The Thing About Learning

Version 2I am by nature a very thoughtful person. People who know me well frequently accuse me of overthinking many things, and I have to admit that they are right–I do overthink often. As someone almost constantly in conscious thought about something, there are many thought that come and go, forgotten as quickly as they arrived, but others get my attention. Why are some noticed and others not? Because the ones that get noticed connect to something else I have been doing or thinking, and so are of particular interest to me at the time. The thoughts that remain are those that pertain to what I am at that moment most interested in, what I am presently doing or wanting to do.

There is an important lesson in all of this to teaching and learning, and it is this: in order for learning to succeed, it must be helpful in acquiring something the learner wants. We educators often concern ourselves with goals and objectives, both for our students and ourselves; and well we should. But goals and objectives that are only imposed on a learner, and around which a learner cannot contextualize with relevance are likely to meet with resistance, and be at best of limited use in bringing about the learning we desire. That is why connecting objectives for creating, performing and responding to music is so important, and why it should be done early in any teaching sequence, before the students become mired in trying to achieve objectives that have little or no meaning to them personally. Let’s look at how connecting works in a standards based music classroom.

First, we begin with an enduring understanding. “Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and responding.” When we present concepts, ideas, knowledge, and repertoire to our students, one of the first things they ask themselves if it all seems quite new and unfamiliar to them is, “what does this have to do with what I’m interested in?” “What in my experience with music does this sound like? What associations to familiar things does this music or idea or concept bring to mind? What is something I am familiar with that compares to this?” If the students comes up empty on each or even most of these questions, he or she is unlikely to have any desire to proceed with your lesson or instructional unit. You are about to abandon them to an intellectual deserted island, and that’s not a place where anyone (probably you included) want to be. So before “teaching to the objective” can begin, context needs to be established. Familiar signposts need to be pointed out, and the teacher must give a method of exploring something new in the context of something familiar.

Doing so will motivate learners and deepen understandings. Remember, understanding is not obtaining the ability to recall knowledge or repeat a task, it is the ability to apply previous learning to new situations. Application is only possible when connections are clear. A second enduring understanding states this clearly. “Understanding connections to varied contexts and daily life enhances musicians’ creating, performing, and responding.” Notice what we are trying to help our students connect; we want them to connect varied contexts, the variable, with daily life, the constant. Each new context must connect back to the same personal life of each individual student. Not all students will make the same connections, and not all connections will be equally strong for all students. In fact, one student’s strongest connection, may only be a hint at how to form a different connection to another student, but in an environment of shared learning, students’ connection to varied contexts become woven together, as one connection bolsters up or clarifies another.

I recently played the main theme from the film Indiana Jones to which 2nd grade students tapped a steady beat.  When the music stopped, one child pointed out that the music sounded like Star Wars. He had never seen Indiana Jones, but he recognized something in that music that sounded like music in a movie he had seen, namely Star Wars.  This was, of course, a brilliant connection, because both film scores were written by the same composer, John Williams. With the confidence of having made that connection, that child was now eager to find out what made the two themes sound similar, and a mini-lesson on melodic structure, specifically of dotted rhythms and large melodic intervals, was possible. Imagine the different result if I had begun by teaching

Aaron-Copland

Aaron Copland

melodic structure using the unfamiliar movie theme. The context would have been all wrong, and the results would have been disappointing. By the way, John Williams’ film scores (familiar from daily life) are an excellent connector to music by Aaron Copland (a varied context) whose use of perfect fifths has been called “The American Sound” in so far as American symphonic music is concerned.

The connections students make will inform the choices they make when they create, perform, and respond to music. Students who grow up listening to jazz will demonstrate this knowledge, interest, and experience in the rhythms, melodies and harmonies that show up in their musical creations, and in the “flavor” of their interpretation of musical works composed by others. It will also influence to what their ear is drawn when they are listening to music. That jazz-oriented students will likely hear the arpeggiated trombones at the end of Dvorak’s Symphony “from the New World” as a boogie-woogie riff, whereas someone not familiar with jazz will just hear the same passage as part of the exciting buildup at the end of that symphony (which is probably all it was intended to be).

I began this article talking about goals and objectives, and then have been discussing contexts and connections ever since. I would like to conclude by returning to goals and objectives, but now within a better context in which to understand them. There are at least two kinds of goals we should use with our students; these are academic goals and character goals. The specifics of each kind will need to wait for another post, but for our purposes here, I will use an academic goal for an example. There is something compelling about the Rondo known as “Fur Elise” by Beethoven. Middle school students seem to almost universally be drawn to it and many of them will work very hard to be able to at least play the first theme on the piano. It seems it has become a sort of rite of passage to learn this theme, and so it is passed on from student to student as they teach it to each other, or come to me to teach to them in small groups. Clearly, this bit of Beethoven is part of their daily lives and as such can be connected with various contexts which may include dedications (Fur Elise means for Elise, indicating that the piece was dedicated to someone named Elise, though exactly who is unclear). Fur Elise could then be part of a unit that included other works, perhaps in varied genres, that were also known to be dedicated to individuals. Such a unit would establish one of the purposes for which music is sometimes written. The student may begin with a straight forward performance objective. “I want to be able to play the first theme from ‘Fur Elise’ by Beethoven.”  Doing so may involve reading music, especially if the music teacher is teaching the student to play the theme. If so, another objective might be, “I want to improve my music reading so that I can play the first 32 measures of ‘Moonlight’ sonata by Beethoven in time for my sister’s birthday in November.” Notice now the objective has a something in which the student will demonstrate growth (improve my music reading,” something the student will be able to do as a result of instruction and which will demonstrate the desired growth (play the first 32 measures of “Moonlight Sonata” and a time in which the objective will be completed (“in time for my sister’s birthday in November”). This instruction will be packed with relevance and connections for this student, and so is an excellent example of writing an objective around connections.

Artful Learning

Version 2In this, the centennial anniversary of Leonard Bernstein’s birth, all sorts of things that this American musical icon did are being brought out into the public consciousness. Of course, most know of Bernstein’s work as a conductor, composer and teacher, what with his numerous recordings, lectures, young peoples concerts and musical compositions. Of all that he accomplished, he once said that he was most proud of those young peoples concerts. He was so devoted to teaching, that he developed what he hoped would become a school reform method called Artful Learning. This is a method I have just begun to look at, but it intrigues me enough to want to share with you, and to begin using at least its principles to benefit my students.

Bernstein often referred to “universality” in reference to music. He believed that the expressiveness and enjoyment of music was universal, but he also understood that teaching was necessary in order to enable people to fully enjoy and fully appreciate the music he so loved to conduct, talk about, and perform on the piano. Out of this belief system came Artful Learning. In a nutshell, the method is to begin with a concept; not a musical concept but a universal one (there’s that word again). For example, let’s take the concept of enculturation–the familiarizing of a population of people with cultural norms–theirs or another. Let’s propose an essential question regarding our concept of enculturation. How does enculturation make life more meaningful? That question will guide our entire instructional unit.

Now that we have a concept and an essential question, we need a masterwork that is relevant to them both and that will serve as the basis for student inquiry. Let’s select “The One And Only Cereal” from A Quiet Place by Leonard Bernstein. The masterwork doesn’t have to be a Bernstein work, nor does it have to be a musical work, but in our example we will use music. The students, with the essential question in mind, listen to the masterwork, and then respond to it. In this masterwork, there are at least three cultures represented–jazz with its prominently African American roots, Western European 19th century art music, with its prominently Anglo and European roots,  and serial music, with its prominently academic roots. Most listeners will not only hear the different cultures represented, but will be confused by some while easily taking in others. This is because listeners will have been enculturated in one or two but not in the others. The students can experience the differences in listening to music that makes sense compared to music that does not make sense due to either being enculturated into that musical culture or not. The students experience the masterwork in a multi sensory way, through not only listening to the music, but moving (or trying to move) to the music,  through drawing, interacting physically with objects, like tossing a scarf gracefully or wringing a towel aggressively, through making facial expressions to any number of other visual, auditory, or kinesthetic responses they or the teacher might propose. All of this is the first phase in the Artful Learning Sequence, and that stage is called Experience.

Throughout the experience stage, the students will collect observations and questions from their experience of the masterwork. These observations and questions will be the basis for the next phase, which is inquire. The essential question focuses the students inquiry. Students research the essential question in light of their experience of the masterwork,  and engage in hands-on learning tasks to test, probe, demonstrate and explain the concept, which you will recall presently is enculturation. Students research the concept not only from a musical standpoint, but also using the interdisciplinary content to investigate the subject matter even more deeply. This is key to the method. It is designed to be interdisciplinary. One of Bernstein’s favorite mantras was that  “the best way to know a thing is in the context of another discipline.” What was it like to arrive in aBernstein_Harvard new country with no experience with that country’s culture, practices, language, or just general way of doing things? Students can then connect being a new immigrant in unfamiliar surroundings with being a new music listener experiencing unfamiliar musical surroundings. It takes time to learn your way around. What are some things a person new to our country would want to know right away to feel more comfortable and at home? What are some things you’d like to know to make you feel more comfortable with serial music, or jazz, or classical music? What musical idiom are you most familiar with and how would you help someone who had never heard your music before come to understand it and enjoy it? You see how the inquiry builds momentum as it goes along?

The third phase is create. Students use their learning and creative ideas to create an original work that manifests their understanding of the concept, which in our example is enculturation. This could be a play, ballet, song, poem, or whatever students and teacher can come up with. Students consider several possible mediums for their project to determine  how best to represent the academic content from their unit of study in an original artistic work. They first construct a rough draft of the work,  then continue to evaluate and revise their it until they determine that it is ready for presentation.

Once the original artistic work is ready for presentation, students are ready for the fourth and final phase, reflect. Students consider the process they have worked through metacognitively, asking themselves how they learned, and cognitively, asking themselves what they learned. They document these reflections with detailed narratives. Students discover connections consider practical applications of their new knowledge. All of this strengthens students as more self-directed as learners.

Much of what I have described here is not new to many music educators. We routinely teach about repertoire, creating cultural and purpose contexts for the musical works we teach, and we often bring ideas and concepts from other disciplines into our music lessons. Social studies (historical context), science (the science of sound), math (ratios of sound durations and beat groups) and Language Arts (dramatic form) all have been integrated into our music teaching for quite some time. What makes this method different is that it places artistic works front and center. It showcases not only the artistic excellence with which they were born, but of the universality of harmony, emotions, collaboration (of sounds in music and of performers in presenting it). It also makes the arts desirable and accessible to teacher other than of the arts; in fact, Artful Learning is intended to be a school-wide practice wherein teachers of all subjects use the arts to teach their discipline in this arts-centered interdisciplinary approach. I will be using this method initially to teach a unit on Latin American Music this coming school year. I will be writing periodically on my progress.

Child Development and Music Education

Version 2Dr. James Comer of Yale University has found six pathways along which children develop. These pathways are described as physical, cognitive, language, social, ethical, and psychological. While music education clearly has ties to all six pathways, I would like to focus in on two of them: cognitive and psychological.

The Cognitive Pathway and Music

The cognitive pathway addresses critical and creative thinking, and applying learning to accomplishing goals. It encompasses the highest levels of cognitive activity on Bloom’s classic taxonomy, those of analyzing, evaluating, and synthesizing. Critical thinking is the  objective analysis of facts for the purpose of arriving at an unbiased and informed conclusion. Creative thinking generates an element of newness into an observed entity. Creative thinking may result in a new product or artistic work, an new insight or interpretation of a pre-existing object, or a new approach to or way of thinking about something.

Anyone who is preparing to perform a musical work engages in both critical and creative thinking. Critical thinking is involved in selecting, analyzing, rehearsing and refining, and determining when a performance is ready to present to an audience. When selecting music to perform, musicians consider there own knowledge of musical works, understanding of their own technical skill, and the context in which the work is to be performed. Each of these considerations requires critical thinking. The musician must evaluate his or her own knowledge, reflect and assess their own technical skill as compared to the technical skill that will be required to perform the work,  ascertained through analysis, and the appropriateness to the anticipated audience and physical surroundings that is anticipated at the performance. All of this must be synthesized into a final judgment as to the merits of performing the particular musical work.  Once a work is selected, further types of analyses need to made on the music including harmonic, thematic, structural, expressive intent, and so forth. Once the rehearsals begin, the musician is constantly evaluating what he or she has just done, and planning what improvements and corrections need to be implemented during the next attempt. This is a cyclical process that continues until the rehearsal process is completed. Though many times the end of the rehearsal process is marked by a deadline, ideally, it should be ended when the performer(s) have evaluated their work and determined that the performance is ready to present to an audience. Throughout the process, there is abundant critical thinking being brought to bear.

Preparing a musical performance is not all about critical thinking, though. There is also the interpretive aspect of preparation. I mentioned in passing analyzing a musical work for expressive intent. This is an area in which critical thinking is of limited value because there is an absence of facts on which analysis can be performed. A listener’s interpretation of music can be influenced by non-musical factors such as life experience

Emotions Formula

Events + Thoughts = Feelings

and associations, and prior knowledge about the composer. For example, Margulis, Levine, Simchy-Gross, and Kroger (2017) found that when listeners were given positive information about a composer they were more likely to hear their music as happy, whereas when they were given negative information about the composer, they were more likely to hear the music as sad. A person’s own emotional status, especially with younger children, can also be transferred to music they hear, independent of a composer’s intent. Consequently, analyzing expressive intent cannot be done with “cold hard facts,” but instead with clues the composer leaves in the form of expressive elements and terms. Elements such as dissonance, accelerando, and crescendo tend to build tension, whereas resolution of dissonance, ritardando, and decrescendo tend to release tension. Low pitch can sound gloomy or scary, while mid-range pitches can sound relaxed. Isolated high pitches or low pitches can sound comical, while a low minor sonority can sound fatal or tragic. These are culturally normed emotional references that composers use and to which listeners respond with their imaginations and creative thinking. Still, they are only clues, and it is the purpose of a performer’s interpretation to convey the desired intent. That interpretation is arrived at, and rehearsed prior to presentation with the use of creative thinking.

The Psychological Pathway and Music

The psychological pathway is about an individual’s self-image and self-esteem. It includes their concept of self worth and competence, and ability to appropriately manage emotions. Research into the relationship between self-image and musical experience has been inconclusive. Whereas success in musical activities does tend to raise self image of musical ability, it does not necessarily raise self image in general. Music has been shown to be an effective aid in altering or controlling emotions. People often use music to reinforce a pleasant emotion that are experiencing, or to change an undesirable emotion that want to change. One of the  strongest foundations for advocating for music education is that music provides a healthy outlet for emotional expression. Just as students can use their language pathway to resolve conflict with words instead of violence, they can use their psychological pathway to control negative emotions by engaging with music.

According to researchers, there are several ways we listen to music in order to better manage our emotions:

  • Entertainment – listening to music to maintain a positive mood or to evoke positive emotions.
  • Revival – listening to music to relax or get energized.
  • Diversion – listening to music to forget about something undesirable.
  • Discharge – listening to music to release an emotion, such as anger.
  • Strong Sensation – listening to music to stimulate our senses in new ways.
  • Mental work – listening to music to get inspired or get new ideas.
  • Solace – listening to music to experience comfort after an unfortunate event.

These are all examples of the different ways we may listen to music in order to regulate our emotions and channel them in positive ways. In research from Gothenburg University, listening to music was one of the most frequently reported main activities. Of the music-related experiences, up to 67% of individuals reported that listening to music had changed their emotions. Most of these emotions were reported to change in positive ways. These changes were most reliable when the music used was of the listener’s own choosing, compared to music that someone else (a music teacher, perhaps) chose for them. This last point highlights the importance not only of music in managing emotions, but in allowing students to select music not only to perform, but also to which to listen.

Music has a legitimate and important place in the physical development of children. Its emotionally charged and expressive nature, the manner in which it is performed and heard in communities, and the ways it engages the physical, cognitive, emotional, and psychological dimensions of humanity are proof positive that music is key to healthy human development.

 

Margulis, E. H., Levine, W. H., Simchy-Gross, R., & Kroger, C. (January 01, 2017). Expressive intent, ambiguity, and aesthetic experiences of music and poetry. Plos One, 12, 7.)

Can rhythms be fast?

Version 2Tempo is a deceptively tricky musical concept. On the face of it, it seems straight forward enough. Tempo is measured as the number of beats occurring in one minute given a steady rate, and that beat can be equal to any note duration, such as eighth, quarter, half, or whole note. There are tempo markings that broadly indicate that the tempo should be lively, very fast, moderately fast, moderate, slow, or very slow. There are the more precise metronome markings that indicate a precise number of beats per minute, and the note value that will be used as the unit of measurement. All of this makes tempo uncomplicated and clear to performers, because as the musician plays or sings, they are forming rhythms over a concrete pace of pulses that coincides with the instruction in the printed score or, as in the case of dance music, of the standard convention.

Tempo for the listener is more complicated. The listener does not necessarily know what the unit of pulse is, and so must match a pulse rate with the rhythm patterns they are perceiving. So while the performer may be playing a passage of 32nd notes at a slow 8th note tempo (a common situation in classical slow concerto or sonata movements), those 32nd notes are going by rapidly for the listener, who might organize the music into beats of 16th notes, making the tempo faster than for the performer, who is measuring those same 32nd notes in slowly moving 8th notes. In this case, it would be tempting to say that the tempo (measured in 8th notes) is slow, while the rhythm (as perceived by the listener) is fast. But the difference is not between tempo and rhythm, but instead between the unit used to measure (and perceive) rhythm. The same music can be said to be fast or slow depending on what note value is being used as the unit of the pulse.

A good example of this is the opening of the 4th movement of Mozart’s Symphony no. 41 in C major (Jupiter). The tempo marking is motto allegro, and the pulse is generally around 120 beats per minute. Yet the first four measures are whole notes, and so one note progresses to the next slowly, even as one perceives the pulse to be fast, in contrast to the accompanying eighth notes, which are flying four times faster than the fast pulse, almost to fast to track. Yet if we listen to the same music and track two measures as one beat, though many notes pass by, the tempo now seems extremely slow. It is all in what is perceived as the unit of pulse.

A second factor in the perception of tempo is meter. Meter is part of the rhythmic structure of music, and influences how listeners perceive the unit of pulse. In the Mozart example just cited, the tempo is only perceived as fast if the meter is perceived as alla breve. If the meter were perceived as two or four whole notes per measure, then the tempo is perceived as Andante at most. Meter defines how the listener groups note durations into patterns that can be divided and subdivided into equal parts. There are times when musicians will use a faster, subdivided tempo to improve accuracy, while they intend the audience to perceive a slower, unsubdivided tempo. The introduction to Dvorak’s symphony no. 9 (From the New World) comes to mind. Notice how the conductor conducts eighth notes an an Allegro tempo, while the music, when listen to without following the conductor, is perceived as being Adagio, as Dvorak intended.

I began by asking the question, “can rhythms be fast?” We are now in a position to answer that question by saying no, it cannot. The reason is that tempo is a measurement of degrees of fastness measured in beats per minute, whereas rhythms are a relationship between a beat and a duration which is shorter, equal to, or longer than one beat. Rhythms as they are perceived by a listener are not individual notes, but patterns of note durations perceived as patterns by their relationship to a beat, regardless of tempo. In other words, the rhythm pattern of one quarter note, two eighth notes, two eighth notes again, and  one more quarter note will be heard as such at any tempo as long as the quarter note is used as the unit of pulse. The notes can be made faster by increasing the tempo. The first sound is equal to a beat, the next four sounds are divisions of the beat into two equal parts, and the last sound is again equal to a beat. We cannot say the rhythm is faster or slower, because the fastness or slowness is entirely dependent on the tempo, the speed of the beats, not the durations, which set the interval of time from the end of one note to the beginning of the next.

While it is true that we arrive at the next note sooner if the last note was a sixteenth note than if it were a quarter note, the reason we arrive sooner is a shorter note duration, not a faster tempo. The tempo, which is the measurement of fastness, has not increased, the durations of notes, the measure of rhythm, has decreased. There is more activity within the beat divided into four equal parts than within the beat divided into two equal parts, but that is not an indicator of faster, of tempo, but of duration, of rhythm. Fast does not exist apart from a reference to pulse. Fast is a relative concept that is not dependent on duration, but on pulse. A flourish of 32nd notes is a group of very short durations, not very fast notes. Notes are not fast or slow apart from the pulse to which they are sounded, only the pulse itself can be considered fast or slow.

Toccata Blocks: A Tool To Help Teach Rhythm

Version 2No matter what method you use to teach music, be it Kodaly, Orff, or any other, when it comes to music reading there are certain aspects of our music notational system that are counter-intuitive and confusing to students who are just beginning. One of those difficulties is often the irrelevance of how the notes are spaced on the page. Students naturally assume that notes that are closer together go faster, and notes that are spaced further apart go slower. They will even carry this into the same note value. For example, they will think that quarter notes spaced closely together go faster than quarter notes spaced further apart. The concept of how the note head, stem, and/or beam are drawn can become overlooked, leading the student to make frequent rhythmic errors.

It is always good pedagogy to start from where students are and work from there to where you want them to arrive. Rather than dismiss using spacial perception as wrong, why not take advantage of children’s intuitive ability to perceive spacing in teaching them to read note durations accurately? Catherine Schane-Lydon has invented Toccata Blocks that do just that.

toccata blocks

The basic set includes blocks with time signatures and notes on blocks that fit onto a provided easel. The easel is exactly the width of the blocks for a time signature and the correct number of beats of notes. A whole note block is the width of four quarter note blocks or four paired eighth note blocks. Single eighth note blocks are half the width of quarter note blocks and so forth. There are easels for simple and compound time signatures. Once an easel and time signature are chosen, the child builds a measure of rhythm by placing blocks on the easel. If the easel is less than filled, the child knows more notes are needed. If the easel is over filled, with a block hanging over the end, the child knows there are too many beats. This design makes building rhythms self-correcting because the child knows when he or she has done it right because the blocks will exactly fit across the easel.

I gave a set to students in middle school, and students in 2nd grade. An 8th grader said, “it [toccata blocks] helped me learn how the notes go together.” A 2nd grader remarked, “making rhythms is fun with these blocks. I got it wrong at first, but now it fits.”

I also used my set of Toccata Blocks to do a full class demonstration. I began a rhythm and then called on student to finish the measure. After each addition of a block, I asked the class if the measure was finished. “Do the blocks fit perfectly?” The children would look and respond, then give me suggestions on what block I should put in next. If the next block hung over the end, they were quick to reject that choice and make another of a shorter note duration. Almost every student I gave these blocks to to use immediately understood how they worked, and were able to correctly create a measure of rhythms.

Of course, I want students to write rhythms on conventional music paper, so it was important for me to make sure they took note of what notes they were using, and didn’t just fill up the easel randomly. So I had them tell me with each block they added how many beats that block added, how many beats they had, and how many more they needed. It was helpful to them to learn the note durations, and it delighted our school math coach!

Once they wrote original rhythms on paper, they could go back to the Toccata Blocks to check their work. They would exactly place what they had written on the easel, and see if it properly filled the easel or not. If not, they could not make corrections with the Toccata Blocks, they had to make corrections on their paper, and then return to the Toccata Blocks to again check their work.

With the length of the blocks proportional to the duration of the note, it is also possible to use the blocks as prompts for creative movement. The whole note block is long, and so a long, extended movement is called for. The quarter note blocks are short, so they call for smaller movements. Turning this into a movement game, children draw blocks like playing cards, then begin walking around the room. If a whole note is drawn, one giant step that takes four beats is taken. If a quarter note is drawn, then four smaller steps that traverse the same distance as the child who took the giant step is taken. Using them in this way helps students deepen their understanding of why the blocks are different lengths, and how the various note durations relate to each other.

Students worked well in small groups finding blocks to add to a group composed rhythm. I have learning centers set up in my classroom, and the Toccata Blocks make a good basis for such a center. With my older students, students who have composed a rhythm on the Toccata Blocks can then take it to students working on the keyboard to add pitches to the rhythm, making a short, one-measure melody. This rhythm then can become the basis for extending a melody.

The blocks are made of durable hard plastic. I anticipate that they will stand up well to classroom use. There is also a CD included with rhythms for students to build with the Toccata Blocks, taking dictation from the CD. The basic set includes quarter and eighth note durations in simple and compound time signatures. Supplemental sets add sixteenth notes to the basic set. Each block has a note on one side and the equivalent rest on the reverse side, so students can learn both notes and rests together. Toccata blocks are suitable for students in second grade and older, though one must be aware that many of the blocks could be a choking hazard for children prone to put such things in their mouth. I have had encouraging success with Toccata Blocks. They are certainly worth looking into. For more information, go to toccatablocks.com.

 

Working from an Objective to a Lesson Plan

Version 2Let’s say you want your children to pass an object in time to the beat around a circle while chanting a rhyme to that beat with the correct rhythms. There are several competencies enfolded into that one objective. You want your children to be able to pass an object around a circle, you want them to pass on a beat and receive on a beat, you want them to chant rhythms accurately, and you want them to keep a steady beat with their chanting, and you want them to keep a steady beat with their movements. The fact is, playing a “simple” object passing game is not so simple after all. Let’s break this activity down into a sequence of learning activities that will prepare those children to succeed at playing the game.

First, we need a rhyme.

round and round

Just a side note for this is that when I play games that exclude a player, I always give them something to do once they are tagged “out.” For this game, I would have them leave the circle and take up a rhythm instrument to play either the beat or the rhythm while the circle continued to chant and play the game. Now back to our lesson plan.

There are two rhythm patterns in this chant; three quarter notes followed by a quarter rest, and four quarter notes. The first thing to do is to get all the children keeping a steady beat. I don’t want them making sounds at this point, because I want them to be able to focus on hearing me chant to them and hearing themselves chant back to me. So I will have them do a silent time keeping movement. Tapping the back of their left hand with the fingertips of their right hand works well. With the children doing this beat in this way, I will have them listen to me chant one of the patterns on a neutral syllable, and then have them repeat back to me what they just heard me do. Bum, bum, bum, — . They repeat, bum, bum, bum — . I would do this pattern at least twice, with everyone chanting together. Then I would do the other pattern. Bum, bum, bum, bum. They repeat, bum, bum, bum, bum. Again I would do this at least twice with everyone chanting together, then doing sometimes one pattern, other times the other pattern. Finally, for this step, I would have individual children chant one or the other pattern, still repeating it after me. Remember, all the time, the children are tapping the back of their left hand with the fingertips of their right hand.

By using a neutral syllable, I have helped the children focus on the rhythm without beingSelf-Image distracted by the words. Now that they have learned the rhythm, I would now replace the neutral syllables with the words of the chant. I am not using rhythm syllables here because I don’t want the children to associate the rhythms with both syllables and lyrics in a new song all at once. Today, I need them to play the game with the words. Another time, I will introduce the rhythm syllables to replace the neutral syllables, and then go back to the words, which by then will be familiar, to play the game again.

So now the children are chanting the rhyme and tapping the beat. The next thing we need them to do is to pass an object on the beat; that is, to pass an object at the same time they are presently tapping. This can be a challenge, especially for PK and K students, so some readiness may be necessary. They already have their left hands held out in front of them for tapping with their right fingertips. Now they are going to right tap the left hand of the child to their right on one beat, and return their right hand to tap their own left hand on the next beat. I call this passing a beat. To practice this, the children temporarily leave off chanting the rhyme and instead chant “pass, own.” “Pass” refers to their neighbor’s hand, while “own” refers to their own left hand. This is the motion they will use to pass the object. When they can do “pass-own” well, have them start passing an actual object. They will continue to do “pass-own” throughout, but when the object comes to them, they will using the “pass-own” motion to actually pass the object.

Finally, have them continue to do the “pass-own” motion and to pass the object when it comes to them, but now they will chant the words of the rhyme instead of saying “pass-own.” Another teacher has had success assigning each student a number. The children count out loud from one through whatever number is assigned to the last child. The children are to pass the object to the friend whose number is being chanted when it is chanted. If this method is used, then the children only count on the “pass” motion and never on the “own” motion.

With younger children, you will need to repeat the readiness activity described above, though more briefly than at first, before playing the game outright. Eventually, the class will be able to sit in a circle and play the game straight away. At that point, it probably becomes a favorite activity, and so is best placed at the beginning or the end of the lesson. Because it was brand new in our hypothetical lesson, I would have placed it in the middle of the lesson, making it the most “meaty” segment of the class. Once the song is familiar, and the children can sing it without assistance, and play the game with no review, then it can be used outside the game for the literacy segment of the lesson plan, which is what I referred to as “meaty” above, the middle segment.

This middle segment is where I would start to use the rhythm syllables instead of neutral syllables. I would follow Feierabend’s Conversational Solfege procedure. The first step, teach by rote with a neutral syllable, as was done above. Next, teach the same material by rote with rhythm syllables. This might be during the same class, but often will be at a subsequent meeting. After that, have students decode; you sing the rhythm patterns in neutral syllables, and they sing the same patterns back to you in rhythm syllables. Again, decoding would not be done the same day they learn the syllables for the first time. I always wait until they have gained proficiency at one step before moving on to the next with a particular song or chant.

When the children can decode, it demonstrates that they have succeeded in associating the sounds of chanted rhythms with the names of each sound within the rhythms. Once they have decoded, then they can read what they have decoded. You chant, then they chant, while you point to the notated rhythms on the board. Now they are associating the melded sounds/names with the visual notation. After that, the students will be able to read the rhythms with rhythm syllables off the board without you having to chant it to them first. Do this with familiar songs and chants first, then with unfamiliar songs and chants to see if they can generalize what they have learned to new material. This is all done in the middle segment of your lesson plan, though not all in the same lesson.

The final third of the lesson returns to something lighter and something the children enjoy doing. I like to do my response to listening here. I use music they enjoy, and give them specific things to listen for and respond to. For example, I might ask them to tell me how the composer used timbre to create the image of water fountains (Respighi’s Fountains of Rome) or how what effect was created by changes in dynamics in Mozart’s Overture to The Marriage of Figaro. Or, I might play two popular songs, and ask them to name one thing in each that interested them and give one reason why. Or, I might play something twice, once to gather ideas and the second to create movement for expression, or for form. So the overall form of my lesson are hands-on music-making, music literacy, responding/connecting.

More On Bloom’s Revised Taxonomy

Version 2In order to work effectively with Bloom’s Revised Taxonomy, we must understand two dimensions of learning: cognitive process, and knowledge. Cognitive process describes what thought task a learner is performing on a given text or focus. These include, in order of complexity from simple to complex,  remembering, understanding, applying, analyzing, evaluating, and creating. Of these, understanding is the most broad and most easily misused.

Understanding answers the question, “what does it mean?” It can involve interpreting, explaining, predicting, or comparing. Understanding is essentially knowing what an author, composer, songwriter, or visual artist intended to convey through their work, and being sufficiently familiar with a creator’s genre to predict what might come next in a musical or literary work, or what a visual artist’s next work might look like based on trends and characteristics found in recent works. Students also demonstrate understanding through comparing when they select a work they prefer from two or more, and then are able to explain why they prefer that one work over the others. Understanding is essentially thinking about artistic work, and making connections with other idioms, cultures, and other artistic works. As such, understanding is an intellectual endeavor.

Applying puts what has been learned through intellectual exercise to practical use. If through interpreting a musical work a student has learned how a composer typically uses specific musical elements and to what expressive purpose, than the student can use that knowledge in using those musical elements in the same way when preparing a performance of that or another of the same composer’s work, or in determining the expressive intent of the same composer in another, perhaps unfamiliar work. Another example might be if, at the remembering level, a student has learned the definitions of several musical terms, that knowledge can be applied when those words are knowledgeably used in the course of writing about a composer’s musical work to which the student has just listened, or which the student is preparing for a performance. It is at the applying level that authentic assessments are found. These are assessment that require students to be evaluated on doing something that musicians actually do in the “real world,” rather than something that only students are asked to do and then do not do once they become working musicians or practicing amateur musicians.

These first three, remembering, understanding, and applying, make a convenient and for many teachers a comfortable learning sequence. Breaking out of these three domains anticipatecan be challenging for teachers and students alike, but it is at the next three domains that the most rigorous instruction and learning take place. Analyzing answers the question “how does it work?”  Many people go through life enjoying music, able to understand what they are hearing, and apply what they know to everything from singing “Happy Birthday” to their children, to reflecting with a friend or spouse on a concert they both just attended together. But to get to the “next level,” a person unpacks the sequences of musical events they heard and looks into learning “how did he do that?” We might learn that we became suddenly tense and uneasy because the chords started on a progression that brought them further and further away from the tonic, or because the pedal tone became more and more dissonant over the chords above. Whereas through remembering, students might identify what a composer did, (he used a crescendo), through analysis, students can explain how a composer used a crescendo, or for what purpose.

Evaluating is more complex. Evaluation is assigning worth or value to an artistic work, or to a performance of an artistic work. To do so requires that the student first have some criteria for judging the quality of artistic work that can be used objectively on any artistic work at least within a given genre if not universally. In other words, the student must be able to know concretely what bad art looks or sounds like, and what good art looks and sounds like, and then must be able to identify what in the artist’s execution of the elements of his or her art was done well and what was done poorly. Often, the most difficult part of evaluating is agreeing on what criteria are to be used.

Many music teachers I talk to are surprised to find creating at the highest, most complex location on the taxonomy. It is also the most advanced step in Feierabend’s twelve step learning sequence for Conversational Solfege. The original Bloom’s taxonomy had synthesis at this location. Creating requires one to pull together everything one knows and can do, and pour it into something new and original. A person simply cannot create an artistic work if they cannot understand, apply what is understood, and evaluate artistic works of others. Students need to acquire command of the elements of their art, of how artists used them to convey an expressive intent, and what particular uses of them create the very best result. Lacking this foundation, students will not have the materials they need to work with, nor will they know what to do with them, or even if they have succeeded once they have, in some way, perhaps randomly, put them together to form a work which lacks expression or quality.

Even an improvisor must have experiences with hearing, generating, selecting, and sequencing sounds and combinations of sounds before he or she can successfully improvise a melody that makes rhythmic and tonal sense. Improvising a melody on an Off instrument with all but the pentatonic scale tones removed is not an act of creating, because no understanding, applying, analyzing or evaluating is needed. The child merely needs to remember to strike any tone bar to a pulse and rhythm pattern. They may be improvising the rhythm, as if they were playing a drum, but they are not improvising a melody, though one incidentally results from their remembering domain activity.

These 6 cognitive tasks, remembering, understanding, applying, analyzing, evaluating, and creating, are performed on knowledge. This knowledge also has domains. There are four domains of knowledge: factual, conceptual, procedural, and metacognitive. Factual knowledge matches up nicely with remembering, conceptual and procedural knowledge goes well with understanding and applying, and metacognitive knowledge is useful with analyzing and evaluating, because understanding how one things, how one’s cognitive process is used helps a student select and use an analytical or evaluative strategy. It should not be surprising that higher level knowledge requires higher level thinking. If we want our students to engage in the higher domains of the cognitive taxonomy, then we can help them by giving them knowledge to work with that demands higher level thinking. For example, when assigning students to analyze a musical work, first have them plan out how they will go about doing their analysis. This requires them to have or develop criteria for determining when to use appropriate procedures. Of course, this also requires that you have taught them appropriate procedures from which they are now qualified to choose the best ones for the task at hand. Then, once they have determined what procedures they will use, they must apply that procedural knowledge, along with perhaps factual and conceptual knowledge,  to actually completing the assignment. Because this is a taxonomy of knowledge domains, students must be proficient with the lower levels of knowledge before being asked to work with a higher level of knowledge. For example, if students are struggling with  conceptual knowledge, teach at that level to raise their proficiency before asking them to use procedural knowledge.

Effective use of Bloom’s Revised Taxonomy is an effective way to control the level of challenge and rigor teachers present to their students. The taxonomy should not be seen as a description of learning styles, because one cannot say that, for example, one student is very analytic and so should always be given analysis tasks. No, that student will fare no better on analysis if remembering and/or understanding is deficient. Whereas some students will struggle to reach the most complex domain, none can afford to skip a domain to get to a higher one.

Problems in Responding to Music

Version 2There are essentially three things to which a person can respond in music; structure, form, and emotions. Structure are those things in music that we intuitively understand, such as beat, phrasing, and meter. Because of the natural way we perceive these structures, we are able to sort out the musical sounds and organize them in ways that make sense to us. Beat is particularly interesting. Because metrical structure is hierarchical, there are several beats that can be perceived at any moment while listening to music. One might perceive the quarter note beat, the eighth note beat, the half note beat or even the measure beat. When teachers teach young children beat, they are generally looking for a motor response as evidence that the child understands the beat, but difficulty or failure to show a beat with physical movement is not necessarily an accurate indication that the child cannot perceive the beat–the difficulty can be a disconnect between cognitive perception and motor response. On the other hand, a teacher should be observant of which beat a child is showing with movement. A teacher may be expecting the quarter note beat shown with a patch, but the child may show an eighth note beat, and be perfectly in time with it. Such a response cannot be considered wrong, because it is one of the several levels of hierarchical beat structure that is in fact present in the music to which the child is listening. Teachers don’t need to teach students how.

Form is the result of structure. Phrasing structure, more accurately called grouping structure, presents a hierarchy of nested phrases that, at the highest level forms whole sections or even movements of a musical work. Structure reveals that motives are nested in phrases, phrases are nested in themes, themes are nested in theme groups, theme groups are nested in sections, sections are nested in a movement. The results of all of this nesting is form. The “A” section or the first theme are elements of form, whereas the phrases and meter are elements of structure and the building blocks of form. Structure delineates the units which can be heard as same or different, whereas the organization of same and different elements constitutes the form.

Emotions are those feelings that are aroused within a person in response to hearing music. True emotional response to music is limited to the four basic emotions of fear, anger, sadness, and happiness.  Music arouses physical responses that mimic what we feel when we are truly angry, afraid, sad or happy. Music does not actually frighten us orMusic-Feelings-300x197 anger us; instead it stimulates us by setting off the same or similar physical responses as those triggered by the actual experience of being frightened or angry. Other feelings that we attribute to music are likely associations we make between circumstances or events and a specific musical work. We might, for example become sad when hearing music that was played at a loved one’s funeral, or we might become happy when hearing music that was played at our wedding. These responses to music have nothing to do with the music itself, but are about the circumstances. Whereas a musical work will arouse fear emotions in most people, because the initiation of the fearful experience is common to most, a. musical work to which the response is an association to an event will not arouse the same emotion in people who were not at that event or who did not experience that circumstance; therefore, whereas children will respond similarly or identically to the storm movement in Beethoven’s 6th symphony, they will respond dissimilarly to Pachelbel’s canon. The dissimilarity is because some children will have heard it played at a relative’s wedding, others in a movie, while others are hearing it for the first time, with no circumstantial experience to influence their response. These will respond to the calm demeanor of the music, and perhaps call that happiness.

Whether a child is responding to structure, form, or emotions, there remains a problem in assessing responses to music common to all. True responses to music are physical. That is, responses to music occur as activity in the nervous system that causes movement, heart rate changes, “goose bumps,” sweaty palms, and so forth. These physical responses are triggered primarily by structure and by non-structural elements such as dynamics, tempo, and timbre. These responses are far more complex than what children can typically describe in words, pictures, or even movement. While teaching music vocabulary is important, and gives students the tools needed to describe and write about music, vocabulary can also become an unfortunate restriction when it comes to understanding responses to music.

A child can respond that a musical work was “scary” with relative ease, but will likely resort to using learned vocabulary to explain why. For example, the child might say the music was scary because it was loud and fast, or because of the timpani or trombones. But this response can easily lead to unfortunate generalizations that loud fast music is always scary. There are other things going on here that are not easily described or even known. There may be an association with other music, that heard in scary movies for example, that also used the deep timbre of trombones and that was fast and loud. The beating of the timpani may have coincided with the child’s heartbeat and so made an especially strong emotional impact. These kinds of responses are likely occurring, but are left undetected by student and teacher alike because they cannot be made known through the child’s verbal response.

While it is natural to ask children something to the effect of “what emotions were expressed in this music?” it might be more to the point to ask the children to monitor their physical response while they listen. At the end of listening, the teacher might ask, “are your palms sweaty now?” “Did your heart start beating faster when the music got really loud?” Often, more can be learned from observing children’s body language while listening than from relying on their verbal accounts or answers to our questions or worksheets. It is important that we connect with these authentic responses, because this is the level at which students are truly experiencing the music. When we jus right to discussions about form, we can easily be superimposing relatively irrelevant things, and distracting everyone from what really matters to those who were just immersed body and soul into a great musical experience.

 

 

Sound Before Sight Is About More Than Teaching Songs

Version 2“Sound before sight” is a popular way of saying that music is most effectively taught first aurally, and then by associating what has been learned aurally with visual representations, such as standard music notation. Music Learning Theory and the numerous resources that follow it guide teachers in developing musical literacy according to these principles. Generally, Music Learning Theory is most often referenced for teaching repertoire to students, be it to singers or instrumentalists. But there is a larger principle to pull from this as well, and it is that teaching about music should not precede teaching the music itself. This is perhaps no more evident to music teachers than in reflecting on our own undergraduate music theory analysis classes. How many of us sat through expositions of an harmonic analysis of a Beethoven sonata that we had never heard, but for which we were expected to identify the chords, cadence types, and other compositional techniques. How much more interesting, relevant, and enjoyable it would have been if we had first had been given the opportunity to become familiar with the sonata movement, to enjoy it as it was meant to be enjoyed, as an expressive, exciting musical masterpiece, and only then been directed to go back and analyze this music which by that point we would have already grown to know and love.

While many of us are not teaching Beethoven sonatas, or even advanced music analysis in our general music or performances classes, we nevertheless do tend to teach as we were taught, and have, from time to time, taught the history or theory of a musical work before giving our students the opportunity to listen and gain familiarity. It is not uncommon for teachers to begin with a heavy dose of direct instruction, largely verbal, on the history of, or the form of, a musical genre or work, respectively. We have allowed ourselves to be convinced that we must first know about a musical genre or work before we can enjoy listening.  If we are teaching a unit on the blues, we start by finding books on the blues, and present information to our students. Any music that we play for them is intended to illustrate or demonstrate what is being described or explained verbally. We forget that the music was around before the history was written, or the music theory was developed. The history of the blues is in the music, not in the books written about that music. To truly understand the history of the blues, listen to the blues. Listen to early blues singers, and discuss the lyrics being sung, and the plight of those singing. Before the blues was a jazz form, it was an outlet for souls heavily burdened with more than their share of hardships. The history of the blues is in those lyrics, in those voices, in those expressions one can hear in recordings such as those published by the Smithsonian Institute, and by Folkways. Hearing the music creates the proper impetus for a substantial dialogue between students and teacher, and between students, about the historical and cultural contexts of this music.

As students listen to more and more examples, they will doubtless pick up on similaritiesFeed Your Brain Music to more recent music they are more familiar with; perhaps jazz blues, or rock blues, or the gospel music they worship with at Sunday church services. These connections advance the instruction in a way that is relevant to students, and is in fact student driven and student centered, which the best instruction is. In this scenario, the book material, which is the traditional starting point, biomes supporting material to add depth to the body of knowledge students are building primarily through first hand encounters with the music itself. The encounters, strengthened by book knowledge, also begin to qualify the students to write about and discuss the music in similar ways to the authors of the books. In this way, those students are practicing scholarship, an opportunity denied them when the authors of published books are allowed to be the primary focus of instruction.

This is not to say that books should be avoided or ignored. Books and the teacher’s own expertise are needed to increase the depth of knowledge, and to guard against misinformation being constructed by unknowing students (or teacher). The books can also serve as encouragement, as students find that their own conclusions and connections are supported by published writers. This way of learning, by listening first and then acting upon what has been heard second, is also in line with the way students naturally learn music. When students teach each other how to sing or play a song, you rarely if ever find them going to the library to read about the song, or even to gain possession of the musical score. They listen first, and learn and teach each other by ear.

Once learned, any further instruction to which they are introduced about the song is met with excitement and interest, because it is about something they have already learned on their own. I fear that teachers, like my undergraduate music theory analysis professor,  too often squelch desires to learn by front loading instruction with book learning, delaying the actual experiencing of music until all but the most devoted student has lost interest. The fact is, it is more fun to learn how to do something when we have already seen someone else do it, when we know what the result of our actions will be, and when that result is something that we are highly motivated to acquire because we are excited about being able to do the thing, which in this case is to sing, play, or analyze a musical work.

There is also the matter of retention to consider. Most of us will remember a tune longer than a fact about that tune. In fact, I frequently can remember a tune even if I cannot remember even its title. But, once I have that tune engrained in my memory, my brain can attach facts about it to the memory of the tune, making it much more likely I will remember the information about the tune, than if I just tried to memorize the information, but hadn’t committed the tune to memory. When I begin to sing a tune, I can then remember what someone has told me about it, whereas I cannot recall what someone has told me about the tune if I don’t first remember the tune. Remembering the tune is the sound. Information about the tune follows second. This is, most likely without exception, the best way to teach music.

Perceiving Expression in Music

Version 2The authors of the National Core Arts Standards placed a high premium on expressive intent. It is included in Creating; plan and make, and present, Performing; interpret, Responding; interpret, and in the overriding artistic process on connecting. As I have written elsewhere, expressive intent is problematic in that the listener rarely knows for sure what a composer or performer intended to express. Determining expressive intent becomes largely a generalization based on how people generally perceive and respond to given musical conventions.  The truth is, researchers over the years haven’t even agreed on how or in some cases even if music expresses anything. This is interesting, because it is useless to be concerned with what a musician intended to express if music cannot be used to express anything.

I am going to assume that music can express some things, namely emotions. Juslin discussed three methods of “coding” that people use to perceive emotions in music. These are iconic, intrinsic, and associative. Iconic coding is the most universal of the three. It is based on universal uses of the human voice to express the basic human emotions of happiness, sadness, anger, and fear. The idea I extrapolate is that music reproduces in a stylized way the inflections and patterns of the human voice when these emotions are being expressed. According to this perspective. happy music is bouncy and jocular resembling giggling or laughing, sad music is weepy and sigh-like, angry music is loud, focused and forceful, and fear is dark, uncertain and cautiously quiet. Because all humans cry sadness, laugh happiness, burst out anger, and withdraw in fear, music that cries out, laughs out loud, rages or withdraws into tense quietness is understood by all people, regardless of context, as expressing those emotions. As long as the emotion is common to all people, and the vocal expression of that emotion is common to all people, then emotional expression will be iconically coded by human listeners.

Intrinsic coding has universal aspects to it, but is at least in part culturally specific. From this perspective, structural elements are used to express emotions. For example, harmonic movement away from the tonic creates tension, and movement toward the tonic creates relaxation. Emotions are perceived through the lens of the extent to which tension is present in the music at a given moment and over a given time span. Anger and fear are expressed when tension i s present to a greater extent,  happiness is express ed when tension is minimally present, and sadness is expressed when a moderate amount of tension is present. Because these parameters are generalized, mixing in some iconic coding with intrinsic coding helps clarify with more precision what emotion is perceived. Indeed, it is rare that any of the three types of coding is used to the absolute exclusion of the others. Listeners can and do mix coding systems to arrive at a perception of expressed emotion in music to which they listen.

The most culture specific coding method of the three is associative coding. Simply put, this is the tethering of an emotional experience to a musical device. Here music is perceived as happy or sad or angry or fearful because the listener connects what is heard with an experience that aroused the same emotion. Although the music initiates the perception of an expressed emotion, that perception is dependent on an extra-musical association to hit home.

These are ways a listener perceives emotional expression in a musical work, but is what

Emotions Formula

Events + Thoughts = Feelings

the listener perceives what the composer intended to express?  To whom did the composer expect to convey his or her expressive intent? These are important questions. With intrinsic coding, the structural norms with which a composer creates music may not be the same with which a listener is familiar. With associative coding, the emotional experience to which a listener connects a heard musical device is likely unknown to the composer of the music to which the listener is making that connection. When we are considering a composer’s expressive intent, what matters are the icons, structures, and associations he or she uses to create the music, and the degree to which those are shared with the listener. Composers of one culture to whose music people of another culture are listening will share fewer associations and common practice structures than when the composer and audience are of the same culture, or when the listeners have been well versed in the composer’s culture. Therein lies the importance of music education to developing listeners who can apprehend a composer’s expressive intent.

Any listener will be able to apprehend an expressive intent perceivable through iconic coding, because the means of expression is, as we have seen, known to all as part of the common human condition. The more culture-specific musical devices a composer uses, the more education is needed to familiarize listeners with the structures and associations the composer is relying on to  convey the expressive intent. For intrinsic coding, the issue isn’t so much that students know what sonata form or rondo or theme and variations is, though that is useful knowledge, but rather that they understand how composers use musical structure within these forms to convey musical meaning. Structures of tonal music are meter, phrasing, and patterns of harmonic tension and relaxation. Of the three, meter is the most universal, and is not limited to Western tonal music, but all three are crucial to tonal music. A familiarity with all three is necessary to gather in expressive intent using intrinsic coding. Structures are built up into forms, but forms are not as important to expressive intent as structures. Forms can be compared to a filing cabinet where files are placed so that they can be found and accessed as needed. Structures can be compared to the files themselves, which contain the needed information. A single body of information may be contained among several folders just as a sonata movement is comprised of theme groups, themes, phrases and motives, each comparable to nested folders. When one understands the contents of each folder, of each phrase, theme, theme group, etc., and the  relationships between them, then a person understands the intended meaning of all the files, of all the music combined.

In the case of associative coding, listeners need to learn associations that were well known to the original audience of a musical work but that might be lost on today’s listeners. For example, Mussorgsky’s “Bydlo” is meant to depict the slow lumbering progress of an ox-drawn cart. The sight of such a cart would have been well known by Mussorgsky’s audience, but most children in the United States have never seen one, so the expressive intent they perceive through associative coding would be connected to an entirely different image, and perhaps a different emotion as a result. One must also be cautious not to mistake titles for a composer’s expressive intent. For example, Mendelssohn’s famous “Spinning Song” was given that title by the publisher and was unknown by Mendelssohn when he composed the piece. All of this comes down to context. The context in which a composer creates and an audience listens must be brought into harmony if expressive intent is to be successfully conveyed.