Technologically-Enhanced Assessment

Formulating assessments that meet student needs and adequately address our curricular goals as music educators can be a daunting task. The use of technology can enhance and aid our work in this process, but still requires careful planning and judicious application. In order to take a look at the use of assessment in a more specific way, we should first define a few terms that help to encapsulate what makes a successful assessment. 

Assessment as such makes up an important part of the planning process when it comes to designing curricula. In fact, the principles of backward design call for planning assessment methods before designing the day-to-day activities of a given curriculum. Thus it is important to ensure that one's approach to assessment and the methodology behind it are aligned with proper pedagogical goals. To this end, our reading for this week highlights a number of different measures that indicate what is known as the "validity" and "reliability" of assessments (Bauer, 2014, p. 132). These measures relate to whether or not assessment methods are properly coordinated with desired learning outcomes (validity), as well as whether or not the process is an aid to student growth in the learning process (reliability). The different types of assessment can be further described by the ways they measure different aspects of the learning process and/or educational goals. For example, "summative assessment" assesses student grasp of knowledge (a "summary" of knowledge) at a given point of time in the learning process (ibid.). Meanwhile, "authentic assessments" are based on student performance of a task, rather than "a response on a paper-and-pencil test" (p. 133). 

This conceptual framework defines the purpose of the various types of assessment that educators have at their disposal. An effective use of technology can enhance and aid in the process of planning these assessments. There are three basic ways that technology can be utilized in this fashion: 1) to develop traditional assessments, 2) to adapt these assessments in novel ways, and 3) to enable entirely new approaches to assessment (p. 133). One way we took a look at in the course of this week's module that utilizes the first approach is by the use of Google Forms. We used this technology to create a traditional online quiz. This summative method of assessment would be particularly helpful in a general music classroom format. Such a tool would be perfect for my own setting, where students regularly utilize "Google Classroom" and other online resources via their school-issued Chromebook. Perhaps a more novel approach to assessment is the development of something like a student portfolio (an endeavor we are working on for next week's module). The potential provided by technology and the internet in this regard is nearly endless.  

Our work with Google Tools this week also included technology that can be an aid to our professional productivity as music educators. For example, utilizing Google Documents to create newsletters to disseminate important information to and from fellow parents and teachers is one possible approach we tested. We also took a look at Google Presentations, which is a helpful way to share presentations that we as educators might use with peer groups, administrators, parents, or community members. All of these methods have the capacity to enhance our productivity by the use of technology. 

References

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York, NY: Oxford University Press.

Intentionally Backward Design

It seems counterintuitive to suggest that something be done backward to achieve the greatest level of success. Indeed, "backward" is often used as a pejorative, denoting some kind of regressive policy or standard. But in the realm of education "Backward Design" is a highly respected method for designing curricula. At the University of Florida, our Master of Music program has an entire course dedicated to inculcating this method in the pedagogical practice of students. Our readings for this week also touched on this methodology, specifically highlighting it in terms of technological approaches to music education.  

To understand this further, we should first consider some of the characteristics of the learning process. As our text notes, “learning is active,” and people learn well in a hands-on way (Bauer, 2014, p. 147). Likewise, learning is a social process. There are social-cognitive learning theories that are characterized by the idea that “people learn by doing, by constructing their own knowledge,” particularly through activities like “modeling, observation, and imitation” (pp. 147-148).

Design strategies such as project-based learning seek to capitalize on these truths by engaging students in the learning process through active stimulation and group interaction. These sorts of projects seek to engage students in real-world problem solving, working in groups to answer complex scenarios based on real-life examples. Our WebQuest project, which we began this week, is a prime example of project-based learning in action. It is also in example of the way that technology can be utilized (and indeed be paramount) in facilitating this process. WebQuests are dependent on the internet by their very nature. They provide an “adventure” of sorts through various internet resources and multimedia outlets to complete the project.

The activity or storyline behind a WebQuest adventure is not an end in itself. It is carefully created on the basis of learning outcomes and assessment strategies. These form the basis of the instructional design process. Only after these are carefully considered and coordinated are the activities implemented into the design process. This basic format is at the heart at the Backward Design process.

Although project-based learning typically only forms a small part of instructional time, backward design can be implemented throughout the learning process. Whether it is a routine lecture or an ensemble rehearsal, all classroom time can be carefully planned using the methodology of backward design. 

There are two other areas from this week’s readings that I would like to mention at this point. The first is the benefits that technology can provide in the realm of differentiation. Students come to our music classes from diverse backgrounds and with varied educational needs and interests; technology can provide us with the tools necessary to differentiate instruction and provide unique learning paths for each student (p. 158). Utilizing technology well can equip our students for success (and better serve their needs) throughout this process. 

The final point I would like to briefly mention is copyright. It is important to note, as our text does, that copyright is inherent to any composition whether it is registered with the state or not. This means that it is important for us as educators, when designing classroom content, to utilize original or public domain materials in our lesson plans.  It is important also to instruct our students as to plagiarism rules and important copyright laws and ensure their work complies accordingly as well. 

References

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York, NY: Oxford University Press.

Hearing or Listening?

When it comes to music, it is common for laypeople to think of the capacity of our ears to aurally hear the sounds that comprise a given piece. But as our text for this week notes, there is a difference between the passive way we "hear" music and the active or engaged nature of "listening" (Bauer, 2014, p. 105). Passive hearing occurs when we have music on as background noise, or hear it playing in a restaurant or similar venue. With active listening, the music purveyor attentively discerns certain characteristics - the voicing, instrumentation, phrasing, and other aspects of musicianship. Indeed, it can even be said that active music listening is a creative realm of music in its own right.

One way to facilitate and develop students' ability to actively listen and respond to music is by encouraging them to keep "listening journals." This process can be utilized to help guide students through the listening journey, noting key aspects of music and how to pick up on them (and other aspects like form, meter, text, etc.). Using word processing technology and other software available to students can aid in this process from both the student and teacher perspective. Technology can also be used to show students various demonstrations of musical composition and performance, providing a listening guide of sorts, walking them through the listening process. This can be done through a combination of word processing and audio/visual presentations. Then, prompts (through the same media) can guide their own listening reflections and responses.

In some classes, I have effectively employed "sound maps," both as an aid for students who struggle with written projects, and to encourage all students to engage in a multi-faceted, multi-sensory approach to the learning process. However, these have typically been hand-drawn maps facilitated by verbal instruction. As I discussed in this week's discussion post, the idea of using "concept mapping software" and "drawing software" to further facilitate and enhance this process is something to consider(Bauer, 2014, p. 122). This would certainly be an effective tool for my middle school students, who each have access to school-issued Chromebooks, though it may be less so for the elementary students. Still, this technology could be utilized in terms of a group project of sorts, utilizing classroom feedback to create a sound map on a Smartboard or similar device, or utilizing computer lab time for individual work to this end.

Finally, we looked at software and other internet resources and learned how to evaluate and best use them for curricular and educational ends. To get a feel for how to properly evaluate music software technology, I reviewed Ars Nova's "Counterpointer." This is an example of a software that lets its users actively engage in the learning process (in this case, to develop and hone their counterpoint skills in the various species). This program demonstrated positives and negatives that I was able to effectively mete out using a product review. This is a valuable way to evaluate software for potential curricular use.

The online resource that especially piqued my interest this week was Spotify. I can certainly imagine the ways that this software could be used to guide students in the listening process. Spotify would be a valuable tool to aid students in selecting playlists that fit a certain genre or historical theme, as well as for me to provide examples to students of various concepts or historical content.

 




References

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York, NY: Oxford University Press.

Technology in Music Performance

Technology in the context of music performance, especially in an ensemble setting, is something that might strike the reader as cognitively dissonant. But there are a number of practical applications for technology, even in the ensemble setting, which we examined in this week's module. Many of these are ones I would consider applying to my own academic setting and curricular context.


But before discussing more on technology, we should first examine the basics of musical practice, starting with the fundamental acquisition of knowledge and skills that are necessary for adequate music performance. As the text notes, "the content of early lessons is crucial" when it comes to forming solid foundation for students in music as a whole, and especially for instilling a sense of proper etiquette for performance (Bauer, 2014, p. 80). In laymen’s terms, this means inculcating the basics, particularly things like proper breathing, posture, form, technique, and the like. The text also notes the importance of modeling in this regard. As chance would have it, I happened (unintentionally) to create a bridge to this point in my PLN for this week, where I discussed the importance of modeling performance self-assessment--utilizing digital recording technology--for my students. This is an important technological asset for an ensemble instructor to consider using with the group as a whole to help students understand and realize their performance strengths, weaknesses, and potential as a whole.

But there are important technologies that can be used by students on an individual level as well. It is easy to overlook them due to their prevalence, but digital metronomes and tuners are a paramount resource for school ensembles, which should be encouraged for use both privately and as a group. Any student with a smartphone has access to a metronome at any time, as Google has a metronome function (and there are web app tuners, too). For a more intense use of technology in an ensemble setting, software like Audacity, which was a focal point of this week’s module, presents the opportunity to take digital recordings – such as those of an ensemble performance – and remix them for a variety of purposes. This could be something to incorporate into ensemble classes, providing a more accessible way to incorporate creative thought into an ensemble curriculum, which tend to be focused predominantly on musical production for concerts and the like.

While the text, as referenced above, notes the importance of teaching the fundamentals in early lessons, there are many students who did not have this luxury. We still want to reach them with our music programs. Another way to incorporate technology into the performance-ensemble setting is through the use of strategy that was discussed in the literature this week is the use of a MIDI ensemble. This can aid students who did not have exposure to instruments from a younger age. For students such as this, a MIDI ensemble (which utilizes electronic instrumentation rather than a particular grouping of instruments) has the potential to provide the structured benefits of an ensemble setting without the requirements usually necessitated in terms of instrumental experience. But as the text says, this ensemble type can appeal to "traditional and non-traditional music students" alike, meaning that the ensemble would also be enhanced by the presence of more seasoned musicians from the student body (Bauer, 2014, p. 90).

For my own setting, I was struck by the possibility of an Internet-based ensemble. The potential for cross-pollination of ideas and picking up new and innovative pedagogical strategies is intriguing in this regard. My institution is part of a confederation of private schools situated across the U.S., which would make something like the Internet ensemble well-suited for my context. With regional music programs already in existence, why not try something on the national level? Groups from across the country could display one another on PowerPoint screens in auditoriums while performing on stage below them, as pictured here.

References

Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York, NY: Oxford University Press.