Assessment

... I wonder how many potential readers have turned away just by seeing that title.... I think many of my students get a bad taste in their mouth when they hear that word, and wonder why I don't "just say quiz, or test!" I just finished reading an article by author/lecturer Alfie Kohn on the topic, and agree with much of what he says concerning standardization and "rubricization".

One of Mr. Kohn's statements that I can appreciate reads, "Consistent and uniform standards are admirable, and maybe even workable, when we’re talking about, say, the manufacture of DVD players.  The process of trying to gauge children’s understanding of ideas is a very different matter, however." Part of the purpose of this article expresses his feelings that rubrics and very specific assessment criteria are not just a means for students to understand the expectations and how they will be graded (which of course, is important) but that those tactics can lead to standardization in how we assess our students, and also limit students who would have otherwise exceeded expectations. When I think about my students, 95% of them would be happy to meet given requirements if they are certain they will get an A... But, if I were to provide less specific criteria (i.e. meet A, B, and C) I would have a number of students exceeding the requirements (I save the A+ is for the students with A,B,C and perhaps D, and E). Part of me wants to discuss grade inflation, and my feeling that a student could meet a set of requirements and earn a B (and should be very happy with that grade) but let's save that for a rainy day. 

In the BOCJ setting, I often utilize SmartMusic as an assessment tool. If you're not familiar with it, definitely check it out. Essentially, students submit a recording of themselves playing along to a recorded track while seeing their part on the computer screen. The computer follows along and marks missed/incorrect notes and rhythms. In some ways, this is really concrete, however it is not fool-proof - the computer is not a music professional, and occasionally mishears the student. Also, at least from my experience with using smartmusic for Jazz Band, there is no great smartmusic adaptation for drum set or rhythm section players, and the repertoire is somewhat limited. In general though, the concept is fantastic and it is a very helpful assessment tool. 

Other than smartmusic, I often assess students on essential skills (like memorization of scales, for example). I do not hand students a rubric, though I may use one as a guide - but I give concrete details (Play 1 octave Bb Major scale from memory). I do not tell the students a tempo necessarily, and I do not necessarily ask each student for the same exact performance. My students are at very different levels even in the same small classroom. Since it is a small class, I can really get to know their strengths and weaknesses and cater the assessment to the benefit of each student making progress. I often take notes where necessary on each student's performance and consider these for grading. It is more time-consuming to individualize these assessments, but I feel it's what I need to do especially when my students are coming from a wide range of musical backgrounds, and each deserve to progress individually. 

American Classical Music

As a musician whose beginnings were in Rock music and whose formal education is in Jazz... Let me restate that... As a musician whose background is in American Classical Music, I find it troubling how we balance the repertoire and music styles we offer in most of our school music programs. From my experience, it seems that almost every high school with a decent sized music program has a choir, wind ensemble of sorts, and maybe an orchestra at the core of the program. When I say core, I mean these are the classes that meet most often, probably on a daily basis or at least every other day. In addition, there is probably a Jazz Big Band (We're getting there... that music is only 80 years old...) that meets only once a week. Rock and Blues music are no where in site... If we're lucky maybe there is a class that teaches Modern Jazz (Practically new music, at only 70 years old! Wow!) In a large program, I would like to think that these courses do exist, as well as music technology courses, but they probably meet for a marking period, or semester at best.

The Orchestra, Wind Ensemble, and Choir groups most often put together concerts that feature 1 to 2 pieces in the classical music tradition, and maybe one contemporary piece (that the students will probably enjoy the most of all, and maybe even learn the most from and go away inspired). Yes, I am making generalizations about these programs, but I have seen what I'm describing in many schools in my area.

I think it is important for music programs to offer more courses in American Classical music. Or, perhaps these styles should be implemented into the already existing ensembles in our schools. With that said, I think it is important for music educators to be aware of the significance of Jazz and Blues and have a reasonable amount of training in the history and authentic performance of those musics. However, I don't think all music educators should necessarily be "experts" in Jazz... First of all, that would make people like me less valuable! And also, it'd probably lead to overall mediocrity for those educators who'd be better off focusing 85-90% of their efforts on their speciality.

Regarding repertoire, which is a big can of worms, I don't even want to try to start naming specific pieces that students should be learning. However, no student should graduate from a high school music program without having played something by Duke Ellington, George Gershwin, Cole Porter, Charlie Parker, Herbie Hancock, etc. (I will lose sleep over all the people I am leaving out of this very short list). But in addition to having played that music, the students should have some basic understanding of the significance of those artists, as well as artists like Muddy Waters, Chuck Berry, Fats Domino, and The Beatles. If we taught with these ideas in mind, we'd be producing music students who have an understanding of the impact of music on politics, civil rights, and our culture for example. It sounds like these students would therefore be more well-rounded, culturally-aware individuals... And isn't that the point?

Musicianship

I have spent many afternoons reflecting on my classroom teaching and considering how the day's activities give students not only immediate knowledge that applies to that lesson, but knowledge that they can apply to a lifetime of musicianship. Are the students learning concepts or parts? Although learning a new piece of music can challenge students and provide inspiration, there are more significant goals to reach than impressing friends and family at the spring concert. 

For me, becoming a good musician involves a number of key concepts:

Having Big Ears 

Musicians, regardless of the style of music they desire to pursue should be able to learn and play music by ear at some basic level. This doesn't mean being able to transcribe bebop solos sitting on a park bench, sit in with a new group for a whole set of music you've never heard, and so on. However, musicians should be able to transcribe simple, diatonic melodies and chord progressions with ease, almost on-the-spot. And, with some effort, be able to tackle those bebop solos and challenging harmonic progressions.

Music Literacy

Musicians should be able to read music! If for no other purpose than to present opportunities. What musician could ever sub on a theater gig without some reading chops? Also, my main argument for skeptics of reading is that music literacy shortens the timeframe for learning new music. Strong readers who sight read can learn hours of music virtually on the spot! How cool is that?! It's also worth mentioning the amount of music on paper that is so easy to obtain. What musician can afford not to read?

Technique

Good musicians have the appropriate technique and knowledge of their instruments to be able to act on the extent of their musical creativity. If a musical idea can be thought but not executed, there is a need to improve technique. It's also worth mentioning that great musicians use their technique for the benefit of the music, not for being technical.

History and Style

This is one area where the demands of a musician have changed from 150 years ago, and will continue to change in the future depending on the seriousness of the musician. Good musicians can perform and have a basic historical understanding of various musical styles, or genres. 

Listening/Reaction/Interaction

As someone who plays primarily Jazz, Rock, and Contemporary music, I find that this is uber important. Good musicians know how to make music with other good musicians! They know what adjustments to make and how to listen, accompany, follow and lead when in playing in a group. 

Theory and Composition

Good musicians should have a basic understand of music theory. Musicians should have a basic understanding of melody, harmony, and form. Understanding the theory is important, though applying it is much deeper. With that said, musicians should be able to apply theory to their performances and compositions. 

 

I just finished reading  Brandt Schneider's February 2012 article Creating Musicial Flexibility Though the Ensemble and found it extremely inspiring and refreshing. The article discusses his ensemble curriculum over the course that does not rely strictly on repertoire and music literacy. Instead, the students were practicing concepts that will help their overall musicianship - learning various styles, transposition, applying solfege, composing, and ear training. 

Although this entire article provided great inspiration, one line in particular struck me - "Finding ways to move them beyond a mere “button pushing” experience and towards a broader conception of “musician” proved to be my biggest challenge". It is unfortunate that so many school groups spend the majority of time in class preparing literature and learning parts. In many ways, that band experience becomes a muscle memory experience. The students may learn their parts and play them well, but do they know why that 16th note diatonic run is important, or why they must play the three repeated notes on their Tenor 2 part? Usually, the answer is no. Students do not understand the bigger picture of how their part fits in the composition, or how their part relates to other members in the ensemble. They often do not understand the structure of the music they perform, and that is a problem. 

Brandt offers a step-by-step list of recommendations on how to get away from this "button pushing" kind of music learning experience. His concept of learning simple melodies in all 12 keys and various styles is knowledge that his students can apply to every musical experience they will have in a lifetime! The solfege analysis and ability to play all four parts of "Watchet Auf" fosters a much deeper sense of musical understanding. 

Although generally I agree with Mr. Schneider's concept - a few questions come to mind. Would his students be as inspired, learning simple melodies and deep concepts (that they may not understand the value of, yet) as they would if they were learning a rousing march? Perhaps some of the students will lose interest. How would these students fair in CMEA style competitions? Would their ability to read and perform advanced literature put them behind students in the same age group? In general, it frustrates the hell out of me that we judge student ability primarily on reading in All-State and other similar competitions, but getting owned in that setting could be detrimental to a student's drive and motivation.

Overall, Creating Musicial Flexibility Though the Ensemble was inspiring and fun to read. It made me feel like their is hope for music education. I highly recommend this article and considering some of the concepts that Brandt lays out. Perhaps adding some of these concepts to our own ensemble programs would provide our students with a much more meaningful music education experience. 

Why teach?

During my first year of teaching High School Jazz Ensemble, I took my students on a field trip to check out the Berklee Jazz Festival. Although they didn’t play, we attended clinics and saw a lot of inspiring groups. One of the moments I will never forget is when Delfayo Marsalis echoed something I had been saying in my rehearsals regularly, regarding a tight setup. The students looked at me with grins that showed they finally trusted me! All it took was an outside expert to affirm my opinions. In that same regard, Peter Boonshaft’s “Teaching Music with Purpose” was inspiring as it held testament to many of my beliefs and values of the profession. It made me feel like I’m on the right track, but at the same time I have so much to learn. Perhaps when I’m old and gray, I will admit that I too, know nothing.

I cannot cite one source as to my beliefs or core values, though after reading Boonshaft’s advice to think about our great teachers and why they were so influential, I have some idea of who I am and why I do what I do. The best teachers I’ve ever had are Mr. Hennessey (HS History), Mr. Corbett (MS History), David Smith (WCSU Percussion) and Greg Crameri (MS Band). These teachers each offered something different, but most importantly they were the most caring instructors I have ever encountered. Dave Smith is close to 70 years old, and still attends nearly every convocation, recital, master class, and performance whether or not they are directly related to his field. I should also recognize my Mother, who I’ve jokingly told “probably makes about $4/hour”. These teachers care deeply about the profession, about the students, and bettering themselves always. The countless hours we devote to this craft are paid back with brief moments of gratitude and student success. The desire to be better in teaching, performing, and inspiring is my biggest strength. It is spoken of deeply in Boonshaft’s writing. In addition, he speaks of optimism and enthusiasm. I am always the most excited, colorful, and enthusiastic person in the classroom. In fact, I felt an amazing moment of success when a graduating senior told another teacher that “Mr. Cattey is always happy, he loves everything!” Wow! My initial reaction was that I really fooled him, but eventually I gave myself some credit for being the most optimistic person in the room. I truly believe that for every thousand moments of frustration in the classroom, those moments of gratitude make it all worth it.

Reading “Music with Purpose” also helped to recognize my weakness and provide some inspiration for how I can improve. I am generally indecisive, disorganized, and well… I procrastinate. Some things that stuck with me after this reading are that I can only expect as much from my students as I do from myself. If I under-prepare, and don’t put a great deal of passion into the music, well I can certainly forget about seeing great results from my students. Each day and year, I will continue to work towards teaching excellence, being better prepared, having better methods, and seeing better results from my students. I don’t ever expect to know it all, or that this profession will be easy. I accept and I’m excited that there is always more to learn.

In regard to music education, I believe much of the same as any other teacher. I think students learning how to practice is much more valuable rather than preparing concerts. Although some of the concepts within go hand in hand, I agree with Boonshaft that rehearsal is where the magic happens. I believe that students should learn music aurally and visually. A musician who cannot read is weak, just as is one who cannot listen and interact. One thing I hope to change about music education is the lack of participation from older students. Why does everyone get to experience music in first grade, but only a small percentage in high school?

In general, I feel good about teaching. I feel motivated and inspired often, and hope that feeling will never go away. I appreciate the moments of excellence, and will do my best to take the many moments of frustration with a grain of salt, and a hair of gray.