere too. Bala’s classmates knew how to include him too. That certainly surprised me. A nice surprise. The group discussion and practice for their performance went on without a glitch. I constantly turned to watch Bala throughout my facilitation of the class’s group work. He was not always focused and engaged. Many times, his eyes drifted elsewhere. But his mother would always get him to focus. Soon, it was time for his group to present. As I did not want to put Bala in the glare of his classmates, the group presentations were done where the students sat. They did not have to stand up. The rest of us would just turn our bodies to the group which was presenting. The presentation by Bala’s group was not too bad. Although he was very excited and I could see that he could not remember what he was supposed to do, he was trying with some support from his mother. He was enjoying it.
And so, that was my interaction with Bala in those few lessons that I had him for PAL. I went to Bala’s mother to have a conversation with her to sum up my lessons with her son. How do I then understand a child with autism? In many cases, children with autism cannot express themselves through words. They could only try in their own ways to voice their anger, happiness and sadness.
“Bala is my son. God has given him to me and so he is my responsibility.” Said Bala’s mother, quietly yet I could feel her anger. Finance was a problem if she did not work. But she wanted to spend all her time with Bala to keep him on par with his peers. From the conversation, I also found out that Bala had mild ADHD coupled with autism.
“We still hope that Bala’s condition can improve if he interacts more with normal children. If he is placed in a special needs school, we think that his condition will become stagnant.” Bala’s mother shared.
I asked what they were looking for at the end of Bala’s primary school journey.
“Mrs Lim, I really do not know how when that time comes. I cannot tell you what I will do. I am just going to take a step at a time. I cannot think so far if not, the disappointment will be so hard to bear,” her voice faltered. I felt her. I felt her instincts as a mother to protect and grow her child as much as she could. She did not want to be stopped. Then she shared with me that the queue to get into a government special needs school was very long. The waiting time was too long to even put his name down. The other option was to place Bala in an
international school where there was support for students with special needs. If this option was to be taken, then she would have to go back to work to finance the fees. That would take time away from being with Bala.
I thought I had asked enough. So, I stopped.
A word that Bala’s mother shared struck hard at me. Connection. She just wanted teachers to take time to form a connection with Bala. If a connection could be made, she believed that Bala would respond even more positively to what teachers were teaching. She felt that my study had proven her right as she witnessed Bala finding enjoyment and engagement in his social interactions with his classmates. She is fighting so hard for others to form that connection with her son.
Working with Bala can be challenging as he needed individual guidance from an adult at all times after the episode where he demonstrated a lack of ability to control both his anger and physical strength. Consequently, safety in the classroom becomes an issue.
I found that speaking to him individually helped him to calm down and anticipate what was going on in the next activity.
Lesson modifications
} The classroom environment must be calm and smooth.
} Clear instructions had to be communicated at a slower pace.
} Ground rules and expectations had to be set.
} My own expectation of the standard of performance needs to be managed.
For a child, autism poses a challenge in a child’s capacity and ability in social interaction, empathy and communication. For Bala, I would rather focus on the way he could interact and communicate with his peers rather than demand his achievement levels in his music skills. The class will also need to be taught on how they can try to communicate and include him in class and group activities.
Rohin is a Primary 3 boy who has an elder sister. He has undergone several operations to improve his condition as he grows. He has very supportive parents and a full-time helper is with him at all times. He needs help in almost everything that he does. He can walk in small steps at home without any help. In school, he sits on his wheelchair and has his friends take turns in wheeling him around. He can only move a few of his fingers and his arm. He is a jovial boy who is filled with optimism for himself and others.
ROHIN ANANDTH
(Diagnosed with Arthrogryposis & physical disability)
I always notice this boy in a wheelchair since he joined the school three years ago. When his Ben-10 wheelchair moves, there are lights flashing as the wheels turn. He is always smiling and greeting the teachers and cleaners whenever he passes by them. It looks like he cannot move his legs and most parts of his hands. He is now in Primary 3. He is Rohin and I am his co-form teacher this year. As I slowly get to know Rohin, I am easily influenced by his optimism towards himself and others. He thanks anyone who helps him sincerely.
During one of our lessons at the beginning of the year, the class was learning how to do a class ensemble with Orff instruments. Everyone in the class took turns to play four different layers with four different instruments (bass xylophone, alto xylophone, resonator bells and percussion instruments). As Rohin was on the wheelchair, I offered the resonator bells to him, small enough for him to put on his lap. I thought that was the best way for him to play with the class. He even smiled and thanked me.
As the class progressed, most of the students had tried playing all 4 layers but not Rohin. At first, I did not notice much about him as he was at the back of the class. When I did realise his presence, he was watching how the other students were playing on the bigger instruments. He watched with much curiosity. Oops, I had totally forgotten about him and I thought that he was alright with
playing on one instrument.
“Rohin, are you okay with playing on the resonator bells?” I asked.
“Hmmmm, it’s okay, ” smiling at me.
“Would you like to try on the other instruments too?”
“Yes if it is not much of a trouble for you,” replied Rohin softly, with embarrassment.
I took a step back. My heart wrenched. “Actually, I can sit on the floor. I can crawl in the room by myself. Please call Aunty here to help me,” he explained. One of the students volunteered to call for Aunty Rowen, his helper. Aunty Rowen had been with Rohin for five years. She was a great help to Rohin, catering to his physical and emotional needs. Immediately after she helped Rohin to the floor, Rohin’s eyes lit and he crawled to the bass xylophone. Since the class had already completed a set of four layers, I added improvisations with suggestions from the class. As the class moved from one layer/instrument to the next, Rohin followed, crawling. He was enjoying himself and his classmates were more than willing to help him however he wanted. He was not concerned about crawling on the floor. He looked enthusiastic. I did not have to pay much attention to him other than ensuring that the space was safe for him to move around. I was also adamant to treat him as normally as I would to any child in my class. When it was time to
go into groups of 5 or 6, he was more than excited to do so. The class was also starting to treat Rohin as one of them. After practising for a week, he was able to present together with his group in a group ensemble.
As I reflected on this lesson, I nearly missed giving Rohin the chance to be included in the lesson. I thought by just giving him an instrument, it was considered as inclusion. But no, inclusion means more than that: it means giving him an opportunity to learn through diversity and exchanging creativity among all. Inclusion also means considering the overall wellbeing of the child. I overlooked that.
As the school term went on, we rounded up the Orff ensemble module and the class went through two dance modules – a cultural dance and jive. External instructors were engaged for these two dance modules. Whilst Rohin definitely could not dance with the class. I decided to give him a special role which highlighted his strength: maintaining a good steady beat on the shape drum while the class dance to the beat. I gave him a box of instruments for him to choose which ones he would play at every dance lesson.
In the next music module, I became more intentional in including Rohin. We were starting on a new instrument, the recorder. I took some time to speak to Rohin on how he could play on the recorder. He could only move two fingers on his left and one finger on his right. I covered the thumb hole and he managed to cover the first three holes. This meant that he could play the notes – B A G C. It was hard. Hard for him to adjust, even harder for me to look.
“Relax your lips. Blow ‘WHO’ gently,” I covered the thumbhole while Rohin tried to finger B. He did it! He could produce B perfectly, with the right amount of wind. I continued to guide him with playing A and G. It was not all smoothgoing. He had difficulty with producing the right sound. As I guided him individually, the rest of the class was also practising the three notes. I got one of his classmates to cover the thumbhole for Rohin while I went around the class to check on the rest. At the end of the lesson, most of the students in the class were able to play the three notes and the first song, Hot Cross Buns, including Rohin. Yay! I felt so proud of him. I told Rohin to think of a way to cover the thumbhole and to continue with his practice of the song.
The next lesson, Rohin came with a blutac covering his recorder’s thumbhole. He performed Hot Cross Buns to the class. I took the opportunity to explain to the class how difficult it was for Rohin to move his fingers and shared how much time he had to spend just to play this song. But being a humble boy, he downplayed his efforts. I highlighted to the class on Rohin’s own efforts to improve himself. The class was very supportive and they cheered on him to continue his hard work. He beamed with pride and so did I!
Case Study 3
Accommodation in Instrument and Seating
Modification of Assessment Criteria
Rohin himself wants to be included in all lessons and activities as long as his physical abilities allow. A different musical instrument or seating arrangement sometimes is all that is required to include him.
Assessment criteria needs to be modified to be fair to the rest of the class. Negotiating with the class on what they and Rohin can achieve helps the class to manage their expectations too. It is a whole class effort to create an inclusive music lesson.
Support from Classmates
His classmates supported him by sitting at a suitable corner for his comfort, pick up instruments for him, wheeling him around and talking to him.
CONCLUSION
This study has described three different students with different special needs in my school, and how I have differentiated instruction to engage them. But, we should be mindful that every child is different. What I have observed and the strategies that I have used may not work with another child. Even another child with the same condition will react very differently.
I also observed that social stigma about special needs children remains. Even for the parent of special-needs children, they may feel embarrassed talking about their own children. Social stigma for children with special needs is prevalent amongst educators as well. Hence, as teachers, we need to work with colleagues, parents, and even their classmates to create an inclusive environment where these students can thrive.
As teachers, we have the power to make an impact. Yes, there is an array of special needs but there are strategies and approaches we can try. It takes time and patience to hone our skills and minds. All children are special and these children have much to teach us. The other children can also take the opportunity to learn to work with others who are different from them. In an inclusive environment, these children can also contribute back to their community and make a difference to others.
CHECKLIST OF STRATEGIES WHICH WORK FOR ME
(i) Suggested Strategies for Students with ADHD
Physical Environment
1. Room arrangement to be consistent
2. Place/cover distractions (musical instruments) from child
3. Seat student with other students
4. Sit away from windows and doors
Expectations / Guidelines
1. Set clear expectations for desired behaviours with the student
2. Set guidelines in positive terms
E.g. Respect my friends, property & teachers
3. Set Behavioral Contracts
Specify the amount of time allotted for activities
4. Review when necessary
Routines
1. Follow a consistent routine
2. Try to stay with the routine
3. Prepare students for exceptions
4. Write agenda/assignment on the board. Leave them on the board.
(a) Verbal warning with eye contact & gestures
(b) Tell students when making changes to the agenda on board
5. Stand near the student during your presentation
6. Giving instructions
(a) Give 1 or 2 instructions at a time
(b) Have the students repeat the instructions aloud
(c) Make eye contact during verbal instructions
(d) Ask the student to repeat instructions back to you
Class activities / Tasks
1. Alternate highly interesting and less interesting tasks
2. Favor visual presentations over audio
3. Allow the student to move around the room if it can be done without disturbing others
4. Allow extra time to complete tasks
5. Give a break time between tasks
E.g. On task 5 min, break 1 min
6. Break large assignments into smaller assignments
7. Allow the student to get up and mark completed tasks on a wall chart
8. For class/group/individual work
(a) Provide the structure and support necessary to do the work
(b) Try to call on the student when he/she is paying attention
(c) Give positive feedback for correct answers/effort
9. Do not punish behaviour that cannot be controlled
10. Never take away recess or PE as a consequence
Minimise Down Time
1. Ensure all students have something meaningful to do throughout the lesson
2. Integrate stimulation
3. Prepare all for transitions
(a) Countdown at end of the activity
(b) Limit transition time
(c) Give reminder of next activity
4. Use introductory phrases to important information/transitions
E.g. “Now I want everyone to be certain to pay attention to this.”
5. Regularly integrate physical movements into musical experiences
6. Allow brief breaks for physical activity (e.g. Dalcroze) demarcate areas
7. Do not become exasperated or display frustrations
(ii) Suggested Strategies for Students with Autism
General
Lesson Reinforcements
1. Select songs with fewer words and more repetition (to ensure better classroom experience)
2. Use movement to reinforce songs taught
3. Sing and play instruments to reinforce musical concepts
4. Understand the sensory (sounds, physical) needs of students with autism
Class Activities/Tasks
1. Know trigger points
2. Play music during transitions
3. Providing verbal cues once one activity is done and describe what is coming on next
4. Provide written schedule
5. Permit child to adjust to what is coming next
6. Be aware of the pace of the lesson
7. Using Picture Exchange Communication System (PECS)
(a) Arrange PECS icons on board (e.g. Icons for warm-up, songs, movement, singing)
(b) As each activity completes, take down the icon and put into a “complete” box or envelope
Higher-Functioning Students
1. If the student can cooperate, encourage working in groups
2. Emphasise developing communication skills
3. Help the student learn to verbally express feelings of discomfort
4. Provide the student with a list of rules which must be followed
5. Emphasise visual presentations of classwork rather than spoken presentations
6. Teach to the student’s strength
7. Do not punish the student for behaviour that cannot be controlled
Lower-Functioning Students
1. Do not make completing classwork or keeping up with learning as a primary goal
2. Concentrate on planning functional curriculum
3. Include the student in as many classroom activities as the student is able to handle
4. Establish a routine
5. Avoid overwhelming the student. Either show the student what is to be done or tell the student but do not do both at the same time. The student may be able to tolerate only one set of stimuli at one time.
6. Make directions as concrete as possible. Show pictures if you can.
7. Break down assignments/tasks into small isolated steps. When one step is mastered, go to the next step. Do not let unfinished assignm ents/ tasks accumulated.
8. Develop communication skills through spoken language, communication boards, sign language or any combination of these
9. Capitalise on fixations by using them as rewards or transitions for learning. Do not try to remove them.
10. Try to replace stereotypical behaviours (e.g. hand-flapping, rocking) with more appropriate behaviour and forms of communication.
11. Try to replace acting-out and self-destructive behaviour with other forms of communications
12. Demand, but do not always expect, age-appropriate behaviour.
Students with Outburst
1. If the student becomes agitated as a result of having broken a rule, have the student read the rule aloud, several times if necessary.
2. If the student appears to be getting agitated over a classro om activity, give the students another activity or, if necessary, move the s tudent to a safe place.
3. If the student feels he is becoming upset and can express this, or if the teacher feels that the student is becoming upset, move the students to a safe place. If the student is capable of writing what is bothering him, have him do so.
4. Remove the student from external stimulation.
5. Calm the student with as little touching as possible.
6. Do not allow the student to injure himself or any other person in the classroom. Use restraining as a last resort.
7. Teach relaxation techniques to student.
E.g. Breathing deeply
REFERENCES
Ashman, A. F., & Elkins, J. (2005). Educating children with diverse abilities. Frenchs Forest, N.S.W.: Pearson Education. Darrow, A.-A., & Adamek, M. (2018). Instructional Strategies for the Inclusive Music Classroom. General Music Today, 31(3), 61–65. doi: 10.1177/1048371318756625
Tomlinson, C. A., & Tomlinson, C. A. (2005). How to Differentiate Instruction in Mixed-Ability Classrooms Alexandria: Association for Supervision & Curriculum Development.
Yanoff, J. C. (2000). The classroom teachers inclusion handbook: Practical methods for integrating students with special needs. Chicago, IL: A. Coyle Press.
Accommodating the Learning of Music for a Student with Special Needs
Gan Soon Keat Skye | Xingnan Primary School
My research study is based on a Primary 3 boy who has been diagnosed with autistic spectrum disorder (ASD) when he was in Primary 1. I have been his music teacher for years and have been facing difficulties trying to engage him.
Research Questions
1. How is the accommodation of the assessment task helpful towards the assessment of a student with autism spectrum disorder (middle cognitive functioning level) in music lessons?
2. How has accommodation been provided for the student to be engaged in learning and how has he responded?
Pictorial illustration of the possible modes of intervention for pupils with ASD: Level of Intervention
1 2 3 4 Adaptation
Guide students to achieve the Learning Outcomes
Remove learning barriers to help students to achieve the Learning Outcomes
Only a portion of the learning outcomes are addressed so that the child may feel successful and participate in the classroom activities
Separate curriculum and teach contents that contents that address unique or pressing needs of students
Key Terminologies
Adaptation Focus on building up the prerequisite knowledge of skills that will contribute in parts to the attainment of learning outcomes as peers.
Accommodation Means changes in the use of tools and/ or procedures to help students access the same teaching content as peers without changing the learning expectation.
As Allan (pseudonym) is diagnosed with autism spectrum disorder and has moderate needs that fall in the middle of the cognitive functioning level, accommodation is recommended for him. Accommodation is about removing learning barriers to help him achieve the learning outcomes.
RESEARCH PROCESS
1 Observations and Interviews
I worked closely with Allan’s Form Teachers and observed Allan during their lessons. Following each lesson, I interviewed the teachers. Key observations are:
My Observations
Interviews with teachers
“The use of fraction discs helped him understand better”
“…very into ICT-infused lesson…”
“…often seen at the iPad corner…enjoys using many apps...”
“…appreciated me giving him individual attention…”
2 Interviewing Allan (with a survey form)
Focus better with visual cues
Interested in ICTinfused lesson
Learning buddies are useful to guide Allan on the correct behaviour and to complete simple tasks
Modification Means to make a change in what is being taught to or expected from the student. Main assessment task To perform a song as an ensemble using the boomwhackers Allan’s
Q1: I like to play musical instrument.
Q2: I like to see animation when I play the boomwhacker.
Q3: I like to see different colours for the different letters.
Q4: I like to listen to my teacher talk and talk.
Great inertia to focus on the lesson
Made nonsensical remarks frequently
Stared at direction away from the teacher
Copied down answers from friends’ worksheets
“… usually not focused … short attention span … content is too high level for him...”
“…his answers are totally unrelated…”
Appeared restless
Not focused, looking around the classroom
Covered his ears
Copied down answers from friends’ worksheets
Not responding well to my lesson which requires him to sing a local song, Singapura, with other students
But very keen to sing with my portable microphone and is not afraid to sing for his classmates.
“… usually unable to focus….”
“… gave answers which are out of point…”
“… quite hard to engage him...the use of photos and videos helped…”
Adores attention from the teacher and reacts positively. (This observation is consistent with the Mathematics teacher’s observation)
Q5: I like to look at letters written on the whiteboard.
To accommodate the assessment tasks to assess Allan based on his learning style.
of visual cues and ICT in music assessment task
FINDINGS
Teaching and learning strategy
Prior to Accommodation Accommodation Strategy
Drawing on my students’ prior knowledge on solfege and the respective letter names, I used the solfege staircase as an introductory activity to the use of boomwhackers.
Working closely with the ICT Executive of my school, we created colourful slides and animation for the notes used in part of the song, We Are Singapore. The background melody is recorded with the use of a digital piano. The melody of the recorded song has been transposed to C Major to suit the use of boomwhackers.
How can Music Teaching and Learning Incorporating
Collaborative Learning
Create a More Inclusive Classroom?
Tan Xi Ling | Outram Secondary School
RESEARCH PURPOSE
This critical inquiry project serves to investigate how collaborative learning could create a more inclusive classroom.
Operational Definitions
Inclusive Classroom
Moving towards the main assessment task, I introduced the letter names of the notes required to perform the song, We are Singapore, in C Major Scale. By singing the solfege of the letter notes, I guided my students to perform the song using boomwhackers.
Allan’s response Allan is happy and keen to hold the boomwhacker. However, he was not very sure when exactly he is required to hit his chosen boomwhacker (low C).
The loud and clear singing by his classmates helped Allan to a certain extent in hitting his boomwhacker accurately. However, much improvement is needed.
There is a noticeable improvement in Allan’s performance of the song after the introduction of accommodation. His learning buddies may have contributed to his improvement in performing his boomwhacker accurately.
CONCLUSION
With the use of visual cues and the infusion of ICT as an accommodation to the main assessment task, Allan succeeded in achieving the assessment criteria which is to perform the song as a class ensemble using the boomwhackers.
Allan, being a visual learner, also became more actively engaged and he could perform the assessment task accurately to a large extent.
Engaging differences within a classroom and a learning environment where it “does not look like there are students with special needs in the classroom”.
Collaborative Learning
Phenomenon of students learning from one another. Music Teaching
The process of developing the musical domain in learners’ brain. Music Learning
The above definitions are inspired and influenced by personal experiences as a teacher, as well as the learning of the teacher having undergone much professional development, including through deep conversations and discussions when working with other colleagues and mentors.
I think of “Inclusive Classroom” as a final goal when students engage in “Collaborative Learning”, where they would be helping one another during the lesson to understand what is being taught by the teacher, and when students co-construct new knowledge together in class.
In the music classroom, the teacher plays a vital role to provide the time
Students’ experiences in learning and applying skills and concepts in music.
and space for students to co-construct new knowledge, and to allow students to learn the concepts and practise the skills required. The teacher is the key person to create meaningful experiences in the process of teaching and learning. Hence, interactions, conversations, instructions and activities have to be planned, designed and enacted deliberately, to encourage active learning to take place. This does not mean that everything has to be pre-planned, but the teacher has an end-goal of the ideal learning environment in mind and is constantly stimulating the learning in the class and crafting questions on the spot in response to students’ reactions/ behaviour during learning.
Learning Gaps in the Classroom
CONTEXT
The diagram below shows the different areas where learning gaps may happen:
Interpersonal relationships amongst peers Learning pace Special Educational Needs Motivation
Many factors may affect students’ overall motivation and attitudes toward music learning. For example, low progress learners who struggle with learning in general, may not have the confidence to participate in learning activities in class due to low self-esteem. Students who come with different prior music experiences may display varied abilities and musical skills. Day-to-day interactions
with their peers would also affect the way they work with their peers. Moreover, students’ learning may be affected due to the personal level of motivation, or sometimes, due to cases of special needs. With any one of the factors, or a combination of issues from the above, students’ attitudes towards music learning may be affected.
Observations of Students
To understand the students’ learning, I observed students during lessons and their behavioural patterns in their learning. While there may be many reasons for students to be disengaged in the classroom, it is generally observed that students may be disengaged in learning due to the following:
Low progress learners struggle with content
May result in low motivation and disengagement in tasks when students find it too difficult for them
High progress learners tend to be way ahead of the class
May result in feeling that they are not challenged and hence show disengagement when the task is too simple for them
Students with special education needs might not catch up with average classroom pace
May result in meltdowns, disengagement, or even cause behavioral issues during lessons when they feel that they are not supported
Having to incorporate collaborative learning in the classroom would mean to deliberately allocate lesson time for students to interact with one another, through discussions, or through practising in the classroom. As a teacher, I wonder about possible student interactions as well as the role I play as a teacher in the classroom.
} Will the students work together?
} Will the students be engaged?
} Will I be able to manage the students?
} How will my role in the classroom differ from frontal teaching and modelling?
} How shall I cater to the needs of different students?
With these questions in mind, in order to create opportunities for students to collaborate in their learning, there are some areas that need to be addressed:
For teaching
Teaching & Instructional procedures: Teachers have to plan meaningful activities and sequence their learning progressively.
Task design & appropriateness: Tasks and activities designed should accommodate and have students communicate and collaborate with one another.
Facilitation Skills (finding entry points): Teachers will have to take on the role of facilitators to find entry points to stretch students’ learning during their collaboration.
Feedback & Assessment:
Teachers have to find appropriate entry points during observations to provide feedback to the students, as well as finding moments to inject tasks to assess students. Observations can also be ongoing assessment where teachers assess their competency level to later reflect and find out how to help students advance.
Addressing Areas of Learning
Understanding students and what students need to know
Collaboration skills in students: In the classroom, students need to know how to put their skills together to work with their peers.
Communication skills amongst students:
Students will need to know how to communicate with one another, and to use the appropriate tone to speak, in order to work towards a common goal.
Learning Needs & Types of needs: Teachers will need to understand students’ learning needs and the learners’ profile in order to set the appropriate tasks and instructions to allow them to perform at the maximum level.
Music skills to acquire: Students’ learning must be pitched at a level where they can stretch themselves further to where they need to be musically.
RESEARCH METHODOLOGY
An autoethnographic study that uses the following data collection:
Observations & Reflections
Recording of weekly lessons
Teacher reflection & Note-taking
Reviewing & Redesigning of lesson tasks & instructions
Conversations with co-teachers/ Senior Teacher during PLC or other discussions
Students Reflections
Interviews & informal conversations
“Draw what comes to your mind about your experiences during Music lessons”
Observations & Reflections
It is a reflective process where I make use of observations and reflections to review my teaching. This is done by videoing my own lessons and observing my lessons weekly after the lessons, where I would observe students’ responses and behaviour to the lesson activities. From observing their behaviour and responses, I have a greater understanding of their pace of learning, and evaluate the effectiveness of each lesson. The review of lessons also allows me to observe the tone I used in class and my choice of words, that might have affected the tone of environment in the classroom.
From the rigorous observation and reflection, the content sequence in lessons are reviewed to help pace the lesson momentum better. Tasks were also tweaked or redesigned whenever necessary to make learning more accessible to them. This also helps to give them more time to practise the new musical skills learnt and work on their ensemble skills. Through the inquiry and reflections, I would also hold conversations with co-teachers during Professional Learning Community (PLC) sessions or other
Questionnaire
Short questionnaire on experiences in music lessons
Role in music lessons –helper or being helped
Do you enjoy practising in groups?
Do you like performing in groups/ class?
colleagues and mentors in the school to discuss ways to improve teaching strategies in the classroom.
Student Reflections
The targeted class is my form class of Secondary 1 Normal Academic students, as having a greater understanding of their needs and the stronger rapport with the students would help me to reflect deeper on the teaching and learning process in the classroom. To understand students’ learning better, I will have informal conversations with the students to find out what they enjoyed during the lessons and what they found they were struggling with. As a summative reflection, I encouraged them to draw an image that comes to their mind about their experiences during music lessons.
Questionnaire
Students are also given questions in the form of Likert scale as well as completethe-sentence to help students craft their responses, to give feedback on their music lessons, their roles played during the collaborative learning process, the tasks they were given in class, and whether they enjoyed learning music in school.
FINDINGS
I first present snapshots of four of my students - Jeffrey, Sue, Sam and Ryan (pseudonyms).
In the Classroom Social Skills Strengths Behaviour & Response to Instructions
Struggles to keep up with learning pace
Tends to avoid task – sleeping, going toilet, etc.
Obvious disengagement in different sports during PE lessons
Poor interpersonal relationships
Self-expression – blurts out comments rather than speaking politely, replies with “tsk” whenever he is nudged
Observations at Music Class
Generally Cooperative
Willing to try (when motivated)
Observed to start smiling when he experiences successes and then tries harder
} When being tasked to move into friendship groups, Jeffrey stood from his original seat, not knowing which group he should go. He leaned on the wall lethargically, with two other boys standing, not belonging to any group. Nobody called out to them, and they stood, avoiding eye contact with anyone. This tension made the teacher recall the class to gather again –stating the rule that “No one should be left out, otherwise, we will group you instead”. Jeffrey was invited to join one of the girls’ group, and the lesson continued.
} Jeffrey practised diligently on the xylophone, still not getting the notes right. He soon lost his motivation, where he was seen with his elbows touching the knees soon after and this delayed
I enjoy....
Describe your drawing - what it means and why did you draw that way...
“Mostly used the xylophone (I don’t know what its called) in most lessons.”
Enjoys having an opportunity to learn and try new things
Appreciates moments and opportunities to work with a friend.
Likes “objects” more than “humans” the hitting of the notes. One of the group members beside him kept nudging him to practice, playing the correct notes on his instrument. After continuously having the notes hit, he took the mallets, sat up and got ready to play together with his groupmate. From giving up initially, he was able to follow through the tune most of the times, aiming to hit the right notes with his mallets. During the following lesson on rhythm ostinato and improvisation, he tried hard to practise his chosen percussion instrument, aiming at downbeats with the background metronome. When it was time to perform, he sat up straight and stayed focus, keeping to the beat, and was able to play his parts correctly. He smiled when he was able to play correctly.
I enjoy music lessons
I help my friends in music
My friends help me
During music lessons, play instruments and get in different groups. My teachers help me by placing me and others in different groups...I enjoy music lessons best when I get to try new things and try and work in group...I least enjoy music lessons when I literally play instruments badly and I had to cover my ears as it sounded horrible. I hope we can try to cooperate with one another in the future / next time. I hope to tell the teachers that music is kinda good except when noises are a bit “too much”.
Snapshots of Jeffrey
Jeffrey’s Reflections
Behaviour & Response to Instructions
Snapshots of Sue In the Classroom Strengths
Struggles with (academic) learning
More motivated during group work
Works well with peers.
Generally Cooperative
Willing to try (when motivated)
Resilient – whenever she fails a task (eg. During PE), she would keep trying until the teacher says “Stop/ Gather”
Finds meaning in serving the community/ school
Observations at Music Class
} When waiting for the class to settle down, Sue frowned but kept quiet. The lesson proceeded and it was time to work in groups to play the melody for The Lion Sleeps Tonight correctly on the Orff xylophone and keeping to the tempo. This time, Sue had to ensure that she was playing correctly with the other bass part. Sue tried, and when in doubt, she checked with Nat, who was in the same team as her. When mistakes were made, she broke into laughter, acknowledging that she missed a note or a beat. “Again, again, 1, 2, 3…” looking focused on the notes, aiming at the right keys with the tune she hears in the background, as she continued to practise with her friends.
I enjoy....
Describe your drawing - what it means and why did you draw that way...
“I drew this because it reminds me of my form teacher playing piano.”
} It was time for the class ensemble performance. Sue listened to the instructions and got herself ready with the instruments and mallets she required. The performance started. While waiting for her entry, she held the instrument in anticipation, looking up several times to her teammates and then joined in at the right beat. She missed a phrase on the xylophone but stayed focused, and continued with the right entry at the next phrase. When the class performance was completed, she clapped along with the class, breaking into a prolonged smile that the task was accomplished.
Observations at Music Class
} He was seldom in school and hence, did not participate as frequently during music lessons. When he was present for two lessons, some classmates welcomed him to join the group, guided him and practised the notes with him. He tried his best and could follow by playing the entries correctly and smiling occasionally.
Describe your drawingwhat it means and why did you draw that way...
“1-2 sitting in circle passing around a clap, drew it in stick figures because I only remember small pictures and some things about it.”
I enjoy music lessons best when we can play at random...My teachers help me by being more calm about music as a subject in school. I least enjoy music when we are pressured into learning a specific song with many notes and complexity. I hope we can learn new songs that are more memorable to our generation
In the Classroom
Enjoys talking – but has a habit of speaking loudly
Body language is also sometimes aggressive, appearing to be charging to his friends
Sue’s Reflections
and playing instruments
with my friends (in
I enjoy music lessons
I help my friends in music Never Rarely
My friends help me Never Rarely
Often Always
“During music lessons, we get to play instrument and my teachers help me by guiding me the steps...I enjoy music lessons best when we work together in groups...I hope we can be more attentive and be more cooperative...”
Behaviour & Response to Instructions
Snapshots of Sam In the Classroom Needs
Usually sits alone by himself
Practises his sums quietly
Proficient in his content
Polite and asks questions by raising his hands
Short conversations
Usually says “I’m sorry” even though he does not commit a mistake
Special Needs – Autism Spectrum Disorder, ADHD.
Permissive parents –Misses school most of the time
Observations at Music Class
The pictures (Fig 1) show how I have affirmed Ryan whenever he shows positive behaviour in the classroom. I highlighted specific actions which have been helpful in the classroom, and also wrote down areas to work on specifically to encourage the student to continue his good behaviour as well as to work on the areas of weaknesses, so as to grow. The words also show how he has progressed each week.
Behaviour & Response to Instructions
Usually “reacts first/ be the aggressor due to fear of being scolded.
(
raises his voice at his teachers unintentionally, or whenever he feels that the teacher does not understand him or warns him)
Uncooperative during lessons.
Behavioural meltdowns in class.
Other findings are the improved teacher-student relationship, where he starts to cooperate and be on tasks. It is also observed that Ryan offers to help to get the class to work together when there was a class crisis. The use of affirmative words helped to build the teacher-student relationship, and that the student is now motivated to work on his student-student relationship to work better with his peers.
Snapshots of Ryan
Fig 1: Teacher’s Written feedback
1. Collaborative Learning
There is a general sense that students feel that music learning is a collaborative process, where they learn together and help one another in the classroom in musicmaking activities.
OVERALL FINDINGS
Amongst students’ reflections as seen through their drawings, students seem to associate music lessons as:
“When Ms Tan is guiding some groups to do recording and Ms Chen is helping the ones that unsure/needs improvement.”
“I draw the instruments we play because it is when we work in groups and help one another if one of us need help.”
“This means that I love playing this instrument and I draw this since I love playing instrument that can make the class together.”
2. A platform to develop listening skills and enhance their aural experiences
“My drawing is crotchets and quavers, draw this because I don’t know but think its because of the sounds we created.”
“I feel like a normal music class lesson which everyone can enjoy and laugh with each other.”
“During music lesson we group into groups and play the instruments.”
“In this picture, like playing the xylophone with my friend helping me. Her name is J and she always points out my mistake so that I could improve them.”
“It’s a piano and that is obvious. I drew it because it is the only music instrument to go to highest or lowest sound. It is also what Miss Tan uses for examples during Music class.”
“This is smacky instrument I like it because of its awesome sound that it produces.”
“I drew this because this is my favourite music instrument in the music room.”
“We got to try playing instruments.”
“It means the notes on a xylophone. I drew it because we practised with the xylophones a lot, and it took very long to perfect.”
“It is a xylophone and because we played the xylophone too. I drew it because we played it most of the lessons.”
“During school you have a lot of homework and music help me to calm me and put me in a good mood.”
“Music lesson is super fun but boring when G talk so much because we cannot focus.”
Feedback from students
Even as students engage in collaborative learning, many of them have also highlighted that the teachers helped them to:
} Gain competency in ensemble playing,
} Improve playing techniques,
} Make learning easier by layering and sequencing lessons appropriately (singing before playing, choosing easier tunes that they like),
} Improve class interactions and bonding by allowing students to work in groups.
3. An opportunity to try new instruments and explore different sounds and playing techniques.
4. A place where they could relax and enjoy music. This is different from other academic lessons.
REFLECTIONS
} These successful experiences observed could have been due to the daily reminders I use with my students in the classroom. I always remind the class of the importance of helping one another. Whenever students fail to do so, a pep talk is usually given to them to help them understand the “why” of working together.
} As teachers, we might be very used to establishing rules. However, sometimes emphasising one simple rule can create a greater effect. Students remember the main expectation, and will slowly understand that learning is a collaborative process and not an individual journey.
} As a teacher, I also find that the shift to being a facilitator helps me to observe my students more intently, allowing me to scaffold my tasks and instructions to cater to individual needs. Instead of solving one students’ problem at a time, the concurrent observations of various group practices allow me to quickly decide how I would want to tweak my instructions to benefit not just a particular student, but the class in general when they face problems. This resulted in greater efficiency and effectiveness when it comes to teaching.
CONCLUSION
} Students generally enjoy working with their peers rather than to sit passively in class and wait for the teacher to direct them. There is greater fluidity in the pace of learning, and greater ownership in learning when everyone has an active role to play in the classroom – the student either practices or helps others in the group to stay together (e.g. tapping the beats to keep time, going to their partners and listen to their playing, giving one another feedback to openly discuss what was good and what needs to improve).
} Collaborative learning does help to:
Empower students in the class to co-construct learning together,
Enhance peer-to-peer relationships,
Build teamwork, develop empathy,
Shift teachers’ role from directing instructions to facilitation,
Build a positive classroom culture, and finally,
Create a more inclusive environment for all learners.
How do We Create an
Inclusive Music Classroom?
RETHINKING
“INCLUSIVENESS”
Conventionally, the term “inclusiveness” tends to be used to describe the practice of including people who might be excluded or marginalised, for example, people who have physical or mental disabilities, or people of minority groups. Some scholars have also defined an inclusive music classroom as including students with physical, emotional and intellectual disabilities (e.g. Mazur, 2004).
However, as teachers, we know that:
1. Every student is different in terms of their musical interests, personalities, abilities and learning styles.
2. Every class is different - when different groups of students with all these differences come together, different types of interactions will occur, thereby leading to a distinct class culture.
3. What defines a meaningful music lesson will be different for everybody. For example, a student may feel that a lesson is meaningful only through learning songs he likes while another student may find greater meaning in learning about music history.
I propose that an inclusive music classroom should also take into account factors such as students’ music interests, student personalities, learning styles and class cultures, and not just students with and without disabilities. This can allow music lessons to embody an individualised meaning for everybody, such that lessons become a meaningful, personal and takeaway experience.
MY CURRICULUM
My approach focuses on creating inclusiveness through a music technology module. My curriculum uses BandLab for Education, a free digital audio workstation that allows for user-friendly digital music production. Students are engaged in and taught how to use the looper, voice/mic and MIDI instrument functions. They are then given the freedom to create and will have to work both individually and in teams
to digitally create tracks using tools in the app.
It engages students in all five Learning Objectives of the Music syllabus.
1. Creating - the task on hand is about creating music
2. Listening and respondingstudents listen to their own works and help each other improve on their works
Cho Koi Hong Jermain | Edgefield Secondary School
RESEARCH METHODS
Qualitative - narrative approach, using reflections and reflexions through a written journal from watching filmed lessons.
Quantitative - an analysis of pre- and postsurvey data.
3. Performing - students share their works with the class and give an explanation of what their created track is about
4. Appreciating music from local and global cultures - students learn different types of tracks, loopers, effects and MIDI instruments inside the app that allows students to engage in music from different genres and cultures
5. Understanding musical elements and conceptsstudents must apply their understanding of musical elements when creating their tracks
The curriculum was carried out with Secondary 2 Express and Normal Academic classes in Edgefield Secondary School. This study focuses on my form class comprising 40 students.
DESIGNING FOR INCLUSIVENESS
Before
To ensure inclusiveness, I considered four elements before executing the module:
} The physical environment should be conducive for music lessons. For example, objects that might potentially be distracting for the students are removed.
} My teaching philosophy – that every child has his/her own unique perspectives, interests and modes of expression. It is important to value and harness them in the music classroom.
} The lesson content must be purposefully inclusive, interesting and engaging to both teacher and students.
} Picturing how an inclusive classroom will look and be executed. This included changing the seating arrangement for different modes/ phases of teaching. For example, students were seated in straight rows according to their register numbers for didactic teaching but seated in small circles during creative work.
During
The module was executed and progressed as follows:
Lesson 1
Introduction - to entice students to the idea of digital music production.
Lesson 2
Development of knowledge of musical concepts (e.g. the concept of beats per minute, or major and minor scales).
Lessons 3 – 5
Introduction to tools (loopers, voice/mic and MIDI instruments) and mini-creations tasks with each tool through individual assignments.
Lessons 6 – 12
Group creations & sharing - students then get into groups of 2-3 to create a final piece of work over three weeks before sharing their works with the class and explaining what their work is about.
Over the course of the module, students worked individually and in groups.
Individual assignments
1 individual mini creation assignment each using solely loopers, voice/mic and MIDI instruments (3 in total).
Group assignment
1 group creation assignment using all 3 tools. Examples included soundscapes, party tracks and voice remixes.
After Finally, a final presentation is done where groups presented and explained their work to the class.
FACILITATING FOR INCLUSION
In delivering the module and facilitating the lessons, the key to inclusion, I found, lie in the human factor during the module.
This includes:
} The teacher him/herself
} The students themselves
} The teacher-student interactions
} The student-student interactions
Interactions
The “teacher-student interactions” is where I hope to influence students into seeing, doing and internalising a sense of inclusiveness and an appreciation for diversity. This is done through teacher role-modelling in class and interactions with students. Therefore, the teacher-student interactions become examples from which student-student interactions can model. Students develop mutual understanding amongst themselves.
As I viewed the video recordings of my lessons and reflected on my interactions with students, some of the observations are detailed below.
Student Factor
Students are very different and have a range of needs. Hence, the module and classroom environment could be structured to accommodate these various differences and avenues could be opened during the music creation process, and the teacher should allow for choice wherever possible.
List of differences I observed in students
} Personalities
} Interests
} Working styles
} Abilities/Aptitudes
} Ideas & creations
} Styles
} Knowledge/Backgrounds
} Ways of expressing themselves
Teacher Factor
The teacher has to introspect his/her own overarching perspectives and embody the values of an inclusive music teacher, which include:
1. Keeping an open mind to possibilities
2. Valuing students’ voices - whereby every child matters
3. Having patience with the students and being unassuming.
Interactions
Here is an example from my inquiry which I found had embodied these three values in my interactions with students.
Here is another vignette and other observations from my inquiry which includes the three ways I have used in my interactions with students.
VIGNETTE 1 VIGNETTE 2
When asked what he had been exploring so far, Dan (pseudonym) admitted to the teacher that he “has just been pressing random buttons”. I had earlier established with the class that students should be honest with me and that they would not suffer a negative consequence should they choose to do so. At this juncture, I could have assumed that Dan was not listening and become angry. But I remembered to keep an open mind, and sought to understand that the student might not have understood my instructions. So, I asked to hear what he was listening to in the “random buttons”, placing one earpiece into my ear, while Dan had the other earpiece.
“Nice,” I told Dan. “It’s kind of like your personality, very upbeat, very happy!”
I then went through the process patiently with Dan again, and suggested that it could be tracks he could later create for his Instagram profile, hoping to connect further with him. I then asked him the type of loops he liked best, and from there, we started to work.
Perhaps, I have modelled the value of patience, an acceptance of a different learning pace, and a way of understanding others, which hopefully influenced Dan to pass it forward during his interactions with his classmates.
TeacherStudent Interactions
In creating an inclusive, open and collaborative culture, I found three ways:
Respect through role modelling
Safety for students to be themselves and being able to share openly
The teacher must be mindful of the way he/she speaks to students – such as in the choice of words, tone used and articulation.
The teacher could give weight to different voices, use student ideas and works to demonstrate concepts or for collaboration purposes.
The teacher could also encourage and expose students to new ideas such that they become daring to pursue their own musical interests and push new boundaries.
Use examples students can relate to
When there is a common experience that students can tie themselves to, or relate together, this creates and enhances inclusiveness.
As this is my form class, I know my students and their musical tastes pretty well. Here is a short excerpt of one of the lessons when I was moving around the class to see how students have progressed individually.
“Jay, are you going to do anything EDM related? That’s your favourite right?”
“Noel, what cheeky thing are you up to? Can I see? Let’s, let’s take a listen to what you’re doing. Okay. <Listening> So you layer on this. I think you will form a very nice layer, with the digital sounds and then the soft tones going on in the back,” I commented.
“Jan, have you tried anything other than Festive yet?”
“’Cher, I am trying,” said Jan.
“OK very good.” I encouraged.
“Ann, what are you looking at?
“I am trying to make some <inaudible>” explained Ann.
“OK. So you are creating a looper track first? Can you play that really cool, cool beat? I think it’s addictive though. If it can be done.” I suggested.
I turned to Jim, “Well, are you still on J-pop?”
I glanced at his iPad screen and chuckled, “Ya, you really did J-pop as I expected.”
I observed his struggles in trying to put together suitable loops and offered some suggestions,
“For J-pop, you can try using the more cutesy sounding digital instruments…”
“‘Cher, where is the gun sound?”, called out Jun to me. I kind of knew this was coming as I had a conversation with Jun about dolphins at the last music lesson.
“Are you trying to play ‘Shoot the Dolphin’ or something?” I asked.
“Yes”, replied Jun with a grin.
“Why am I not surprised, Jun? Why do you want to Shoot The Dolphin?”
I said expectantly. Jun laughed. “Can you try to create something more productive and positive instead? You want to shoot the Dolphin? Maybe right, you try to switch it to something more positive. I mean it can be used to support the whole conservation effort on dolphins. Let people hear what shooting the dolphin sounds like. You know? You can stir at their heartstrings. It’s a really heart wrenching sound you know... Have you heard it before? Then maybe from there you can create an adventure? ... You know, maybe an adventure of someone saving the dolphin, or something like that…End off with a positive message!”
(Names are pseudonyms)
StudentStudent Interactions
In the end, an inclusive music lesson is one where there are positive studentstudent interactions, and where:
When I thought about the episode, I thought it was useful that I had turned a negative moment into a positive one, remaining mindful of my choice of words and tone, while bringing across educational values to my student. It allows for a respectful conversation, and allows the student to feel empowered rather than discouraged and feeling not understood from the scolding. In a separate conversation with Jun after these lessons, Jun told me that he would like to become a teacher next time so that he could influence students positively as well. That reaffirms and encourages me a lot!
From watching my videos, I am glad that I have stayed positive about student choices, their work and encouraged them to be positive. I have also encouraged the class to try different loops and sounds in
their creative work and go beyond what they were used to. For example, I would show a student’s work which demonstrated unusual musical decisions to the class, followed by unpacking his/ her processes. Their examples are then used to challenge the other students to “be daring” and “explore all the different types (of loops)”.
During the module, the phrase I observed that I used a lot is, “go and try!” Perhaps, that has encouraged my students to be daring enough to try and appreciate differences and diversity in their lives through music-making.
During the final presentation, students were genuinely interested in what their friends have created and wanted to see what their classmates have to say about their works. It is hoped that this supportive climate can carry on outside the Music classroom.
EXAMINING STUDENT PERSPECTIVE
From the pre-module survey, 70% were interested in digital music production and 30% were neutral about their interest prior to participating in the BandLab module. The post-survey results showed a mean of 4.5 on a 5-point Likert scale (0 = did not enjoy at all; 5 = enjoy it very much), indicating that students, on average, enjoyed the digital music production.
A climate of trust is built
There is intentionality to link up students in other ways (other than friendship groups)
There is a supportive class culture
For example, during their presentations, students trust each other to give feedback on their works.
The class is usually clustered into friendship groups but during the process, the teacher can link students up in other ways (e.g. through common musical interests). This gives students an opportunity to interact.
Students are supportive of each other and enhance positive class climate.
When asked what “music doing” interests them initially, nobody chose “Creating Music” and most of the students (78%) picked “Listening to Music”.
From the list below, What about “Music doing” interest you?
41 Responses
Listening to Music
Performing Music
Learning about Music (Concepts/Different types)
Creating Music
Playing with Music/ Exploring Music Technology
Everything above
Singing alone with the music, changing the lyrics
Getting to know the meaning behind the lyrics
However, in the post-module survey, 87.2% of students stated that digital music production (i.e. creating music) has helped them see music in a different way, and the remaining 12.8% were neutral (rather than disagree). 92.3% of students stated that the digital music production has helped them appreciate creating music more, where 7.7% were neutral about it.
In sum, the digital music production expanded students’ “music doing” and their conception of creating.
Students’ listening preferences have also been expanded, likely due to the exposure to various loopers. In the pre-module survey, majority of students listen to pop and EDM. Yet, in the post-module survey, it was revealed that students’ favourite loopers across the class cover a wide variety of music genres (and not just pop and EDM).
Pre-module Survey: What kind of music do you listen to? (Tick all that apply)
41 Responses
Post-module Survey: My favourite looper is?
38 Responses
Previously, many of the students were not exposed to different instrument types. However, students were, in the post-module survey, able to list learnt instrument names such as piano, French horn, and EDM creators’ kit. This could be attributed to the MIDI instrumental phase of the project where students were given the freedom to explore different types of MIDI instruments.
} All students unanimously agreed that they liked the fact that:
there are many different options available when using loopers or MIDI instruments - highlighting their appreciation for diversity (in module choice)
they were given the freedom to create what they liked rather than the teacher restricting and specifying students to perform a specific task (even though this approach should be used when appropriate)
they got to see and experience a diverse body of works from their classmates
} A diverse range of responses was also observed when asked about their favourite work amongst the group presentations. Their responses showed that the class appreciated the different creative efforts, an indication of an appreciation for diversity.
CONCLUSION
} Inclusiveness is not limited to catering only for students who are marginalised or have disabilities. It is also about catering for students’ diverse interests and backgrounds so that we grow their identities as individuals, and their collective identity as a class.
} In creating an inclusive classroom, there is an intentional need to prepare the classroom environment and the curriculum to allow for inclusion, and to give attention to the way we teach and interact with students.
} The digital music production course has shown to achieve success in students’ appreciation of diversity and inclusion, apart from developing musical knowledge. However, it must be emphasised that an inclusive music classroom can also be developed in any other music modules when there is focus on the various human factors as discussed in this article.
Section 2 COLLABORATIVE LEARNING
In this section, the two studies argued for a need to give attention to developing skills for collaborative learning in students, so that a positive environment for collaborative learning could be created which would contribute to creating a sense of inclusion and engagement in the music classroom.
Tien Der-wei Alwin showed how the teaching of collaborative processes can impact musical development of students, and hence urged for teachers to actively facilitate opportunities for students to learn collaborative processes.
Similarly, Esther James’ study found that although the majority of students prefer collaborative learning, there are some who prefer individual work as they experienced challenges with collaborative work. This has implications on the teacher fostering a learning environment that can promote collaboration in the music classroom.
Effectiveness of Students’ Collaborative Learning Processes in the Context of Small Group Ensemble
Tien Der-wei Alwin | Fengshan Primary School
Introduction
Background
Research Purpose
Methodology
Findings
Conclusion
References
INTRODUCTION
Research Question:
How are students experiencing collaborative1 learning processes in the context of small group ensemble?
BACKGROUND
Musicking activities are fun and engage student learning holistically.
But, as students engage in selfdirected learning in a small group ensemble, greater support is required to help students to collaborate better with one another. In the context of small group ensemble, some students thrive in such environments while some students become disruptive. Students often become disruptive when they do not possess the necessary collaborative skills to participate in the activity.
In a pre-survey conducted with the students, it was revealed that most
students viewed that their classmates find their opinions to be useful only “sometimes” or “hardly”. This drove me to ask: How can we help students to listen to one another and value one another’s opinions? After all, Hallam (2002) has argued that music can be used to promote social skills and enhance classroom atmosphere, and the most important impact on students’ enthusiasm is their surrounding environment including their social interactions. To this end, one model that I have referred to is “Implementing Collaborative Learning in the Classroom” (ICLC) framework.
The ICLC framework draws a comprehensive picture of a teacher’s role. It is germane to fostering student interaction because it describes five teacher competencies that span across all implementation phases of collaborative learning: planning competency; monitoring competency; supporting competency; consolidating competency; and reflecting competency. These five competencies, together with teachers’ professional knowledge and beliefs, will impact the quality of student interaction.
I draw the reader’s attention to the pre-active phase and the inter-active phase.
My Proposition:
The teaching of collaborative learning processes in the pre-active phase can promote social interactions in the inter-active phase.
The Purpose of the Study: Understand how students are experiencing collaborative learning processes. RESEARCH PURPOSE
Pre-active Inter-active
Students discuss the setting of group rules and what good listening skills are.
Students present ideas to the group after thinking through how to present their ideas
Students work in friendship groups to:
Use a rhythmic graphic organiser to create a rhythm
Improvise other rhythms to layer over this rhythm
Use this rhythm texture to accompany a song of their choice
Perform the song with the rhythm texture
The above is inspired by:
Improvisational processes of Orff
Principles of friendship groups and provision of choice in Informal Learning
METHODOLOGY
The study participants are made up of 60 students from four Primary 5 classes and the methods used for data collection include:
Pre-post survey with 60 students
On their perception of their engagement in their collaborative work.
The pre-post survey is carried out before and after the inter-active phase respectively.
Focus group discussion with 14 students (post inter-active phase)
On their thoughts on the effectiveness of collaborative tools used:
Setting rules for discussion
How they are listening to one another
How they are sharing the song of their choice and their creative responses
Experiences during small group ensemble music-making
Wiedmann, Spada
Rummel (2015)
1. Students do not value setting of rules for discussion
2. Students appreciate the discussion on good listening skills
From the focus group discussions, it was found that students:
Did not like to follow rules
Found that rules cause restrictions
Thought that setting group rules only helped some of the time, as it may help students to act properly
Asked if there were more interesting ways of setting rules
From the focus group discussions, it was found that half the students interviewed found that the discussion on listening skills helped them.
“I used to think that it isn’t good when pupils don’t respond to what I say and simply change topic. I thought, since everyone does this, ok. But the discussion helped the class to understand that staying on topic is important as it makes others feel listened to.” - a student
At the focus group discussions, students shared their learning about listening skills in relation to collaborating with one another.
3. Students learn collaborative skills from discussions
“They don’t change the subject and listen to your idea.”
“I learnt how to listen to our friend’s responses.”
“I learnt how to think before I speak.”
“I learnt how to be patient when communicating with our friends.”
“I learnt not to be afraid to share ideas.”
“I learnt that to communicate well, I should stick to the same subject that my friend is discussing.”
“I learnt music-making discussion processes.”
Students have a heightened sense of meaningful participation.
Survey Question 1: Others finding my opinions useful
4. Students have a heightened sense of meaningful participation
Increase of 0.5 on a 5- point Likert scale
Paired Sample T-test revealed that the increase is statistically significant (p=0.001)
Pre- and post-survey findings revealed that students found others valuing their opinions more. There is an increase of 0.5 rating on a 5-point scale, and this is statistically significant.
Survey Question 2: I know what choices to make in music
Increase of 0.3 on a 5- point Likert scale Paired Sample T-test revealed that the increase is statistically significant (p=0.019)
Pre- and post-survey findings revealed that students know more about what choices to make in music. There is an increase of 0.3 rating on a 5-point scale, and this is statistically significant.
The items “others finding my opinions useful” and “I know how to make better musical decisions’ are found to be correlated in both pre- and post-surveys.
Survey Question
The correlation could mean that:
When students view that others found their opinions to be useful, it helps them know how to make better musical decisions.
When students know how to make better musical decisions, they perceive that others found their opinions to be more useful.
This finding suggests that it is important for students to learn to appreciate one another’s views and opinions so that they have the confidence to engage in music decision-making, which in turn enhance their sense of participation.
5. The valuing of opinions from peers is correlated to student’s confidence in music decisionmaking
Summary of Findings at a Glance
Findings Show the Following:
Students are not convinced about setting of rules
Students understand the importance of listening to one another
Students felt they learnt how to communicate and share ideas with one another
Students are focussed on one another and their project with the collaborative skills
Students’ valuing one another’s opinions (increase of 0.5 rating on a 5-point scale in pre- and post-surveys)
Students knowing what choices to make during music-making (increase of 0.3 rating on a 5-point scale in pre- and post- surveys)
There is a statistically significant correlation between students valuing one another’s opinions and their knowledge with regard to making better musical decisions.
CONCLUSION
1. Collaborative process (e.g. listening to opinions) can impact musical development (e.g. knowing their choice of music).
2. There is a gap between teacher’s and students’ opinion of the setting of rules to facilitate collaboration.
3. The learning of collaborative process gives rise to richer musical experiences for students. The teacher needs to actively facilitate opportunities for students to learn collaborative processes.
REFERENCES
Baker W.J and Harvey. G (2014). The collaborative learning behaviours of middle primary school students in a classroom music creation activity. Australian Journal of Music Education, 1, 3-14.
Hallam, S. (2002). Musical motivation: Toward a model synthesising the research. Music Education Research, 4(2), 255-44. doi: 10.1080/1461380022000011939
Kaendler, C., Wiedmann, M., Spada, H., & Rummel, N. (2015). Teacher competencies for the Implementation of Collaborative Learning in the Classroom: A framework and research review. Educational Psychology Review 27(3): 505-536. doi: 10.1007/s10648-014-9288-9.
How does Collaborative Learning Affect Student Engagement in the Music Classroom?
Esther James | St. Margaret’s Primary School
Introduction | Aims of Study | Methods of Data Collection | Findings | Conclusion | Reference
I wanted to create an environment where students had their own circles of learning, and where they formed their own bands, drawing from Green’s (2008) theory of informal learning.
The jam bands consisted of a cajon player, a keyboardist and singers.
Students were allowed to decide on their own and had to take ownership and responsibility for their own decisions.
Parameters given by the teacher:
Guidelines on song choice
Instruments available in the music room
The teacher does less decision-making, the teacher becomes a facilitator.
Timeline of the music lessons and tasks
AIMS OF THE STUDY
To find out whether students enjoy collaborating with one another.
To find out to what extent they can learn from their peers, with minimal teacher-facilitation.
To find out students’ thoughts and feelings when it comes to comparing individual work and group collaboration.
To observe and document the effects of collaboration on overall student engagement.
METHODS OF DATA COLLECTION
Pre-study survey (questionnaire)
Focus group discussions with five different groups of students, and their responses were coded
Video documentation of the students’ learning process for the jam band (how they learnt, how they taught each other, how they engaged and motivated one another, challenges they faced)
FINDINGS
Majority of students (87.5%) expressed a preference for collaborative work.
From the five focus group discussions, the themes that were found from students preferring collaborative work were:
A Friendship (work together) B Help is accessible (from peers) C Choice (collaborative freedom)
Table 1: Frequency of occurrence
themes explaining why students prefer collaborative work
It is suggested that how students viewed collaboration and the jam bands practices were largely based on the relationships they had with their peers. If they had strong friendships and support, they felt they could help each other, and answer their own questions. The freedom to make their own decisions also had a significant impact on them.
Comments from focus-group discussions (FGD):
“It’s better to work together and (we) can make a better piece”
“Friends will explain how it works”
“When you talk about the same subjects it will be easier”
“We make sure everyone agrees”
“Sometimes we change roles”
“We get ideas”
“We get to bond with our friends”
“It’s more important to choose the right people, or you can get into arguments”
However, there were some students who showed a preference for individual work instead.
The lack of friendship and relational support from the class seemed a major reason why some students preferred individual work.
From the five focus group discussions, the themes that were found from students preferring individual work were:
A Help – preferring one-on-one teacher’s attention during individual work
B Choice – wanting the autonomy of deciding on their own
C Individuality – no lines of communication between them and their classmates/ group mates
Focused group 1 1 1 1 Focused group 2 0 1 1
group 3 0 1 0
group 4 0 1 1
group 5 0 1 0
1 5 3
Comments from focus-group discussions (FGD):
“I prefer to work alone.”
“I’m used to doing it alone, I don’t like group work.”
“We can get into arguments.”
CONCLUSION
Collaborative learning has some benefits:
Table 2: Frequency of occurrence of themes explaining why students prefer individual work
“I get to do what I want.”
“I’d rather search for information on YouTube.”
Students feel empowered with choice; they are able to learn from their peers, they take ownership of learning and sharing resources.
Students are able to resolve their difficulties with help from peers.
Students are more motivated when they take ownership of their learning.
Students learn by sharing resources and ideas.
Students learn vital communication skills to negotiate and compromise for the greater good/outcome.
However, collaborative learning might be challenging for some students in cases where:
Students who struggle with friendship have difficulties finding a band to work with, and sticking with it.
Students feel insecure if they do not have strong relationship ties, and this affects their learning.
Students often rely on teachers for solutions to their difficulties and feel displaced during collaborative learning.
REFERENCE
Section 3 STUDENT MOTIVATION
This section relates to how we could enhance student motivation in music lessons with a diversity of student profiles in our music classes.
Lim Siew Ein illustrates how she supported her students with empowerment tools as they engaged in informal learning in an ensemble. The module design was able to empower students and provide opportunity for both the development of musical learning and social-emotional learning.
Shahrin B Mahmud’s study reminds us that we should not take for granted students’ musical preferences. For example, although students are digital natives, his students may not always prefer a digital instrument. They also experience instrumental playing differently and hence as teachers, we may wish to cater for these differences.
Jolene Wong and Diana Kuek found that both direct instruction and self-directed learning can positively impact students’ interest in learning. However, as self-directed learning could enhance students’ learning experiences, more so than instruction with elements of differentiation, more opportunities could be provided for students’ selfdirected learning.
Jasmin Tan Jiemin showed us how instrumental learning experiences in the music class could make a lifewide and lifelong impact on students’ enjoyment of music. The strategy could lie in a consideration for differentiation, the design of bite-sized tasks that could suitably challenge students, the choice of repertoire, and conversations and rationalisations with students.
Empowering Student Creativity and Social-Emotional Learning in Keyboard Ensemble Module
Lim Siew En | Canberra Secondary School
Introduction
Methodology
Student Profile
The Keyboard Ensemble Module
Findings
Conclusion
INTRODUCTION
How can students be empowered in their creativity and social-emotional learning in keyboard ensemble module?
This study describes:
1. Learning of musical skills on keyboard and ensemble skills
2. Development of social-emotional learning through the learning tools and experiences
I posit that social-emotional awareness and music-making in an ensemble are closely related. A good music-making experience with social-emotional awareness can help students achieve a great aesthetic experience.
METHODOLOGY
Participated Classes
2N2 and 2E3
Data Collection
Pre-course survey to understand student profile
Observations
Post-course survey to understand student learning and experiences
Student interviews to understand student learning and experiences
Analysis
Quantitative analysis of survey responses
Thematic analysis of interview and survey responses
STUDENT PROFILE
A pre-course survey was conducted to learn about the student profile of the two classes. It was found that:
Most students felt that a keyboard ensemble module would help them understand the importance of teamwork.
A proportion of students view that a keyboard ensemble module would help them develop musical skills.
A proportion of students enjoyed keyboard.
A proportion of students indicated enjoyment in other modules.
Few students indicated that they have prior knowledge in music, despite that many students in 2E3 are members of the school’s concert band and choir.
THE KEYBOARD ENSEMBLE MODULE
The teaching and learning aspects in the keyboard ensemble module focused on the two aspects:
1. Learning of musical skills on the keyboard (including playing simple chord accompaniment) and ensemble skills
2. Development of social-emotional learning through the learning tools and experiences using Empowerment Tools (further details below)
Students, in groups of 5-6, will choose songs and arrange them into a medley, accompanied by keyboard in a 4-chord progression (C, G, Am, F chords). The band will decide on additional instruments and experience the ensemble practice in a classroom band setting.
Duration
A 10-week project for classes 2E3 and 2N2. } 3 weeks on Keyboard Module } 7 weeks on Ensemble Practice
Details of Types of Skills Planned for Students to Acquire
Keyboard Skills
Read chord notation
Recognise chord positions on keyboard
Play 4-chord progression on keyboard
Learn to play simple comping of four chords on keyboard as the harmonic accompaniment for a jam band
Improvise on keyboard and customise accompaniment pattern accordingly
Aural and Listening Skills
Make judgement by adjusting their voice, changing choice of instruments and amending chords accordingly to fit into song of their choice
Practise inter-independence and self-reliance through listening to one another
Ensemble Criterion
Practise respect and teamwork
Take on different roles in the performance
Decide on the choice of song and arrangement of the song
Learning Process
The process is characterised by self-directed learning, self-exploration, team discussion, listening, cooperation, and experimenting with one another’s ideas and suggestions.
Students assign their own role in the performances
Each student will take turns to be the leader for each song (not restricted to soloist)
Throughout the experience, teacher probed with questions to encourage students to think critically in resolving musical challenges and conflicts during group work.
Empowerment Tools
These are Empowerment Tools to help students in their informal learning. Students empower themselves to be competent to create their own Jam band.
Musical elements as basis of ensemble practice
Areas students should check based on the 7 music elements:
Melody How to present their song? Solo? Duet?
Harmony Decide on the style and pattern of LH accompaniment (Comping / Broken chords). Listen and make judgement on the type of chord progression used for each song.
Dynamic Expression to control the loudness and softness of melody playing.
Rhythm Playing of melody with accurate rhythm sense of instrumentalists and vocalist.
Tempo Play with consistent tempo throughout the performance.
Form Discuss and arrange songs accordingly.
Timbre Involve different music instruments to create variety of timbres.
Guiding Principles for Successful Ensemble
Ask questions:
1. What type of chord progression best suit your song choice?
2. What went wrong? How do we fix it? Could it be the harmony between the keyboard and other instruments or vocalist?
3. How can we sound better/ emotional/ dynamic shifts? Sense of rhythmic pulse. Choice of instruments? Balance among players.
4. Check on the arrangement of the songs.
4 Guiding for Empowerment
1. Develop musical skills – ability to play a progression of 4 chords in chordal pattern in 4/4 time.
2. Decision making – make choices of instruments such as guitar/ ukulele, cajons, djembe or kompang.
3. Acquire creative thinking – arrange songs in a medley to fit into different 4-chord progression on keyboard, using 7 Music Elements (see above) as a guide.
4. Ask questions on “How”, “Why”, “What” to improve on ensemble playing.
5. Problem solving – Yes there is a problem here, how do we solve it? What are the options?
Expectations of students
The teacher encourages and guides students to ask questions such as: - How did we do? What did you notice? What areas should we work on next?
Teacher gives suggestions and probes students to think deeper and find their own solutions.
to be inter-independent
Students are each given a role and they will need to be independent and be confident of their musical role for their band. For example, the lead singer will take the initiative to do song arrangements and memorise the lyrics; the keyboardist will be familiar with the basic 4 chords and finalise the chord progression with flashcard visual guides and teacher’s help.
Each member of a band should be comfortable to make music together.
Students give constructive feedback for own (live or online) ensemble performance and peers’ performance. Students take the mid-point feedback to further improve their project.
FINDINGS
1. Data from student interviews and survey responses from the two classes were consolidated, coded and analysed to find out the aspects of students’ musical and social-emotional learning. The following themes are revealed.
Music Skills
It makes me more interested in music and appreciate how others are doing their own ensemble and understand their hard work.
Interactions
For example, cooperative learning skills
I learnt to communicate with my teammates and how to balance out the different views of others.
I learnt to have teamwork and not judge each other, learn from one another and make each one of us better and better.
For example, problem-solving skills
My members and I did not have the same music taste so, we discussed on what song to sing. At first, we did not have anyone in our team who knows how to play the keyboard. There was only one of our members who could play the guitar. We discussed together and suggested that we need to learn how to play the keyboard. After the instruments was alright, there was a problem between the singers. There’s three singers including me, and we could not get in harmony. At the end, we practised hard and overall it was a great experience.
Empowerment
I learnt a lot and it was a fun experience doing this project. I am able to read notes and play instruments such as guitar and keyboard now which is very good as I have always wanted to learn them. In the end of this project, I learnt which instruments I like and would want to continue playing and learning it.
2. The data from the post-course survey of the two classes were combined and here are the results.
indicated that they occasionally listen, but not always 1%
36%
indicated that they do not listen to one another
(A) Most students reported that they practised good listening practices. 63% indicated that they listen to one another’s opinions
Students to be active thinkers
Students
(B)
Most students reported that they resolved conflicts and disagreements.
18% indicated that there will be a person to resolve all issues
37% indicated that they may have different opinions, but they learn along the way by trying out each other’s suggestions.
45% indicated that they discussed matters in constructive ways
15% were able to play the keyboard and sing simultaneously
(C)
Most students reported that they were able to use the music elements guide (see Empowerment Tool above) to guide their ensemble practice.
31% were able to play chords on the keyboard and do simple improvisation
54% were able to keep up with the tempo and rhythm with their band members
(D)
Most students seem to experience cooperative learning well.
34% reported that they were able to make music with band members through incorporating music elements effectively
21% reported that they acquired good listening skills and jam with their band members in interactive ways
45% reported that they were able to communicate with their band well
21% appreciated and recognised one another’s role and enjoyed playing together as a band
15% enjoyed the music they had arranged and created together and made refinements through feedback and reflections
31% enjoyed the music they had arranged and created as a band
33% felt excited to get to practice and combine efforts to perform as a band
(E)
Students perceived different key takeaways from the ensemble practice experience.
Musical Learning
CONCLUSION
SocialEmotional Learning
Students generally have a good experience through informal learning in an ensemble. Both musical learning and social-emotional learning are evident, and the connection between both learnings can be observed. Empowering students and giving them the autonomy to choose, decide and make music on their own in the context of the keyboard ensemble module, supported by guidance and empowerment tools, were able to develop students musically and social-emotionally.
Student Preference for Acoustic or Tablet-Based Musical Instruments
Shahrin B Mahmud | Greenridge Primary School
Introduction Questions
Context
Literature
Methodology
Findings
Discussion
Limitations
Conclusion References
INTRODUCTION
The aim of this study is to examine upper primary students’ preferences for acoustic or tablet-based instruments. The project is inspired by a study done by Dr Sangmi Kang (2018) in the USA. Part of her study is on the effect of motivation on upper-grade elementary students’ preferences for acoustic or tablet-based instruments. Her analysis brought to light factors that could influence students’ instrument preferences.
QUESTIONS
1. What are students’ instrument preferences (ukulele/tablet-based) based on their prior musical experience (private lessons)?
2. What are students’ instrument preferences (ukulele/tablet-based) based on their motivation levels (based on their perceived support from their parents)?
3. What reasons do upper primary students provide for their instrument preferences?
CONTEXT
1. All students of Greenridge Primary School start learning to play the ukulele at primary 4.
2. At primary 5 & 6, students progress to learn more chords on the ukulele.
3. In 2019, the year of this study, tablet-based guitar strumming lesson was introduced to the primary 5 students.
4. For this study, the same lessons were also conducted for the primary 6 students.
LITERATURE
Parental and home influences can determine a learner’s preference Parents can often compel their children towards a particular instrument based on their own experiences of playing, a sense of family tradition or for the cognitive and social benefits they believe music playing can have for their child (The Flute Coach, 2017).
Literature has supported that iPad is a real instrument When used to make music, the iPad is a musical instrument. It can be performed well or poorly. It takes practice to build performance technique on it. It will do nothing without musicianship, creativity, and imagination supplied by a person. It has musical limitations just like any instrument, but in the right circumstances, it can be used to make amazing music (Wiliams, 2014, p. 97).
METHODOLOGY
Participants
1. 3 classes of primary 5 students (Total 104)
2. 3 classes of primary 6 students (Total 108)
Instruments
1. Soprano ukulele
Procedure
1. 4 sessions of ukulele playing (30 min per week), followed by 2. 4 sessions of tabletbased guitar strumming (30 min per week)
My preferred instrument Tick one only: Ukulele Garage band instrument
Reasons for choosing the above instrument You can submit multiple reasons: 1. ___________________________________________________________________________________________ 2. ___________________________________________________________________________________________
Questionnaire before the ukulele session
Open-ended survey after the tablet-based lessons
FINDINGS
Research Question 1:
What are students’ instrument preferences (ukulele/tablet-based) based on their prior musical experience (private lessons)?
Percentage of Primary 5 students who prefer ukulele for each category
Percentage of Primary 6 students who prefer ukulele for each category
Research Question 2:
What are students’ instrument preferences (ukulele/tablet-based) based on their motivation levels for playing a musical instrument (based on their Perceived Support from their Parents)?
Hence, regardless of whether they have private music lessons, more students prefer ukulele to tablet-based instruments.
Percentage of Primary 5 students who prefer ukulele in each category
Research Question 3:
What reasons do upper primary students provide for their instrument preferences?
Percentage of Primary 6 students who prefer ukulele in each category
Very unmotivated Unmotivated Neutral Motivated Very motivated
Hence, regardless of their motivation levels, more students prefer ukulele to tablet-based instruments.
For Ukulele
A content analysis was conducted for students’ open-ended responses who prefer the ukulele. It was found that:
1 Students preferred the tone-colour of the ukulele
Reasons
Nicer/more natural sound
enough/no need speaker
2 Students felt that they have an authentic experience when they play the ukulele
Reasons
Prefer to strum/interact with/feel the strings
Prefer the real instrument
Primary 5 Number of times mentioned
Primary 6 Number of times mentioned
3 Students viewed that the ukulele is more challenging and hence more satisfying
Reasons
More challenging/fun/satisfying
Can learn to tune
Primary 5 Number of times mentioned
Primary 6 Number of times mentioned
4 Student also viewed that there is greater simplicity in playing the ukulele
Reasons
No need to look at screen to press chord/less complicated/ easier to play/less stressful/ easier to play/can focus on singing and playing
No need to change the chord setting/just change fingering
Can understand the chord formation better
No distraction from other apps
No limit in the number of chords that can be played
Primary 5 Number of times mentioned
Primary 6 Number of times mentioned
5 Students felt the physiological convenience or the ease of physically playing and holding the ukulele
Reasons
Primary 5 Number of times mentioned
Primary 6 Number of times mentioned
Primary 5 Number of times mentioned
Primary 6 Number of times mentioned
Easier/more comfortable to play due to size/shape
6 Students saw less technical issues pertaining to hardware/software with the ukulele
Reasons
Primary 5 Number of times mentioned
Less screen time, better for eyes
No need to set up/installation
No technical glitches/ closing down of app automatically
Sound lagging
Loud enough/no need speaker
A break from electronics/ screen, better for eyes
7 The other reasons that were mentioned include:
Reasons
Cheaper to buy
Looks nicer to perform with ukulele
Ukulele has history
Looks more professional/ more impressive/ holding and performing with ukulele
Primary 5 Number of times mentioned Primary 6 Number of times mentioned
For Tablet-based Instrument
A content analysis was conducted for students’ open-ended responses who favour tablet-based instrument. It was found that:
1 Students preferred the tone-colour of the tablet
Reasons better/nicer sound 8 3 Primary 5 Number of times mentioned
to change chord
Easier to play/strum
Fingers not painful when strumming
Variety of instruments/sounds available
Less mistake in chord playing
No need to tune
Can edit/manipulate the sound
No need to use pick
Can easily record
Reasons
Compact size/light
2 Students felt the ease of playing the tablet 4 Students felt it was fun playing the tablet
Primary 5 Number of times mentioned
Primary 5 Number of times mentioned Primary 5 Number of times mentioned Primary 6 Number of times mentioned
3 Students felt the physiological convenience or the ease of physically playing and holding the tablet
More fun
Primary 5 Number of times mentioned
6 Number of times mentioned
Primary 6 Number of times mentioned Primary 6 Number of times mentioned
5 Students viewed that the tablet is more challenging and hence more satisfying
Reasons
6 Number of times mentioned
6 The other reasons that were mentioned include:
Reasons
Already own an iPad so no need a ukulele
I love technology
Not easily damaged
Modern/futuristic
I’m more comfortable with electronic devices
Cheaper than buying many instruments/variety of instruments available Primary 5
Examples of students’ responses
I tend to learn better when I do the actual activity instead of playing a simulation of it on the iPad.
I like to feel the strings of the ukulele but for the GarageBand instrument, I can only feel the screen.
In order to be a professional musician, you need to learn the original instrument first.
The ukulele is designed for us to play. An iPad is rectangle and is uncomfortable to play.
By playing the ukulele, you are seen as being more talented.
Mr Shahrin can teach better with ukulele as he is using ukulele in real life.
I chose the tablet because I always forget how to play the chords.
It is rare to make wrong chord mistakes.
The tablet-based instrument is tuned, so we do not have to waste time tuning.
If I want to use it in public, I can use the earphone.
DISCUSSIONS
29% prefer tablet-based instruments
1. Prior Musical Experience
Instrumental Preferences
71% prefer the ukulele
Students’ prior musical experience does not seem to be a determining factor of their instrumental preferences (ukulele or tablet-based instrument).
2. Parent Voice
There is no mention of parents in students’ open-ended responses. Instead, results suggest that teachers have a more influential role in our students’ choice of instruments.
4. Choice of Instrument
The reasons cited by majority of students who prefer ukulele seem to lie more in its tone colour, its simplicity and the sense of authenticity it provides. On the other hand, the reasons cited by majority of students who prefer tablet-based instrument tend to rest mainly with the ease of playing.
We have found that ... Reasons
3. Digital Native Assumption Might Not Always Hold True
Although students are digital natives, and it is assumed that they would prefer technology, the results showed that they prefer the acoustic instrument.
Results suggest that there is a place for acoustic instruments in the classroom even in the digital world.
However, there were also similar reasons cited by students for whether they prefer ukulele or the tablet-based instrument. For example, “tone colour”, “challenge” and “physiological convenience” were reasons students chose ukulele, and the same reasons why students chose tablet-based instrument. It showed that students could experience the instruments differently.
5. Comparison to Dr Sangmi Kang’s findings
Tone-colour
Physiological convenience
More challenging
Greater simplicity
Authentic experience
Less technical issues relating to hardware/ software
Cheaper
Nice to perform
History
Tone-colour
Physiological convenience
More challenging
Ease
Fun
Owning an iPad
Love technology
Not easily damaged
Futuristic
Cheaper than buying many variety of instruments
Comfort
In general, the responses of both groups of participants (Singapore & USA) are about the same.
Majority preferred acoustic instrument to tablet-based instrument
Similar reasons to why they chose their preferred instruments
Ukulele Tablet-based Instrument
Implications for Teaching
} Be aware that more students prefer the acoustic to tablet-based instruments. Give students authentic hands-on opportunity to explore acoustic instruments. Nevertheless, students who prefer tablet-based instruments should not be neglected. Teachers should try to meet their needs in experiencing enjoyment in music-making.
} Which instrument to teach/learn first?
For students who are lacking in confidence in playing the ukulele due to inability to form the chords, the tablet-based instrument may be a better option to start with first until the students reach a certain level of readiness before exploring acoustic instruments.
For students who find it less challenging playing the tablet-based instruments, they may be bored and become demotivated. For them, starting with acoustic-based instruments is a better option.
Teachers need to use various instructional approaches and differentiate the level of challenges so that all levels of learners can have an enjoyable experience.
} Should we combine the 2 types of instruments in our lessons?
Not at the learning stage. However, the students can be allowed to choose their preferred instruments when they are ready to perform for an audience.
A mixed ensemble of both acoustic and tablet-based instruments could be an alternative set-up.
Linking lessons using acoustic and tablet-based instruments so that the learning is transferrable from one instrument to the other.
} Teachers can consider bringing tablet-based strumming lesson to primary 4 to cater to those who struggle with chord formation on the ukulele.
LIMITATIONS
1. Imbalanced exposure time between the two instruments. Students have already learnt the ukulele at primary 4 while the exploration of tablet-based strumming was done only at primary 5.
2. The ukulele is not available as an instrument in GarageBand. If it were available, the results might be different (especially on the tone colour preference).
CONCLUSION
More upper primary students prefer the ukulele to the tablet-based instrument regardless of their home backgrounds and motivation levels. Although they are digital natives, they may not always prefer a digital instrument. They also experience instruments differently, citing similar reasons for their preference for different instruments. Hence, as teachers, we might wish to cater for these differences in the design of our instruction.
REFERENCES
Kang, S. (2018). Motivation and preference for acoustic or tablet-based instruments: Comparing guitars and gayageums. Journal of Research in Music Education, 66, 278–294. doi:10.1177/0022429418785379.
The Flute Coach (2017). 8 Reasons Why Students Choose Musical Instruments. Retrieved from https://www.theflutecoach.com/ choosing-musical-instruments/ Williams, D.A. (2014). Another Perspective: The iPad Is a REAL Musical Instrument. Music Educators Journal 101(1), 93-98
A Comparative Study of the Impact of Direct Instruction and Self-directed Learning
Jolene Wong and Diana Kuek | Anglo-Chinese School (Barker Road)
To what extent does self-directed learning engage students of different music background more effectively than direct instruction with element of differentiation? Introduction | Methodology | Findings | Conclusion
Research Subject
Sec 1 NA boys with a few SEN students. More than 70% has less than 2 years or “no music background” as defined by themselves.
Objective of Module
Learn how to play the melody and chords of Di Tanjung Katong (Fig 1) in the key of C on the keyboard over a term.
Fig 1: Score of Di Tanjung Katong
Teaching Approaches
Direct Instruction with element of differentiation in the learning of melody line Self-directed learning in the learning of chords
Teacher determined lesson flow, physical arrangement of the classroom, differentiated outcome.
For more advanced students, they are challenged with an additional passage of music within the song.
Teacher provided them with keyboard charts (Fig 2) and students learn on their own.
Post-Survey
Students had to indicate if they hate it, dislike it, somewhat dislike it, somewhat like it, like it, or love it. The results below compare students’ responses to the type of learning.
METHODOLOGY FINDINGS
Pre-Survey
Students had to indicate if they hate it, dislike it, somewhat dislike it, somewhat like it, like it, or love it. The results below compare students’ responses to the type of learning.
From the above, it can be observed:
More students enjoyed self-directed learning compared to direct instruction with element of differentiation (65.8% compared to 58.9%).
Most students enjoyed learning the keyboard compared to before, regardless of whether direct instruction with an element of differentiation or self-directed learning is used.
More students found time passed quickly/just right in self-directed learning compared to direct instruction with element of differentiation.
Student Feedback (Common tropes)
Students had to indicate if they hate it, dislike it, somewhat dislike it, somewhat like it, like it, or love it. The results below compare students’ responses to the type of learning.
Pre-post Survey
Quantitative Analysis
Thematic Coding
From the above, it can be observed:
More students enjoyed music lessons in their current context.
Most students (76.9%) liked learning a musical instrument.
CONCLUSION
Both instruction types – direct instruction with element of differentiation and self-directed learning has shown to positively impact students’ interests in learning. However, self-directed learning, in the context of the lessons, have been shown to enhance students’ learning experiences more than direct instruction with element of differentiation.
Future studies can also focus on how the teacher’s level of enthusiasm, liking of the class and rapport with the class, teaching style and even choice of repertoire can impact students’ interests in learning.
Impact of the Secondary 1 Keyboard Lessons on Music Enjoyment Outside of the Classroom
Jasmin Tan Jiemin | Meridian Secondary School
Introduction
Key Terms
Methodology
Results and Analysis
Limitations
Conclusion
References
INTRODUCTION
The purpose of this survey is to discover if the keyboard module for Secondary 1 students in Meridian Secondary school is effective in increasing music enjoyment outside of the classroom.
Main Research Questions:
1. How did the keyboard module help increase students’ enjoyment of music?
2. Which aspects of the keyboard module promoted/ prevented enjoyment of music?
3. What are some possible strategies to overcome the barriers?
KEY TERMS
Jones (2005) identifies the primary purpose of music education as being “the development of independent musicianship for personal musical agency in lifewide and lifelong settings”.
Reischmann (1986) described lifewide learning to be an individualised composition of knowledge gained from various spaces (e.g. reading books, exchanging with experts, participating in the local adult education offerings).
According to Smith and Haack (2000), “lifelong” refers to an entire lifespan of experiences, from “cradle to the grave” (p. 28).
METHODOLOGY
Following the 10-week keyboard module, students were briefed about the survey in order to clarify the queries. Students then completed their survey using the Google form given and their data was quantitatively analysed as well as qualitative coded.
Research Participants: 7 Classes of 2019 Sec 1 Students
10-week keyboard module
Students completed 15-questions survey on Google Form
Student briefed before survey
Population
Total Number of Secondary 1s: 265
It is hoped that the keyboard programme would promote students’ lifewide engagement in music.
Data quantitatively analysed
Total Number of Secondary 1s who consented to the survey: 160
C Major Scale
To focus on good use of fingering and to train dexterity
Singing while playing chords
In the current context, the use of the keyboard as an accompaniment instrument, as compared to playing melody lines, is more applicable in the students’ day-to-day life. It allows them to easily pick up songs that they are familiar with, and hence use it in a lifewide context.
Playing the Keyboard with Classmates
Playing with their classmates allow students to help one another. Students are also encouraged to play well when they see their peers accomplish what is taught.
Listening Activity
This is done both to widen the students’ listening palette and to reinforce the importance of listening as a musician. When students are asked to figure out the notes of the musical excerpts on the keyboard, it is also hoped that they understand the keyboard topography better through the process and also gain the confidence to play anything they want.
Overview of keyboard moduleFour lesson factors
C Major Scale
Singing and Playing Playing with Classmates
Listening Activities
Lifewide Learning
RESULTS AND ANALYSIS
A. Prior Knowledge
Majority of the students have had prior experiences with learning the keyboard.
Students who had not played the keyboard before the programme
Students who had attended private lessons on the keyboard
C. Effect on Overall Musical Interest
Research Question 1
How did the keyboard module help increase students’ enjoyment of music?
Students who had piano/ keyboard lessons in primary school.
Students who tried the keyboard on their own
B. Lesson Factors
Students were asked to select amongst the options “strongly disagree, disagree, agree, and strongly agree” to indicate how much the main lesson factors (learning the C Major scale, singing while playing chords, playing the keyboard with their classmates, and listening activities) encouraged them to be engaged in music activities outside of class.
Table 1: Students’ Perceptions of how the Lesson Influenced their Musical Engagement Outside of Class
From the result in Table 1, the mean ratings are similar and showed that students felt that all the lesson activities influenced their external musical engagement and each factor had almost equal importance.
However, playing with classmates has a slightly higher mean rating compared to the others, indicating that students enjoy the experience of making music with their peers most.
An open coding of their responses was conducted. The students’ reasons for seeing an interest in music after the keyboard lessons are summarised into four themes (Table 2).
Table 2: Overview of the main themes and codes based on the reasons students cited
1. Joy of music a. Passion for Music
b. Love of Sounds
c. Love of Music-Making
d. Love of Repertoire
2. Joy of Learning a. Pursuit of Knowledge
b. Engaging Lesson
c. Meeting Students’ Abilities
3. Joy of Musical Learning a. Deepened Musical Understanding
b. Preference for Keyboard/Piano
c. Novelty and Newness
4. Joyful Life a. Self (increased confidence and learning of new skills)
b. Society (the experience of making music promoted social interaction and play )
A. Passion “It sparks a passion for my love of music.”
“I have loved music for a long time.”
Some students simply had the passion for music thus any musical activity would have interest them.
B. Love of Sounds “There are many sounds on the keyboard that makes me play music.”
C. Love of MusicMaking
“When I knew how to play certain chords which would make a nice melody, I began gaining more interest to learn more, I wanted to be able to play more songs on the piano.”
D. Love of Repertoire The joy of music could be due to the repertoire chosen in class.
“We can play current songs.”
2. Joy of Learning
There was another group of students whose interests were captured because they enjoyed the general process of learning and gaining new insight.
A. Pursuit of Knowledge “Learn something new.”
B. Engaging Lesson “I like the way of the teacher’s teaching.”
c. Meeting Students’ Ability
“It’s fun and difficult at the same time. The hard work is paid off after you have learnt the piece.”
A. Deepened Musical Understanding Some students were intrigued by the depth of knowledge they could gain about music. Their heightened understanding led to further interest in music.
“It made me realise that music was more than just notes.”
B. Preference for Keyboard/Piano
C. Novelty and Newness
To some students, the keyboard was their instrumental preference.
“Because I have always wanted to learn the keyboard.”
A couple of students liked that they were learning something new in music, whether it is the new instrumental experience or the songs that are new.
“I wanted to expand my knowledge in different types of songs.”
A. Self Some students owed their interest to the lessons giving them a joyful life. They learnt personal life skills such as managing themselves in terms of responsibility.
The music lessons also relieved their stress and thus increased their interest in music.
“It gives me confidence that I could play the instruments.”
B. Society The joy was also more social to a particular student who was happy that the musical activity was something that can be shared with his/her friends.
“I can play with my friends.”
How did the keyboard module help increase students’ enjoyment of music (in terms of their lifewide and lifelong learning)?
Listening more to Music
More than half of the students felt that the keyboard lessons encouraged them to listen to more music.
59.38% of students responded “Yes” as to whether the keyboard lessons encouraged them to listen to more music while 40.62% responded “No”.
For students who responded “Yes”,
Students were intrigued by the new music they were exposed to, “because we learnt different genres of music like country.”
Students wanted to prepare themselves well for the assessment.
“Yes because the music assessment assesses us in music like Flashlight and I like the song so I listen to it frequently.”
For students who responded “No”, said that
They already have their own listening preferences.
“I still listen to music that interest me not because of the lessons.”
Lack of time.
“I don’t listen to any music as I do not have the time.”
Students are not accustomed to listening to music.
“I don’t always listen to music as I’m still not used to it.”
Repertoire that students felt encouraged to listen to after the keyboard module
Students’ choice of music is influenced by the presence of the keyboard.
“K pop because I can actually use keyboard to play the music I want.“
Students began listening to songs introduced in class (e.g. those written by his/her fellow schoolmates).
“The same song that we played in class.”
(1)
Effect of keyboard lessons on student involvement in musical activities (i.e. Listening, Playing, and Composing)
1. Joy of Music
4. Joyful Life
3. Joy of Musical Learning
(2)
Transference and Application of Skills from Keyboard Lessons
Playing/Singing Outside of Lesson Time
41.88% of students continued playing/singing the songs learnt in class outside of lesson time.
40.63% of students tried playing other songs on the keyboard other than those learnt during lesson time.
Repertoire that students tried playing on the keyboard outside of the module
Pop Music (e.g. Someone You Loved, Chasing the Sun, Permata Cinta)
Singapore Youth Festival Piece
Musicals (e.g. Sound of Music)
Nursery Songs (e.g. Baby Shark, Yankee Doodle)
Anime Music
Soundtracks
Worship Songs
Classical Music (e.g. Fugue in G)
About one third (31.25%) of students continued playing the keyboard outside of lesson time.
A larger proportion of the students (40.63%) also attempted other instruments due to the keyboard module. These other instruments include the drums, instruments from their CCA, or what appears to be instruments that they might be learning during private lessons such as the ukulele, guitar, flute, gamelan, saxophone hand-bells and trumpet.
Reasons of students who felt encouraged to try playing with other instruments due to the keyboard programme.
Students felt more confident “to make music” after the programme.
“It made me realize that I can do it and made me feel like I could be able to play other instruments.”
Students felt motivated after the programme.
“It makes me want to make more music.”
Some students noticed the skillsets taught in class were transferrable. “Felt that the chords learnt in class were applicable to other instruments.”
Other students had musical aspirations.
“Because I wanted to be a musician.”
Apart from instrumental learning, 30% of students also tried composing their own music outside of class.
To find out if students would be able to verbalise and think of ways that their takeaways may connect with their own musical engagement, they were asked to suggest ways that they can make the application.
Learn/Improve/Extend Current Skills
Applying the skills on other instruments
Playing scales for vocal warmups
Remember the techniques
Practise at home
Watch videos
Play it on a phone application
Experimenting with new chords
Learn more difficult songs
Attend music classes
To Fulfill a Career Aspiration
If he/she is a teacher
Assist during Co-Curricular Activities (CCA)
Lead sectionals during Co-Curricular Activities
Form a band
Perform
Playing for family/friend/him- or her-self
Volunteer to play for celebrations
Participate in talent shows
Play it in the future
Play it outside of school/in public
To Help People Around
Teach family/friends/younger cousins
Research Question 2
Which aspects of the keyboard module prevented enjoyment of music?
An open coding of their responses was conducted. The students’ reasons for why the keyboard module did not increase their interest in music are summarised into four themes (Table 3).
Table 3: Overview of the main themes and codes based on the reasons students cited
1. Lack of Interest in Music
a. General Disinterest
b. Lack of Interest for Keyboard/Piano
c. Lack of Interest in Music-Making
d. Lack of Interest in Repertoire
2. Disengaging Lesson
3. Prior Negative Experience
4. Prior Interest in Music
a. Uninteresting Module
b. Not Meeting Students’ Ability
Students who had prior negative experiences with music had difficulty moving on from their past experiences to be motivated.
Some students claimed to have a prior interest in music and did not feel an increase in their interest levels in music as a result of the module.
Citations from students based on the themes:
1. Lack of Interest in Music
A. General Disinterest There were students who did not seem to have any interest in music at the moment.
“I do not enjoy music in general.”
“I was never interested in music even after playing multiple instruments before.”
B. Lack of Interest in Keyboard/Piano
C. Lack of Interest in Music-Making
D. Lack of Interest in Repertoire
There were also students who preferred other instruments and thus the keyboard module served little encouragement in having more interest in music.
“I would have increased my interest if it was other instruments.”
Some students did not see the fun in making music and would rather just listen to music.
“I love listening to music but I do not like to play it.”
The repertoire of the module also did not interest certain students.
“No. The music that they play in school is not my type of music.”
2. Disengaging Lesson
A. Uninteresting Module
B. Not Meeting Student’s Ability
Students attributed their lack of interest to the module being uninteresting but did not further explain how it could be more engaging.
“Boring.”
“It was not fun.”
For others, the module did not meet their ability. A couple of students found the module too simple, while others found it too challenging.
“Too simple for me.”
“It was very hard for me to remember the notes.”
3. Prior
Negative Experience
Students who had prior negative experiences with music had difficulty moving on from their past experiences to be motivated.
“Because I have already ‘suffered’ a little from my CCA.”
“I don’t really like playing the piano since I’ve played it since I was 3.”
4. Prior Interest in Music
For other students, they did not feel an increased interest in music because they were already interested in it.
“Before the keyboard lesson I had already liked music.”
Research Question 3 What are some possible strategies to overcome the barriers?
These are some possible strategies derived based on the feedback given in the survey.
The lessons should consider the range of student abilities. It should build student confidence by ensuring the tasks are manageable. At the same time, it should also challenge faster progress students to prevent stagnation in learning.
Based on the survey, students’ interests are influenced by the repertoire chosen. As such, it is important for teachers to listen to students’ voices and provide a wider range of musical choices in class.
”Sharing time” could be introduced in class to address students’ musical habits. It can be used to address prior negative experiences with music and to affirm these students of their capabilities. It may also be used to discuss with students how they could engage in more listening activities in their daily lives.
LIMITATIONS
The students involved in this study were taught by two music teachers with different teaching styles. Thus, this might have been an extra variable to the results.
Students who took the keyboard lessons a lot earlier might have forgotten some important points when answering the survey questions.
Since this is the start of a long-term research, the focus of the research at this time is broader to figure out the possible reasons that might encourage or limit music enjoyment outside of the classroom.
CONCLUSION
The keyboard module has shown to be able to increase students’ enjoyment of music and make a lifewide and lifelong impact. Students reported that they listened to more music, they played and sang outside of class, and they were able to articulate the areas where they could transfer their musical learning in class to other aspects of their life. However, not all students have engaged well with the keyboard. The reasons, as revealed through the findings, are a good source of information for teachers to consider in the design of their music lessons. The implications for teachers are that there can be greater consideration for differentiation. Bitesized tasks can be designed with sufficient depth and appropriate challenges. Repertoire should be chosen carefully and classroom time should include conversations with students.
REFERENCES
Jackson, N. (2012). Featured Interview Real Life Story: Norman Jackson Interviews Joevas Asare – J. Peace. Lifewide Magazine, 2, 11—13. Retrieved from http://www.lifewideeducation.uk/uploads/1/3/5/4/13542890/lifewide_magazine_2.pdf
Jarvis, P. (2002). Lifelong Learning: which ways forward to higher education? In; D. Collardyn (ed.), Lifelong Learning: which way forward? Utrecht: Lemma.
Jones, P. M. (2005). Moving Forward with Focus. PMEA News Winter. 22-29
Reischmann, J. (1986). Learning ‘en passant’: The Forgotten Dimension. Paper presented at the Conference of the American Adult and Continuing Education, Hollywood Florida http://www.uni-bamberg.de/fileadmin/andragogik/08/andragogik/ aktuelles/86AAACEHollywood.pdf.
Smith, M. V., and P. Haack. 2000. The long view of lifelong learning. Music Educators Journal, 87(3), 28–33.
Section 4 CULTURE AND IDENTITY
This section features three inquiry projects that relate to curriculum and pedagogical designs for the development of culture and identity in diverse students.
Sum Si Wah Naomi’s study offers an example of a curriculum plan that seeks to develop students’ knowledge of music in Singapore so that students can understand more about music in Singapore and be proud about their cultural identity.
Soh Chee Suan Mary explored the use of Inquiry-Based Learning (IBL) as a possible approach to engage students to listen to a genre of music unfamiliar to them.
Tan Wen Siu and Teo Jiamin explored a blend of learning approaches which were able to encourage students’ participation and engagement, and which caters for different learning interests.
STUDENT PROFILE
Music in Singapore to Advocate Pride in Our Cultural Identity
How can understanding more about music in Singapore advocate pride in our cultural identity?
During a school exchange to Thailand with my school’s Performing Arts students, I observed that the Thai students displayed a strong sense of pride in their performance of Thai music and dance on stage. In contrast, my students were unable to confidently deliver their performance (an arrangement of a medley of Singapura with a Thai folk song), even though they were alright during rehearsals.
In another activity during the trip, my students were taught the Thai Wot (a type of wind instrument,
similar to the pan flute) and they were asked - what types of music came from Singapore. They also did not know how to answer.
Upon reflection, I found the students to be generally lacking in both knowledge of music in Singapore and pride when performing. My reflection brought me to think about how I can better equip my students should they be faced with the same task in the future. Yet, at the same time, another big question loomed: How are we to define music in Singapore that constitutes Singaporean cultural identity?
METHODOLOGY
class of Secondary 1 students were selected as participants
1. Most students, when asked about Singapore, usually mentioned the following:
Places of interest (80%)
Food (40%)
Music (15%)
History (5%)
2. Most students reported that they are proud of the music in Singapore.
66% of students indicated “yes”
34% of students indicated “no”
3. While a large proportion of students claim they are proud of Singapore’s music, 0% of students agreed that they often listen to Singapore Music.
4. For most students, “Singapore Music” refers to:
All music written and produced by Singaporeans from the past (33%)
All music written and produced by Singaporeans from the past and present (66%)
Only NDP songs (0%)
5. Some students have heard the following types of music.
Pop Yeh Yeh (21%)
Bangsawan Opera (5%)
Xinyao (47%)
Cantonese Opera (26%)
REVISION OF CURRICULUM
With the findings from the pre-questionnaire, I outlined the problem as follows:
Lack of Knowledge
Lack of Understanding
Incomplete view of Cultural Identity
My hypothesis: Lack of pride in their identity as Singaporeans
I revised my school’s Secondary 1 Scheme-of-Work and curriculum. Students will evidence their learning through group research & presentation.
My objectives are:
To deepen students’ knowledge of music in Singapore;
For students to be able to differentiate between genres through the elements of music; and
For students to be able to create their own take of a chosen song.
Lesson Topic Genres or Examples of Musicians Activities
1 Malay Music Bangsawan Opera Pop Yeh Yeh
2 Chinese Music Chinese Opera Xinyao
3 Indian Music Folk song Bhangra Dance
4 Singapore Oldies Naomi & The Boys The Quests
5 - 8 Group Research & Rehearsal
Group research: instruments, artiste, notable songs
Presentation: Inang rhythm with Rasa Sayang
Learning a song using the boomwhackers
Chord progressions demo
Learning a song using the boomwhackers
Learning rhythms with pens/ bottles
Chord progressions demo on GarageBand
Pop band set up on GarageBand
Understanding chord progressions
Navigating around & recording on GarageBand
9 - 10 Group Presentations
POST-LESSON FEEDBACK
(I am now more able to share about Singapore Music) because I know more. (I am) more proud to be a Singaporean because people in the past are creative. They were able to write Xinyao (songs) and Pop Yeh Yeh (songs), to help people relax. I am more open to listening to Singapore Music.
CONCLUSION
Music Appreciation through an Inquiry-based Approach
Soh Chee Suan Mary | CHIJ (Kellock)
PURPOSE
The purpose of this research is to explore Inquiry-Based Learning (IBL) as a possible approach to engage students to listen to a genre of music unfamiliar to them.
Research Question:
To investigate if, at the end of IBL lesson, students will:
1. consider using the IBL approach when listening to an unfamiliar genre of music; and
2. have a change in their perception towards listening.
METHODOLOGY
The Pre-Post Questionnaire
Feedback & Closing Interview
I enjoyed learning about Bhangra Dance. It is a very interesting and lively type of music. I don’t mind listening to it more. Through this process I was able to know more about their experiences, how life was like for them back then. I am more proud of Singapore’s history knowing this.
This study offers an example of a curriculum plan that seeks to develop students’ knowledge of music in Singapore so that students can understand more about music in Singapore and be proud about their cultural identity. It is a first step to a much longer musical journey. The next steps are to sustain students’ interest that could lead to their further explorations of music in Singapore.
To find out about their musical preferences and their attitudes towards listening to a music which are unfamiliar to them.
Questions include:
Type(s) of music they enjoy
Type of music they usually listen to
Whether they mind listening to types of music that they are not familiar with
The questions in the pre-post questionnaire are similar because I wanted to track the similarities and changes.
However, post questionnaire also included questions to find out:
If students could recall the steps taken when introduced to Indonesian music
If students had found the scaffolding useful and would use it again
The qualitative responses were coded to find out if the IBL framework was useful.
Student Reflections
Students were asked:
Write down the steps which we took when introduced to Indonesian music and instrument.
Did these steps help you to enjoy listening to a piece of music which you are not familiar with? Why?
Would you use these steps in the future when you are asked to listen to a piece of music which you are not so familiar with? Why?
OVERVIEW
Overview of Inquiry-Based Learning (IBL) Framework
1. Rather than the teacher telling students what they need to know, students are encouraged to explore the material, ask questions, and share ideas. The following are key characteristics of IBL lessons:
Minimal frontal teaching
Learner-centred
Fosters curiosity in students
Increases engagement with the material
2. Instead of memorising facts and material, students learn via:
Exploration, experience
Small-group discussion
Guided learning
3. IBL basic steps consist of:
Connect and Wonder
Investigate
Make or Create (as a group / individual)
Express
Reflect
Overview of IBL Lesson
Topic: Indonesian Music Instrument: Angklung
Participants: 26 primary 3 students from mixed-ability class
The WALT and WILF
WALT (We Are Learning Today)
Listen to Indonesian music
Learn about the angklung
Perform the angklung as an ensemble
WILF (What I’m Looking For)
Talk about the piece of music via musical elements
Willingness to try to learn a new instrument
Teamwork
Teaching Resources
SLS portal
Power Point image
Audio recording
Authentic instrument
Teaching Strategies
Collaborative Learning (CoL)
Assessment for Learning (AfL)
TEACHING AND LEARNING PROCESSES THROUGH IBL
A. Connect Tapping on their prior knowledge of the orchestra in the Western orchestra, I invited students to think and give reasons on their choice of instruments they will use to play a piece of music to describe a peaceful river scenery.
Students shared with one another their choice and reasons (CoL).
A few students were invited to share their responses. It was interesting to hear the students’ reasons on their choice of instrument, of how they connect their knowledge of the instrument to an image, showing their perception - some of which were very cliché, run-of-the-mill. One interesting response was the use of brass and string instruments. When asked why, the student said that brass instrument can also be blown softly to portray quietness.
As they listened to the audio recording of Bengawan Solo, the students were asked to comment:
What is the tempo (speed) of the music?
How many different instruments can you hear?
Give one adjective to describe the mood of the music. Why did you choose this adjective?
The purpose was to guide students to listen to a piece of music and talk about the music based on these musical elements.
B. Wonder Students were prompted to wonder how the instrument produced sound. They were informed that the piece of music was performed by the angklung and were showed the instrument. I ensured that no sound was produced from the instrument as I wanted the students to wonder how sound can be produced by just looking at it.
C. Investigate As a pair, students were given a piece of angklung to explore how sound is produced. They agreed upon how sound was produced before the proper technique of playing the instrument was shown.
D. Assessment for Learning
An exit ticket was used to collect students’ immediate responses to their learning of the instrument.
Fig 1: Examples of responses on exit tickets
E. Make, Create Students were taught to sing the song Burung Kakak Tua and were given the music score whereby they identified the letter names of the notes. They were assigned an angklung each and learnt to perform the song together.
F. Express
Students discuss how they should go about their practice.
G. Reflect Students reflect on their learning process. Refer to the Methodology section above for the questions used in the reflection.
FINDINGS
Pre-Post Survey
Before the lesson package was conducted, 6 students indicated that they were not keen to listen to music unfamiliar to them.
After the listening portion of lesson package was conducted, the postquestionnaire was carried out and below are the responses from the students.
3 students indicated that they were not keen to listen to music unfamiliar to them.
(2 students’ responses remained unchanged from the pre-survey)
Student
Reflections
3 students indicated that the options were not applicable to them as they seldom listen to music.
4 students’ view on listening to music which they are unfamiliar with, improved.
The qualitative responses gave me an idea of students’ thoughts on the usefulness of the IBL framework. Though it may be useful, some students indicated that they would not continue to use the inquiry approach as there is no one to prompt the process.
The implications are that if the teacher used the IBL framework on a regular basis, it would become a routine for students and could be a good tool they could use on their own when introduced to an unfamiliar piece.
CONCLUSION
Did I get the answer I was looking for? Yes, but there is room for improvement in the lesson planning as the intent was that students would find the IBL framework useful to adopt.
Besides needing to role model enthusiasm towards learning, there is also a need to scaffold questions that would trigger students’ curiosity and engage them in learning.
Fig 2: Examples of student responses in their reflections
Using a Blend of Teaching Approaches to Enhance the Teaching and Learning of Music in Singapore
Tan Wen Siu and Teo Jiamin | Loyang View Secondary School
Background
Purpose of Study
Methodology
Blending Teaching Approaches
Lesson Timeline and Overview
Blended Teaching Approaches
Findings
Conclusion
Reference
BACKGROUND
According to the music syllabus, students are expected to be able to appreciate music from the Singapore culture. However, students viewed that such music is outdated and they would rather appreciate music from other cultures such as Kpop music. A pre-lesson survey which required them to list what they knew about music in Singapore revealed that they have minimal knowledge and understanding about music in Singapore. A significant number of students think of NDP songs as being synonymous and exclusive to the genre of “Singapore music”.
PURPOSE OF STUDY
How does a blend of teaching approaches enhance the teaching and learning of music in Singapore?
} To raise awareness of music in Singapore in students
} To experiment with a blend of teaching approaches
} To foster better student-engagement amongst Secondary 1 and 2 Express-stream students as well as Secondary 2 Normal Academic (NA) stream students
METHODOLOGY
Video Recording Observation
(focusing on students’ engagement and participation levels)
BLENDING TEACHING APPROACHES
Our approach to blending different teaching strategies is inspired by blended learning, which is an engaging and interactive learning strategy that combines the best features of traditional schooling with the advantages of online learning. Blended learning is able to deliver personalised, differentiated instruction across a group of learners. Students in formal blended learning educational programmes learn through online platforms, yet have the benefit of face-to-face instruction and supervision to maximise their learning and to best fit their own needs (Tomescu 2018).
In our project, we incorporated the following teaching approaches:
LESSON TIMELINE AND OVERVIEW
} Station Rotation Learning - with the students being able to manage the pace at which they can learn
Students rotate among learning modalities, at least one of which is online learning
Students experience the rotation model within a contained classroom or group of classrooms
} A portion of instructor-led lessons
} Off-campus learning
} Assessment to check for learning
The study was done in Term 3. Our music lesson package consists of 3 main parts:
1. Xinyao;
2. Malay rhythms; and
3. Performance venues in Singapore, SSO, SCO, and Singapore local bands.
5 - 7
8 - 10
Pre-lesson Survey
Post-lesson Interviews
Pre-research survey, briefing about the research, split into groups
Topic 1 (Xinyao)
Week 2: Facts (Station Rotation Learning - iPads in stations. Students have control over the pace of their learning)
Week 3: Music-making (Teacher-led lesson)
Week 4: Assessment through quizziz/ kahoot (check for understanding), survey and questionnaire to collect data
Topic 2 (Malay rhythms)
Week 5: Facts (Station Rotation Learning - iPads in stations. Students have control over the pace of their learning)
Week 6: Music-making (Teacher-led lesson)
Week 7: Assessment through quizziz/ kahoot (check for understanding), survey and questionnaire to collect data
Topic 3 (Performance venues in Singapore, SSO, SCO, Singapore local bands)
Learning Journey to Indian Fine Arts School (Rhythms Aesthetic Society)
Week 8: Students worked in groups to do research on the topic they were assigned (Performance venues, SSO, SCO, or SG local bands)
Week 10: Presentation to classmates through a gallery walk 10
Stations 1-3 consist of self-made videos in which students watched at their own pace using iPads provided.
Station 4 was an interactive one where students play a self-made hopscotch using masking tape. They were also required to complete a worksheet, which was scaffolded with blanks for key terms and takeaways.
Station 1 Intro to Xinyao
Station 4 Hopscotch
Instructor-Led Lesson
Station 3
English translation of the song
Station 2
Singing of Xiaorenwu de Xinsheng (小人 物的心声)
Scan QR code/ click on image to view videos
After the station rotation learning, the teacher-led the class in a musicking session of Xiaorenwu de xinsheng. Half of the class sang, while the other half of the class played the chords on the keyboard. This was completed in one lesson.
Station Rotation Learning
We included 2 self-made videos on Inang and Masri rhythms, and excerpts from the Teaching Living Legends teaching resources. Students went through the stations in groups, and they were each given a worksheet to complete for each of the station.
Station 1
The Five Core
4
Station 2 Body percussion of Inang Rhythm
Station 3
of
Fig 1: Excerpt from a worksheet that students were given
Loyang View Secondary School
Lower Secondary Music Singapore Music
Lesson #2 - Malay rhythms
Name:
Class:
Instructions: You will be going through 4 stations. Answer the questions as you through the stations.
Rhythms such as inang has a very stong sense of, strong flavour from the ___________ ______________________. When they were brought here by the ___________________., the locals here change and insert ___________________like even from the _______________________________________.
Rentak masri is also a derivative from the _______________. It is alwyas used in our practices in _______________, the traditional Malay theatre. It is often played in a very down tempo, _______________ tempo, so much so you will see the dancers constantly in this motion, reflecting the _______________ motion being on a camel.
Rhythms such as joget, and the accompanying dance with the _________________. It is
Topic 2 Malay Music
Malay Rhythms (video from TLL resource)
Significance
Malay rhythms in SG (video from TLL resource)
Station
Body percussion of Masri Rhythm
Scan
Instructor-Led Lesson
After the station rotation lesson, the teacher-led students to sing Chan Mali Chan, play the Inang and Masri rhythms on classroom percussion instruments, and play the chords on boomwhackers. This was completed in one lesson.
Off-Campus Learning
The students participated in a learning journey to Rhythms Aesthetic Society, an Indian Fine Arts school, experiencing a live performance by Classical Indian musicians. The students were welcomed with a splendid performance by the professional musicians, and they were then split up into groups to learn the instruments. The groups rotated such that students tried at least 3 different instruments during their time at the school.
Assessment to Check for Learning
Assessment was done in the 3rd lesson of Xinyao and Malay rhythms, in Weeks 4 and 7 respectively. We tried out 2 different platforms, Quizizz and Kahoot. Detailed analysis of students’ results is possible on both platforms, and we found this useful for checking of students’ understanding. Students felt Kahoot was more exciting and engaging, as it had an element of competition to it.
Scan QR code/ click on image to view videos
FINDINGS
Interview Findings
These are our interview findings.
A. Our blend of activities (e.g. Xinyao station 4 Hopscotch and Malay rhythm Stations 2 & 4 body percussion) are effective because they catered to all learners including visual, audio and kinaesthetic learners. One student shared,
“You mean it was 10 weeks? Different way of learning, fun lor. Amazing.”
Hopscotch was effective in capturing students’ interest as an insight to Singaporeans’ past lifestyle without phones. This was echoed by one student who said,
“We not only want to learn about the song, want to learn about the old generation in general. Hope it happens for every subject, the variety of activities.”
B. The teacher-created videos were more effective to students as compared to videos from other sources (e.g. YouTube) due to a sense of familiarity. Students mentioned that,
“Can recognise Ms Teo’s voice, easier to remember. If outside video, might as well go youtube and watch, but because teacher made the effort to record and we also realise they can make videos.”
“The way teacher speaks is very pretty, teacher talks the way we talk so it’s easier to understand as compared to other random Youtubers.”
C. Students found it meaningful to learn about Xinyao songs through variety of activities. One said,
“Singapore music very cheerful…Xinyao songs are different feel, talk about friendship, they make you feel better in a way meaningful lyrics as opposed to now pop songs all emo.”
D. Students felt a sense of achievement when they performed a piece of music as a class successfully. They mentioned,
“Boomwhackers was fun to play together…hitting it on the floor is louder… sounds good when we play as a class”; and
“I feel like I’m part of the song.”
E. Learning journeys are effective for learning music in Singapore as they provide authentic experiences for students. Students mentioned that,
“Fun, I love their accent…Good for other people to learn my culture (Indian student)…always use basic keyboard in lesson, accordion was multi-tasking… Good to apply what we learn in lesson and similar keyboard.”
“More fun when go learning journey, accent (makes it) more authentic…(learned from) experienced musicians of that particular culture.”
F. Some students’ interest are sustained after the lessons. A student shared that they, “Added Xiaorenwu de Xinsheng and Take Heart to playlist, downloaded after lesson…”
G. Some students still give feedback that after the lessons they are still not interested in the topic despite participating actively in the lessons.
“Because of influence from social media about music from overseas. And Singapore music rarely gets featured on YouTube.”
H. More needs to be done to reach out to Singaporean youths. Students share that,
“Teaching at school, public education can play songs at public places if people find it nice they will go listen to the song.”
“Need more publicity...they play at the mall lah...”
“Upgrading, follow the trend.”
CONCLUSION
1. Students find the use of a blend of learning approaches beneficial, and they are more engaged during the lesson
2. Students are observed to have higher levels of participation and engagement
3. A blend of learning approaches caters for different learning interests for this generation of learners
4. Music teachers play an integral role in advocating Singapore music
REFERENCE
(2018).
Section 5 CREATIVITY IN MUSIC-MAKING
This section explores how the facilitation of creative music-making could help engage diverse students.
In our contemporary classrooms where there is growing interest in contemporary popular music, Koh Cheng Yeen focused on how the teaching of classical music can be more accessible to students through creative music-making strategies.
Chan Wee Teng Dawn’s study shared how creative music-making in a group setting can enhance student engagement.
Putting a spin on “making thinking visible”, and where pedagogical strategies have often focused on the development of the cognitive domain, Sim Kok Heng’s study emphasised strategies that can focus on “making feelings visible” and using graphic notation to document such expressions. This could give greater access to students in understanding their musical decisions.
Shawn Neo Pin Han explored the use of a strategy from a different discipline, in this case SCAMPER, to facilitate divergent thinking in music composition. The creative integration of a different strategy enables the teacher to access and grow the musical thinking of students.
Creative Approach to Classical Music to Arouse Students’ Interest and Develop Active Listening Skills
Koh Cheng Yeen | Kuo Chuan Presbyterian Primary School
Introduction
Identifying Gap
Why Focus on Active Listening?
Methodology
Lesson Enactment
Findings
References
INTRODUCTION
Research Purpose
} To examine if a creative and learner-centric approach would cultivate students’ interest in classical music and develop their active music listening skills
} To experiment with teaching strategies and techniques (lesson enactment), where listening and responding to music (LO3) takes centre stage and LO4 (Understand Musical Elements and Concepts) is met.1
Research Question
} Does a creative approach to classical music arouse students’ interest and develop their active listening skills?
IDENTIFYING GAP
Pre-survey Findings
Participants: 40 students of mixed to high progress in a Primary 3 class
} Students are influenced by the music choices that their parents and older siblings make. 26 of them indicated that they listen to what they hear at home or in their parents’ car.
} Most of them (refer to Table 1) do not listen to classical music and are not exposed to it at home.
} In general, there seems to be a preference for popular music over classical music as many of these pieces are sung, making them easier to understand.
It is hoped that through this listening package, students’ musical palette will broaden, and they will learn to appreciate another genre of music and develop an ability to listen actively and respond critically to the music they hear.
Table 1: Pre-survey results
7 The genre of music I enjoy listening to most is English pop (17), Mandarin pop (2), Korean pop (4), Classical (2), Others (15)
8 Do you take any music or dance lessons outside school? 16: Dance- 3, Piano- 12, Drum- 1
9 Who and/or what influence the music which you enjoy?
parents (20), brothers and/or sisters (6)
grand-parents (1), relatives (1)
friends (3)
television programmes (5), radio programmes (1)
internet (15)
10 I enjoy listening to:
music with singers and instruments (24)
music with instruments only (4)
digital music (13)
*The questions in blue show pupils’ attitude to classical music, the questions in red show social influence and the ones in green reflect pupils’ personal background and choices.
WHY FOCUS ON ACTIVE LISTENING?
“Active listening to musical work of art means following the flow of music emotionally, aesthetically and intellectually.”
(Blašković & Kuliš, 1998, p.276)
“Music listening provides children with the opportunity to gain knowledge about musical heritage and in such a way realise the value of musical art.”
(Gospodnetić, 2011, 2015, cited by Blašković & Kuliš, 1998, p.273).
In active listening, the purpose is to make listening the primary activity. It goes deeper than allowing the music to affect our emotions. It is about connecting intellectually with the music and understanding the musical elements used and how the composer has succeeded in making them feel a certain way.
Note: The lesson ideas are inspired by a workshop I attended 2 .
METHODOLOGY
Curriculum Plan
To pre-select the listening pieces and focus on lesson enactment of the Singapore Teaching Practice (STP). The teaching approaches include: active music-making; storytelling; singing; and, music and movement.
Context
Primary 3 pupils (1 class)
Duration: 1-hour weekly music lessons
Data Collection
Pre- and post-surveys
Video documentation
Interviews with selected students
Data Analysis
Quantitative
Qualitative: Thematic, Narrative discourse
LESSON ENACTMENT
“Elemental music is never just music. It’s bound up with movement, dance and speech, and so it is a form of music in which one must participate, in which one is involved not as a listener but as a co-performer.” - Carl Orff3
Each lesson is aimed at involving the students and getting them involved as co-participants. In this way, students’ interest is aroused and learner engagement is enhanced. Students experience the music through a range of activities such as creating, performing, singing, drawing, notating, and moving. Through these activities, students learn about musical elements e.g. pitch, form, structure, texture.
The thinking routine, “I Hear, I Think, I Wonder” is used to guide discussion and to encourage purposeful listening and reflective and critical thinking.
I took an average of two hours to carry out each of the listening pieces and had students jot down their thoughts and reflections on the teacherprepared worksheets.
1. Form/ Structure in music
2. Dynamics and contrast in music
1: Haydn Surprise Symphony Listening Map
Story-telling as a teaching tool is useful as it stimulates the imagination. I told a story of a very hungry mouse who looked for food in a well-stocked kitchen that was guarded by a ferocious cat. This piqued students’ interest. They were eager to be that hungry mouse. To get them into the active listening mode, I asked that they observe the rule of only walking when the drumbeat was played and keeping really still when the drum-beat stopped as it meant danger. After the tuning-in activity, I showed pupils the Listening Map and played the first 16 measures of the second movement. They were told to respond to the music by listening carefully and “stepping” the rhythm. At the first listening, students took tentative steps as they did not know what to expect. However, it was not long before they learnt to anticipate the long notes after a series of short notes. They also learnt that the size of the shoe prints was
an indication of its volume and took heavier steps when they expected an increase in volume of the music. After the initial listening, they were asked to sing or hum the music in their heads while clapping the rhythm. The next task was to figure out what the rhythm was. It took the class a few attempts before they finally responded with “Ti-ti, Ti-ti, Ti-ti, Ta.” I was pleased that many of them were focused on the activity and trying to figure out the rhythm.
After experiencing the music, I had the students clap the rhythm to the music by following the rhythmic notation (Fig 2). When asked if they recognised any patterns, they responded that section A consists of Ti-ti and Ta but section B has Ti-ti, ta and tika-tika. I went on to explain the form of the music, and that form was what the composer used as his plan to “tell” his musical story (Fig 3).
Listening Piece No. 1 Surprise Symphony/ Symphony No. 94 in G major, 2nd Movement (1791) by Joseph
Hadyn
Fig
A Plan to “Tell” a Musical Story
Form/Structure in Music...
A plan that composer uses to tell his musical story
How were the sections in the opening of the 2nd movement organised?
After the introduction to Haydn’s Symphony No. 94 in G major, 2nd Movement, I guided students to clap a 4-line percussion score (Fig 4). I had students clap the different parts and asked them if they noticed anything about page 1 and 2 of the score. Most students were able to see that page 2 was very similar to page 1, and that the only thing that was different was the “question mark” that replaced the quarter note of the second beat in the last bar.
Fig 4: Percussion Score
Once students were able to clap correctly, I gave out different percussion instruments for them to play. Whenever a mistake was made, the class would have to start again. The challenge of getting it perfect kept students going and made them listen intently to others. In this way, they were able to practise active listening as well. When students were finally able to play through from beginning to the end, the sense of achievement and satisfaction that was felt was palpable. Students were involved in active musicmaking using buckets and various percussion instruments. Of interest to students was that Haydn’s composition is known by another name “Surprise Symphony.” This is the name that students remember well. When I asked students why they thought it is often referred to by that name, a boy was able to talk about the surprise element in the music and how the loud notes at the end of the section are meant to “surprise”. I went on to explain that music historians thought Haydn meant it as a joke while others thought he felt he had to make an impact to impress his audience. What is certain is that he meant it as a “surprise” to awaken the audience and in surprising them with something new. Students enjoyed the music and the fun fact.
Objectives:
1. Texture/ layers in music
2. Tempo
3. Mood words
My choice of the second listening piece is a well-known and popular piece. It is a piece that many would have heard at some point as it was used in a commercial and played in the malls. I decided to include the piece in the listening package as I felt that there was so much more that students could learn from actively listening to the piece. Knowing that if I had played the piece at the beginning, students would be too excited about naming the piece and telling me about their experiences, I decided to start with a story about the composer first.
Fig 2: Rhythmic Notation Fig 3:
Fig 5: Handout for Surprise by Haydn
Listening Piece No. 2 Canon in D by Pachelbel
Scan QR code/ click on image to view videos
Students listened with rapt attention about a young man who had to leave university as his family could no longer afford to pay his tuition fee. It was something that they could empathise with as it was about a family’s financial struggle. Regardless of the era that Pachelbel lived in, financial struggle is still a problem that afflicts many. Students learnt that while he did not complete his university education, he kept up his music writing and worked as a musician.
Making connections with the music
When students listened to the piece played by three violins and one cello, I scanned the faces in the music room. I could see some faces brightening. Unable to contain their excitement, some students broke the silence with “I’ve heard this piece before” which drew echoes of “me too!”
Although no one in the class could put a name to the piece, they recognised it as something familiar and were eager to share where they had heard it.
Kate4 responded to the story by saying she liked the little tune. Her sentiment was echoed by Fiona.
After playing the music once through, students were asked to describe their thoughts and feelings:
Alan: I hear the sound of the violin playing.
James: It sounds sad to me.
Helen: It sounds lively.
Yvonne: It reminds me of the music that is played at the P1 and P2 eventReading Under The Stars.
Jessie: I’ve heard the music play on a smartwatch.
Alex: Soothing. It is like the music I hear at nap time in kindergarten.
Fiona: It was played at my mom’s wedding.
Ezra: I remember hearing it in church.
Irene: It sounds high pitched.
Teacher: Yes, you heard the top layer of the music when the violin plays the section with the notes in the high range.
Helen: Peaceful and calm.
After the initial discussion where students connected with the music, I introduced the composer and the title of the piece to them. I also explained that although the music was written a long time ago, it remained very popular and showed them the sung version of the piece where a young man recorded himself singing his improvised version of the different parts. I then asked more questions to probe them to think more deeply and elicit their thought process.
Teacher: Why is it called Canon in D?
Brandon: I know. It’s in the key of D major.
Yvoone: The bass notes are like the echo from the big cannon.
Alan: Why is it named Canon in D and not Canon in A?
Teacher: Did you ask that because A is for Alan? (Laughter from the class)
Brandon: I know. It’s D because it is written in D major.
I had not anticipated the responses I got and did not expect anyone to give me the correct answer. I was really pleased that some of them could draw on their experiences and knowledge to make the necessary connections. I extended their learning by asking them for the term used to describe songs that may be sung by a few groups, where each has a different entry point. From there, I explained the difference between a round and a canon. I proceeded to play the animated score of colour-coded parts of Canon in D so that students could see what the score looks like visually. I had students clapping the beat along. The active musicmaking activity that I prepared for this listening piece involved students playing on non-pitched percussion instrument to the piece. I divided the students into four groups and guided them through the different parts.
Objectives:
1. Ternary form
2. Violin technique “pizzicato”
3. Mood words
Tuning In
Listening Piece No. 3
Delibes’ Pizzicato
I led students in singing Twinkle Twinkle Little Star in solfege. I asked students to listen carefully to the song being played on the piano and once they could feel the beat, they had to clap it. I also had them clap the rhythm and walk to the beat. I then revisited the concept of Ternary form in Twinkle Twinkle Little Star.
Fig 6: Handout for Canon in D by Pachelbel
Hook using a story
(Story modified from a workshop5 I attended)
“There once was a schoolboy named Pizzicato. He didn’t like school and dreaded being dragged out of bed every morning. One morning, as usual, his mum woke him up but he was reluctant to get dressed for school. His mother offered to walk him to school and since it was raining, she asked that he put on his galoshes and raincoat but instead of avoiding the puddles on the ground, he was free to jump into them instead.”
Bringing
the story to life through movement: Jumping into “puddles”
My class of 40 pupils were divided into groups of 8. Each group would take turns at being “Pizzicato”.
The first group took tentative steps as they were not sure of the music and one could sense that they were holding back. The other groups caught on and took turns to be Pizzicato.
For the first group, there were two students who were very dramatic in their moves, which included stretching out their hands and moving them in time to the music. Their movements were exaggerated and seemed to be able to anticipate the music even though they were listening to it for the first time.
Some were more inhibited and appeared hesitant and apprehensive in their movements. As they warmed up, some students learnt to anticipate the loud and longer quaver notes.
The second group had the benefit of watching the first group and were more ready to have fun jumping into the puddles. With each subsequent group, students grew in confidence and there were a couple of times when I saw students waiting before jumping hard into the pretend puddles.
Sound to Symbol - Rhythm
Then I got students to clap the rhythm of section A. I asked if anyone would be able to draw dashes on the board to show its rhythm. One of the girls was able to able to draw the following.
Plucking on rubber band pulled over a plastic cup
After learning about Pizzicato and what it means to pluck a string, students had a turn at plucking to the music. I had to warn them against pulling the rubber band too much as the rebound would take longer and therefore, they would not be able to pluck in time to the music as they would be slow. Students enjoyed the active music-making and asked if they could do it again.
Movement activity
I divided the class into two groups. Students took turns to move to section B (Legato section) of the music. Each student was given a tissue paper/ napkin. They were then asked to move to it. To help pupils feel the music, I started singing the following words to the music:
“Fly and then we fly and then we fly and fly….”
Fig 7: Groups taking turns to jump into pretend puddles
Fig 8: Drawing from a student
Fig 9: Image shown to students for Section B of Pizzicato by Delibes
Fig 10: Handout for Pizzicato by Delibes
Listening Piece No. 4
Beethoven’s 5th
Symphony in C minor, opus 67, First Movement
Objectives:
1. Motif - a theme or idea that is repeated in the music
2. Mood words
3. Symphony and what it means
Starting the lesson with an engaging story
“There was a man who discovered that he was losing touch with the world around him. Slowly but surely, he was losing his ability to hear even though he was only in his thirties. It frightened him but there was little he could do about it.”
Active listening at work
Students responded to the rhythm and the tempo of the music they heard. When the tempo was fast, students responded by moving their hands more vigorously and slowing down when it decelerated.
Articulations (or accents) specify how individual notes are to be performed within a phrase or passage. They can be fine-tuned by combining more than one such symbol over or under a note. They may also appear in conjunction with phrasing marks listed above. Students responded with lilting hand movements and rhythmic nods of the head.
In the movement/ locomotor activity, students were more tentative in their movements on their first few attempts as they were still not familiar with the music.
With more attempts, students were able to move more accurately when they were supposed to stop and go. They stopped when there was a pause or at the 4th or long note of the motif.
Experience music and learn music elements
Song: Beethoven’s Wig
21 students found the tune familiar. 7 responded when the class was asked if they recognised the music. One girl, Yvonne, correctly responded that it was the 5th Symphony.
Students enjoyed singing the song and asked to sing it again and again.
FINDINGS
Pre and Post-survey Results
5 Do you enjoy classical music?
6 Do you think classical music is difficult to understand? Decrease of 22.5% to 32.5%
Word Splash
Here is a word splash representing what students thought of Classical Music after learning about four pieces of classical music from different eras.
Fig 11: Handout for Symphony No. 5 in C minor by Beethoven
Thematic Findings: Review on Creative Approach to Classical Music
Using the themes (facts, feelings, findings, and future) from Dr. Roger Greenaway’s framework (University of Edinburgh, 2018), I reviewed my project on creative approach to classical music.
Facts An objective account of what happened
A creative approach to classical music is effective in introducing pupils to a genre of music that many of them were not familiar with. This approach is a blend of using storytelling, active music-making and music and movement.
Sharing a story provides an excellent hook and pupils tend to remember the lessons better. Story-telling is an excellent tool. According to Ankit Oberoi, we “experience so many things in a day but only a handful can actually become memories.” This is why it is important to create something worth remembering and storytelling is an effective tool in creating meaningful experiences and memories that last.
Students learn mood and feeling words and are now able to use them to describe how a piece of music makes them feel.
Stories about the life of the composers are still relevant today. They continue to inspire and students are able to identify with their struggles.
Delving into the lives of the composers makes learning about their music more meaningful.
Feelings The emotional reaction to the situation
Personally, I enjoyed the process of planning the lessons, determining the objectives of each listening piece and what aspects of active music-making to focus on.
I was excited to find out if this creative approach would change the way pupils viewed classical music.
My personal high was when students responded to the activities with bright eyes and I knew that I had close to 100% student engagement.
Findings The concrete learning that you can take away from the situation
Students are more attuned and aware of the feelings evoked by the music they hear.
They are able to use mood words to describe how the music makes them feel.
Students responded to say they know what classical music is.
They do not find classical music so inaccessible now.
Some have responded to say they have listened to the classic pieces they were introduced to outside of the music classroom.
They enjoyed the movement activities and asked if they could jump or move to classical music again.
Future Structuring your learning such that you can build on it further in future
Beethoven’s Wig seems to be the most popular piece out of the four pieces. As the content is funny, students felt tickled by the lyrics and being able to sing it has allowed them to remember it better. They asked to sing it over and over again. They also enjoyed the animation.
Students enjoyed the meaningful activities and learnt musical elements and concepts and vocabulary associated with the music.
I like the responses students gave in their worksheets. As students gave individual responses, I was able to read what was on their mind and what they thought about the music. The elaborate written responses provide a record of students’ active, reflective and critical thinking and made it possible to hear everyone’s thoughts. Moving forward, I think these worksheets are useful and encourage reflective learning and thinking.
Looking at the data presented, I feel that the Creative Approach has yielded positive results and pupils seem more receptive of classical music. I will try to include more of these strategies (e.g. storytelling, music and movement and active music-making) in my lessons.
When meaningfully designed, worksheets promote lesson retention and encourage thinking. I will continue the use of these worksheets in Guided listening activities.
CONCLUSION
The study has shown that teachers can facilitate access to classical music through a creative approach that could blend storytelling, active music-making and incorporating movement. Through the approach, students could also learn about the contexts of the selected pieces of music and their composers.
Personally, I have also enjoyed the process of designing and facilitating such an approach, and I am excited that students respond to these so well, develop musical understanding, and also become more attuned to the feelings evoked by the music they hear.
REFERENCES
Blaskovic J. and Kuliš, A. (2017), Preschool children’s reactions to active music listening through movement, visual arts and verbal expression. Croatian Journal of Education, 19(3), 273-292. doi: 10.15516/cje.v19i0.
University of Edinburgh (2018). Reflection Toolkit – The four F’s of active reviewing. Retrieved at https://www.ed.ac.uk/reflection/ reflectors-toolkit/reflecting-on-experience/four-f
A Learning Experience on Creative Music-making in the Music Classroom
The study aims to investigate how my Primary 4 students perceive their learning experience during the creative musicmaking lessons. I am particularly interested in their thought processes during musical interaction with their groupmates.
LITERATURE REVIEW
1. Research by Hennessey and Amabile (1998) shows that creative people are intrinsically motivated, and that creativity can be constrained by the external pressures. However, I observed that some students manage to be creative in spite of deadlines, evaluations or rewards, which are external pressures inherent to the school contexts.
2. Learning in groups is commonly thought to foster pupils’ motivation and creativity. However, I also discovered some challenges my students faced as they did their creative music-making.
3. Burnard (2012) noted that understandings of musical creativity are highly dependent on the contexts within which the musical creativity is experienced. As such, children’s experiences of musical creativity may be rather different as compared to adult individuals’ conceptions.
INQUIRY QUESTIONS
METHODOLOGY
7 mixed-ability groups of Primary 4 students from the same class were observed.
Collection of data include:
A. Pre-post surveys
B. Observation
Observations were done to examine the challenges my students faced while doing their group work. Video recordings of lessons and discussions provided the opportunity to “freeze” students’ interactions and reexamine them repeatedly, and to capture musical decisions.
C. Student Focus Group Discussions
Students were asked:
1. During the music-making lesson, what was the learning music experience like?
2. How did you know whether your mood/scenario you created was actually <scary>?
3. Were there challenges your group faced?
4. How will you help the group in overcoming challenges?
E. Student Reflections
How do students think, learn and experience while they create and improvise during their musical interactions with their groupmates in music classroom setting?
Lesson:
What are some challenges students face when they experience creative music-making activities? 1 2 3 4
Students were to reflect on:
Their storyline and the mood the group planned to create
Music elements used to create the mood
Parts they played to express the mood
What influences the process of students’ learning?
The class was divided into 7 groups.
Each group was given a picture that evoked a specific mood. Students worked in groups to make up sound sequences using one or more instruments to illustrate a collection of experiences/moods/emotions depicted in the picture e.g. happy, angry, sad, excited, joy, fear, peace.
Students were asked to think about pitch, tempo, rhythm, dynamics, texture. They were also reminded to use their voices and include moments of silence as appropriate, as part of their creative piece.
Students listened to and compared each mood sequence. They were to modify it as appropriate, at their discretion. Students were then told to compare two contrasting pieces one after the other. They thought about the overall structure (e.g. beginning, middle and end) and discuss the order of performance. Students did their reflections and selected students were interviewed by the teacher.
Note: Students took around 4 weeks to complete this set of creative music-making activities and students were selected as music teacher taught their class.
FINDINGS
1. From students’ perception, they have learnt that they could creatively use musical instruments to create moods on their own. Here is a comparison of pre- and post-survey results
4
5
6
7
2. Student - focus group discussions and reflections revealed that they understood how to create and perform their music. For example,
“I learnt how to control my tempo. Else I will get faster and faster.”
“I make it slow and then sudden, so that people know it can be scary!”
3. Student - focus group discussions and reflections revealed that they understood how to create and perform their music. For example,
A. Students found the creative music-making experience fun and rewarding.
“The creative experience was fun. We share our own ideas.”
“Each teammate contributed to an idea, then we will piece it into one big idea.”
“It was fun. At first, we had a different idea but it was not good. But, I could not believe it had worked out for us! And the class had guessed what mood we had!”
B. Students enjoyed the instrument playing.
“The experience was really fun as we get to try to play different instruments.”
“We all knew what we wanted immediately without arguing who gets what instruments.”
C. Students demonstrated a greater awareness of the importance of teamwork and collaboration in creative music-making.
“It was quite fun as all played different instruments together, perform together as a team and show teamwork to the team.”
“It was fun as my group and I worked together and gave small ideas that piece together our performance.”
D. Students spoke about the creation of their own music.
“We create our own music with our experience. Communicating with my friends through the instruments use.”
“I was enthusiastic because each of us got to choose our own instruments and create our own music to match the storyline.”
4. In terms of the challenges students faced in the creative music-making experience, the qualitative analysis of the post-survey and the studentfocus group discussions revealed that:
A. Discussion could be noisy
“Sometimes, it is too noisy and our friends cannot hear what we want to say.”
“All my groupmates talk at the same time and it is hard for me to explain to them about something.
“We sometimes can be playful. We play around and beat the drum and make some noise. We must fight the urge not to make unnecessary noise.”
B. Cooperation from friends / Understanding how the team discussion could be better.
“Some of my teammates did not cooperate.”
“My group members don’t often listen.”
“I faced some challenges when we don’t seem to follow the time limit and could not cooperate.”
5. In terms of student learning, the teacher observed that:
A. Students’ creative expression and communication through music could be done using musical instruments.
B. Students could express their thoughts and feelings towards music that they listen to and when they are listening to one another.
C. Students learn musical elements and concepts through:
} Active musical experiences, such as music creation; and
} Performance as well as movement in music.
D. Through creative musical improvisation, students discussed, negotiated and learnt a range of communicative gestures that were critical to their collaborative creative musicmaking experiences. The interaction between students resulted in a division of leadership and supporting roles. A leader would provide cues for starting and stopping the rhythmic pattern. Communicative gestures took the form of matched and differentiated patterns while the students did their creative music-making. Over time, students learnt new ways of communicating because of the time spent improvising with one another.
CONCLUSION
This study investigated Primary 4 students’ learning experiences during creative music-making activities in the context of a music class.
The findings revealed that the joy of learning is evident as all groups of students were engaged in their learning of creative music-making. There were also both musical learning and an appreciation of how music can express a narrative or mood. The group setting has improved the students’ use of musical instruments to express their moods. It was also noted that despite some challenges faced by students in working together, the students have also learnt about communication skills and the importance of teamwork and collaboration.
REFERENCES
Burnard, P. (2012). Commentary: Musical Creativity as Practice. In G. McPherson, & G. Welch, The Oxford Handbook of Music Education, Vol.2 (pp. 319-337). New York: Oxford University Press.
Hennessey, B. A., & Amabile, T. M. (1998). Reality, intrinsic motivation, and creativity. American Psychologist, 53(6), 674-675. doi:10.1037/0003-066X.53.6.674
A Qualitative Study on How Students Learn during Music Lessons by Making Feelings
Visible on Graphic Scores
Sim Kok Heng | Chung Cheng High School (Yishun)
Background
Literature Review
Methodology Strategy Findings
Conclusion References
BACKGROUND
Discussions about musical expressions are challenging because music is ephemeral.
Notated scores help teachers and students “picture” how sounds are organised and facilitate discussions about music during listening, performing and creating tasks.
A graphic score template was used to facilitate discussions concerning the musical tasks, including how each student/ group of students feel about what they heard or intend to create.
Research Question
This process of making feeling visible intends to help students focus on the meaning-making aspect of their experience during their learning tasks.
How do students learn during music lessons when they make feelings visible on graphic scores?
LITERATURE REVIEW
On Experience
Musical/aesthetic experience is highly valued:
} An aesthetic experience is a consummated experience that is brought about by intentional cultivation (Dewey, 1939).
} The musical experience has “a profound meaning for the individual … it straddles the affective and cognitive areas of experience by identifying, clarifying and structuring feeling.” (Swanwick, 1979, p. 39)
On Expressivity of Music
Reimer recommends that music learning should focus on the “characteristics of sounds which make them expressive”; and “the language and the techniques used by the music educator must be true to the nature of the music as an expressive form” (Reimer, 1989, p. 97). The question I have is, from whose perspective should we take, on what is being expressive.
On Student Centricity
Blair (2009) writes, “The role of the teacher, then, is to design ways for students to be the center of classroom activity, interacting with the music and with each other. A red flag for guarding against a teacher-centered approach might be to ask ourselves: to whom/what are the students responding?” (p. 44).
Do we assume that a particular musical event is expressive to all students in the same way? The lesson becomes more teacher-centric as the teacher fails to recognise that different students find different aspects of the same musical materials significantly expressive.
On Motivation
Ryan and Deci (2000) identified autonomy, competence and relatedness as basic psychological needs.
} Autonomy refers to a sense of volition
} Competence refers to a sense of efficacy
} Relatedness refers to the desire to interact and be connected to others
They also distinguished between extrinsic and intrinsic motivation. Intrinsic motivation is characterised by doing something for the inherent enjoyment it offers.
Making Feeling Visible
To facilitate students to think about musical expressions (how music feels to each student), I borrow Ritchhart and Perkin’s (2008) principle: fostering thinking requires making thinking visible. Here, I extend this idea to advocate for adopting making feeling visible as a principle for musical learning.
METHODOLOGY
Participants
4 Sec 1 classes
- 3 were Express
- 1 was Normal (Academic)
Data Sources
Student works (their their song-writing and listening tasks where students notate their music and feelings using graphic score)
Interviews
- 2 individuals (2 sessions each)
- 2 focus groups (2 sessions each)
Data Analysis
The interviews were transcribed and coded for content analysis and discussion.
The teacher provides the template of the grid notation where the solfege names are given on the left column, and chords given in the header row. The notes in the chords were shaded in the grid. Hence, the template facilitates students to select notes from the chords (i.e. shaded cells) which they can use for their melodies. Students indicate with ‘x’ where they have selected the notes to be used for their lyrics which they have written at the bottom row.
STRATEGY
1. Students indicate which musical material is significantly expressive on a graphic score (Fig 1).
2. Students describe how it is expressive in their own language.
3. Teacher facilitates a musical activity based on students’ perspective of musical expression. For example,
} Performance task
Manipulate two musical elements to enhance that expression.
} Listening task
How do different musical elements coincide/contrast with this expression?
} Creating task
Manipulate musical elements to make this place more expressive.
Features of the Graphic Score
} Visually, it looks similar to a piano roll.
} Pitch is indicated on the left (no decoding needed) in solfege.
} Chord displayed and notes belonging to the chords highlighted.
} Empty boxes for writing lyrics or non-pitched rhythm.
} Accuracy of rhythm is not necessary. 2 crosses on a note refers to playing the note twice within that beat. Students will remember how they want it played.
Rationale for using graphic score
} To ensure students without music background are able to comprehend and code easily
} Allows for less precision to facilitate creative work
} Allow coding of different musical elements
} Allow students to annotate differently from the teacher
Through group interaction and collaborative learning, students are expected to acquire greater understanding of music through the lens of other students as well as of their own. They are at the same time exposed to various categories of musical elements as they engage in “picturing” their music.
FINDINGS
The study seeks to understand how students learn when they work to make feelings visible through graphic notation. The analysis revealed three themes: individual differences, motivation and group working dynamics. However, I found that the themes are also inter-related.
“Because it is very easy to find the notes you want, the higher the note or lower, how high the note is.”
“To me it is also easy… where to put the note because it is shown clearly at the side.”
“Still okay because it’s all already been highlighted for you so you don’t really have to go and find it. When you ask us to go and draw the graphs by ourselves that was quite difficult but this one … the notes are highlighted for you so you know where exactly the pitch is and you can fit in the lyrics easier because there are boxes at the bottom.”
In this task, students have to identify on a graphic score the most emotive part of a song that is sung. They then elaborate what is felt.
Individual Differences
Text in green refers to students’ engagement with elements of music.
Fig 1: The graphic score sample
Fig 2: Example of an annotation from students
“Some of my friends do not know how to use the standard score, so when I use this it is easier for them to understand. It will be easier for them to give opinions.”
“I would like the other one (standard notation).”
“Have been looking at that for, I think, seven years, so when I look at this, I may not think that quickly of which note is it.”
There are differences in the ways students are motivated.
Students are motivated intrinsically by the music:
“I think I had goosebumps, I don’t know…”
“Melody and the chords part, ya, you will enjoy them.”
“It was surprising to me because I didn’t know you need so much stuff just on the lyric. It was a new thing for me then I found it interesting…”
Students show intrinsic motivation in meaning-making:
“… the last line it says that like when you grow up and the people you love the most have white hair, your parents are basically … its kind of like very drastic change. Something like the time move very fast so you just decided to like drop it, to make the pitch go lower.”
“The lyrics are like about parents. The part where we want to sing louder is the part where they say that when you grow up there’s not much time left to hang out with your parents. It is kind of significant ‘cos, ya, in reality.”
“It feels more dramatic.”
If you put stresses in the wrong … it sounds very weird. You want to stress the correct thing to show like that particular word is important for the whole sentence and the whole lyrics.”
Students are motivated if there is a sense of competence:
Teacher: So, having do re mi fa so (in graphic score) is very important? What if I put a b c d e f g?
Student: I prefer d r m f s. Ya, I am more familiar.
Students are motivated by friends:
Student: Maybe like the other people won’t like your opinions.
Teacher: So you feel that with your own friends that you are closer with, they will value your opinion?
Student: Ya
There are differences in the way groups work together.
“He will start singing d r m f s and then we will start mix and matching, like trial and error. Like mixing this note with this word…”
“If the range is not comfortable for a person then we will lower the note a bit like put the tick at the lower notes, make it easier.”
“I like that part also but I feel that you can put it in other places but then since they like it (there) and I like it then put it lah.”
“At first, they wrote something like this, but it is just because that we don’t have too much time, so they just put the crosses anywhere they want.”
“We don’t really know how to sing it or what’s the melody, so I went back home and went to find a song and write it out.”
“Cannot rely on our friends too much.”
CONCLUSION
} Everyone learns differently
} The intersections of where students make feeling visible and expressing it through the use of graphic notation encourages students to:
Engage with elements of music
Exercise 21st century competencies, especially in terms making choices and confronting musical expressions
Engage in meaningful music-making
Fig 3: Summary
Visible Feeling Graphic Score
Engaging elements of music 21st century competencies
Meaningful music-making/creating
REFERENCES
Blair, D. V. (2009). Stepping aside: Teaching in a student-centered music classroom. Music Educators Journal 95(3), 42-45. Dewey, J. (1939). Art as Experience, New York, Capricorn Books.
Reimer, B. (1989). A philosophy of music education. Prentice Hall Englewood Cliffs, NJ.
Ritchhart, R. & Perkins, D. (2008). Making thinking visible: When learners speak, write, or draw their ideas, they deepen their cognition. Project Zero’s Visible Thinking approach shows how. Educational Leadership 65(5), 57-61. Retrieved from: http://www. visiblethinkingpz.org/VisibleThinking_html_files/06_AdditionalResources/makingthinkingvisibleEL.pdf.
Ryan, R. M., & Deci, E. L. (2000). Self-determination theory and the facilitation of intrinsic motivation, social development, and wellbeing. American psychologist, 55(1), 68.
Swanwick, K. (1979). A Basis for Music Education. The Nfer Publishing Company.
How Effective is SCAMPER as a Thinking Tool in Helping Music Students Generate Ideas for Music Composition?
Shawn Neo Pin Han | Ahmad Ibrahim Secondary School
Introduction SCAMPER
Study-group Profile
Examples of Students’ Ideas
General
Observations
Findings
Conclusion
INTRODUCTION
“I’m horrible at this…”
“I don’t know what to write…”
These are statements that I often encounter when I first began teaching students how to compose music. Their doubts have served as my motivation to embark on this inquiry.
To teach music composition, I have chosen to experiment with the SCAMPER thinking model. The study hopes to find out how effective SCAMPER will be as a tool to teach music composition to students of various musical abilities and backgrounds.
SCAMPER
SCAMPER (Substitute, Combine, Adapt, Modify, Put to another use, Eliminate, Reverse) is a good tool for idea generation as it encourages divergent thinking rather than convergent thinking. Music students need to learn how to think divergently so as not to get stuck when composing.
To begin SCAMPERing, we first need a challenge statement. The challenge statement will be the task given to
Challenge Statement
Use five pitches (of your choice) to write a piece of music [set parameters]. How would you go about doing so?
Note: At all stages of SCAMPER, the initial idea should remain recognisable.
Possible question bank relating to SCAMPER
} Possible Substitute
Choose 1 (or more notes) to replace.
} Combine
What pitches/ideas (not necessarily your own!) can you combine?
} Adapt (change something to fit new situations)
What musical moods (maybe?) do you hope to convey through your composition?
What can you change from your existing ideas to address these new moods?
} Modify/Magnify
Decide on a rhythm. Can the rhythm be augmented? Subjected to diminution? What else can you modify?
} Put to another use
How might you make use of your existing ideas? Put them in different parts/voices?
} Eliminate
What will you remove? Why?
} Rearrange
What will you rearrange? Why?
Note: Certain terms in SCAMPER need to be broken down as they may not be easily understood in the context of music writing. Here, I have interpreted the terms in my own way and provided sample questions for each term. Teachers are free to craft their own questions around the terms, which will be dependent on the challenge statement.
Where music writing is concerned, SCAMPER should be discussed together with the elements of music (see image in Fig 1). The teacher should facilitate this process of drawing connections.
students. It is advisable to limit the parameters of the task at the beginning so as not to overwhelm students. As students get used to SCAMPER, teachers can then choose to broaden the task parameters. Teachers could bear in mind that at all stages of SCAMPER, the initial idea should remain recognisable. The generation and expansion of ideas should grow organically.
S C A M P E R SUBSTITUTE ADAPT PUT TO ANOTHER USE COMBINE MODIFY
Fig 1: Making connections between elements of music and SCAMPER
STUDY-GROUP PROFILE
} 14 Music Preparatory Course (MPC) students of varying abilities
} Have been taught basic music writing techniques i.e. melody writing, voice leading, simple piano accompaniment writing,
} Most lacking in confidence in their own abilities
EXAMPLES OF STUDENT IDEAS
GENERAL OBSERVATIONS
1. Before being introduced to SCAMPER, a number of students already knew how to manipulate musical ideas, albeit not extensively. SCAMPER helped them to think out of the box, such as replacing musical clefs to change the entire pitch range, as well as eliminating one to all pitches.
2. SCAMPER is also a good method to get students to realise that there are no right or wrong answers to idea generation. SCAMPER accepts all ideas, and this helps build confidence in students. Writing music for the first time can be daunting, and SCAMPER is one way to ease them into it.
FINDINGS
} 14.3% agreed completely and 85.7% somewhat agreed that they were able to use SCAMPER to generate musical ideas.
} 100.0% somewhat agreed that they found it easy to generate musical ideas using SCAMPER.
} Most students used the techniques of “Substitute”, “Modify” and “Eliminate” most often when generating musical ideas. Some used the technique of “Reverse”. A few used the techniques of “Combine”, “Adapt” and “Put to another use”.
Fig 3: Number of students using the various techniques in SCAMPER
Substitute
Combine Adapt Modify Put to another use
Eliminate
Reverse
(71.4%)
(21.4%)
(21.4%)
(14.3%)
(57.1%)
(57.1%)
(35.7%)
} 21.4% agreed completely and 78.6% somewhat agreed that SCAMPER had helped them think more creatively about music and music writing.
} 78.6% would use SCAMPER to help them generate musical ideas for music writing in their future work.
CONCLUSION
} SCAMPER is useful as an idea generating tool, and has helped students generate musical ideas to some extent.
} SCAMPER can be used to build confidence in students with regard to music writing.
} Not all techniques in SCAMPER can be easily utilised/understood such as “Adapt” and “Put to another use”; needs unpacking, rethinking and mapping onto musical elements.
} These techniques in SCAMPER may only be suitable for more advanced music students.
Using SCAMPER, students were able to rearrange pitches, substitute clefs and combine ideas.
Fig 2: Examples of students’ ideas
Section 6 ASSESSMENT AND FEEDBACK
This section examines how the way assessment and feedback are conducted could influence a sense of inclusivity in the music classroom such as through heightening students’ sense of engagement and ownership of their own learning.
Bernard Soh shared how formative assessment strategies are used to engage students to self-regulate their learning.
Tan Ee Sin’s study highlighted that while different feedback impact students’ learning, there is also a need to understand what motivates students and help students find the “flow” in learning so that they can become more self-regulated.
Formative Assessment in Helping Students to Self-regulate Learning
Soh Yang Yit Bernard | Rosyth School
Introduction | Research Method | Findings | Conclusion | References
The study observes how a music teacher carries out formative assessment to help students self-regulate their learning.
LITERATURE REVIEW
4 main phases of self-regulation of learning (Cash, 2016)
1. Goal setting
2. Monitoring progress toward the goal
3. Interpretation of feedback derived from monitoring
4. Adjustment of goal-directed actions and/ of the definition of the goal itself
RESEARCH METHOD
1. Unstructured Observation on one music lesson for the class
2. Structured Interview with music teacher
3. Structured Interview with 5 students from the same class
How is formative assessment used to help students to self-regulate their learning during music lessons?
FORMATIVE ASSESSMENT STRATEGIES
(Wiliams, 2011)
1. Learning Intentions
Clarifying, understanding, and sharing learning intentions
2. Eliciting Evidences Engineering effective classroom discussions, tasks and activities that elicit evidence of learning
3. Feedback
Providing feedback that moves learners forward
4. Peer assessment
Activating students as learning resources for one another
5. Self-assessment
Activating students as owners of their own learning
FINDINGS
Case Study: Unstructured Observation of a Lesson
The observed processes are summarised from my fieldnotes below. My comments on students’ processes of self-regulation are by the side.
Application of Formative Assessment Processes of Self-Regulation
Teacher informed students that they had to be familiar with the 4 chords that they had learnt and to perform a song with the chords. (Learning intentions)
Teacher asked students to strum 4 counts of the C chord on the ukulele. (Eliciting evidence)
As they placed their fingers, she went around to correct some students who did not place their fingers correctly on the ukulele. (Feedback)
Teacher then displayed another rubric about the specific learning outcomes of the lesson and explained the assessment criteria. By providing rubrics as well as exemplar, the students are able to self-reflect on what a good performance is and what he or she can do to reach the goal.
Teacher then role-modelled an exemplar performance of the test piece You Are My Sunshine. (Learning intentions)
As Teacher moved on to guide other groups, Student F told Student L that she was able to play the G chord but she found changing the chord from C to G difficult.
Student F demonstrated to Student L how she changed her chords. Student L then advised her to change her fingering in a certain way. (Feedback)
After the students practised in their groups, Teacher then asked Student Y to perform the song. As the criteria for the rubrics were shown behind him, she asked the students to put up their hands on how they would assess the performance and give him feedback. She also reminded them that this experience of watching their peer’s performance was an opportunity to reflect on their own playing. (Peer assessment)
Teacher wrapped up the lesson by asking the students to perform the song together as a group.
As a post-lesson activity, Teacher asked the students to reflect on their own playing and think of the areas for improvement based on the rubrics for assessment. (Self-assessment)
Goal setting
Monitoring progress toward the goal
Goal setting
Interpretation of feedback derived from monitoring
Adjustment of goal-directed actions and/of the definition of the goal itself
Monitoring progress towards the goal
Interpretation of feedback derived from monitoring
Monitoring progress toward the goal
Adjustment of goal-directed actions
Interview with Teacher
The interview with the teacher on students’ ability and experience to selfregulate their learning, it was revealed that:
Through games, students were able to assess how much they have taken away from each lesson.
Students in the class are an integration of the GEP stream with the mainstream. While most of them were more than capable of voicing out their opinions, a handful lacked the ability to self-regulate their learning.
Students in the class learnt fast and
Interview with Student
Students in the class generally understand how to self-regulate.
“I timed myself my how focused I am …”
“I see if I can play the same thing that <teacher> has demonstrated. I’ll go up to her and ask her to help me if I can’t play.”
“I check if what I play sounds the same as <teacher>. I’ll observe how she holds the chords if I still cannot play correctly and I will try again.”
The self-regulated learning processes enabled students of different learning abilities to customise their own learning progression as well as the
CONCLUSION
were not afraid to try. Like any other classes, integrated or otherwise, there were students who were more afraid of failure and those who were brave enough to stand in front of the class and attempt a solo performance. The advantage was that the more spontaneous students were able to influence the rest of the students to give the task a try.
Impact of Feedback in a Song-writing Task
Tan Ee Sin | Catholic High School (Secondary)
INTRODUCTION
This study investigates the impact of the feedback on students’ learning experience in a song-writing task.
Context: Song Writing Project by Level 2 students
actions needed to achieve the learning outcomes during music lessons.
As a class, the students all have different learning progress. However, they are aware on how they can make changes in their learning actions to meet the learning outcomes. For some students, as they find the learning outcomes easy to achieve, they will also make changes to the learning outcomes. For example, they will want to try things which were not taught by the music teacher so as to achieve learning outcomes that are more indepth and richer.
} From the observation, the teacher was able to use formative assessment strategies effectively to engage the students to self-regulate their learning, especially in the area of goal setting and monitoring their progress towards their goals.
} From the interviews with the students and teacher, as well as through the observation, it was evident that the students had some prior knowledge and experience with formative assessment strategies. There was also a positive attitude towards learning and students were not afraid to approach one another for help when the teacher was not immediately available to provide guidance.
} Through the formative assessment strategies, students were also aware of various checkpoints to evaluate the progress of their learning and were willing to adjust their actions during the learning process in order to reach the learning goals.
REFERENCES
Student Profile: Boys School, students with a range of music background
Scope: Semester 2 project
Learning outcomes
- Students to learn about word stress, melodic contour, structure, harmony and texture.
- Encourage group singing and collaboration
Project Task Assigned to Students
} Compose a song (with original lyrics of at least 2 verses and 1 chorus, and melody) that communicates your thoughts and emotions on a chosen theme
} The song will be presented as a group performance, with singing and backing track (on Garage Band)
Performance can also involve acoustic instruments
Everyone in the group must participate in the performance
Backing Track must include:
- chord track (with chords indicated on the submission)
- rhythm track (drummer track added)
- melody track (record your melody as a track but this track can be muted during performance)
- (optional) introduction and instrumental interlude
The interview with 5 students revealed that:
Project Task Rubrics
Lyrics Song lyrics are consistently respectful and memorable. There is a good coherence and flow between the verses, and reflects different perspectives of the theme.
Song lyrics are generally respectful, memorable, with relation to the theme. There is some coherence between the verses, and may reflect a slightly narrow perspective of the theme.
Song lyrics are not always coherent. The theme is not. No lyrics written
BACKGROUND AND LITERATURE REVIEW
The inspiration for the project was triggered by Hattie and Timperley’s (2007) article on the power of feedback, and Carless and Boud’s (2018) article on the development of student feedback literacy (Fig 1). I wanted to find out if my feedback covered a range of levels as proposed by Hattie and Timperley (Fig 2), and also if any of these types of feedback will motivate students to extend their learning beyond the classroom. I also referenced Jan Chappuis’ Seven Strategies of Assessment for Learning (see Fig 3) which was the professional development focus the school has embarked on for the year.
Fig 1: Features of Student Feedback Literacy (Carless & Boud, 2018)
Melody Original, tuneful melody, suited for singing. Syllables are well-aligned to note(s), and word stresses are consistently wellaligned.
Original composition, with some nice melodic moments. Songs show some alignment of syllables to the notes, and awareness of word stresses.
Song lacks originality. There is a stong reference to other music. No submission
Performance (Live)
Song is performed with confidence (performed fluently and consistently throughout).
Harmony
Some lapses in confidence (fluency and consistency) in the group performance.
Inconsistent performance, with many hesitations. No performance
Backing Track (Encouraged to include melody track)
Good understanding of harmony seen in consistent and effective use of chord tones in all instruments.
Backing track is effective with harmony and rhythm support. Musical layers are well-aligned and clear throughout the track.
Some understanding of harmony seen in less regular and/ or effective use of chord tones in some instruments.
Backing track may provide some harmonic and/or rhythmic support, but not always consistent and effective. Musical layers may be aligned partially.
Little understanding of harmony. Chord tones used are not aligned with the given chords, resulting in undesired disonances. No harmony provided
Backing track provided little and/or inconsistent support to the performance. No backing track provided
2: A model of feedback to enhance learning (Hattie & Timperley, 2007)
Purpose
To reduce discrepancies between current understandings/ performance and a desired goal
The discrepancy can be reduced by:
Students
Increased effort and employment of more effective strategies OR
Abandoning, blurring, or lowering the goals
Teachers
Providing appropriate, challenging and specific goals
Assisting students to reach them through effective learning strategies and feedback
Effective feedback answers three questions
Where am I going? (the goals) Feed Up How am I going? Feed Back Where to next? Feed Forward
Each feedback question works at four levels:
Task level
How well tasks are understood/ performed Process
The main process needed to understand/ perform tasks
Self-regulation level
Self-monitoring, directing, and regulating of actions
Self level
Personal evaluations and affect (usually positive) about the learner
Fig
Where am I going? Where am I now? How can I close the gap?
1. Provide students with a clear and understanding vision of the learning target.
2. Use examples and models of strong and weak work.
3. Offer regular descriptive feedback.
4. Teach students to self-assess and set goals.
5. Design lessons to focus on one learning target or aspect of quality at a time.
6. Teach students focused revision.
7. Engage students in selfreflection, and let them keep track of and share their learning.
METHODOLOGY
Learning Process
Exposure/Experience Lyrics Writing through Google collaborative platform Contour and melody writing Backing Track Performance
Case Study of
Three Students
Students are from the same class but from different groups (of varying levels of motivation) to understand how they would respond to feedback given.
FINDINGS
Data Sources
Google survey at the start of brainstorming
Comments on google doc and in-class sessions
Mid-term progress check
Feedback during performance
Post-project interview
A range of feedback was given but they were mostly task-level feedback, for example, for lyric writing,
Checking on the structure of the lyrics, aligning number of words per line.
Comments on group roles and tasks.
Role-assigning comments.
Most of the feedback given were on the lyrics. Students also took more time to finalise the lyrics and they seemed more comfortable working with text than with music materials.
Melodies for the lyrics were completed just before the end-of-year exams and there was insufficient time for students to be able to respond to any feedback properly on that front. Most students did not have a score and worked directly with the DAW. This made feedback for the melodies difficult as any feedback given was during the class and at the time of listening.
Post-Project Interview with Students
Individual interview with each student was conducted. The interview questions were grouped according to Motivation, Learning Experience, Feedback and Challenges and Reflection. The key findings are summarised below.
Note: Student A has the highest level of motivation. Student B, less, and student C, the least.
A. Motivation
Table 2: Students’ thoughts and feelings about song-writing before embarking on the project
Student A Student B Student C
Excited, songwriting was personal project with piano teacher some time back.
Excited to do songwriting again. I also knew that it would be difficult, creating the melody. Thought that it’d be easier with melody first. Doing the words first with contour lines, and the melody is more suited for the words.
In future, I will start with words first and chord progression.
Not much feelings, it’s just music, just do it. But it was new for me. Don’t listen to music much.
No music background.
Forgot about what was learnt in primary school.
Neutral, because never do it before. Had friend who composed song using music software.
Student A showed some change in perspective in his approach to songwriting.
Students B and C simply acknowledged the project as task to be done, and did not give it much thought.
B. Learning Experience
Table 3: Students’ learning experience
Did not use the taught chord progression – came up with my own.
I listened to some songs and chose a chord progression to suit the theme of environment. The group didn’t like the style of the suggested song, so I referred to other songs.
Other group members did more lyrics, I just looked and gave some feedback.
Word stress was new and we learnt about it.
Not much involved in writing the melody. Mostly done by friend.
I felt it was too hard. Writing the lyrics and melody is difficult.
What do you understand about word stresses? Some words have to be stressed. How? By making it go higher, making it longer, and apply to the lyrics.
Group splits, words come quite easily to me. Followed the theme, lyrics is not personal, so don’t feel much for it.
Followed the chords for the melody. Not really learning about writing melody, feel that even if I learn, I won’t do it again. Sometimes I wonder a little about the song-writing, but I will think that it’s hard and not think so much of it.
Students’ learning experiences are influenced by their level of motivation. As seen above, there are varying levels of motivation and interest. Students B and C did not see the relevance of song-writing for themselves, they were not willing to spend too much effort doing the task.
Student A Student B Student C
Fig 3: Seven Strategies of Assessment for Learning
C. Feedback and Challenges
Table 4a: Students’ recollection of the type of feedback given to them and their group
Student A Student B Student C
Feedback on chords – style of the progression, looking for more sad progression, more melancholic melody. For lyrics, feedback on rhymes, search online to see which word rhyme. Make the flow better, then the group refine the lyrics. Comments on the structure, oh… Keep it short.
Comment on form of the lyrics, and I changed it to have a clearer structure.
At the end, teacher mentioned about adding drum-beats, and I think people will listen more.
Table 4b: Feedback that students worked on the most
Student A Student B Student C
“‘That is a sad song”. That made me grind in to find the chord progression. Melody – was coming on very slowly.
No. Followed the rubrics, sufficient to guide the group towards the end product.
Student A was able to articulate his learning quite well. Both students B and C were conscientious to complete the task and they showed that they were able to remember the feedback.
D. Reflection
Table 6: Students’ perception of song that has changed
Student A Student B Student C
I listen to the background, like drums, guitar and trumpet.
I also listen to how chord progress, specially took note of the theme (e.g. sad), like how the song is slow and chord progression is sad. That’s why in my project, I added the drum beats only in the chorus. In the verse I think it’s better without the drum-beats, since it’s a sad song. Only in the chorus, when the tempo gets faster, than I added some soft drum-beats in the background. The group agreed to add drum-beats to liven the music.
I don’t listen to all music. Very little bit, to listen to more songs. I would pay a bit more attention to the stresses, to the melody. No. Just listen, and focus on melody. Won’t listen more to the words. Because melody catches my attention. I hum the song when doing stuff.
Table 7: Whether students felt they were clear what they had to do during the project
Student A Student B Student C
Not that clear. Last time was a solo project, and there were many feedback coming in. Wasn’t very clear what I had to do. More trial and error.
Word stress is like something new.
Group had some differences in the word stress, but could agree. Listening to songs and able to feel the stresses.
Don’t know how to create melody. Didn’t ask because other people are doing it.
Students had varying understanding of the task, and their motivation was shown to affect their understanding of the task. For example, Student A was highly motivated, and he required more clarity to know if he was doing it right. In contrast, Students B and C were less motivated and either transferred their responsibility for learning to other students in the group or scoped the understanding of the task to something they can manage.
DISCUSSION
} While the sample size of 3 students cannot be said to be representative of the whole class, I felt that they were nevertheless representative snapshots of a range of student profiles.
} Hattie & Timperley’s model of feedback provided a helpful reference in guiding a variety of types of feedback (task level, process level, self-regulatory level, self-level) that we can provide to students. I found that I have mostly given task-level feedback, and especially for lyric writing.
} Besides having a variety of feedback types, I found that student motivation also interacted with the way students receive feedback. Hence, the challenge of task, amongst other factors that
CONCLUSION
could impact motivation, seems to play a large part in determining uptake of feedback.
} Feedback did not necessarily have to come directly from the teacher. They could come from their peers.
} Other resources like rubrics, peer feedback offered learning support. Even though exemplars were used in the lessons, they were not mentioned in the interview.
} All the students agreed that being in a group helped in the learning. They appreciated the diverse strengths and perspectives in the discussions.
While different feedback has shown to impact students’ learning in their song-writing task, the kind of impact and reception of feedback is also dependent on student motivation. The implications are that there is a need to understand students better to go beyond giving task-level feedback. There is a need to understand what motivates them, and to achieve a balance between making the task challenging and yet manageable. In addition, helping students find the “flow” in learning could help them become more self-regulated.
Ya, quite simple, lyrics, words stress and contour and chords.
REFERENCES
Hattie, J., & Timperley, H. (2007). The power of feedback. Review of educational research, 77(1), 81-112. Carless, D., & Boud, D. (2018). The development of student feedback literacy: enabling uptake of feedback. Assessment & Evaluation in Higher Education 43(8), 1315-1325.
Chappuis, J. (2015). Seven strategies of assessment for learning (2nd ed.). Pearson.
Section 7 TECHNOLOGY
This section is a critical reflection of the ways in which technology can be used to increase access to diverse groups of students, thereby fostering a sense of inclusion in the music classroom.
Tan Hui Ling Lynnette explored how a game-based approach made recorder playing more attractive and engaging to students as the app allowed students to project their identity through an avatar, and to interact in different ways. The implications are for teachers to focus on the value that can be added to the learning experience when using technology, and to make careful pedagogical adjustments on the learning activities and a consideration for the learning environment and time management.
Soh Pei Wen’s study is instructive for teachers in understanding specific ways in which students use videos for their own self-directed learning. It also provides an example of how our lesson resources could be differentiated for different groups of students.
Tabitha Vicky Rajaratnam started out exploring how technology could lead to students developing better social cohesion as a class but her story reminded us how students continue to experience social divisions and such conflicts would continue in their lives. The key then lies in our role as music teachers and as educators.
Recoding the Recorder Module: Game-based Learning to Recorder Playing
Tan Hui Ling, Lynnette | Tampines North Primary School
Introduction
Inquiry Question
Literature
Profiles of Study
Participants
Methodology
Curriculum Plan
Teaching Process and Teachers
Observations
Lesson Preparation
Building Positive
Classroom Culture
Lesson Enactment
Assessment and Feedback
Findings
Discussion
Conclusion
References
INTRODUCTION
Through this project, I seek to explore possibilities of harnessing game-based learning in:
(A) Fostering 21st Century Learning Practices including self-directed learning, student ownership and social learning.
1. Providing a setting where students can feel secure and are willing to perform and learn
2. Assigning ownership of learning, control of processes and outcomes to learners
(B) Making Teaching more Efficient, Reduce Common Learning Difficulties in recorder-playing, an area often perceived to be the most challenging aspect of the music curriculum.
1. Acquiring musicianship
2. Creating motivation
3. Overall recorder performance
My project also addresses the following areas of concern commonly associated with recorder performance (and music lessons in general):
(A) Musicianship
Problem of memorising the notes and fingering instead of reading notes off the score
(B) Technique
Inaccurate pitching, breath control (squeaks, weak breath flow)
(C) Lack of motivation
Stop being interested in the recorder beyond middle primary
Lacking self-directed learning
(D) Lack of self-discipline
Not bringing recorder to class
INQUIRY QUESTION
How does game-based learning and the use of ICT tools bring success to recorder performances6 and increase motivation in students, thereby resulting in self-directed learning?
LITERATURE
Game-based Learning
Game-based learning has increasing traction in today’s classrooms. Educators Technology (2015, 6 August) shares leading academic studies, empirical researches and theoretical perspectives about game-based learning. Game-based learning:
1. Deploys learning principles incorporated in the gaming industry in educational settings
2. Intends to enhance students’ learning and create optimal learning experiences in and outside classrooms
3. Is usually done through the use of a variety of hands-on and highly competitive activities geared towards engaging students and motivating them to learn better
Use of Technology for Education
Learning with technology is found not in the tools themselves…but in the instructional methods the teachers employ with the tools (Bebell & Kay, 2010; Kay & Lauricella, 2011).
PROFILES OF STUDY PARTICIPANTS
1 Control Class (Class A)
Mixed-ability
More well-behaved compared to other classes
4 Experimental Classes (Classes B, C, D, E)
Mixed-ability
Class D (disadvantaged background)
METHODOLOGY
Data Collection
Pre- and Post-module Questionnaire Focusing on:
Students’ perception of acquiring musicianship
Student motivation
Observation Focusing on
Are students able to play a new repertoire by reading notes, instead of memorising the fingerings prior to playing it?
Are students’ playing on recorders less prone to squeaks, with more accurate intonation observed, and lesser time taken to master new fingerings (more intuitive)?
Do students appear excited for recorder lessons? Do they bring the recorder all the time?
Interviews
CURRICULUM PLAN
Types of ICT Used
YouTube
Apps (for game-based learning and self-directed learning and practice)
Interactive whiteboard (IWB) slides
Comparison of technology use:
YouTube Resource (Practice purposes for assessment)
YouTube Resource
Interactive Slides (IWB)
Recorder Learning App
Recorder Practice App
Comparison of lessons:
1
Introduction to the recorder and its history
Holding the recorder, recorder fingerings G|A|B (theory)
2 Breathing, Tonguing, Recorder fingering G|A|B (with actual playing)
Songs with GAB
3 Recorder fingering C’|D’
4 Show students rubrics
Practise assessment song Mary Had A Little Lamb (warm-up version on YouTube Visual Musical Minds channel)
5 Practise assessment song-actual version (YouTube Visual Musical Minds)
6 Assessment
7 Buffer week for assessment
8 - 10
After assessment, continue learningHavana (IWB)
TEACHING PROCESS AND TEACHER OBSERVATIONS
I use the 4 Teaching Processes in The Singapore Teaching Practice to frame my teaching process.
Introduction to the recorder and its history (IWB, YouTube)
When students all play together to progress through the games, they feel they are not alone and more importantly experience how crucial teamwork is.
Key Observations
Playing games on recorder apps
After assessment, continue learningHavana (IWB)
A. Affordances created by the tool brought learning a step further compared to traditional teaching methods:
Interactivity
Joy of learning
Increasing motivation, fast-paced yet bite-sized task which celebrate small successes
Catering to visual, aural, kinaesthetic learners all at once; social learning enhances student ownership of their learning; visual aids to give clarity
B. Helps students acquire knowledge faster and more effectively compared to traditional teacher modelling
C. Third (virtual) person teaching (in this case, the “Professor” in the app), teacher becomes the facilitator fostering 21st-century learning practices
Fig 1: Interactive White Board Fig 2: Showing students the end point (to arouse interest)
Lesson Control Class Experimental Class
1 Control Class (Class A)
4 Experimental Classes (Classes B, C, D, E)
BUILDING POSITIVE CLASSROOM CULTURE
Building positive classroom culture involves:
Design & establish new routines and expectations
Teach and establish musical behaviours
Facilitate self / peer evaluation/ feedback
Empower students with choices and control
Key Observations
The app empowers students with choice and control—foster greater ownership in learning (“Class Mascot”)
Each class has different avatar and named their student with a unique name), co-ownership, feeling that the student is with them on this “learning journey”
The creation of a Class Pledge (Fig 3) helps in fostering positive classroom culture by iterating positive attitudes and behaviours
LESSON ENACTMENT
Lesson enactment involves:
Arousing interest with guided exploration of unfamiliar materials/ tools
Encouraging learner engagement by facilitating students with the opportunity to share/talk about their exploration/ learning
Key Observations
Aspects of Social Learning fostered:
- Turn-taking
- Evaluating performance of self & peer (Fig 4)
More efficient acquisition of Technique:
- Very quickly, problem of squeaking, tonguing, pitch, fingering, all within same lesson
ASSESSMENT AND FEEDBACK
Students performed the song Mary Had A Little Lamb over a backing track from the YouTube channel Visual Musical Minds
FINDINGS
Pre-module survey
Question 1: How excited are you to learn the recorder? Control class’s mean score was 4.22
The control class had the second-highest mean score. Class B had the lowest. Class C had the highest.
P3 Pre-Module Survey
This is a survey on your views on learning the recorder. Please fill out this questionnaire. Thank you.
How proficient do you think you will be at the end of the module?
Any other comments/thoughts about learning the recorder?
Question 2: How proficient do you think you will be at the end?
The control class had the highest sense of self-efficacy. Class B had the lowest. Class E had the highest.
Assessment Results
Based on the recorder performance assessment, the percentages of the class populations who obtained “Competent” for 3 or more criteria vary across different experimental classes. For example, only 58% of Class B achieved “Competent” for 3 or more criteria perhaps due to missed lessons because of school events and holidays. Class A (the Control Class) was able to achieve 72%. The two other experimental classes (Class C and E) achieved remarkable results (76% and 84%) respectively.
Fig 3: Sample of Music Class Pledge
Fig 4: Peer Feedback Fig 5: Primary 3 Music Assessment
(Semester 1, 2019)
Observations
Control Class Experimental Classes Explanation
More squeaks.
Pitch and breath control not as good in earlier stages.
However, performance improved significantly during assessment.
Students are able to play a new repertoire by reading notes, instead of memorising the fingerings prior to playing it.
Students are less prone to squeaks, more accurate intonation observed, lesser time taken to master new fingerings (more intuitive).
Students appear excited for recorder lessons.
Observations on Motivation and Common Learning Difficulties
It is possible that traditional method of teaching an instrument (didactic) leads to slower musicianship gain as compared to using ICT.
Post-Module Survey [only for Experimental Classes]
P3 Post-Module Survey/Interview
Now that you have completed the recorder module, we would like to hear your thoughts. This will help us in future planning of the module.
Do you feel that you have improved in your recorder playing? Why/why not?
Would you like to learn other songs on the recorder? Yes
No
Why, or why not?
Average no. of students who forgot to bring their recorders Left Hand on Top Time taken
How did you find the recorder module?
What do you think about the technology used in this module (i.e. Recorder Racer app, AtPlayMusic, Recorder app, Interactive Whiteboard lessons)?
Overwhelming “yes” across all classes
Did you like the technology that were used?
If so, which are your favourite(s) and why?
Please share any additional comments or suggestions.
Overwhelming “yes” across all classes
Overwhelming “yes” across all classes
The Control Class had done well as students were very motivated and had the highest sense of self-efficacy to begin with (as seen from the pre-module survey). They were also shown to be very well-behaved and perhaps even more motivated compared to the other classes.
Results from the Experimental Classes in terms of student motivation and reduction of common learning difficulties showed that they fared as well or even better than the Control Class.
Comparing to last year’s cohort, there was also an overall marked improvement in terms of minimising the time needed to overcome common learning difficulties such as correct hand placement, squeaks, tonguing and fingering. Motivation (self-discipline) in bringing the recorder also increased.
Thus, it can be seen that the use of the game-based learning has made an impact on student motivation and reduced common learning difficulties, increasing the efficiency for learning.
“Before, I had a lot of squeaks, now I think (that) when I play (the) recorder I don’t think I have as much squeaks.” (self-evaluation)
“It sounds nice… I’m still bad at it but I will try.” (intrinsic motivation-->trains resilience)
Rare minority (i.e. less than 2) feel that with the apps, students did not care about the learning but merely viewed it as fun. However, the majority of students felt strongly that they did learn while having fun along the way.
Most students listed the apps as their favourite technology
Post-Module Student Interviews
Students were asked,
How did you do it? (Focus on students’ “learning moves”)
How did you find the technology used?
How far do you think the technology teacher used (IWB slides, apps, websites e.g. YouTube) helped you in learning the recorder? On a scale of 1-5, has it made it easier for you to visualise fingerings, play nicer tone etc?
Did you use any of the technology resources at home while practising (AtPlayMusic Recorder app, YouTube video tutorials, recorder Racer)?
Are you still excited about learning new songs and fingerings on the recorder?
Would you go beyond class to learn new songs at home even when the module has ended in school?
How proficient would you rate yourself on the recorder?
DISCUSSION
Sample of Student Responses:
“(The technology)… makes it easier for children to learn”
“The interactive slides help me to understand the fingering better. I like that I can go to the board and write on it while learning at the same time.”
“I didn’t know learning the recorder can be so fun. The ‘teacher’ in the app is like a real teacher.”
“I like the games, especially the apps. It makes me want to go home and download it on my iPad.”
“I think I will still want to play the recorder even at Primary 6.”
“I practise the recorder from the YouTube channel at home. They have many more songs besides Hot Cross Buns.”
Challenges that accompany ICT game-based learning:
A lot of preparation work required
Problems with several iPads and with iPad account
Benefits of using ICT game-based learning:
Joy of Learning
Expanded students’ and teacher’s perspectives on ways of seeing and thinking about gaining musicianship
Students more self-directed (many students said they downloaded app at home to practise/learn new songs)
Students talked less and listened/watched more
Put “play” back in learning
Students more disciplined (bringing recorder and students being off-task greatly reduced)
Time efficiency
Fostering 21st century learning practices
CONCLUSION
(A) Affordances of Technology
Social Learning
Peer feedback, game is instantaneous, gratification, feedback also instantaneous
Interactivity
Projecting of student identity through the avatar
Increased Motivation
Joy of learning increase motivation
Fast-paced yet bite-sized
Celebrates small successes
21st Century Learning Practices
Student ownership - students are allowed to become accountable for one anothers’ learning
Helps students acquire knowledge faster and more effectively compared to traditional teacher modelling
Catering to visual, aural, kinaesthetic learners simultaneously
Third (virtual) person teaching, teacher acts as facilitator
Facilitates opportunities for discovery and learning through play
Fosters students’ interest/ownership in one another’s playing
(B) Technology as Enabler
Technology offers opportunity for a range of success and a range of learning experiences, for example,
Instruments in the backing track aided in intonation, listening and rhythmic skills. Hence, it boosted confidence since students are playing with a band as opposed to playing solo. Students do not feel so “exposed” on their own.
Using the music video in the background, students are less prone to stopping and starting from the beginning. This leads to a greater impetus to move forward
However,
“Students can quickly get distracted when using technology tools, and teachers should be careful not to assume that engagement in using a device or application is the same as engagement in the learning goal” (Kolb, 2019)
So, instead of focusing on what app/game to use, teachers should think of what value is added to the learning experience by integrating this technology into the activity over a traditional method. The value could lie in its provision of a more authentic learning experience or added scaffolds and support that are harder to offer without the technology.
Hence, while technology is an enabler, careful pedagogical adjustments are still necessary when incorporating the technology to ensure learning success.
(C) Thoughts for Game-based Learning
“Game-based learning is a slippery beast, for… there is seemingly a disconnect between what students learn while playing games (e.g. problem-solving, visual-spatial thinking, collaboration, resource management), and the pure academic standards most teachers are interested in promoting mastery of.” (teachthought.com)
Implication: as teachers we must be able to bridge that gap, know what is the principle of the ICT tool that lends itself well to the concept being taught.
Hence, we need
1. Clarity on the role of games for learning
2. Designing of learning activities around the games
3. Consideration for classroom and time management
Consider also how we should be evaluating learning technologies:
Is the technology linked to a specific learning goal?
Does the technology follow research-supported understandings of how we learn?
When might the technology fail to facilitate learning?
We need to consider all these as we select and decide on teaching tools and learning resources
Designing Differentiated Instruction through Guitar Video Tutorials
Soh Pei Wen | Manjusri Secondary School
INTRODUCTION
Context
My Sec 2NT class of 35 students had been learning guitar for one term. During this term, they learnt how to play basic chords using various visualisations and learning aids, but the general student motivation had gone down because many felt that the guitar was too difficult. Many struggled to remember chords, let alone be able to change chords in the song. There is a wide range of motivation displayed in the students. Some would be borrowing guitars after school to practice, while others would refuse to even try in class. They face difficulties with general focus, muscle memory, for a few, psychomotor skills, and deciphering chord charts.
Differentiated Instruction
Differentiated Instruction might be a good way to support these diverse groups of students. According to Tomlinson and Strickland (2005), differentiation is “a way of thinking about the classroom with the dual goals of honouring each student’s learning needs and maximising each student’s learning capacity” (p. 6) while developing a solid community of learners. It takes into account students’ readiness, interest and learning profiles. Generally, three areas of teaching and learning can be differentiated.
Process – the amount of scaffolding,
REFERENCES
Bebell, D., & Kay, R. (2010). One to one computing: A summary of the quantitative results from the Berkshire wireless learning initiative. Journal of Technology, Learning, and Assessment, 9(2), 2.
EducatorsTechnology (2015, 6 August). 8 Must Read Books on Game Based Learning. Retrieved February 2019 from https://www. educatorstechnology.com/2015/06/8-must-read-books-on-game-based-learning.html
Kolb, L. (2019, February). Smart Classroom-Tech Integration. Retrieved January 2020, from http://www.ascd.org/publications/educational_ leadership/feb19/vol76/num05/Smart_Classroom-Tech_Integration.aspx.
Kay, R., & Lauricella, S. (2011). Exploring the benefits and challenges of using laptop computers in higher education classrooms: A formative analysis. Canadian Journal of Learning and Technology/La revue canadienne de l’apprentissage et de la technologie, 37(1).
Gros, B. (2007) The Design of Games-Based Learning Environments. Journal of Research on Technology in Education 40(1)
Product – the task at hand, and
Content – what students are expected to know.
Video Resources
I noticed that some students would use YouTube tutorials but they shared that they were not able to follow these tutorials even after slowing down the speed. I was intrigued by the possibility of creating customised tutorials for this group of students and studying the impact of these videos.
INQUIRY QUESTIONS
With these preliminary ideas in mind, I crafted the following inquiry questions for this project.
1. How do students use tutorial videos to learn?
2. What affects students’ motivation in their learning through tutorial videos?
3. How can the differentiated tutorial videos be refined?
Introduction
Inquiry Questions
Methodology
Curriculum Design
Findings
Discussion: Video Tutorials as Tools for Differentiated Instruction
Conclusion Reference
METHODOLOGY
Data was collected over 6 weeks about students’ learning processes and motivation using these videos. I used a variety of data collection methods such as:
Field observations of students’ behaviours (tracked weekly)
YouTube Analytics of the customised tutorial videos which gave videospecific information (e.g. total views, audience retention)
Pre-post surveys Informal feedback from students Focus Group interviews with selected students after the module was over
CURRICULUM DESIGN
Outline and Schedule
Term (T) / Week (W) Outline of Lesson Activities Research Rationale/ Action
T2W1 Students (grouped by Teacher) chose their songs Assumption: Students will choose songs that both motivate them & most likely pitched to their learning ability
Pre-module survey conducted
T2W2 Students practice targeted chord changes in their groups
T2W3 Students practice songs in their groups
Edits to tutorials were made based on informal feedback from students
T2W4 Mini presentation + continued practice Mid-point self-assessment for students
T2W5 Students practice songs based on the feedback More edits to tutorials were made based on informal feedback from students
In term 1 week 10, students had a preliminary guitar assessment, where they got into friendship groups of three to five and were tasked to play one chord per person. There was no chord changing involved, but even then, some students found it difficult to get the chord fingering right, or to play on time. Based on the preliminary guitar assessment, I decided to group the students for term 2 into similar ability groups. These groups were then tasked to choose songs. I then made and refined guitar tutorials for them each week to target different areas of practice. During lessons, each group had two iPads where they would share for their practice time. I moved around to help different groups. Students were then eventually assessed in term 2 week 6.
Grouping of Students and Song Choice
I initially arranged the class into six groups according to their progress (see above). Students chose songs that matched their progress. Two lower progress groups chose Sunflower, a 3-chord song. The last lower progress group chose Can’t Lie, a 4-chord song. The middle progress groups chose 7 rings and Girls Like You (4-chord songs). The high progress group chose Qing Fei De Yi, a 6-chord song.
Eventually, over the term, there were some shifts in grouping due to challenges in working together, but the groups did not change any of the songs they chose. The later arrangements shifted closer towards “friendship groups”; however, there were no changes in the choice of song for all groups. This seemed to suggest that group dynamics and friendships, rather than the choice of song, may play more significant roles in the students’ motivation to learn.
Differentiation
In designing the tutorials and the task, I differentiated the “Content” and “Process’. Chords and strumming patterns were differentiated according to the song they chose. The videos for different groups were also scaffolded differently. They varied in the number of visual prompts and explanation, as well as guided practice in each video. There is no differentiation to “Product” as all students are expected to participate and perform in group performances at the end of the module.
FINDINGS
Pausing the videos for practice
Based on my field observations, I noticed that students will pause the videos at selected scenes (for example, scenes that featured chord charts or positions of fingers on the guitar fretboard) to practice on their guitars. Students mentioned that,
“[I would] see the video, then I put my finger [on the guitar fretboard] then I play… ya I pause so that I can that one [position fingers on fretboard] lah…”
“We practice half, then we stop [pause] the video…”
They also stopped the video to find more information that was not contained in my videos, such as song lyrics.
do students use tutorial videos to learn?
Coaching one another
There were usually one or two students in every group who were off-task in keeping up with watching the videos. However, I noticed that the other students would coach the slower students. They also broke up into smaller sub-groups to practise.
Choosing to watch (and re-watch) certain parts of the videos
Shorter tutorial videos have better retention rates than longer ones. The Youtube Analytics screenshot below compares the retention rates7 of a short tutorial video (98.3%) against a longer one (26.5%).
The video on the right was the refined video after students’ feedback that they preferred not to have chord charts. The latter video was longer and included rounds of chord-change practice.
“Sunflower chords take 1” was a short video (2 min 54 sec) as compared to “Sunflower chords take 2” (12 min 43 sec) which included more elaboration (e.g. rounds of chord change practices) after taking into account students’ feedback.
Even though the longer video had a low retention rate of 26% (as compared to 98% for the short video), the view count was twice as high (18 as compared to 9).
The average view duration for the longer video was also higher at 3 min 22 sec (as compared to 2 min 51 sec for the short one).
This meant that the students were aware of the parts they needed to watch and skipped to these without watching the longer video in entirety. The higher view count and duration also suggest that they rewatched these parts.
Sense of improvement
Students cited “When I feel that I am improving” as the top factor that motivated them to practise. It was surprising to me because this ranked higher than “Playing with my friends” (which was the second-ranked factor).
This suggests that the students are intrinsically motivated. A personal sense of achievement could potentially motivate them more significantly as compared with the fun of practising with friends. This was echoed by a student who said,
“I want to pass. I don’t want to fail”.
The choice of song also contributed to students’ desire to improve, with one student saying that
“[there is a desire to do well] because I feel like this song is nice and we like the song”.
Group dynamics and friendship
Friendship plays a large part in shaping students’ motivation. One student, suggesting that friends tended to be more patient and forgiving of mistakes when practising music, said
“With our own friends, we play [wrongly or make mistakes] also what they will wait for us.”
Based on my observations, if more members are motivated, generally there is less off-task behaviour within the group. Students seem to be easily distracted by the behaviours of their group members, especially if they were not close friends to begin with. One student mentioned,
“Ya. No motivation. We not close [as friends], they [other group members who were friends to begin with] also will talk among themselves. We like blur.”
As such, groups with challenging group dynamics generally practised less together. Consequently, some groups eventually morphed into friendship groups after various quarrels and became mixed ability groups.
There are two questions about the design of the videos in the post-module survey.
1. What features would you like to see in the guitar tutorials made by Ms Soh?
2. How can Ms Soh improve on the guitar tutorials to help you learn better?
This is a word cloud generated from the students’ responses:
Inquiry Quesion 2
What affects students’ motivation in their learning through tutorial videos?
7 According to Youtube, a video’s retention refers to the average duration of the video that viewers watched, expressed in percentage terms. For example, if the retention of a 2-minute video was 50%, the average duration of the video that viewers watched was 1 minute. (Source: https://www.support.google.com/youtube/ answer/1715160?hl=en)
Generally, most students still want the videos to be even slower, despite being able to slow it down on YouTube. I believe what students meant by “slower” was both a slower tempo and more scaffolding.
Inquiry Quesion 3
How can the differentiated tutorial videos be refined?
Sunflower chords take 1 Sunflower chords take 2
DISCUSSION:
VIDEO TUTORIALS AS TOOLS FOR DIFFERENTIATED INSTRUCTION
There is a general marked progress in most students’ guitar-playing. Within six weeks, they progressed largely from struggling with playing single chords to being able to play and change chords along to the song. They were able to articulate what parts of guitarplaying they struggled with more and comment on what they have improved.
The video tutorials allowed the teacher to cater to a wide variance in motivation and ability. By allowing students’ to choose their own songs and varying the level of scaffolding, students with higher readiness were not bored in class, whilst students with lower readiness felt more supported in their learning. Because the videos were customised to each group, it allowed the process to be scaffolded to meet a range of needs, possibly even accommodate students with special education needs.
The limitation of using video tutorials for differentiated instruction is that it does not address the affect of the student directly. Whilst the videos can encourage learning, it does not directly help to motivate students. Students who are less motivated, tend to remain less motivated. Progress often still feels slow and difficult.
CONCLUSION
From my project, I gained a better understanding of how my students used video tutorials for their learning. Students appreciated the control over the pace of learning as they could pause the videos as required –to practice, to coach one another or to re-watch certain useful portions.
I was also surprised and encouraged that my students were motivated by an intrinsic sense of wanting to improve, in addition to getting opportunities to play with their friends.
REFERENCE
Benefits Limitations
Marked improvement in many students’ progress in terms of guitar playing
Does not address the affect (e.g. nurturing a spirit of a learning community) of students directly
Caters to the wide variance of motivation and ability in the class through scaffolding
Finally, the videos can be better designed to cater to their needs. For example, some students may require more visual cues in the videos and subtitling, whereas others find it distracting. Finding the sweet spot to meet multiple needs is something that still needs more study.
Based on my findings, here are some recommendations that teachers looking to provide differentiated guitar instruction through videos may find useful:
1. Keep videos short as shorter videos have better retention rates than longer videos. The short videos can be further organised into a playlist.
2. A split screen could be used to capture different visual perspectives of the guitar.
3. The tutorials could be produced with options to be played at various speeds.
4. Relevant information (e.g. song lyrics and chords) could be embedded within the tutorials so that students need not spend time looking for them in other places.
5. Teachers need to consider how to foster positive classroom culture (e.g. nurturing a spirit as a learning community) as well as understand students’ motivation which may entail empowering them to selfdirect their own learning with the right resources. These are equally important factors to consider in facilitating Differentiated Instruction.
ICT as Enabler: Fact or Fiction?
Tabitha Vicky Rajaratnam | Riverside Secondary School
INTRODUCTION
The aim of my inquiry is to use technology to improve engagement and inclusion with the NT music class.
Why? First, it has to do with my experiences with my NT classes
I struggled in trying to teach them with their short attention spans and tendencies to give up easily when it came to something that needed a longer commitment such as instrumental learning—which I tended to do quite a bit of.
In Riverside, the kids learn the keyboard and guitar with a bit of cajon. It allows them choice in Secondary 2 to focus on an instrument and perform in a pop band setting. With my NT kids, I had this constant struggle of trying to get them to perform. Their self-efficacy issues, their perceptions of their worth, and their tendency to compare themselves to the other supposedly “better” streams was something I really wanted to help them overcome through Music.
So, I decided to try out ICT this year as a way of providing access to them, to help them overcome whatever barriers they had in their heads so as to lead to some sort of levelling between streams and eventually lead to social cohesion as they experienced increased self-worth from this access and the possibility to succeed too.
MY CURRICULUM
In term 2, I embarked on an iPad soundscape project with the kids. It began with bite-sized tasks of trying out an app per week to create a soundscape to suit a particular emotion (e.g. happy, sad or angry). The kids worked in pairs to create a 30-sec animation on powerpoint with an accompanying soundscape using iPad apps. The animation, with the music, was to convey their perspective of one aspect of Singapore’s diversity.
We explored 1 app per week for 3 weeks. Students worked in pairs on bite-sized tasks of creating a soundscape to convey particular emotions like happy, sad or angry. I used Regardless of Class, a documentary by Channel News Asia that explored issues of social diversity and harmony in Singapore’s context, to help students make connections and better understand the term diversity
Students worked with a partner of their choice to create a 30-second PPT animation with an accompanying soundscape.
Fig 1: Overview of iPad Soundscape Project
Unpacking of theme using CNA’s ‘Regardless of Class’
Creating PPT animation with accompanying soundscape Trialing of apps
At a Glance – Benefits and Limitations of Video tutorials as tools for DI
Tomlinson, C., & Strickland, C. (2005). Differentiation in Practice: A Resource Guide for Differentiating Curriculum, Grades 9-12. Alexandria: Association for Supervision and Curriculum Development.
In Term 3, the class embarked on a 4-5 week keyboard module. I used videos tutorials from “Little Kids Rock” (www.littlekidsrock.org), a music education website with some free resources, to teach the keyboard. The visual effect was very clear as students could see the chord diagrams as well as the actual keyboard and demonstrations given. The presenter in the video gave instructions, paused for the kids to try what he had demonstrated and then went on to play along with a backing track. He gave variations as well for those who were faster so that students did not get bored, but made sure to emphasise the bare minimum that students should be able to accomplish during that particular video. Term 3 Keyboard lessons using
METHODOLOGY
FINDINGS
The bite-sized tasks where the kids created one soundscape per week were actually amazing. I had never seen ALL forty-one of my 1/1 kids actually doing what they were supposed to be doing ALL AT THE SAME TIME. I mean, sometimes one bad day with this class can make me question my career choice but this time...I had students wanting to show their work to the class. The class actually paid attention and showed appreciation instead of the unpleasant remarks I often hear exchanged between them!
For me, the best part of this whole process was seeing this class of mine engaged and progressing week to week from 2-chord songs to 3-chord songs and about half managing the 4-chord songs by the 4th week! The success levels were really high as compared to when I used to teach without such videos in the past. I had moved from notes on the staff initially to chord diagram worksheets for them to shade in so that it was more visual and hands-on to buying this huge poster keyboard to label the notes and do my (soundless) demonstrations on. But nothing accomplished success at this fast a rate especially so with my NT kids. Naturally, experiencing this success would bring out praise a lot more easily. And the kids were a lot more responsive to the need for silence in order to continue with the lesson as they were engaged and excited about it! And I, being more comfortable and experienced with teaching the keyboard, could have also played a part in how well I am able to teach it as compared to digital music on the iPad. But through this additional ICT resource that was so well done, I felt like it helped me multiply myself! I could go around and facilitate, praise kids for their progress, appoint some to check on the others, motivate the couple of them who were lagging behind or in a particular mood that day. It was quite affirming.
My pre-post questionnaire sought to understand:
Students’ sense of belonging to class & school
Students’ sense of respect for themself and for one another, in & outside the music classroom
Students’ ability to work with and include one another
Students’ preference for the module (Dikir Barat, Digital Music Creation, Keyboard, Guitar) they have experienced
On the whole, everything seemed to have worsened except how well students felt they worked together with their classmates during music lessons.
Observation of Term 3 Keyboard Lessons using video tutorials
Fig 2: Class working on bite-sized tasks What do students think?
Note: The chart reports the mean ratings of 30 students on a 4-point likert scale (1 being strongly disagree; 4 being strongly agree)
Fig 3: Pre-Post Questionnaire Findings
Better understanding of students’ home situations
That levels of mutual respect between classmates went down and yet their perceived ability to work together increased, did not seem to make sense to me at first. However, there is a possibility that the teacher factor or systems and routines put in place in the music classroom enabled students to work well together even if they do not really like or respect one another.
Students’ levels of respect for one another also took a dip both within and beyond music lesson. However, the dip for respect for one another in music class was less compared to outside the music lesson, suggesting that perhaps, my efforts to use positive language and time spent on values inculcation through pep talks as a class and on individual levels might have helped. After all, the class had such little time in Music compared to the rest of their subjects and school experiences.
MY “AHA” MOMENTS
(1) Bite-sized tasks
With the iPad module, bite-sized tasks were the key! This really served as a great way to keep the students engaged as the task was more manageable, enabling them to experience success sooner. Being able to showcase their work with some immediacy also seemed to propel them forward. The pride they felt increased their own selfworth and self-efficacy and the appreciation they showed for one another created shared positive experiences, helping to build social cohesion.
(2) Use of technology as audio-visual resource in a structured way
(3) ICT builds on other good pedagogical practices
ICT use builds on other good pedagogical practices. Here are some which I found especially helpful with my NT class.
Attention routines (e.g. using a gong to signal for their attention)
Preparing the environment (e.g. structured seating arrangements)
(4) The Human Touch
Finally, even with the best use of ICT in the world, nothing can negate the importance of the human touch which we as teachers MUST prioritise through:
Better understanding of students’ preferences
A student shared that he could sense his classmates respecting one another less as the year passed due to friendship matters, highlighting the importance of peer relationships in the cooperation levels in class. He was also pretty insightful and empathetic towards one of the more trouble-giving kids (not during music) who was coping with recent parental divorce. Having had further conversations with the form teachers of the class informally, I realised quite a number of the so-called trouble-making kids do have difficult home situations. This increased my own empathy levels as their teacher while being all the more aware of the need for individualised attention for many of these kids.
Finally, when asked about their most and least enjoyed modules in music, here is a collation of their responses. The data reflects a diversity of preferences within the class! The implication is that there is a need to ensure this diversity is catered for in our planning of our curriculum! Not simply for the sake of “student choice” but to ensure we do not privilege some interests and abilities over others, including our own! By ensuring this, we can also help students better appreciate one another’s different strengths as they go through the various modules. Not to mention, upgrade our skills and enrich our own musical experiences and understandings.
Fig 5: Comparison of preferences of modules
The videos used in the keyboard module greatly enabled the students to execute the task, by giving very clear demonstrations in multiple ways visually and aurally. The videos also allowed students to play along with it and a backing track and provided ample time for students to try till they succeeded. Having such a clear reference point, students were able to self-assess and also help their friends. I could also confidently and more easily appoint students to help one another which thus promoted inclusion. As a teacher, I could then be freed up to go around appointing such students as well as helping those who are really struggling. Overall, this saw students experiencing success and everything else that comes with it!
CONCLUSION
PRAISE: feedback about even seemingly small accomplishments.
TIME: our pep talks with relatable content
STAYING POSITIVE: patiently guiding them and paying attention to our use of language
And creating opportunities for all!
This is something really wonderful about our subject that is so diverse in itself. It allows for SO many possibilities -- as many as we care to open ourselves to. So I do not regret exploring ways and means to create a diverse curriculum to cater to my diverse students and fine-tuning my practices to fully develop their potential, no matter the starting point as I never know where it could lead!
From a focus on ICT to focusing on Teacher’s role
I had assumed that using ICT would lead students to experience greater success and help them gain self-esteem, efficacy, lead to more respect for one another and have better social cohesion as a whole class. I instead discovered the great diversities they perceived exist will continue to divide them.
Hence, rather than asking if “ICT is an enabler: fact or fiction”? Perhaps the more important question is “I, the teacher, am an enabler: fact or fiction”?
Fig 4: Comparison of mean rating of mutual respect in and outside of music class
