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A principled practitioner in music education actively challenges traditional norms and embraces inclusive, equitable, and culturally responsive teaching methods to foster each student's musical potential and understanding. They prioritize interdisciplinary learning and problem-based approaches over narrow training, aiming to revolutionize how music is taught and learned.
Soundtrap: a venture into 21st century music education
In this project, I focused on navigating the site "Soundtrap" and worked to discover how to compose music on the platform. I created a song based off an image and then used critical thinking skills to create a new series of lessons for my future students. I worked hard to focus on how to incorporate modern technology to bring new teaching methods into music education. I worked to engage in making changes in schools and music education through principled action-- exploring innovative technology. Additionally, by reflecting on this process, i was able to improve the lessons I compose for my future students.
NAFME Core Arts Standards: prioritizing process over product
In this project, I worked to create an engaging lesson plan that followed specific NAfME music education standards. In addition to NAfME standards, I focused on creating a multi-cultural competent lesson that celebrates diversity. After developing and teaching the lesson I crafted about the 12-bar blues, this document serves as my reflection. I used this reflection to see how I could improve my lesson and work to liberate the curriculum from tired traditions. I heavily focused on how I could work to introduce new strategies and ways to engage my students for lifelong involvement in music.
Engaging with Music in Participatory Culture: getting students to be producers of music, not just consumers
A principled practitioner in music education actively challenges traditional norms and embraces inclusive, equitable, and culturally responsive teaching methods to foster each student's musical potential and understanding. Throughout the reading the author continues to bring up the concept of allowing students to directly connect with the teaching material they are provided as it allows for them to connect with the music on a different level (participatory culture). A principled practitioner can utilize the concepts of participatory culture into their classroom by encouraging students to contribute to their collective learning environment. This can be done by creating collaborative opportunities for students to share their musical ideas, receive feedback, collaborate on projects, and perform together.
Diving Deep into Music: Crafting a Multi-Dimensional Music Education Experience
As a principled practitioner, I am engaged in making change in schools and music education through principled action. Curriculum must include the dimensions and meta dimensions of music as they can serve as the basis for planning music learning experiences. When students have begun to understand music from the “inside,” they can become more aware of all the dimensions within pieces of music. Integrating the full spectrum of musical dimensions captivates students' attention, fostering a more interactive and immersive learning environment where they can truly connect with the essence of music. This engagement not only nurtures their musical abilities but also sparks a lifelong passion for the arts.
Mapping the Melody: Using Listening Maps to Enhance Music Education
As a principled practitioner I will move away from using standard notation and other previous methods of teaching music to young students and more towards a curriculum that is easier for the students to grasp and also keeps them engaged. Listening maps and similar tools allow students to analyze the music they are listening to without needing lots of prior knowledge about music notation and vocabulary. Learning maps give students creativity without putting them in a box, they can express themselves in any way they choose while connecting to the music presented to them.
Song: Flower Power
Beyond the Notes: Engaging Young Musicians with Arabian Dances
As a principled practitioner, I have moved away from traditional music notation and methods, opting for a more accessible and engaging curriculum that fosters deeper connections within music and the broader world. My recent work with "Arabian Dances" by Roland Barrett exemplifies this approach, as the piece offers rich opportunities for young instrumentalists to develop both their technical skills and creative expression. Through Barrett's Facets Model, I designed a range of activities across the artistic processes of Performing, Connecting, Responding, and Creating, all aimed at enhancing students' musical understanding and engagement. Activities such as improvisation, group composition, storytelling, and movement-based responses allow students to engage with the music in diverse, multi-dimensional ways, fostering not only musical growth but also creativity and critical thinking. This was a project assigned for Elementary Wind Practices.
Document with activities linked here.
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