Preface
Day 1 iteration on May 09th with MuEd 105 students inspires modification of
Day 1's instructional strategies and concrete, full-bodied design of Days 2 and 3
Version 2.0 overall program
Day 1: Online session with MuEd 105 professor
Day 2: Hybrid self-paced student work
Day 3: Masterclass with Lorna Cifra (in-person)
An actual, in-person masterclass in June 2023 with ALIW-award winner Lorna Cifra- a jazz artist/pedagogue mostly based in Japan, and occasionally comes home to Manila. Ms Cifra sits at the keyboard. I joined this masterclass at her house in Manila in order to have a firm grasp of how she would potentially handle the Day 3 masterclass with MuEd 105 students. My videos of this June 2023 masterclass with Ms Cifra are embedded into the Day 3 version 2.0 learner and teacher manuals. Ms Cifra had agreed beforehand to providing the masterclass for MuEd 105 students on Day 3. (With me in this June masterclass are professional vocalists who sing jazz at high-end venues and clubs)
Permission was obtained for the use of these video clips/photos for academic purpose.
Note: It is presumed that you have read through the HOME, ANALYSIS, DESIGN, DEVELOPMENT, IMPLEMENTATION, and EVALUATION pages prior to reading content on this page. Thank you.
List of Contents on this Page:
1. Impressions from Day 1 iteration on May 09th, 2023
Were the objectives met?
How did the recordings (Classical and Jazz) sound?
Perceived strengths of Day 1 iteration
Perceived weaknesses/areas for improvement of Day 1 iteration
Important Changes applied to Day 1 after beta iteration
2. Evidence:
A table of comparison- Day 1 during beta iteration vs Day 1 after beta iteration
3. Version 2.0 of the Vocal Jazz Workshop Learning Theory & Instructional Design Blueprint
(An interweaved, schematic curricular flow from Day 1 through Day 3)
Day 1 Version 2.0 Teacher and Learner Manuals
Day 2 Version 2.0 Teacher and Learner Manuals
Day 3 Version 2.0 Teacher and Learner Manuals
4. The SAMR Model and how it applies to this workshop
5. Essential Learning Theories Underpinning Days 1-3
IMPRESSIONS FROM DAY 1 ITERATION ON MAY 09TH, 2023
Were the objectives met?- Yes according to the SME/Instructor (Refer to the survey on beta version iteration on the EVALUATION page)
How did the recordings (Classical and Jazz) sound? - Lis and Archi obtained between basic and satisfactory scores in their jazz recordings. They are expected to do better on Days 2 and 3 when more straight-ahead jazz vocal content is introduced. Their Classical and Jazz recordings exhibited evident differences in terms of vowel formation, articulation, lack of or use of vibrato, among other vocal dynamics , descriptors and/or properties considered.
Note: Learner and instructor/SME feedback in the post Day 1 survey is very promising (refer to EVALUATION page)
Perceived strengths of Day 1 iteration
Two students as expected out of six got to hand in required vocal recording outputs
All six student participants provided post-workshop survey responses
Application of important learning theories (Gagne, teacher-learner interaction, learner-content interactions) as a teacher-led session
Perceived similarity principle applied (content schematically connected to participants' bel canto foundations: bridge between Classical and Jazz- Gershwin's musical eclecticism fusing Classical and Jazz, Sarah Vaughan's Classicalness, utilization of vocal tracts and vowel shape similarities, differences in both Vaughan and Battle as sample performers)
All students answered the survey- responses are very promising (content, learning style, experience, sociocultural value)
Perceived weaknesses/areas for improvement of Day 1 iteration
Needs more time than just 30- 45 minutes. Should have been at least 1.30 hrs
Not all students got to provide feedback/input on the Vaughan vs Battle technique comparison
Lack of learner-learner interactions
More students could have recorded their singing if this workshop was an official MuEd 105 requirement
Important Changes applied to Day 1 after beta iteration
Given that the SME believed that Day 1's objectives were met during the May 09th beta iteration, the objectives would have to remain the same.
However, there would have to be more time for the iteration of Day 1 moving forwards. There should be at least 1.5 - 2 hours allotted for Day 1 with approximately 6 student participants.
The comparison part where students differentiate between two singing styles (Classical vs Jazz) has to be made more interactive. For one, the comparison can happen in the form of a debate. Students have to be grouped into two. The debate would be partly based on a parliamentary type of argumentation (government vs opposition). One side would contend that the Classical singer sang the song better than the Jazz singer, referencing Day 1's topics: vocal production, resonation, phonation, vowel formation, dynamics etc. Each speaker must justify his or her statement using theories, concepts learned in MuEd 105, while the teacher takes note of each student's statements using the comparison chart. The debate can run for 15-20 minutes. The teacher must foster a respectful yet critical atmosphere during the activity.
In order to encourage a higher rate of completion of the recording tasks for Day 1, in the next iteration, completion of such tasks should earn bonus points for MuEd 105 students in their final examination in the course.
Evidence (Appendix 3.23)
A table of comparison- Day 1 during beta iteration vs Day 1 after beta iteration
https://docs.google.com/spreadsheets/d/1uWEDOZrUZHb7xN8HzQMEsaJKLWtyoT1KF1rqkYCk8ck/edit?usp=sharing
Version 2.0 of the Vocal Jazz Workshop
Learning Theory & Instructional Design Blueprint (Schematic, linear curriculum for Days 1, 2 and 3) of the Version 2.0 of the Intro to Vocal Jazz for Classical Trained Singers: A Gamified 3-Day Workshop with MuEd 105 students at the UP College of Music
Evidence:
https://docs.google.com/spreadsheets/d/1SRnQxp0rffIkU-EPlFvRgar9fRcWIsW6A4FVKb9wddw/edit?usp=sharing
Note: It is recommended that you read the interconnected curricula above for Days 1 -3 prior to reading the learner and teacher manuals below.
GERSHWIN BADGE entitles bearer to a gig on national television - to be arranged by instructional designer.
Day 1 Version 2.0
FINAL SYLLABI AND INSTRUCTIONAL MATERIALS FOR DAY 1
When endorsing this Version 2.0 to U.P., I emphasize that a vocal jazz workshop readiness survey may be taken first by future MuEd 105 students prior to engaging in the workshop. This readiness survey must be administered by the MuEd 105 teacher beforehand. These survey questions must be based on the survey questions on the very first e-workshop prototype as well as the survey questions after the beta iteration, and also based on the actual content and activities and technologies involved in the Day 1 iteration.
Scores must correspond to at least 4 to all questions prior to students being allowed to join the gamified workshop. This is to set proper expectations to workshop participants as well to ensure compliance with workshop activities on schedule. One question would be Despite a busy schedule, I will do my best to comply with the requirements of the workshop. What if the student's score is below 4 but she or he wishes to take the workshop anyway? In this case, they would need to interview with the instructional designer of the workshop for an orientation into the content/activities in the workshop.
Survey link: https://forms.gle/YijUVEvTChDgX9bq8
TEACHER MANUAL FOR DAY 1 V 2.0 (See Appendix 3.24):
https://docs.google.com/document/d/1B6L-LoXOBP7uwZooa31PsFfZwRVMOIAbTE2v1tATdJc/edit?usp=sharing
LEARNER MANUAL FOR DAY 1-has a pedagogical wrapper V 2.0:
https://docs.google.com/document/d/1y827Xh0OmE1TcdHwA_5PRC0ULSZpDBlgktbPOIjFY6Q/edit?usp=sharing
Day 1 Learner Reaction Survey: https://forms.gle/HjirWDskA5Kqcsmw7
Day 2 Version 2.0
SYLLABI AND INSTRUCTIONAL MATERIALS FOR DAY 2 (PROPOSED as inspired by Day 1 iteration)
ASSURE
ANALYZE THE LEARNERS
-Analysis was grounded in the survey following the beta iteration on May 09th, 2023 (interaction/dialogic learning-focused),
The survey questions were based on usability of the iSpring Suite-crafted workshop, reaction, openness to vocal jazz content, as well as different learning styles according to Robert Kolb.
STATEMENT OF OBJECTIVES
Objectives were technically outcomes-based, and were crafted based on HOTS (higher order thinking skills) following Bloom's Taxonomy.
UTILIZE MEDIA, RESOURCES (See Appendix 3.25):
TEACHER MANUAL FOR DAY 2 V 2.0
https://docs.google.com/document/d/1b5Du6WmDrsfnZx5xpTzILBeEvTS6U91SCvWQQO7sRtk/edit?usp=sharing
LEARNER MANUAL FOR DAY 2 V 2.0
https://docs.google.com/document/d/1cJPlV5FPB7-qzJgEs7fRkYVSSeikbIpENpcLmqZeasY/edit?usp=sharing
Day 3 Version 2.0 (See Appendix 3.26):
TEACHER MANUAL FOR DAY 2 V 2.0:
https://docs.google.com/document/d/1HUb7N0WrFd9L1Xps1G3KeB6g1uUEISo997TdLRoEkZg/edit?usp=sharing
LEARNER MANUAL FOR DAY 3 V 2.0 (See Appendix 3.26):
https://docs.google.com/document/d/1rBY95-lMSfT7KqpM0jh2A14f5uA6AIgdDQHnhmsrfDc/edit?usp=sharing
In the Version 2.0 iteration, an overall learner feedback survey will be emailed to the MuEd 105 students, upon finishing Day 3.
Survey after Day 3: https://forms.gle/ox5Lg4yMSZGFtm2r7
Proposed timeline of milestones in the iteration of
Version 2.0 for MuEd 105 AY 2023-2024
Special SAMR Section
A recent University of Northern Colorado dissertation underscores that "The Substitution, Augmentation, Modification, Redefinition (SAMR) model...(Puentedura, 2006) claims that use of technology could predict student outcomes. School districts and educational institutions have been adopting this model in hopes to enhance the educational experience and outcomes for their students (SAMR Model, n.d.)" (Savignano, 2017).
How is SAMR applied to this gamified 3-day vocal jazz workshop for MuEd 105 students, in which students go through a hybrid (hyperflex) modality- a combination of online, self-paced, in-person and television-aided learning and performance experiences?
Substitution
Zoom (as used in MuEd 105 AY 2022-2023) houses MuEd 105 students with the teacher in a synchronous online classroom akin to a brick-and-mortar type of venue, replacing an in-person class with a Zoom-based class. Day 1 of workshop banks on Zoom usage.
Augmentation
Through Zoom, Day 1 of the workshop can be anywhere, not necessarily in one location. Students can study at home or anywhere. Students may also be located in a unique geography (both social and physical) which can help the student contribute unique inputs into class discussions, forums or projects.
Modification
Through online Facebook group interactions/collaborations required on Day 2, MuEd 105 students get to socialize, intellectually engage with vocal jazz educators/students from abroad (the US, Canada or Australia as invited from Vocal Jazz Educators in Facebook); students also get to interact with Ms Cifra and her Japanese vocal jazz students who may be invited to join the virtual group. Performances by MuEd 105 students become available to students/learners/teachers from other geographies, cultures, and learning institutions.
Redefinition
The use of a hybrid online 3-day workshop (utilizing Zoom and Facebook/Meta-based virtual community building affordances, as well as performance on a nationally and internationally broadcast television platform) redefines the MuEd 105 landscape--- instead of being just a didactic, teacher-led session in a typical, traditional classroom, this 3-day gamified workshop connects MuEd 105 students to the jazz community, and to the actual music world.
The Gershwin Badge holder from Day 3 of the vocal jazz workshop is entitled to a performance on a national TV network (which is also digitally streamed locally and internationally).
A televised performance on RJTV- both a digital and satellite-run TV network- is a platform for performances viewable to the entire country as well as to viewers from across the globe. The MuEd 105 students' performance on television can help them
build a social network with business tycoons in the music industry local and abroad
advertise their profiles as upcoming singers and teachers of voice
apply their singing techniques learned from university into an actual, real-world performance avenue
LEARNING THEORY- DAYS 1 THROUGH 3
