Philosophy

Mr. Henderson's Philosophy

My philosophy is that every student has the potential to be creative and engage successfully in the process of music making, if they are in a safe, collaborative, equitable, and responsive (both structurally and culturally) environment. 

This philosophy is informed by the following approaches: 

• Humanism (60%): I highly value instilling the joy of music-making and helping students discover their passions. This encompasses the entire student experience and is fundamental to creating a safe environment. 

• Pragmatism (25%): I value practical and hands-on learning in a music setting as the most significant vehicle for learning. I know that students learn best by doing, exploring, experimenting, and performing. This also allows students to cultivate creative learning at the highest levels.  

• Cognitivism (15%): If we look at music learning as a process, then it becomes essential to identify and break down the component skills and parts. Then, once the parts have been broken down, they need to be connected for them to be built over time. 

Culturally Responsive Teaching / Equity Teaching

All students must be welcomed into a music education. This means that the students themselves must be welcomed, as well as their own identities, including music choices and cultural contexts. 

A few things are happening at Bay View to support this, including constant education and learning around pedagogy and sociocultural contexts, the validation of all musics, and the development of courses such as Music 10 Beginner Guitar and Music 10/11/12 Musical Collaboration that focus on informal learning and student-chosen music. That being said, culturally responsive teaching is a continuous process of learning, adapting, and growing. 

Creativity Framework

The following framework for teaching creativity was developed in collaboration with Amy Cameron and Laycie Sutherland, as a means to guide and structure creative teaching and learning: 

1. Skill identification - what do we know?

2. Full group modeling of skill

3. Collaborative skill development in small groups

4. Sharing and feedback in small groups

5. Full group reflection

Means of assessment in this framework include: 

• formative: observation of behaviours and activities, peer assessments (with sample questions as needed), self-reflections (with guiding questions as needed)

• summative: creativity summative rubric (see below)

Curriculum Design Overview

This program's curriculum design was based on a number of factors and influences, including the NS curriculum, Mr. Henderson's personal philosophy, the foundational philosophies of Eisner, Lonis and Haley, Wiggins and McTighe, Bloom, and Bruner, and the specific models of Wheeler (unit plans) and Gagné (lesson plans). 

On the whole, the curriculum design was created to develop both students' technical skills in instrument playing or singing, as well as creative skills in arranging and composing music. It was also designed to follow a logical sequence, and uses equitable assessment strategies. 

Considering the demographics and local context at Bay View High School, both instrumental and general music courses need to be offered, to make music accessible to the largest segment of students possible. 

Mr. Henderson's philosophy for teaching is that every student can engage in learning music, and that every student deserves this opportunity. Bay View High School also shares a strong vision and belief in equitable education, with a focus on equitable education informed by, and completed through culture, and fostering an environment of equity and inclusion. 

Full detailed course plans can be found on each course's landing page (use the buttons below to learn more).