Editorial
2020 has been a challenging yet fruitful year as we glean several important insights of ourselves. We, as music educators, are agile and imaginative to adapt to changes in our environment and overcome restrictions in our classrooms. We have picked up new competencies in technologies to teach, assess and facilitate learning in ways we would never imagine. We have also re-discovered the role of music in the various music videos we made with our peers and our students, to comfort those who are in need and to encourage each other.
2020 ended on a high note for most of us at the e-Arts Education Conference where we gathered virtually to learn, to share and re-imagine how learning and teaching can take place in our
music classrooms in 2021 from pedagogues, academics and fellow arts educators.
In this issue, we would like to consolidate the key learnings from the conference and also hear from our peers what their key take-aways and aspirations in 2021 are. We know that in 2021, we will emerge even stronger as a fraternity as we leverage our collective imagination to continue exploring different possibilities in our music classrooms together.
Here is wishing you a great year ahead musicking with your students.
James
Lee
Deputy Director,
Music (till Dec 2020) Singapore Teachers’ Academy for the aRts
An Overview of e-AEC 2020
A gathering of arts educators who shared, exchanged, and co-created new ideas and possibilities for arts education.
Since 2013, the biennial Arts Education Conference (AEC) has been a key national professional learning platform for arts educators. With the onset of COVID-19, the original one-day face-to-face conference was reformatted to be held on an electronic platform over two afternoons, 10 and 11 November 2020. Despite encountering different challenges along the way, the fraternity rallied together and
successfully pushed boundaries by exploring creative alternatives to organise and participate in an e-conference. Having garnered valuable lessons from facilitating Home-Based Learning and Blended Learning, this e-conference was also a timely opportunity for teachers to discuss and consolidate innovative teaching practices, as well as engage with local and overseas thought leaders.
Members of the e-AEC 2020 Team and Artist Hilmi Johandi
e-AEC 2020, co-organised by the Singapore Teachers’ Academy for the aRts (STAR) and Arts Education Branch (AEB) saw a record turnout of 1500 participants, comprising school leaders, teachers, and representatives from our arts partners. Themed Arts for the Future: Imagining Possibilities, the conference was graced by Minister for Education, Mr Lawrence Wong. Art, Dance, Drama, and Music educators gathered online to collaborate, co-create possibilities for teaching and learning, and share
STRAND 1
Diversity in Practice
How might arts educators harness the power of arts engagement to prime learners in navigating and creating new meaning from a diversity of viewpoints?
knowledge and pedagogical expertise with each other, reiterating our belief in the integral role of arts education in developing our students holistically and shaping the future of Singapore. Based on the three conference strands: “Diversity in Practice”, “Arts as Lived Experiences”, and “Transformation through Creativity and Innovation”, arts educators explored a wide range of ideas and perspectives in relation to designing authentic and engaging arts learning experiences for students.
Unlike conventional on-site conferences, attendees participated in the conference proceedings by accessing a dedicated website, which served as a central repository of all live-streamed addresses, discussions, and masterclasses, as well as pre-recorded presentations and mini-arts experiences. The absence of in-person attendance was a different, yet exciting and memorable experience for both presenters and members of the audience. Without regular and instant access to others’ facial and bodily expressions, the types of engagement
01 Monitoring the rehearsals for conference sessions
02 Our emcee for e-AEC 2020, Marianne Woo
03 Teachers designed “Do Not Disturb” e-AEC 2020 door hangers, as part of a pre-conference arts activity
04 Soundcheck for Music Masterclass 1
STRAND 2 Arts as Lived Experiences
How does artistic expression serve as a space for teachers to guide students in forging identity and values, as well as a mode for learning about culture, heritage, and society?
Transformation through Creativity and Innovation
Besides tried-and-tested ideas and best practices, what else? What are some creative teaching possibilities that arts educators can explore? STRAND 3
01 STAR Colleagues with Musicians
Raghavendran
Rajasekaran, Riduan Zalani, and Rachma Lim
02 A monitor that shows what participants would see on the e-AEC 2020 website
03 Teacherpresenters worked tirelessly to prepare and refine their online presentations
in an online environment were markedly different from that of face-to-face communication.
Under these unique circumstances, participants embraced this paradigm shift in our modes of interaction with great courage and creativity, exploring different ways to communicate ideas, facilitate participation over video conferencing platforms, and show our appreciation for each other.
As we look to the future, physical and social conditions, teachers’
pedagogies, students’ aspirations and interests will continue to evolve. Likewise, existing practices will need to be re-examined and re-formulated to develop new ways of teaching and learning. Even as all educators continue to negotiate the many changes and new understandings, e-AEC 2020 has exemplified and reinforced how professional collaboration can give rise to new ideas, perspectives, and practices, which will in turn inspire teachers to uncover fresh possibilities for students’ learning. By tapping on the collective imaginative capacities of the arts fraternity, teachers will build a sustainable and transformative community that is ready to acquire new skills to meet the changing needs of our students.
Creating Authentic Learning Experiences
How does arts education develop students holistically and prepare them for the future?
discipline and teamwork, connect and forge shared memories with peers from different backgrounds.
Developing Caring and Resilient Individuals
Minister for Education, Mr Lawrence Wong, delivering his opening address for e-AEC 2020
Click here to watch the Opening Address by Minister for Education, Mr Lawrence Wong.
In his opening address for e-AEC 2020, Minister for Education, Mr Lawrence Wong, emphasised that education is not just about “filling a pail”, or solely about cognitive learning. It is also about igniting in our students the joy of learning and developing in them 21st century competencies – important life skills, social, and emotional competencies that will help them address current challenges and navigate future uncertainties with resilience and hope. He shared how the arts provide platforms for students to pursue their passions and showcase their talents, instil values of
The arts speak to our intrinsic human need for self-expression, which can also be harnessed to transform and impact our personal lives and the community. Apart from acquiring the skills and perseverance required to perform various artistic processes, students also learn to adopt multiple perspectives on various social issues, challenge misconceptions and stereotypes, and discover more about the world we live in through arts experiences.
During the COVID-19 pandemic, many of us turned to the arts for comfort and enjoyment. Several arts teachers also saw a teaching moment in this crisis, and created opportunities for students to express their gratitude for our frontline workers, inspire hope, and spread positivity through various arts activities. For art lessons, students sewed masks and designed poster-cards as part of care packages to convey their appreciation and
support for our healthcare workers. Music teachers guided students in composing songs and producing music videos to encourage all frontline workers and to rally Singaporeans in the fight against COVID-19. Such projects have enabled our students to experience and appreciate how the affective power of the arts can uplift spirits and connect people of diverse backgrounds with each other.
Encouraging Interdisciplinary Learning and Authentic Learning Experiences
Just as our world does not exist in clearly defined compartments, teachers should facilitate learning that cuts across multiple disciplines and avoid looking at individual subjects in silos. In schools, there are many opportunities for students to engage in interdisciplinary learning, which connects to the students’ lived experiences. Authentic learning experiences will help students to see the relevance of their learning activities, while developing their
ability to adapt and thrive in different contexts.
Nurturing a Spirit of Teacher-led Collaboration
Collaboration is fundamental to augmentation and innovation. During full home-based learning, teachers readily shared their resources and lesson ideas with each other. From initiating the sharing of lesson plans to providing encouragement and feedback, the arts fraternity tapped on online learning communities such as subject-specific Facebook groups to contribute and obtain ideas, to seek feedback and suggestions. For instance, music teachers shared technological platforms and best practices for colleagues to facilitate online music rehearsals and performances more effectively.
Arts educators must continue to develop their professional skills and think of new and innovative ways through which the arts can contribute to the holistic development of our students. To facilitate authentic learning experiences that encourage students to exercise creativity, critical thinking, and problem-solving skills, teachers should continuously review existing practices and explore new possibilities. By sharing and exchanging ideas with one another, the fraternity as a whole will learn and be inspired by various best practices to enrich students’ learning.
Nurturing 21st Century Competencies
How might arts educators create more opportunities for students to develop and demonstrate 21st century competencies?
Maximising Teachable Moments
Director-General of Education, Mr Wong Siew Hoong, delivering his welcome address for e-AEC 2020
In his opening speech, DirectorGeneral of Education Mr Wong Siew Hoong spoke about the prime opportunities that art education classes present in the holistic development of students. Arts lessons also provide platforms for students to develop traits and dispositions like determination, perseverance, tenacity, a desire for excellence, a positive attitude, and exercise critical and creative thinking.
Mr Wong encouraged all teachers to be more deliberate and intentional in planning and designing teachable moments to catalyse students’ development of various 21st century competencies. Arts education encompasses more than processes to equip students with skills to perform and express themselves through the arts. Even as arts educators continue to master different engaging pedagogies to help students participate in deep disciplinary learning, hone their artistic capacities, and heighten their appreciation for the aesthetics (e.g. colours, sizes, shapes, and beauty), the arts also offer numerous opportunities for students to collaborate with each other.
For instance, students can experience and understand the importance of effective teamwork during arts-based lessons and CCAs. When performing in a group, ensemble, band, or orchestra, students learn to harmonise, play on the beat, and follow the conductor, in order to create beautiful music. Click here to watch the Welcome Address by Director-General of Education, Mr Wong Siew Hoong.
Similarly, students involved in dance or drama productions would recognise that co-ordination and communication are key to delivering successful performances on stage.
Innovating as a Fraternity
In a Volatile, Uncertain, Complex and Ambiguous (VUCA) world, arts educators must continue to innovate and think deeply about how arts education should evolve to prepare our students for the future. During the Circuit Breaker period, many arts educators found creative ways for teaching and learning to carry on, despite the disruptive circumstances. When face-to-face lessons in school resumed, the fraternity quickly adapted to the implementation of safety management measures and
found alternative ways to facilitate meaningful learning experiences safely, if their original plans were no longer feasible. Our teachers’ adaptability and resourcefulness will directly influence the quality of our students’ learning, as we continue to navigate the changes brought about by COVID-19.
As the fraternity forges on towards blended learning, Personalised Digital Learning Programmes in schools, and Full Subject-Based Banding, there will be exciting opportunities for teachers to experiment with cutting-edge technologies and pedagogies. Through collective endeavor, innovation, and professional growth, all teachers will be better equipped to “bring our students into the future with the confidence and competencies that will enable them to thrive in one of the most challenging worlds that they will inherit.”
The Arts, Vulnerability, and Resilience
In times of global upheavals, economic uncertainties, or major social movements, what are the changing contexts, implications, and opportunities for the arts in schools? This section revisits the key ideas presented by Keynote Speaker I, Ms Yvonne Tham, for our further contemplation and refection.
Arts and our Community
Ms Yvonne Tham, Chief Executive Officer, The Esplanade Company Ltd, Keynote Speaker I at e-AEC 2020
Click here to watch the Keynote by Ms Yvonne Tham.
Ms Yvonne Tham observed that there has been much discourse about the notion of socially engaged arts in the last ten years. Amidst the widespread adoption of austerity measures around the world, reviews to arts budgets have inevitably led to debates about the relevance and impact of the arts in society. Although we instinctively believe that the arts are essential parts of our existence as human beings, others might struggle to appreciate how the arts relate to people’s personal, civic, and professional lives. Consequently, there is now “a huge desire for artists to reinforce their relationships with the communities
and societies in which they lived”. While artists have always engaged social issues and practices in their work, more are increasingly willing to partner with government and social sector organisations to take their art forms and negotiation of complex societal topics right into the heart of the community.
In schools, arts education has the potential to offer far more than just cultural exposure, or simply “art for art’s sake”. Beyond the teaching of discrete artistic skills, how can we connect our lessons with the broader context of our students’ lives, empowering them to discuss wider issues of different cultures, address their struggles, fears, concerns, and pursue aspirations?
The artistic process can also instil incredible resilience to overcome such struggles and compel us to empathise with others.
Overcoming Vulnerabilities
The arts provide powerful and accessible platforms for us to communicate our personal stories and relate to the experiences of others in ways that language may not enable. The ability to look inwards and make connections between our experiences, observations, and somewhat distanced expressions through various art forms allows us to address difficult issues from within a safe space.
In the music classroom, there are abundant opportunities for educators to help the younger generation express themselves, listen to what others are expressing, and thereby forge new connections and takeaways across a wide spectrum of issues through musical experiences. Apart from offering an avenue to acknowledge and come to terms with the issues we encounter in our daily lives, the artistic process can also instil incredible resilience to overcome such struggles and compel us to empathise with others.
For example, Ms Tham shared that Esplanade has mentored youths from the Singapore Girls’ Home since 2016, helping them to examine deeply and ultimately overcome the hurt that they previously experienced in their lives through songwriting and music composition. At the end of the project, the youths would perform their songs for each other, and sometimes in the presence of the people who had hurt them the most.
Even if students do not eventually choose to pursue the arts in their career paths, the experiences gleaned from arts lessons can
Click here to find out more about Esplanade’s Songwriting for Hope programme, which seeks to provide vulnerable youths the opportunity for deeper engagement through songwriting as a form of creative expression, with the aim of turning their crises into hope.
prepare them to think, empathise, talk maturely about social issues, deal with weakness, and cope with the challenges that they will continue to face in the future.
Appreciating Identities and Diversities
Given the cultural vibrance of Asia in recent years, to what extent are we embracing and exposing students to the cultural traditions, stories, and arts content from our region in the classroom? Ms Tham suggested that by introducing the stories of Asia to students, educators are in fact helping them to connect with the realities of life in Singapore, considering how cosmopolitan the country is today.
Students will also be equipped to develop deeper awareness and relationships with the people that they live and interact with on a daily basis, be it their fellow classmates, teachers, domestic helpers, or workers in the service industry, who could hail from different backgrounds. When we recognise diversity, we are better able to make connections
and work towards appreciating both similarities and differences with others.
Embracing Digitalisation
Students will also be equipped to develop deeper awareness and relationships with the people that they live and interact with on a daily basis.
COVID-19 has hastened the elevation of the digital realm to the forefront of daily life. It is critical for teachers to inculcate values such as respect, in tandem with other socio-emotional competencies and artistic skills, to teach students to exercise responsible online behaviour as they navigate digital spaces. While digitalisation continues to redefine teaching, learning, and engagement in arts experiences, we should not fear the unknown and potential drawbacks, but instead encourage each other to explore new practice possibilities.
Participatory Creativity and the Arts: Provoking New Perspectives for the Future
How can educators facilitate the creative process in the classroom?
This section revisits the key ideas presented by Keynote Speaker II, Dr Edward P. Clapp, who provided a counter-narrative to traditional, individual-based understandings of creativity.
The Concept of Participatory Creativity
Dr Edward P. Clapp, Principal Investigator, Project Zero, Harvard Graduate School of Education, Keynote Speaker II at e-AEC 2020
Click here to watch the Keynote by Dr Edward P. Clapp.
“When innovation takes place in our deeply connected, interdependent world, it is almost always the result of the collaborative efforts and insights of a variety of individuals.” During his keynote address, Dr Edward P. Clapp introduced the concept of participatory creativity, which is a radical framing of invention and innovation as an educational experience students participate in, rather than attributes associated with an individual. He defined creativity as a “distributed process of idea development that takes place over time, and incorporates the unique
contributions of a diverse network of actors”. To expound on this concept, he shared about the narrative strands of creative theory by Vlad P. Glăveanu, a creativity researcher at Webster University Geneva.
1) ‘He’ Narrative
This narrative mythologises the ability to “achieve” creativity, identifying and situating creative icons as eminent figures who are superior and somewhat “out of reach”.
Creativity is not necessarily an individual capacity. It is something that is situated in a social space, where many people participate in simultaneously.
2) ‘I’ Narrative
Any individual can be creative in his/her own unique and special way.
3) ‘We’ Narrative
Creativity is not necessarily an individual capacity. It is something that is situated in a social space, where many people participate in simultaneously. In other words, it is ideas that are creative, and not people, processes, or products.
There are several implications when we shift our perspective of creativity from ‘He’, to ‘I’, and ultimately to ‘We’. In particular, the emphasis is no longer on the individual(s), but on the idea(s). Dr Clapp went on to suggest that “we are always collaborating with others, even when we appear to be working individually”, because we might be using tools and materials invented by others, or simply influenced by our predecessors in many different ways. When we investigate how creative ideas develop, we might also begin to discover and appreciate how various individuals make different contributions to the generation and evolution of these ideas over time. As contributors, each individual’s role is “neither fixed, nor unidimensional”.
Overcoming the Eight Barriers to Access and Equity in the Creative Classroom
To make creative learning experiences more accessible and inclusive, Dr Clapp highlighted eight barriers that had to be circumvented.
1. The misconception that “some people are more creative than others”.
2. The “I’m just not a creative person” syndrome.
3. Narrow definitions of creativity, which privilege and overlook certain ways of making meaning or certain cognitive capacities.
4. Denying people the opportunity to create and invent with others.
5. Adopting an individual approach to creativity and innovation
6. Power imbalances in learning environments, which could result in socially and culturally charged notions of what creativity is, and what creative curricula would look like.
7. Misalignment of identity in the representation of creative icons (e.g. based on class, race).
8. Unequal access to creative teaching and learning experiences.
Analytical Extension
Do any of these barriers exist in our classrooms? How might we overcome these to avoid impeding the creative process?
Educators
would have to create opportunities for students to draw on their diferent background experiences, strengths, interests, and perspectives, which they would naturally bring to the classroom every day.
Guarding against Groupthink
In group settings, how do we ensure that the critical discussion and evaluation of different opinions take precedence over a potential inclination towards conformity? Dr Clapp explained that educators would have to create opportunities for students to draw on their different background experiences, strengths, interests, and perspectives, which they would naturally bring to the classroom every day. By doing so, students could participate in different capacities, contributing meaningfully in their own unique and special ways.
Analytical Extension
How can we create opportunities and provide multiple pathways for students to engage in participatory creativity during music lessons?
Cultural Expressions: Creative, Collaborative Music-Making with Artistic Perspectives
How can music educators facilitate musical creation and collaboration, drawing upon students’ diverse ideas and insights, developing their musical identities, creative voices, and a joy for learning?
From Left to Right: Mr Raghavendran Rajasekaran, Ms Rachma Lim, and Mr Riduan Zalani
Click here to watch the Masterclass by Mr Riduan Zalani.
In his masterclass, Mr Riduan Zalani shared some of his considerations and strategies when engaging in musical creation and collaboration, and demonstrated how music educators could introduce some of these principles and processes in their respective contexts. Together with his fellow musicians Mr Raghavendran Rajasekaran (Indian Classical Flautist) and Ms Rachma Lim (Jazz Pianist), Riduan gave musical illustrations of various stages in the creative and collaborative process through a rendition of Munnaeru Vaalibaa
Understanding the Instrument(s)’ Capabilities
Riduan emphasised the importance of understanding the capabilities of our instruments, in order for us to discover and maximise the creative possibilities of our performance. By developing a deeper understanding of the musical materials that we have, we are better equipped to breathe new musical expressions and forge new musical styles when collaborating with others.
For instance, an instrument’s capabilities could encompass the different tones that it is able to produce. To explore the low and high tones of the rebana, a Malay drum, Riduan introduced the Inang rhythmic pattern, which is commonly found in Southeast Asian music.
comfortable with”. Thereafter, the collaborative process thrives when active and open conversations are held, enabling all musicians to “ride with the flow and feed off each other’s energies” during their discussions and musical experimentation.
When crafting their interpretation of Munnaeru Vaalibaa, Riduan initially suggested the inclusion of a rhythmic layer, based on the Joget rhythmic pattern (in the equivalent of 6/8 meter).
In the classroom, the low and high tones could be replicated using body percussion. A low tone could be produced via a foot stomp, or by tapping one’s upper chest with a palm, while a high tone could be produced by performing a fingers-to-palm clap, or by a tap on the lap. As Riduan demonstrated, body percussion routines are useful to help students explore the wide spectrum of sounds that the body can produce, ranging from a variety of claps, to finger snaps and foot stomps. These body percussion routines can also be used to mimic drumming patterns.
Exploring Possibilities
Collaboratively to Create Musical Variety
To incorporate one’s personal ideas into the music, one must firstly “find repertoire that he/she feels
In response to Raghavendran’s recommendation to “inject more fun into the music”, both musicians decided to create another rhythmic pattern based on an irregular meter.
Subsequently, Rachma also included elements of Jazz improvisation, which further contributed to the creation of a culturally diverse and rhythmically intricate rendition of Munnaeru Vaalibaa.
Figure 2: Joget rhythm (O – Low tone; X – High tone)
Figure 3: Rhythmic Pattern in 5/8 meter (O – Low tone; X – High tone)
Figure 1: Inang rhythm (O – Low tone; X – High tone)
Another key aspect of musical collaboration is the need for teachers to heighten students’ awareness and sensitivities to diferent cultural and stylistic traits.
In the classroom, each student would possess unique musical backgrounds and preferences. As such, another key aspect of musical collaboration is the need for teachers to heighten students’ awareness and sensitivities to different cultural and stylistic traits. Riduan stressed that performances should not be dictated by the origins and traditions of a piece of music. Instead, students should feel free to explore different ideas and directions with sensitivity and openness, leaving the music-making process fluid and organic to create variety and realise the full musical potential of any collaboration.
“As I attended this masterclass, the collaborative effort by the musicians was a personal highlight, not just because they presented a seamless performance, but because it redefined the learning experience as a process which students could undertake… I could see participatory creativity unfold from a musicking perspective as musicians from distinctly different cultures collaborated to give rise to new possibilities in which music could be experienced and understood.”
Martin Cheah, Senior Teacher (Music), North Spring Primary School
Riduan performing on the cajon and rebana
“It was mind-blowing to witness how Riduan facilitated the performance of a traditional folksong through different styles, based on the musicians’ diverse musical backgrounds. I was intrigued when watching and listening to how the traditional folksong transformed with the use of jazz harmonies on the piano, and interesting percussive rhythms. Even more impressive was that this was done through simple tweaks arising from short discussions amongst the musicians, bringing about a new identity of the song as they explored and tried new ideas spontaneously.
The masterclass provided some important reminders for me. As a facilitator in the music classroom, I should embrace the voices of all students and believe that each student has something to offer as
Analytical Extension
How can we create a classroom environment that allows musical collaboration to thrive?
a musician…Teachers play an important role in helping our students grow, by first acknowledging that our students are unique individuals.
In addition, I want to be more deliberate and intentional in creating opportunities for students to brainstorm and discuss ideas, to share their personal creative voices, and to give them the space to try out their musical ideas…This could be achieved through more open-ended discussions for students to share their inspirations at various stages of the musical process, instead of an over-emphasis on evaluating final musical products.”
Tan Xi Ling, Music Teacher, Outram Secondary School
Jaques-Dalcroze Education – A Practice in the Art of Musicianship
Each student can develop the ability to express what he/she hears through movement and transfer these physical sensations into the different forms of musical expression and knowledge.
The Jaques-Dalcroze approach utilises bodily movements, postures, and gestures to help students develop musical understandings. In his masterclass, Dr John R. Stevenson demonstrated and explained how teachers could adopt this approach to guide students towards better musicianship and sense of musicality. Under his guidance, participants also had the opportunity to try several Dalcroze techniques.
The Use of Space
Click here to watch the Masterclass by Dr John R. Stevenson.
He emphasised that students should be encouraged to listen first before responding. This listening, whenever possible, should take place within the context of “complete music”, which comprises melody, rhythm, counterpoint, harmony, musical form, and dynamics.
An important principle in JaquesDalcroze education is to use space to connect a person to the music. Every musical parameter to be taught can be approached with the use of space through movement and its relationship to time and energy, allowing the nurturing of auditory memory, communication, expression, and creativity. Through various muscular contractions and releases by the body, music is felt, experienced, and expressed.
Dr Stevenson shared how the first lesson in using space would usually
Dr John R. Stevenson
be for students to learn to clap. In particular, clapping in circles is a useful technique to explore the idea of space. Long sounds would be represented by larger circles and shorter sounds by smaller circles, reflecting a proportional use of space.
The Concept of ‘Lift’
From Dr Stevenson’s perspective, music should be performed with a sense of buoyancy. As such, he explained that musical elements such as beats, patterns, and pitches should be represented by commencing with a rising motion, before a falling motion to prepare for the next lift. It was important for his students to experience this physical sensation of ‘lift’ and commit it to muscle memory from the very beginning of their musical training, so that they could subsequently convey that sense of lift when performing for their audience. One way to achieve this learning outcome would be through the introduction of marching. When marching, the focus on the upward movement of the knee
allows the body to experience each beat as a lifting motion. Consequently, the foot will arrive in time for the other foot to lift upwards. The lift will allow the foot to land with the toes first, thereby avoiding injuries to one’s heels.
Appropriate Marching Technique
Keep the back straight and tall
Keep the shoulders down and level
Lift and bend the knee
Keep raised foot relaxed
Foot to land in the following order: (1) Toe (2) Ball (3) Heel
Moving to a consistent pulse is a good way to allow students to experience the beat physically. Once students are
Music Teachers learning about the appropriate marching technique (Dalcroze Workshop in 2019)
Music Score for ‘Froggie’
comfortable with this process, the teacher may extend their learning by introducing music with changes in meter. Students first listen to the metrical changes before responding to the music. Given that students have different levels of readiness and will respond at different points, teachers should create an encouraging and positive learning environment to allow them to experiment in their movements as they listen and respond to the musical material.
A Step-By-Step Approach to Teach a Song
After a few lessons on experiencing clapping, marching, and walking movements in response to the music, these Dalcroze techniques are revisited and consolidated when learning to sing a song. During the masterclass, Dr. Stevenson introduced a step-by-step approach which utilises Dalcroze principles to teach a song titled ‘Froggie’.
1) The four rhythmic patterns found in the song ‘Froggie’ are experienced by firstly conducting the beat patterns, followed by stepping to them.
2) Once the rhythms are learnt, the teacher reviews these patterns through a “pattern canon”. For example, the teacher starts off by playing rhythmic pattern 1 on the piano. When he/she changes to pattern 2, the students will conduct and step pattern 1. Consequently, when he/she plays pattern 3, the students will switch to the second pattern, and so on.
Given that students have diferent levels of readiness and will respond at diferent points, teachers should create an encouraging and positive learning environment.
3) Next, the teacher teaches the song, phrase by phrase. As they sing the song, they would step the appropriate rhythmic patterns of the melody (taught earlier). Thereafter, the teacher can have the students sing the song in a canon as well.
4) Since the song contains the first five notes of the major scale, the teacher could use the Ionian
Pentachord (on Doh) hand sign to guide the students’ pitches when singing the solfèges of the song. Semitones are represented by locking fingers together, while separated fingers indicate whole tones. This is followed by stepping to the pitches of the song, as they sing. The distance of each step taken indicates the interval space between each note of the melody. Once familiar, the song can be sung as a canon.
Plastique Animèe
Dr Stevenson concluded by introducing the concept of Plastique Animèe, a study in the physical arts, which he referred to as the culminating experience of a JaquesDalcroze Education. The ear must be trained to listen and understand what is heard, and the body must be prepared to respond artistically, with subtlety and agility. Each
The opportunity to contribute as a teacher-demonstrator allowed me to re-examine the extent and depth of how I might adapt and implement the Jaques-Dalcroze approach.
Loo Teng Kiat
performance is an analysis of a piece, presented physically in space and in motion with the music, where soundproducing and moving musicians work collectively to interpret and perform
“The opportunity to contribute as a teacher-demonstrator allowed me to re-examine the extent and depth of how I might adapt and implement the Jaques-Dalcroze approach in my classes, as I became more aware of how I could make modifications to customise and maximise my students’ learning.”
Loo Teng Kiat, Lead Teacher (Music), Zhenghua Primary School
the music spontaneously.
A teaching strategy and performance medium that is inherently different from choreographing and perfecting a fixed dance routine, Plastique Animèe highlights the high level of musicianship and artistry that one could eventually develop out of the Jaques-Dalcroze experience.
Ionian Pentachord hand sign
Sol Fa
Mi Ré
Doh
How can we use Jaques-Dalcroze techniques to deepen our students' musical understanding?
To find out more about the Jaques-Dalcroze approach and other pedagogical approaches, click here to read ‘Providing A Rich Music Learning Experience (2020)’, a publication which presents and discusses a collection of music pedagogies that are practised in our Singapore music classroom contexts.
“I had a wonderful time learning from Dr Stevenson. There were many concepts (e.g. lift; the relationship between space, time, and energy), techniques (e.g. toe-ball-heel), and considerations (e.g. creating a safe learning environment) that he introduced, which teachers could adopt to facilitate students’ musical improvisation and creative expression through movement. I am keen to explore how I can incorporate elements of the Dalcroze approach in my teaching, so that students can use their bodies to express themselves and also experience various musical elements.”
Dawn Kuah, Subject Head (Aesthetics), Dazhong Primary School
“I enjoyed how singing was taught through movement, as we jumped and moved around to learn the different musical phrases. Music learning can be fun, engaging and meaningful through movement, and we could also learn musical concepts effectively through a whole body experience!”
Gracia Lim, Music Teacher, Anderson Primary School
“I have developed a deeper appreciation and understanding of the various Jaques-Dalcroze principles and techniques (e.g. space, time, energy, lift, clapping in circles of various sizes etc.)…I intend to introduce more movement, such as marching and rhythmic clapping during my music lessons. I will also continue to explore the use of dance and movement in ear training.”
Quek Siew Kee, Music Teacher, Queenstown Primary School
Sharing Leads To Learning
As we share our work and refect on other colleagues’ insights, we have the opportunity to examine our teaching practices thoroughly, gain new perspectives, inspire others, or obtain the inspiration to explore different teaching possibilities.
Pop-Up 10 Presentations
Pop-Up 10 Presentations were live-streamed during e-AEC 2020. Individual presenters would “popup” in pre-assigned virtual rooms at an allocated time to share certain key ideas or principles related to their work in teaching and learning
(e.g. home-based learning, blendedlearning) or discuss a research study in progress. Presenters also addressed questions from participants and facilitated discussions by posing open-ended questions for participants to respond directly in the virtual rooms, or using applications such as Padlet or Mentimeter.
Click here to watch the video.
Adaptation for Responsive Music Teaching
How do we navigate through changes in current teaching scenarios, which call for teachers to be adaptable, responsive, and flexible, whilst creating new norms? Let's explore Responsive Music teaching!
Ms Chan Mei Yin Irene, West Grove Primary School
Click here to watch the video.
All that Jazz
All that Jazz, an arts module for secondary level students. Find out how they jammed on the blues, shimmied to Erskine Hawkins and interacted with local jazz cats via Zoom.
Miss Deborah Gan Li Chuen, Singapore Chinese Girls' School
Click here to watch the video.
Diferentiated Strategies to Support the Diferent Needs of Learners
Different learners learn differently. In order to meet their needs, we can create a differentiated classroom both physically and virtually so that our learners can relearn at their own pace.
Ms Cindy Lim, Paya Lebar Methodist Girls' School (Primary)
Leveraging Open-source Music Technology to Increase Students’ Motivation Towards Music Making in Lower Secondary Music
Open-source music technology apps such as Soundtrap open more possibilities for music learning, leaving no child behind as long as they are motivated to create music.
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Ms Stephanie Zhong, Serangoon Garden Secondary School
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Our Lived Experiences in “Yew Tee Story”
Our topic is about celebrating our Lived Experiences and forging our identity through a themed celebration. This includes interdisciplinary collaboration and building a schoolwide singing culture too.
Mr Loh Shao Wei, Yew Tee Primary School
Connect and CreateInteractive Walls
We collect familiar sounds and then using wall space and related technology, we discover world instruments and bring "Made in Singapore" sounds to life at the soundscape wall.
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Mdm Koh Cheng Yeen, Kuo Chuan Presbyterian Primary School
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Discovering Music Within and Beyond Our Island
Through curated content and experiences, learners are engaged through digital platforms to enhance their understanding of the role and value of music, as well as the practitioners from different cultures.
Mr Loo Teng Kiat, Zhenghua Primary School
Home-based Learning: Empowering Students' Voice through Virtual Talent Show on Flipgrid!
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The presentation discusses and explores how music teachers can
use “Flipgrid” (an educationfocused and user-friendly video response platform) to showcase students’ musical creativity and assess their learning simultaneously in home-based learning.
Ms Ng Ying Hui, Beatty Secondary School
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Learning to Play the Recorder (The Blended Experience)
Using technology as a catalyst for blended learning - come and discover how to create effective online recorder lessons and connect it with classroom learning to be future-ready.
Mdm Joyce Teo Gek Teng, Henry Park Primary School
Innovating to Impact Our Learners
Were you challenged to create alternative ways to continue the art or music making process and showcase your students’ works in this current situation? Let’s come and learn from one another.
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Mrs Charmaine Tan, Paya Lebar Methodist Girls’ School (Primary)
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Music from the Inside-Out
This multi-disciplinary heritage project that leverages knowledge building, aims to cultivate a greater sense of community consciousness and empathy through song composition where students express others’ and their own experiences.
Mr Anthony Chua, Teck Whye Secondary School
Talk Shop Presentations
Talk Shop Presentations were pre-recorded and featured arts educators’ sharing on completed
research work, critical inquiry projects, or lesson units. Participants could also leave comments and questions on Vimeo for presenters to respond to.
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A Qualitative Study on How Students Learn During Music Lessons by Making Feelings Visible on Graphic Scores
Students used graphic scores to deconstruct listening materials or
compose music. They annotate how they feel about music on it. We found that students were engaged with musical elements and meaning making.
Mr Sim Kok Heng, Chung Cheng High School (Yishun)
A Study of Diferentiated Instructions in a Lower Secondary Music Classroom
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The presentation shares two teachers’ experiences in teaching keyboard through the use of differentiated
instruction supported with technological tools such as SLS and BandLab in the Secondary Music classroom.
Mr Ong Yan Pei Elliot, Temasek Secondary School
Miss Low Wee Kie Jasmine, Hougang Secondary School
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Digital Band (using Mobile Devices)
COVID-19 brought new opportunities to make music within new
boundaries. This Talk Shop features Secondary 2NT students performing music collaboratively in a digital band via mobile phones.
Ms Jolene Khoo Li Wen, Woodlands Ring Secondary School
Embracing Music Technology as a Model for Engaging Students in Music Creating and Listening
Curious how Education Bandlab, MS Teams, OneNote can be used to harness students’ ICT, listening and creative skills for Music as an academic subject? Find out more at the sharing!
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Ms Cecilia Ng Shau Ching, St Margaret's Secondary School
Emerging from the Ground
The presentation introduces HSCUnderground, an initiative inspired by the underground club CBGB. A second home for Hai Sing Catholic students, HSCUnderground nurtures musical talents in a safe and inclusive environment.
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Click here to watch the video.
Ms Ong Shi Ching Melissa, Hai Sing Catholic School
Harnessing Music Technology for Creativity: Experiences in Creating Music based on 12 Bar Blues and Pop Chord Progressions
This sharing is about how two teachers using different DAW platforms engage their Sec 2 students in creating
and performing music during curriculum time and in blended learning contexts.
Ms Rebecca Loke, Temasek Secondary School
Ms Cecilia Ng Shau Ching, St Margaret's Secondary School
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How do Educational Apps “Garageband”, “Classroom” and “Pages” Support the Teaching and Learning of an iPad Jam Band
Module?
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This talk shop presents the experiences of a music teacher using educational apps “Garageband”, “Classroom” and “Pages” to support the implementation of an iPad band module and discusses the effectiveness of each app.
Ms Ng Ying Hui, Beatty Secondary School
Joy of Learning Through Blended Music Curriculum
The joy of learning is crucial in providing a holistic education for learners. The study aims to find out how the joy of learning, through blended music curriculum, is developed.
Ms Jasmine Peh, Pasir Ris Secondary School
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Primary
Music - Move from GarageBand to BandLab
The presentation will share learning content covered in the term-long lesson unit on the use of BandLab at Upper Primary level, as well as takeaways and challenges faced.
Ms Wee Huixin, Catholic High School (Primary)
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Student Readiness, Tiering, AfL –Investigating How These Come Together in Diferentiated Instruction
How might DI look like in instrumental playing and music creating? Join us to examine how tiering based on student readiness, and AfL, work together to support student learning.
Ms Sandra Yuen, Miss Grace Kuo, Innova Primary School
Tactile Experiences with Music Composition Harnessing Technology in
Primary 2 Music Classroom
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Click here to watch the video.
The presentation aims to share findings from a Critical
Inquiry study that examines the approach of using tactile coding blocks to engage lower primary students in developing compositional thinking.
Ms Chen Limin, Maha Bodhi School
The ‘How’ and ‘Why’ of Virtual Ensemble – Negotiations with Technology through a Virtual Choir Project
Through the process of creating a Virtual Choir performance, from gathering responses to editing through beginnerfriendly software, let’s explore the technology and consider the pedagogical implications of a Virtual Ensemble.
Mr Ong Ding Yi, Xinmin Primary School
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Using Popular Music in Teaching Ukulele
This presentation strives to provide music teachers some insights on conducting authentic and engaging music learning experiences through the use of pop music with ukulele as the main instrument.
Ms Adela Josephine Tandar, Juying Primary School
Voices of Rulangnites
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Rulang presents the transition of our signature programme from a conventional to a virtual platform whereby pupils collaborate, create and build confidence; resulting in creative expressions and rich learning.
Ms Jamie Lim, Mdm Catherine Soh, Ms Goh Yu Xian, Rulang Primary School
Arts Alive! From Imagination to Real Life –Creating an Infusion of Art and Music, a Virtual Museum Experience Coming Alive! Arts Alive!
Ever wondered how the Arts could come Alive? From Imagination to Real Life: Junyuan Primary Aesthetics Department will feature a module on infusing Art and Music, broadening students’ artistic expressions.
Mrs Michelle Chan Yen Ling, Mdm Sarah Wong Sze Yuen, Junyuan Primary School Click here to watch the video.
Mr Murugesu Samarasan, Mr Wang Shing Huei,
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ICAR2E ARTS Stories!
Stories are inspirational. ‘ICAR2E Begins with Me’, a special collection of stories written by art teachers, teaches values through the arts before embarking on the processes of art and music making.
Ms Tan Hern Ngee Cindy, Ms Felicia Ong Tze Yu, Sengkang Green Primary School
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Mood Creation through the Arts –A Creative Arts Making Experience
Dazhong students explored how sounds from musical instruments described moods stimulated by pictures and words. Students used the various moods to draw pictures with colours depicting the moods they experienced.
Mdm Chan Wee Teng Dawn, Ms Chang Mei Shan, Dazhong Primary School
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Seeing & Listening: A Fusion of Art and Music Education
Learn how students at a SPED secondary school experienced art and music learning in a novel way. Each lesson in the 10-week unit involved creating art inspired by music.
Ms Karen Zainal, Ms Rena Ng Hui Fang, APSN Tanglin School
Click here to watch the video.
The Experimental Possibilities of Adding Sound Efects to Comics
This interdisciplinary lesson allows students to interweave what they
have learnt, Proportion and Perspectives drawing techniques and Musique concrete, into self-expressive artwork. Students are to compose soundscapes for their comics.
Mr John Foo, Ms Eudora Tan, Pei Hwa Secondary School
Presenters’ Refections
Great oaks from little acorns grow
What began as ideas in my notebook slowly took shape. I learnt much through working on the content for the interactive walls and from working with my students. I also learnt to face and overcome the challenges and roadblocks along the way, leading to the successful implementation of the initiative.
I am grateful for the opportunity to share my experience at e-AEC 2020, and for all the support I have received from my school and STAR.
Koh Cheng Yeen, Senior Teacher (Music), Kuo Chuan Presbyterian Primary School
It was an enriching and enjoyable learning experience for me as a presenter. I am thankful for the guidance and feedback from the Master Teacher, Facilitator, and my fellow music colleagues who attended the conference. The feedback and questions helped me to see different perspectives and will enable me to continuously make improvements to my teaching and planning. e-AEC 2020 was indeed a wonderful platform for open sharing, exploring possibilities, and collective learning!
Stephanie Zhong, Music Teacher, Serangoon Garden Secondary School
Three words – “thrilled, enlightened, and grateful”, aptly summarise how I felt in preparation for both my Talk Shop and Pop-Up 10 presentations at e-AEC 2020. It was an eye-opening experience, learning how to create prerecordings using OBS Studio software and delivering a live sharing session using Zoom. The entire process made me realise the powerful potential of how digital tools can transform traditional presentation formats and engage the audience beyond our four walls. This enriching learning experience also allowed me to think critically about why I teach the way I do, which helped to develop the ‘reflective practitioner’ in me.
Ng Ying Hui, Music Teacher, Beatty Secondary School
Participants’ Refections
In spite of the uncertainties brought about by the pandemic, it was heartening to witness how music teachers adapted and changed the ways in which we engaged our students in their music learning, ensuring that they would continue to have positive learning experiences in school. For instance, many teachers used technology to facilitate learning and bring music teaching to a new paradigm. As we prepare our students for an uncertain future, it is vital for us to maintain our momentum amidst constant change.
Fiona Kwan, Music Teacher, Clementi Primary School
I appreciated the ideas that Joyce shared in her “Learning to play the recorder (The Blended Experience)” Pop-Up 10 sharing. Her sharing helped me to think about what else I could do in other instrumentteaching lessons.
I also found Mdm Koh Cheng Yeen’s sharing on “Connect and Create-Interactive Walls” interesting. I liked the idea that students could assemble and create their own pieces of music at their own time. Having such free access to instruments allows free exploration and hence promotes self-directed learning in students.
Faith Chung, Head of Department (Aesthetics, PE & CCA), Bukit View Primary School
I was inspired by the sharing from different speakers…In turn, I am motivated to continue sourcing for opportunities and ways to promote the aesthetics in my school.
Unlike previous AECs, where we could only sign up for 1 to 2 concurrent sessions due to time constraints and restrictions on the number of attendees per venue, e-AEC 2020 was an enjoyable experience as I was able to learn at my own pace. I found the sharing on the interactive musical walls during one of the Pop-Up 10 presentations especially useful. I am keen to explore how I might adopt a similar one, catered to the needs for the students in my school too.
Gin Chua, Music Teacher, Waterway Primary School
As my colleague presented at a Pop-Up 10 session during e-AEC 2020, we learnt about the technical preparation and logistics required to present at this innovative virtual conference, which was so different from those held in previous years. This year, with the recording of all sharing sessions, we could listen to the presentations at our own time. All sessions were very engaging and inspiring. Thank you to all presenters and the team behind e-AEC 2020.
Chang Mei Cheng, Head of Department (Aesthetics), Yew Tee Primary School
I felt reassured after listening to the inspiring presenters at e-AEC 2020. Despite the challenges of COVID-19 restrictions, fun and engaging music lessons are still very much possible. The various sessions provided me with new perspectives and challenged me to further embrace virtual platforms as tools to enhance creative music expression…With my new insights, I intend to explore different ways to elicit creative contributions from my students.
Gerald Teh, Music Teacher, Seng Kang Secondary School
Post-Conference Refections and Plans for 2021 and Beyond
What were some of our music teachers’ key takeaways from e-AEC 2020? How have they been inspired? What are their plans for teaching and learning in 2021 and beyond?
Diversity in Practice
Teaching Music is about having an open mind, a genuine heart, and a desire to make it relevant and applicable for both students and teachers. Hence, one must first think carefully about the objectives, before planning for lessons and proceeding with trying varied means that appeal to both students and the teacher (be it varied body percussion, Dalcroze, Kodaly, or Music technology) in his/ her quest to create effective lessons. Everyone is creative and unique in their own ways. It is our job as educators to highlight this diversity explicitly during our classes consistently and teach students to be aware, to respect, and treasure this diversity…to use their gifts to help one another in the learning of Music.
Jermain Cho, Music Teacher, Edgefield Secondary School
The various sharing sessions reinforced my awareness of the positive potential and dynamic nature of the different art forms. Additionally, it provided an alternative lens for me to ideate and rethink my teaching practices, and how I could further draw out the best out of my students. In particular, I am keen to explore how I can incorporate Dalcroze eurhythmics within my teaching to help students develop and enrich their innate musical expression.
Steven Teo, Music Teacher, National Junior College
Arts as Lived Experiences
Riduan’s masterclass has shown me how music truly knows no boundaries. When musicians hone their craft and keep an open mind, it is possible to create anything, once you set your mind to it. Listening to Edward Clapp on participatory creativity gave me new perspectives on how I view creativity. It shifted my narrow view of creativity from an individualistic perspective to one which views creativity as a more social and collaborative process. This will help me in the music classroom as I view and guide students in their musical creations.
Allison Foo, Music Teacher, Holy Innocents’ Primary School
I am keen to explore the following:
• How participative creativity can be more intentionally and mindfully applied in our classroom (e.g. to reframe the study of key figures in music history into the study of how musical ideas evolved from passing through the many creative hands, to rethink what it means to assess for creativity in music classroom for music creation tasks)
• How the environment can be used as a third teacher, such as through making instruments accessible outside the physical boundaries of the music classroom, with suggested tasks to facilitate independent learning and selfdirected exploration.
Chong Xiu Min, Subject Head (Aesthetics), Alexandra Primary School
Riduan’s amazing talent and humility has inspired me. His growth mindset (to continuously learn from his students and circumstances) and his openness to collaboration are attributes that I will strive to emulate.
As an educator who believes in introducing local ethnic music to students, I have been exposing them to ethnic percussion in the past few years. I would like to explore new ways to tap on our very own Singaporean artistes to deepen my students’ and my own knowledge and understanding. I would also like to set aside time in my curriculum to create authentic tasks for my students to participate in creating their own musical compositions using ethnic and global rhythms and instruments.
Allen Losey, Senior Teacher (Music), Tampines Primary School
Transformation through Creativity and Innovation
After listening to the different presenters at the conference, I am more willing to explore different ICT tools and approaches in my teaching. This, in turn, will hopefully enable my students to develop the joy of learning in the music classroom. I also aspire to become a more reflective educator, bearing in mind the development of the diverse profiles of my students. With extensive planning, I need to be intentional with my words and actions to enable Differentiated Instruction to be meaningfully carried out.
Elliot Ong, Music Teacher, Temasek Secondary School
The sharing sessions at e-AEC 2020 have inspired us to explore the following teaching possibilities:
• Include plans for music composition and music appreciation for all levels
• Harness the SLS platform to host materials for pupils to revisit and learn
• Explore ICT tools such as BandLab and Flipgrid
Charmian Lee, Head of Department (Aesthetics & LLP) and Leong Yahui, Music Teacher, West View Primary School
We’d Love To Hear From You
Chau Poh Lin Susanna
Deputy Director (Music)
Susanna_Chau@moe.gov.sg
+65 6664 1544
Suriati Bte Suradi
Master Teacher (Music)
Suriati_Suradi@moe.gov.sg
+65 6664 1498
Liow Xiao Chun
Academy Officer (Music)
Liow_Xiao_Chun@moe.gov.sg
+65 6664 1494
Chua Siew Ling
Principal Master Teacher (Music)
Chua_Siew_Ling@moe.gov.sg
+65 6664 1554
Kelly Tang
Master Teacher (Music)
Kelly_Tang@moe.gov.sg
+65 6664 1561
Matthew Kam-Lung Chan
Academy Officer (Music)
Matthew_Chan@moe.gov.sg
+65 6664 1497
Li Yen See
Master Teacher (Music)
Chan_Yen_See@moe.gov.sg
+65 6664 1499
Woo Wai Mun Marianne
Academy Officer (Music)
Marianne_Woo@moe.gov.sg
+65 6664 1555
Wong Yong Ping, Tommy
Academy Officer (Music)
Tommy_Wong@moe.gov.sg
+65 6664 1495