Slides like these are the routine in the 5-12 grade Orchestra classroom. The expectations of what we have learned, what we are about to learn, and what students should learn next is presented. In the Do Now, a review of previous lessons is most often featured, followed by the the order of music. The left column is designated for future learning, either in the songs to practice or in the lesson schedule.
When work outside of the classroom is assigned, I do my best to do the work before. That means I'm practicing all of the parts, creating part tutorials, and in the above case, filling in the answers to the rhythm assignment. That way, I know that the assignment is valid, and I can anticipate the pitfalls to come.
In terms of “Thoughtful work,” students engaged with their peers to stretch their creativity in creating a cover of a song. The groups were student-generated and the songs were group-selected. This undoubtedly inspired the students to pursue self-discovery.
Then the students explored High-Level Questioning throughout the project. Students were not only actively engaged in developing rigorous questions to challenge the thinking of their peers, but also able to respond to rigorous questions generated by peers with little guidance from the teacher. As they worked, students had to make decisions through compromise and negotiation with each other. For example, what are the different notes of the melody? How will we make a harmony line? Who will play what parts? How long will the song be, and how will it start and end?
One area of improvement may be in the Academic Discussion portion of this rigorous project. The rubric describes well developed discussion as independent engagement in dialogue and “valuable academic content around the learning task.” While we had lofty aspirations for the project, it was too much too soon. For the next project, we will scaffold it more appropriately to the musical experiences of the students.
Students rehearse Back in Black a few times before we decided to compile a list as a group. Typically, in the rehearsal model of ensemble classes, the director/conductor does all of the decision making. We have flipped the script here, detailed in the slide below, by asking the students to think about what they're hearing and where they want to go. Consequently, I am able to help them get there because of my expertise.
We so rarely get to everything on the plan, and if we do, it is usually at the expense of students' learning. Below is my musings on and the original text of Elliot Eisner's What Can Education Learn from the Arts about the Practice of Education? One of his main points is on Flexible Purposing, as both and artistic practice and a way of being in the classroom.