General Music

Restoring the Practice of Subdivision

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Version 2Imagine you are going to build a deck for your home. We’ve all heard the adage, “measure twice, cut once.” So you take out your measuring tool, and measure out your lumber. But in my example, there’s a catch. Your measuring tool only has feet marked on it. You need a piece cut to 7 feet, 5 1/2 inches. The best you can do is eyeball it, and pretty much guess where that 5 1/2 inch spot is. You mark your board, then to be sure, you measure again. This time when you eyeball the 5 1/2 spot, it is in a slightly different place, so you measure a third time. Again, it is in in a different place, because the best you can do is guess; you have only feet marked on your tool. Meanwhile, you partner is doing the same thing, also with a measuring tool with only feet marked on it. He too gets differing results for the same reason. Eventually, you decide to take the midpoint between the extremes of your different measurements, and go ahead and make that cut. You and your partner continue cutting lumber until the needed number of pieces is done. You go to assemble your deck floor and are dismayed that none of it fits together properly, and that none of the boards are the same length.

This scenario is not unlike how students often perform rhythms in an ensemble. Each child has only a conductor’s beat “marked,” and each student guesses at how divisions of the beat should be played. If a student has learned rhythms solely with rhythm syllables without learning how those syllables relate to a pulse, then they can only guess at where to place those beat divisions as they perform. Every students will do it a little different, and the result when they all sing or play together is that the performance is rhythmically messy and inaccurate.

Every rhythm is a product of durations performed to a pulse. Gordon has called that pulse a macro beat, and others have called it an ictus. Conductors and students alike work very hard to communicate and follow, respectively, that ictus, given by the conductor’s time-beating motion. But “watching the stick” is simply not enough. Those following the conductor must be able to accurately perform what comes between those conductor beats. Noted band conductor Frank Battisti once said that a conductor’s responsibility is what happens on the beat, a players responsibility is what happens between the beat. How do we teach our students to handle that responsibility? The answer is that we must teach them to be keepers of two kinds of beats simultaneously: the macro beat and the micro beat, the latter of which is the first division of the macro beat. In common time, there are usually two micro beats (two eighth notes) for every macro beat (a quarter note). In so-called compound meters such as six-eight, there are usually three micro beats (three eighth notes) for every macro beat (a dotted quarter note). As students “watch the stick,” they must also be audiating even eighth notes (micro beats) in order to play what comes between the beats accurately.

It has been my observation that conductors do not bring this up until a difficult rhythm is encountered. Only then will they tell their students that they must “subdivide” in order to play accurately. While this is a sound remediation, the fact is that subdivision should be going on all the time. It is part of fully understanding and perceiving any piece of music. It helps groups of musicians play quarter notes together as surely as it helps them play intricate divisions of the beat. What’s more, it doesn’t require much teaching or practice to be able to subdivide. All a conductor needs to do when he or she hears the rhythmic stability start to falter is to begin conducting or tapping out the subdivision, and usually the accuracy will snap into much greater precision. The ability to subdivide, or to audiate micro beats is innate. It is drawn from how the various durations in music are naturally organized by our brains into patterns that are subdivided. Our job as music educators is to give our students as much experience with a variety of rhythms as possible.

Earlier, I mentioned the importance of associating rhythm syllables to a pulse. Rhythm syllables that are merely recited phonetically without regard to an ongoing pulse will not bring about effective rhythmic learning. Simply calling a pair of eighth notes ti-ti in the absence of an audiated ta will not transfer to music literacy. Similarly, trying to explain rhythm by telling students something to the effect that eighth notes or ti-ti’s go twice as fast as quarter notes or ta’s leaves the questions of how fast is twice as fast, and twice as fast as what, unanswered. With the syllables ti-ti, the first ti is the macro beat, and both together are the micro beat. One must hear the first ti in each pair as the ictus, and the second as what is going on between the beats, placed exactly even between the preceding ti and the following one. This is why I prefer syllables that differentiate between notes that are macro beats and those that are not. It helps the student maintain an understanding of what he or she is doing throughout. In Gordon’s system, for example, instead of ti-ti, there is du-de. Du is always the macro beat, and du-de is always the micro beat. Students know that no matter if there is an eighth note following the ictus or not, that ictus is always du and the eighth note that follows is always de; two different sounds for two different rhythmic functions.  (For a further explanation of rhythm syllable systems, see my articles on the subject elsewhere in this blog.)

With “what happens between the beats” firmly in the mind’s eye, students will quickly become more accurate in their rhythm performance. Subdivision should be a constant and ongoing operation for all musicians, not just an occasional remedial strategy. Subdividing while listening to music also enhances enjoyment and understanding, because the rhythmic structure of the music to which students are listening is revealed to them through the accurate realization of duration to beat relationships, and resulting patterns of strong and weak beats which constitute meter. Subdividing fosters greater musical success and enjoyment.

Things We Can Learn About Teaching from Coach Belichick

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Version 2I’m pretty sure many of us use sports analogies with our students. Whether it’s a point to be made about teamwork, the importance of practice, or any of a number of other important subjects, sports seems to be an effective way to make this kind of thing relevant to students. I believe that the most effective professional coaches have something to teach we educators about success and teaching. Some would argue that Bill Bellichick is the most successful NFL football coach ever. There are arguments to be made against this claim, and it is not my intent to debate that here. I only wish to say that today I will discuss some matters regarding teaching that we can learn from this highly successful coach.

Teaching is in one sense all about preparation. We prepare our lessons, and after we have taught those lessons, we want our students to be better prepared to do something than they were before they attended that class. In this regard, teaching can be challenging, because many of the goals we want our students to achieve are long term. For music teachers, we begin rehearsing for a performance months before the concert date. We do this because we often don’t see our ensembles everyday, but 1-3 times a week. With less than daily practices, preparation is crucial because we want to use our practice time as efficiently and effectively as possible. Time is precious. This brings us to Bellichick point number one. It is a sign that hangs in the Patriots’ locker room. “Every battle is won before it is fought.” The result your students will realize is correlated to the quality of the preparation you, the teacher, have given them.

How do you know when your students are prepared? According to coach Bellichick,  “you’re prepared when everyone knows what to do. If it’s too complicated it won’t work, if it’s too obvious… it won’t work. It comes down to execution.” This is related to the psychological concept of flow (Csikszentmihaly, 1975).  A very simplified explanation of flow is that when the level of challenge and the level of ability are properly balanced, the task given to an individual will be challenging enough to hold interest and motivate effort, but not overly challenging so as to discourage, or insufficiently challenging so as to become boring. Getting everyone to the point where they know what to do includes making sure that what each person is doing is the right level of challenging, resulting in each person contributing at a level that is at the top of their challenge tolerance within their present ability level.

As important as preparation is, it is not the final word in how things will actually transpire during the lesson. We all know that making a great lesson plan is one thing, but many factors can disrupt what we planned to do, rendering the plan less successful than we anticipated. Eisenhower put it well when he said, “The battle plan is great until you actually get into the battle, then it doesn’t mean anything.” He might just as well have been talking about the lesson plan. The reality is we as teachers must make adjustments as a lesson is unfolding, changing tasks and strategies to account for unanticipated difficulty or ease that students are experiencing. Commentators love to talk about what second half adjustments a football coach will make, especially if his team is trailing at the half. Teachers must do the same thing, but on a much more condensed time scale. Most of us aren’t teaching a 2-3 hour class, the length of a football game. We’re making adjustment decisions over the course of a 45-90 time span. Make ongoing decisions in real time is a hallmark of successful coaches and successful teachers.

Though none can match his Super Bowl record, there are many other successful NFL coaches beside Bill Belichick, and many (maybe all) of them have coaching styles different from his. For example, some, like Andy Reid, are less demanding and more friendly in their approach. Others are highly charged emotionally on the sideline, jumping and yelling frequently. Coaches will do what they find successful in leading their teams to victories. Just as there are many styles of successful coaching, there are also many styles of successful teaching. Every teacher has to find what works best for them and stick to it. Take advice and learn from many, incorporating a little from each into what works well for you. When we learn something from another teacher, and then don’t find success with it for ourselves, we need to dismiss it, not because it was a bad idea, but because it was a good idea for someone else, but not us. But learn from successful people. Belichick explained, “don’t be afraid to use a good idea, even if nobody has used it before. If you believe it’s a good idea, don’t be afraid to use it.”

Discipline is another signpost of success. Organizations that tolerate or ignore sloppy habits tend to fall further and further away from success. Do not tolerate lax attention to rules. If someone doesn’t take a starting time seriously, have them leave. Don’t run a program where sloppiness and inattentiveness to rules and expectations is allowed. Belichick stated his philosophy of leadership as, “do your job, be attentive, pay attention to details, put the team first.” That statement is consistent with everyone knowing what to do, and then executing with precision and excellence. Gleaning other comments about coaching and applying them to teaching, we should interact positively with your students. Build in community building activities in addition to instructional time. Take outside distractions out of the equation of what you are working together to accomplish. We need to remind and in some cases convince our students that if you are teachable, you can learn and improve what you do. We should instill in them the “growth mindset.”

Finally, to paraphrase the coach once more, good students can’t overcome bad teaching, so it’s important to reflect on what we do at the end of every day, identify teaching mistakes, and correct them. This blog began as a personal written reflection that I began making at the end of most of may teaching days, and that I eventually decided to share. It is a record of my thoughts and observations of my own teaching and of the learning journeys of my students. Learning goals need to be seen as attainable, both for students and teachers. Make each short term goal the focus, and achieving those short term goals, one after the other will lead you to achieving the big long term goals. You can watch the whole interview on which this article was based below.

What Is Musical Dissonance?

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Version 2When I was a high school student, I was sure I knew what dissonance in music was. If it sounded wrong, it was dissonant, and if it sounded right, it was consonant. An interval of a 2nd, or a try tone, or a seventh was dissonant, and all the others were consonant. Then in college, I learned that a perfect 4th is dissonant, though it still sounded fine to me. But that was the first hint that something was amiss with my definition. If an interval that sounded right to me was dissonant, then I needed a new understanding of the concept. In my discussion of expectations (see “Is All Music Intended to Be Expressive?”), I mentioned Meyer’s thoughts on continuance and repose. Music that demands continuance, or “leaves us hanging” creates tension, whereas music that comes to rest harmonically, as at a full cadence, expresses repose or relaxation.

Once of the expectations Western listeners have is that tension will resolve into relaxation. We are accustomed to patterns of tension and relaxation in our music. This is the basis for traditional voice leading and harmonic progressions. Ornaments such as suspensions, appagiaturas, trills, and so forth create tension because they sound incomplete, as one who stops in the middle of a sentence. We know from our experience with grammar that there has to be more to that sentence, and we know from our experience with music that there has to be more to that musical phrase, more music that will bring us to that cadence, that musical punctuation of a comma, semi-colon, or period. It is that expectation, even necessity of the music continuing on to a more suitable pausing or stopping place that makes the present moment sound dissonant.

In framing dissonance in this way, I am essentially equating dissonance with continuance. The unresolved suspension is not dissonant because it sounds “wrong,” it sounds dissonant because it leaves us demanding more. Dissonance is unfulfilled expectation. It is a form of anxiety similar to what we experience when we worriedly await the outcome of some life event. That anxious, stressed feeling is akin to how our body reacts to dissonance in music.

Zatorre and Blood (1999) at McGill University created original melodies containing dissonant and consonant patterns of notes, and played them for ten volunteers who were  scanned at the same time. Rejecting the null hypothesis, dissonance made areas of the limbic system linked to unpleasant emotions light up in the PET scans, whereas the consonant melodies stimulated limbic structures associated with pleasure. In other words, music elicits the same emotional response in the human brain as non-musical events with the same emotional makeup. So our experience of dissonance is larger than a response limited to musical stimuli. Our perception of musical dissonance is a parallel response to other life experiences.

In The Harvard Dictionary of Music we find that dissonance represents the “element of disturbance and tension.” While tension can, as we have seen, be framed within unsatisfied or delayed expectations, disturbance is a dangerously subjective idea. Listeners are disturbed by different sounds to different degrees. We must also consider that what was once considered dissonant to musicians and audiences alike are now accepted as less so or even consonant now. There is a phrase in Walton’s Belshazzar’s Feast in which the choir sings the text “drank from the sacred vessels.” “Drank from the” is set to a minor 2nd, “sacred ves-” to a major 2nd, and “-sels” to a minor third. Though the 2nds are by some definitions dissonance, they are to my ear delectable and beautiful in the sense that the imminent resolution is so quickly realized and from the extreme “disturbance” of the minor 2nd. In this, we might consider that dissonance may be determined in part by its duration prior to its resolution. The longer the disturbance remains, the more likely it is to be perceived as dissonance. Dissononances that occupy short time spans may be less apt to be perceived as dissonant because they are more closely associated or attached to their resolutions. This is why a suspension can seem more consonant than an escape tone, wherein the resolution by skip obscures the tranquility of the resolution.

Some have attempted to define dissonance as any interval not included in the prevailing diatonic scale.  As long as diatonicism is the standard for measuring consonance or dissonance, this definition is at least serviceable. But it is rendered inappropriate for atonal works. Hindemith (1900) breached this issue by putting forth a ranking of melodic intervals from most consonant to most dissonant. This ranking was P5, P4, M6, M3, m3, m6, M2, m7, m2, M7, TT. Hindemith believed that consonance and dissonance could be perceived as a kind of floating standard, constantly defined by the current interval regardless of overall tonal center or lack there of. Still, there are vestiges of traditional harmony in his ranking, because the first 4 intervals are all diatonic and all part of the tonic, dominant, or subdominant chords. Hindemith believed that we shifted our perception of tonal center according to intervallic relationships when interval roots were non-diatonic.

This theory allowed for writing in the 12-tone style without abandoning tonality. Tones that are lowest, highest, and longest are given greatest importance in a melodic progression. These tones then are constructed to form step-wise motion, no matter their separation from one another by intervening tones. The interval of the fifth, being the most consonant, is also the strongest harmonically. It’s occurrence over changing roots can thus alter the perceived tonal center, whereas intervals gradually loose their ability to establish tonal centers according to their increased property of dissonance. To state it in terms of our overall discussion, the perfect 5th has the least power of continuance and the highest degree of repose, and so functions as a tonic in traditional harmony. As intervals become more dissonant, they gain greater power of continuance and lessening degrees of repose, and so add tension as well as distance from a perceived tonal center. Listen to this example from Hindemith, and see how much of our discussion you can take away.

 

Blood, A. J., Zatorre, R. J., Bermudez, P., & Evans, A. C. (January 01, 1999). Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience, 2, 4, 382-7.

Hindemith, P. (1900). The craft of musical composition. Mainz: Schott.

The Other Expectations

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Version 2Today I would like to discuss expectations, but not the usual sort. Often, when expectations in education are discussed, they are the kind teachers have of students. These may be behavior or performance expectations, and both are important. There is, though, another sort of expectation that is embedded in the how successfully people perceive and understand. These are the expectations a learner brings to that to which they are confronted. Absent expectations, materials presented to students such as whole or part of musical works, can only be understood in a limited way at best. When expectations are incorrect, the musical work is likely to be misunderstood or downright confusing.

Let me use a non-musical example to explain. Suppose a child is looking for a shaker in a box of non-pitched musical instruments, and suppose that child expects to find a shaker that is square. He or she goes through the contents of the box containing shakers, and though many are there, the child overlooks all of them, because none of them matches his or her expectation that a shaker is square. The child finally gives up, and claims that there are no shakers in the box. The child would have easily found many shakers had he or she known that they were round, or egg shaped. When presented with the information that all of the items in the box are shakers, the child will be surprised, and declare “that was unexpected.” And that is exactly the point. If a person’s expectations about what they are presented with are faulty, they will miss the meaning, or even the identity of what they are seeing or hearing.

This point was made by a Music History professor when I was an undergraduate in his class. He played an excerpt from a Mozart symphony ( forty years later, I don’t recall which one), and then asked us what we heard. The usually reliable Bruce responded that he heard violins playing this, and cellos playing that, and so forth. Bruce’s answer was right, but incomplete. I responded that I heard the melody played on the flute over all that Bruce had described. The activity in the strings was what Bruce expected. He was used to the melodic content being delivered by the strings, but did not expect to hear the melody in the flute. His expectation eliminated the possibility of the melody being anywhere else except in the strings, and caused him to overlook it. I have had similar experiences with my students, even adult students. I play them a melody I want them to keep track of in a sonata-allegro form, and then play the movement. What I didn’t tell them was what instrument or instruments would be playing the material I wanted them to hear. Frequently, not knowing where in the orchestra to expect the melody to appear, they listen in the wrong place and miss it entirely. I can always go back and tell them what instrument will be playing it, and (as long as they know what that instrument sounds like) they will easily hear the melody next time through. It is all about knowing what to expect.

The same is true for performers. For myself, when I am playing my clarinet, I can easily play, even sight read, most music put before me, because I expect even difficult passages to be in familiar patterns of scales and arpeggios. As long as those patterns are what I expect, I can play accurately. But the instant the pattern changes, or the scale or chord is one I did not expect, mistakes become numerous, and I am then in a passage I must stop and practice until I have learned those unexpected patterns. As we teach students, it is not enough to teach them the repertoire, or even the scales, which are out of context. We must teach them how these things are typically used in actual music. This can include learning progressions of arpeggios, sequential patterns like scales by thirds, or sequences of motifs. Many etudes typically take this approach, moving through a few themes that use sequence and progressions. They typically start relatively easy, then become difficult somewhere past the middle, and then end relatively easy again. This in itself is an expectation I have for etudes, and causes me to search out the middle of the etude to practice first, expecting that the beginning and end will come much easier. Having these expectations not only helps me play the etude more successfully, but also helps me plan my practice strategy.

Expectations are acquired through experience. As music educators, we provide our students with experience ample for constructing expectations on. I believe that one of the weaknesses of survey type courses, is that there is too great a variety of musical genres, styles and forms presented in an attempt to build familiarity with them all, while not providing sufficient concentration on any one genre, style or form to allow for the forming of expectations of them. No one can have accurate expectations of 18th century symphonic music after listening to single symphonies by Haydn, Mozart and Beethoven. The creative span of just these three composers is so much greater than what can be drawn from a single work. It is not so unreasonable to think that Beethoven’s first two symphonies were written by Haydn, if all one knows of Beethoven is the fifth and third symphonies. Likewise, it is not unreasonable to think that the prelude to Haydn’s The Creation was written by Wagner, if all one knows of Haydn is that prelude. Given the opportunity to listen to a broader sampling of each composer’s work, the listener can acquire more accurate expectations that will guide him or her in perceiving and understanding so much more along any symphonic journey they may take.

Expectations also leaves the listener or performer the freedom to discover and explore musical works with those expectations and the accompanying intuition as guides, so that the performer preparing a musical work for performance or a listener taking in a concert or recording is not left to drift through, become bored and abandon future encounters with such music. Giving students expectations whets the appetite to go out and have those expectations met, and that involves seeking out the musical works about which they have expectations. Developing expectations equips the student to interact with musical works on his or her own terms, without being restricted by assigned listening tasks. Students who make predictions about what they will, concerning everything from instrumentation (what instruments are likely to have the melody often (violins, oboes, flutes, clarinets) and which ones are unlikely to have the melody often (violas)), and harmonic progressions (clear tonic and dominant harmony in Mozart, more adventurous and chromatic treatments in Richard Strauss and Wagner) to length of works and use of rhythm and dissonance. With the right expectations, a beautiful Wagnerian dissonance sounds like a bad mistake in Mozart, and sets that dissonance in the right context, that of impressive creativity on Mozart’s part to think of using dissonance like that (consider the “dissonant” quartet, no. 19 in C major, K. 465)  when others were not doing so. And so the more able we prepare our students to have accurate expectations concerning musical works, the more powerfully they will be able to assert their musical learning on creative musical activity.

What Do You Do?

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Version 2When striking up a new acquaintance, sharing what we do for work is nearly always one of the first things we talk about. I have always responded by saying that I’m a music teacher, an answer no one who knows me would dispute. But lately I began to wonder just how accurate that really is. After all, I’m not teaching the music anything, I’m teaching children–teaching music to children. That makes me a children teacher.

While the distinction may seem nit-picky or like a bad pun, I believe it reveals something I have from time to time lost track of. If I am principally concerned with teaching music, then I am less likely to be concerned with those to whom I am teaching it. I am interested in covering material, and transferring knowledge or skills from me to my students. To be sure, this is an important part of teaching and learning, the imparting and receiving of knowledge and skills, but it is apt to be accomplished with limited success if more attention is given to the content than to the learner.

Even on my most successful days, when my students have done well playing or singing repertoire, or have demonstrated knowledge on an assessment, if I have not taught them something that they want to use in their daily lives, they will at best tolerate my class, and then quickly lay aside what I have taught them. The fact is that most children, and I include adolescents, enjoy music in some fashion, and have willingly made it part of their daily lives. For many, this involves listening to recorded music, and responding in some way to what they are listening to, be it moving, dancing, singing, drumming, or just taking emotional pleasure. Honestly, they can do these things without much or maybe any help from me. So I ask myself, what value can I add to their musical experience that will amplify their lifelong interactions with music?

One way is to teach them to play musical instruments on which they can play the music they enjoy. Band and orchestra are great for those who enjoy it, and there are plenty who do, but for the rest who make up a majority, as long as there are rarely if ever trumpets or clarinets, violins or timpani in the latest hip-hop or pop hits, there is little interest in learning “orchestral” instruments. There just isn’t a connection between playing these instruments and what the students want to do with their music, nor the incentive to invest the time needed to sound good playing music that is perhaps of marginal interest. But present the opportunity to play the guitar or keyboard, and suddenly there is immense interest in learning a musical instrument. These are the instruments they hear in the music they enjoy and encounter daily. This will add value to their moving, dancing, singing, and drumming. This will also draw students together in a new way, as one plays a guitar, another the drums, another a keyboard, and still another sings. It is discovering for them, and rediscovering for us the joy of making music with friends, as families and friends were apt to do in a time that preceded recorded music.

Part of succeeding at this rediscovery is showing students that they do not have to make exact reproductions of the recordings they know. Just consider all the remixes being done today. Their remix can be a simpler way of playing and singing, one that suits their present technical ability on an instrument or voice. Students can divide chords among themselves where chord changes come to quickly for one player. They can eliminate chords or slow down strums to give them more time to get their fingers to the nextthis-approach-to chord. They can move a complex strumming pattern onto a drum kit where the rhythms are easier to play. These accommodations don’t in the end spoil the musical experience. On the contrary they bring it within the reach of all students, and open up the world of playing in a band to those who have not achieved the skill to play the original versions. Unlike transcriptions for wind ensemble or orchestra, the modified versions of popular music still have enough of the original sound and feel to satisfy the students, and make it fun for them to play there favorite songs. It also brings to the fore what is perhaps the most attractive part of making music–that of doing it together with friends.

This approach to teaching music to kids is a natural by-product of putting relationship building first. It recalibrates how we think of ourselves as teachers and how we think of our students. Yes, we are the experts, the ones with the college education and conservatory musicianship, but the students are our equals in terms of who they are as people, and what they are about to do, feel, cherish and be. Rather than considering ourselves as lauded overseers of our students learning, it is more respectful of them and effective to see ourselves as collaborators who bring indispensable resources into the collaboration, but who are as eager to make music and learn from them as we want them to be those things toward us. So we demonstrate, teach, explain, but we also listen, encourage, and at times just step back, out of the way, and let them take what we have given them and let them run with it through what now can be a self-directed musical experience.

It is something like teaching your child to ride a bicycle. They are the ones seated on the bike and pedaling and steering, and maybe holding on for dear life, and you are the one holding the bike so they don’t fall, running along beside but not hopping on and taking over, and then when they are able to go, you let go and watch them ride ahead, unaware that they are doing it all their own now, until they look and see you’re not needed to hold them up. That is what good music teaching should be like. Train them as long as they need it, but then get out of the way and let them go it alone. At that point, you are the proud teacher, applauding their accomplishments, and enjoying their success right along with them. That moment of bringing them to the point of independence is something they never forget. It is born out of the relationship that grows from collaboration, which is the working together of equals, not from sitting at the “feet” of a presiding pundit, a relationship that demands superiority over students. Teachers must retain their academic and scholarly superiority, while allowing students to be equal in other ways so that the learning I’ve described will flourish. I am a children teacher. I teach children music.

Second Half Adjustments

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Version 2Now that winter recess is over, and we’re all back to school after the holidays, it is good to keep in mind that the second half is very different from the first. I have found that if I simply continuing going about my business in the second half just as I did in the first half, no matter how successful that first half was, results will begin to decline. The second half of the school year is different in important ways from the first half, and these differences must be taken into account when planning and delivering instruction.

One of the major differences is that there are more interruptions, especially if your school district has vacation weeks in both February and April. There may also be other days off for Martin Luther King Day, Three Kings Day, Memorial Day, President’s Day, and so forth. Coming back from all of these days off, and keeping some continuity and retention going in between can be challenging. Another difference is that students and teachers both are likely to be coming to school with some degree of illness. This illness can linger and become ongoing through much of the winter months resulting in elevated fatigue, poor attention, and the decline in performance one would expect with these symptoms. There is also the effect of darker weather outdoors. Winter here in New England becomes downright dreary, and the months of February and March can seem insurmountably long as a result.

The first adjustment that all of this recommends is to be ready to slow the pace of covering material. I don’t mean to slow down your day to day teaching pace, but rather to plan for teaching to generally take more time, more class meetings, to successfully teach units and concepts compared to the first half of the year. Don’t be surprised if your students just take longer to accomplish what you ask of them, and make that extra time part of your plan.

Having just returned from a vacation, students returning to your classroom tend to have forgotten or lost the habit of following classroom routines and procedures. Now is a good time to review and practice classroom procedures and expectations, similar to how you did at the beginning of the school year. It’s easy to let these things go at this time of year, as we assume our students already know these things, but knowing and doing are two different things. If they have gotten out of the habit of following classroom procedures and expectations, then lapses and poor behavior are going to become increasingly problematic. It is best to step back and get back into the routines of these things while the feeling of getting a fresh start in the new year is still present.

Another adjustment I make for the second half is in the length of the units I teach.  Whereas in the first half I tend to teach my longer units, in the second half, because I know I’m going to be interrupted by days off relatively frequently, I teach my shorter units. If there is a longer unit I have not taught yet, I will break it up into shorter sub-units so that I can achieve closer before each day off occurs. I also tend to try harder to make connections between lesson more explicit. I want to be sure that my students understand how they will use prior learning and performance successes in new learning settings. This strategy means frequent reviews, clear transitions from the reviews to the current lesson, and statements of application in my daily lesson closures.

Although I always try to make my lessons as engaging and relevant as possible, in the second half I tend to rely more on students selecting musical works, and more on the artistic process of creating. Both of these usually increase the level of engagement of my students, which in turn helps with better retention of material. Speaking of retention, in lessons such as these, where students have freedom in generating musical ideas, my-students-understandorganizing them into musical works, and so forth, it is more important than ever to interrupt student work in time to draw connections between the activity the students have been engaged in, and the concepts, skills, and knowledge you want them to have attained from doing the activity. These connections are brought out naturally during direct instruction, but can easily be overlooked when the teacher is facilitating or monitoring small group work or independent practice. Students must not only learn from you how well they did the activity, but also why they did the activity, and how they will apply what they have learned by doing.

The content of my units in the second half tends to be more performance oriented, because my performance calendar for the second half has more concerts and shows. I use the creating lessons not only to teach music composition, but also to teach “how music works” which prepares students to analyze the music they will be performing, to understand how all of the elemental parts fit together, and how they can manipulate their performance of those elements to shape the expressive qualities they bring to their singing or playing. Because I teach general music, band and chorus, I can easily reinforce  concepts, skills and knowledge in each rehearsal or class setting, including general music class, band or chorus rehearsal, and rehearsals for our school musical. Students who are involved in the latter are especially open to improving their singing skills in a way that they are not earlier in the year when the need to sing well is not so immediate. I take advantage of this relevance to teach as much singing technique as possible in the second half.

There is another aspect to second half adjustments, and that is the progress I have made on my year-long student learning objects (SLO). The second half begins with mid-year assessment so that I can compare my mid-year data to my benchmark assessment from the beginning of the year. If I do not see progress in my data for those objectives, then I must revisit how I have been teaching to those objectives and make the necessary adjustments to assure that I have met them by year’s end. This is of great interest to me, because those SLOs are important to my Teacher Evaluation (TEVAL) results. Good results benefit both my students and me, so those assessments are a prominent part of my mid-year adjustments. Mid year is enough time to get an accurate indication of how both my students and I are doing on those objectives.

I enjoy the second half of the school year. With all of those performances coming into view, I become energized, even in the face of a gloomy New England winter. Making the adjustments I have discussed keep the second half going smoothly and successfully.

The Atlanta Symphony Orchestra Has Something For Your Students

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Version 2As musicians and music educators, we know that it takes much commitment, work, and many hours to prepare a performance for presentation to an audience. But sometimes it’s difficult, even for young music students, to appreciate or even realize just how much goes into preparing a concert. It can be enlightening to have the opportunity to hear professional symphony musicians share what they do to prepare for a concert. To be able to ask them questions in a live conversation is even better.

As educators, we also know that music is the manifestation of natural laws of science; that music is a creative way of manipulating and taking advantage of the science of sound, including all acoustical principles. Music teachers have a great opportunity to collaborate with their science teacher colleagues in bringing the acoustical world of sound to their students through demonstration and hands-on learning opportunities to play, experiment, and discover the many ways in which sound can be manipulated and organized.

Next week, students everywhere will have a wonderful opportunity to interact with members of the Atlanta Symphony Orchestra. On December 13th at 10 AM ET, GPB Education will take students on a live virtual field trip of the Atlanta Symphony aso-logo-500x153Orchestra, highlighting the science of sound, various ASO musicians, and the preparation it takes to put on a live musical performance. Students can interact with the show by submitted questions to experts and participating in live polls. The show will be live streamed on gpb.org/symphony and on GPB Education’s Facebook page. More information and to register for the event, go to gpb.org/symphony. Music teachers might consider using this live forum during school with music students to bring the world of live music into the classroom, and to create an authentic learning experience. I urge you to join the Atlanta Symphony in this presentation.

Pacing and Energy are Not The Same

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Version 2Engaging students in classroom activities and keeping their interest throughout the lesson are both necessities and difficult. While many elements contribute to motivating students to stay on task and be productive in class, two important ones are pacing and energy. Pacing is the rate or speed at which you teach. Pacing that is too fast can leave students confused, lacking time to process, reflect, question and problem solve. it can also result in behavior problems as students who are left behind find other things to do and as the teacher ignores behavior issues in order to maintain the fast pace. This happens when the teacher “pushes through” the lesson in order to cover a set amount of material. On the other end of the spectrum, pacing that is too slow leads to boredom. Students given too much time to process and problem solve become disengaged as they wait for something else to do.

Besides the actual speed at which the teacher is giving instruction, other behaviors influence the perception of pace. For example, when a teacher remains in a fixed location for an extended period of time, student attention ebbs because the students are not given the opportunity to vary their focus and aspects of visual perception. Our minds like change and tend to tune out things that stay the same. The use of the voice while speaking to a class also influences the perception of pace. A voice delivery that lacks modulation and variety will have the same effect as staying in one physical location too long. Again, a shortage of variety makes holding students’ attention challenging. When a teacher varies the pitch, pace, and volume of his or her speaking voice, the students have an easier time maintaining attention on what is being said.

In the same way, using eye contact that continually scans the entire class is important. If too much time goes by without the teacher visually acknowledging a student, that student will begin to feel disenfranchised, and come to believe that paying attention to what the teacher is doing is not necessary because the teacher is not paying attention to them. Making eye contact and adding a smile (or other facial expression of approval or if appropriate disapproval) further engages the students, showing him or her that you are not only paying attention to them, but that you have a personalized message to give them–a message which might be given with a smile to say you’re glad that child is in your class, or you are pleased with them, or might be a subtle redirection for a student who has started to wander with their mind. Following a redirection with a smile when the redirection is successful is very effective and encouraging.

When these techniques are combined, students are less apt to perceive time as moving slowly, or feel as though they need to find something better to do than listen to you or do the learning task you have given them. Through it all, it is important to maintain a calm demeanor that communicates not only that you like your students and that you are comfortably and agreeably in control. The class moves smoothly when everyone is composed; however, it is possible in an effort to maintain calm to become to laid back. When this happens your voice becomes almost always very quiet (which does not provide enough variety), and your movement becomes too restricted (making you more boring to look at). At that point, what should have been gained by calmness has been lost in favor of an uninspiring, droll presentation that will motivate students to search for something more interesting. When this happens, your teaching is suffering from a lack of energy. It does not matter how fast you teach, or how well you do all the other things I have discussed above.

If you lack energy, then you will appear to be disinterested and bored, and if that is your students perception, then they will reasonable conclude, “if he isn’t interested in whatBut-whenever-you-can he’s doing, why should I be interested?” Good question. I’d say most of us are in this profession because we love music and love sharing that love with our students. We share some amazing performances, rehearsals, trips, and so forth with them, and we all, students and teacher alike, are excited about what we are doing together when we are at our best. Surely nobody will be on the top of their game every single day, and some days we or they are just too tired or perhaps even ill, to exude much energy. When that happens, plan lightly, and admit to your students up front that you are not at your best today. They will get it. They have days like that too. It makes you more approachable, and gains their respect just for your transparent honesty. But whenever you can, you’ll do better to keep the energy and pace at the most effective level for your students.

Another key element about maintaining proper energy and pace is that students enjoy your class when it is fast enough and interesting enough to hold their interest and keep them challenged just the right amount. This helps classroom management in two ways. First, as I’ve mentioned, it keeps students on-task doing what you want them to do and learning what you want them to learn. Second, because they enjoy that kind of class, they will become protective of it, and object to peers who slow it down. When I get my pace and energy right, the students begin keeping their peers in line, quieting the talkers and so forth. Hearing it from their peers allows me to make any pause in teaching much more brief, and reduces the number of times I have to stop because there is that undercurrent of it not being alright with them to slow things down. Of course, when the task and learning objectives are of interest to the students, this works all the better. Then, the students not only want to keep moving, they want to keep doing what they’re doing at that level of pace and energy. Naturally, there are times when you will need to stop for more serious infractions, but even then, you are correcting the offender based on the premise that he or she is interfering with others’ learning. Students’ sense of fairness will quickly see the undesirability of being seen as doing something so unfair.

The right pace can be maintained with not enough energy, the right energy can be maintained with not enough pace (lots of motion, not enough substance, for example), or they can be both right or both wrong. As you adjust them for your classes, you will find the right levels of both for each class. They will vary from class to class, so you need to become skilled at varying both according to the group you are teaching. Doing so will improve instruction and enjoyment in your classroom.

Pros and Cons of Stick Notation

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Version 2Stick notation is a method for teaching music reading that involves presenting written notes with the note heads removed. The method is most often associated with the Kodaly method, but is used by non-Kodaly teachers as well. In this article I will consider reasons for using stick notation, and also some drawbacks.

Stick notation is most properly considered a pre-literacy strategy. Although I learned about stick notation in my pre-service undergraduate studies, I was from the start dubious of using it. Because note stems and beams without their heads did not look like the music I wanted my students to be able to read, I saw stick notation as an unnecessary extra step. Later, after becoming versed in Learning Music Theory, I recognized that associating French rhythm syllables (or the familiar adaptation of them) with notation was putting the learning sequence for developing music reading skills out of order. Indeed, stick notation was made necessary by neglecting or slighting rote and verbal association instruction; that is, by not developing in students the ability to hear rhythms and meters internally and to decode those rhythms into rhythm syllables, stick notation was necessary. My suspicions grew as I noticed that students who had learned rhythm with stick notation from a Kodaly teacher were largely unable to transfer learning of reading rhythms to their band lessons, and had to be taught the association between the rhythms seen in their band music and the “ta ti-ti” chants they had done in general m music. Something was wrong with how they were being taught rhythm.

The problem was notated symbols were being given names but were not being associated with the sounds they represented. Children saw a vertical line and remembered to call it “ta,” but they did not have the ability to recognize a sound as a “ta” when they heard it, and so they could not produce the rhythm “ta” beyond giving it a name. The “ta” they had learned was not given a context of a meter and a pulse. To successfully use “ta,” or any rhythm syllable for that matter, students must have an understanding of meter. Because those students had not been properly trained aurally to hear meter, or as Gordon would say, to audiate meter, the rhythm syllables had no musical meaning to them. Absent that aural training, teachers faced with this problem are then compelled to explain meter from a music theory stand point, further exacerbating the problem rather than solving it by going back and teaching meter as part of the aural context of rhythm patterns.

Part of the stick notation strategy is providing a way of reading music without using a music staff. Writing rhythms without a staff is a good way of associating previously learned rhythms with the notation of them. I often write rhythms this way on my white board or on flashcards. When I do this, though, I include the notepads, even though they have no functionality without a staff. I include them because I want the children to become used to seeing the whole note, stem, beam and head. By doing this, I am accomplishing the simplification of not using a staff, while preparing a smoother transition to notes on a staff. Now here’s the interesting part. I have tried using stick notation on the board, and when I did, my students protested. They asked me what it was, and when I told them, they said that is not what notes are supposed to look like. I The-problem-was-notatedhad to add the heads for them to be satisfied and willing to go on with the lesson. Even more important, I wrote those rhythms on the board only after I had taught the same rhythms by rote on a neutral syllable first, then the next lesson with rhythm syllables. The rhythms they were reading on the board were familiar rhythms. They were not chanting or hearing them for the first time, but they were reading them for the first time.  Once they are proficient at that, I can then write unfamiliar rhythms for them to read which they can now audiate before they chant them, which means they are then chanting them with understanding, not just from rote.

The most effective use for stick notation I have found is as a remediation strategy for older students. These are students who for whatever reason have reached middle school and still do not understand how to read music. They know the note names, now the note values, but do not understand the distinction and difference between the duration component of musical notation, namely beams, dots after notes, and filled in or empty note heads, and the pitch component, namely placement on the staff. These students typically think that two quarter notes on two different pitches are identical, or they do not know why one note has a filled in notepad, though they know it is called a quarter note, and another has a notepad that is not filled in, though they know it is called a half note. I haven’t run across this in several years, but it used to be a frequent problem, owing no doubt to my not following the pedagogic advice I have given above. Still, stick notation was the answer. By selecting a melody and notating it three times, these students quickly understood how musical notation works. I used Finale to notate a melody in stick notation. Then on the same page I notated the same melody with just notepads (no stems or beams). Thirdly I notated the same melody again in full musical notation. By following the sequence, students could see that the durations were in stems or in filled in or not filled in notepads, and pitch was in where the notepads were placed vertically on the staff. Then they could see those two components combined in the final, full traditional notation.

Teachers who want to notate pitch with stick notation write solfege syllables under the stems. While this accomplishes the goal of giving students a way of singing a melody from notation without knowing how to read notes on a musical staff, it again sets the student up for needing to transfer solfege syllables they are reading to notepads they are reading, without preparing them to audiate the notepads on a staff prior to reading them. As a readiness strategy, using a two line staff is preferable to no staff with solfege. At least with the two line staff, students are learning the concepts of specific pitches notated in specific places on or between lines. A simple so mi melody read from a two-line staff is more beneficial that reading the same melody from stick notation with written solfege syllables.

In the end, the most important thing to remember is to teach “sound before sight.” Notation is a visual representation of specific sounds. Children learn to read language by learning the sounds of letters, and then developing the ability to string those letter sounds together into words, and then to read those letter strings as words. The process for teaching music reading is essentially the same. If stick notation is used, it should be, as any notation should, used only for reading what has already been learned aurally.

Why Practice?

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Version 2I was in my senior year of my undergraduate studies, during my apprentice teaching semester. I shared an off-campus apartment with two other men, one a music major the other a psychology major. One day, after I had been practicing my clarinet, the music major said to me, “I don’t like listening to people practice.” Naturally I asked him why this was and he said that it was because when the people he knew practiced, they paid little attention to tone, and most of their attention to practicing notes. I asked him if that was true of me too, and he said that it was.

All these 39 years later, I have recently remembered those words and reflected on them. I have realized that the practice sessions I enjoy the most are the ones in which I am being most expressive; the ones in which I lose myself in the music and “play my heart out.” On the other hand, my least favorite practice sessions are those that are aptly described by my former room mate’s words; the ones in which I am merely practicing notes, drilling myself over and over until I play a passage with the correct notes. Of course, this kind of attention to right notes is necessary, but it is a temporary departure from what should be the main point of playing a musical instrument in the first place, which is to express something of the human heart and spirit.

Suzuki, the famed violin pedagogue, often spoke of the intimacy between heart, soul and music. To him, music was as essential to life and human compassion as the air we breathe. How unfortunate that some teachers have cherry picked playing by ear from the totality of Suzuki’s philosophy and method, forgetting or laying aside the development of beauty of tone and expressiveness in favor of playing dry renditions of Twinkle ad nauseam. Ever since the National Core Arts Standards were released with the pervasive presence of expressive intent throughout them, I have found it both energizing and challenging to frame every musical experience in the context of expressiveness. Yet that is exactly the point of art in general and music in particular–to express something personal from one musician to other musicians and beyond them to audiences. It has also caused me to call into question the premise that performances of classical music must be “authentic.” If a musician’s primary mission is to convey someone else’s expressive intent, then musicians are left with an enterprise that is marginally relevant to them at best. Whether the mandate is to reproduce a composer’s intent, or to follow strict instructions from a conductor, preparing performances to present to an audience without the creative freedom to convey personal meaning is rendering music study largely superficial, and limiting the true power and benefit of musical study.

If someone tells me about something about which they have strong feelings, those feelings are conveyed to me in body language, voice inflection, as well as the words themselves. Their feelings then interact with my own feelings born out of my own experience and interests, and are given an additional meaning that is personal and somewhat unique to me. If the person is telling me about a life event they have celebrated and are happy and excited about, anybody hearing them talk about it will get that the feelings being expressed are happiness and excitement, but my version of those emotions are different from others’ based on how I personally feel when I am happy or excited over a similar life event. The same is true with music. Whereas musicians may universally agree that Beethoven was expressing anger, or Haydn was expressing humor, individual musicians or non-musicians will relate to that anger or human in unique ways, influenced by life experiences only they have responded to in unique ways.  So it is here, in the mixing of life experiences and music that we as music educators much grant our students the freedom to interpret music they hear and perform in our rehearsals and classrooms in personal ways even when those ways are different from how we would dictate an interpretation to them were we to assume the role of traditional maestro.

In granting this freedom, we must prepare our students to create such interpretations by giving them ample experiences with music of the same idiom as that which they are preparing for performance or are listening to for responding to music activities. They must develop a “feel” for the music of Beethoven so that they can relate their own lives to what Beethoven invested into his music. The same is true of any composer of any idiom or time period. Interpretation is the melding of two contexts: that of the creator and that of the performer. The later must understand the former, but be left the latitude to understand the former in his or her own cultural and personal contexts. The more the students have a “feel” for a composer’s music, the more they will be able to understand it based on how they feel when they play, sing or hear it.

When this is applied to practicing or rehearsing, more attention is often given to details. For example, when students are focused on beauty of tone, they are concentrating on the expressiveness of perhaps only a single note, or a single phrase of music. This point is famously made in this moment from the movie Amadeus.

Salieri’s attention to that first sustained note is exactly the focus on expressive detail that is necessary for music to be understood as an expressive power. For Salieri, the miracle of this music is not in the specific pitches or even in the literal dynamics, but in the way in which these things are used for expressive effect. It should not be necessary for children to wait until they are in college or even high school to experience this level of musical sensitivity. The vibrant imaginations of children are perfect for exploring music in all of its expressiveness, much more for than for exploring the names of lines and spaces and the memorizing of vocabulary lists. These too must be included in our music instruction, but they should not become the primary focus.