TheUniversityoftheArts320S.BroadStreetPhiladelphia,PA19102uarts.educs.uarts.edu/sms

MMED751/PMED751CreativeClassroomMusicianshipforElementaryGeneralMusicEducationSummer2017InstructorAnneSterner-Porreca610-633-5565sternea@lmsd.orgRequiredTexts/Materials

• VocalOctavos(suppliedbyUARTSanddistributedonDay1ofclass),• ReadingAssignmentscanbefoundon-lineonUniversityoftheArtssyllabuspageascs.uarts.edu/sms/syllabus• Pleasealsobringalaptopand/oriPadifpossible.

Pre-Assignment(AlsoseePDFwithPre-AssignmentDetails)WrittenreflectiontobesubmittedonDay#1:

Considerthefollowing:• Whatconstitutescreativityinmusicclass?• Whatarethebenefitsofdevelopingcreativityinthemusicclassroomandensembles?• Howdoyouwantyourstudents togrowcreatively? Whatactivitiesandquestioning leadsbest tocultivating

creativity?• Which philosophy/ies and pedagogy/ies influence your current teaching practices? (Ex. Orff, Kodaly, Gordon,

Dalcroze,etc.)• Whatguidesyourchoiceofrepertoireandactivitieswithinyourclassroomandchoralsettings?• What type of creative process is the easiest kind of activity for you to plan and/or implement within your

classroom?(composing,exploration,arranging,improvising,etc.)Whyisiteasierthanothercreativeactivitiesforyou?

• Whattypeofcreativeprocessisthemostdifficultkindofcreativeactivitytoplanand/orimplementwithinyourclassroom?Whyisitdifficult?

Assessment:*LearningTaskRubricusingwrittenworkanddiscussion

2. Successful Creative Activity to be submitted on Day 1:What was themost successful creative activity you haveimplementedwithinyourclassroom(orhavereadabout)?Whatcontributedtoitssuccess?OnDayOne,pleasebringacopyofthemostsuccessfulcreativeactivityyouhaveimplementedwithinyourclassroomthusfar.Ifyoudonothaveanactivity that you have done, please research, ask some colleagues, look on-line, and bring an activity with whichsomeone else has found success or that you feel could be successful. Please bring a copy of any song, paperwork,manipulatives,etc.involvedwiththeactivity.Wewillbesharingthisactivitywithyourclassmates.Assessment:*LearningTaskRubricusingwrittenworkanddiscussion3.Readthe IntroductionandChapter1ofCreativeThinking inElementaryGeneralMusic:aSurveyofResearchers'PerceptionsandPracticesbySarahMaeFairfield(UniversityofIowa)-onUARTSsyllabuspage.Pleasetakenotesusingeitherofthetwographicorganizersattached.Assessment:*LearningTaskRubricusingwrittenworkanddiscussion4. Read Chapter 2 of Creative Thinking in Elementary General Music: A Survey of Researchers' Perceptions andPracticesbySarahMaeFairfield(UniversityofIowa.)Takenotes,useattachedcontentchartofbigideasandconcepts,or highlight concepts that are important, paragraphs that really speak to you or you feel are important as well assections that you find confusing, unclear, or with which you disagree. If you highlight, write notes in margins withpersonalreactions,opinions,etc.Assessment:*LearningTaskRubricusingwrittenworkanddiscussion

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5.Filloutthe“CreativitySurvey”whichwillassistusinseeingindividual’sexperience,comfortlevel,areasofexpertise,andpreferencesinvariouspedagogiesaswellasactivitiestheparticipantscurrentlydowhichpromotecreativityinthemusicclassroom.ProgramObjectivesStudentscompletinggraduatemusiceducationcourseworkthroughTheUniversityoftheArts…

• Understandtheessentialtenetsofmusiceducation• Understandtheimportanceofstandards-basededucation,qualitydesignandassessmentstrategies,and

foundationalteachingmethods• Demonstrateanunderstandingandapplicationofthefourdomainsofprofessionalpracticethroughquality

teachingandmusicianship• Demonstratetheapplicationofpedagogicalandmethodologicalmeanstoteachmusicandemployeffective

teachingmethods• Utilizetechnologyindiversewaysasateacherandinsupportofstudentlearning• Communicateandcollaboratewithpeersindiversemusicalenvironmentsandschoolcommunities• Arecreativeandinnovativemusicianswhosharethesemusicalstrengthswiththeirlearnersthroughteaching• Understandthediversecultural,communal,andlearningneedsof21stcenturystudents

CourseDescriptionThiscoursewillfocusoncreativemethodsofteaching,planning,preparingandimplementingeffectivegeneralmusicclassroomstrategiesandrehearsalmethodsintheelementarygeneralmusicprogram.Studentswillbeimmersedindiverselearningmethodsandstudiestoactivatenewapproachestoteachingmusicianshipandcreativity.Studentswilllearninnovativemethodsofvocalmusicrehearsalduringclassroominstruction,andhowtoevolveahighqualityvocalmusicconcertfromclassroomtostage.Studentswillalsolearnaboutmethodstoevolveasuccessfulandthrivingprogramsupportedbyschooladministrators,communityandparents.Duringthiscoursevariousgeneralmusicpublisherswillalsoprovideclinicsabouttheirelementarygeneralmusicmaterials,andhowthesemethodsmakeconnectionstoourmusiceducationstandardsandcommoncorecurriculum.

MajorLearningObjectivesThe purpose of this course is to learn how to successfully implement activitieswithin the elementary generalmusicclassroomtoenrichandcultivatestudents’creativityandmusicalimagination.Wewilluseresearchtodiscussthereal-worlddifficultiesofusingactivitiesstressingthecreativeprocessaswellasresearch-basedideastocreateaclassroomatmosphereconducivetofosteringcreativityandmusicalimagination.Participantswilllearnhowtoconstructactivitiesandplanswhichenabletheirownstudentstousehigherorderthinkingskillsandtodevelopcreativitythroughmusic.This course will also assist elementary vocal directors to further develop their choral programs to produce youngmusicianscapableoftruemusicalartistryintheirperformances.Participantswill learnstrategiesthatwillenabletheirelementaryvocaldepartmenttoprogressintoathrivingsuccessfulprogram.StudentLearningOutcomesA.KnowledgeOutcomes:Participantswilldevelopanunderstandingof:

1. themainfoundationalstudiesonchildren’screativethinkinginmusicaswellasbackgroundinformationonthemainpedagogiesofMusicEducation:Dalcroze,Kodaly,Gordon,andOrffandtheirparticularemphasesonthecreativeprocesswithchildren.

2. empirical studiesof creative thinking includingcharacteristics that studieshavedetermined tobevisible increative musical products, characteristics of children’s compositions, and characteristics of children’simprovisation.

3. ideas for facilitating the cultivation of creativity in the music classroom including divergent thinking,exploration,creativeresponsetomusic,improvisation,arranging,andcomposition.

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B.SkillOutcomes:Participantswillbeableto:1. scaffold current activities they use in their classrooms to include opportunities to foster creativity and

developdivergentthinkingskills2. create activities, rubrics, think-aloud sessions, and/or a series of prompts/exit cards which promote

metacognitionandcreativityintheclassroom3. design purposeful centers, differentiating instruction, and providing opportunities for student-led learning,

creativemusicalopportunities,andmetacognitionwithinaspecificfocusCourseOutlinePleasenotethatplanissubjecttochangedependingondiscussion,focus,andneedsofparticularparticipantsincoursesession.

o CLASS1• Personalphilosophiesandreasonsfortakingthecourse(pre-assignment:Writtenresponse)• Thechildren’svoice:pitchingmatchingactivities• Assessment/chartingprogressinchildren’svocaljourney• Audiationdevelopment• Classexperience:Participantsexperiencepitchmatchingandaudiationactivities• Classdiscussion:audiation,assessmentandpitchmatching• Discussion: personal teaching experiences stressing creativity/ discussion about reading pre-assignment

(Pros/consofeachphaseandwhyit’sdifficulttoimplement)• Creativityexperiencesinphases:(Pre-classReadingassignment)

1.Exploratory2.problemsolving/identifying3.rehearsal4.finishing

• Processvs.product• Sharingcreativeactivitiesbroughtbyclass(pre-assignment)• Classexperience:Choicetimecenters(explorationphase)• ConnectingMovement toMusic learning: DiscreteMovement and continuous fluidmovement to experience

/teachMusic• Advocacy:Projectsideasthatgoaboveandbeyond• ChoralReadingSession:Performance,Strategies,teachingtechniques,&Reflection• StudentanalysisofvocalreadingsessionFocus:pitch,phrasing,audiationopportunities,movement• BecomingaDivergentConductorbyDr.JasonThoms–article,factionanalysis/reflectionanddiscussion

o CLASS2• Unlocking creativity: benefits,motivation, process, traits of creatives, fears/obstacles, laying the groundwork,

jumpstartingyourcreativejourney,innovativethinkingtechniques,creativeteamwork/synergy,anddevelopingacreativecultureinyourclassroom

• TheElementsofMusicandbeyond:Form,Timbre,dynamics,tempo• Scaffoldingtoincludecreativity• Arrangingmusicbyplayingwiththeelementsofmusic• “TheMind’sEar”-developmentofaudiationandinternalmusicalimagination• Creativepropsandmanipulativestoengagestudentsinprocessofcreativity• Developmentofdivergentthinkingopportunities• UsingTechnologytofacilitatelearning:Pitchmatching,&audiation• ChoralReadingSession:Performance,Strategies,teachingtechniques,&Reflection• StudentanalysisofvocalreadingsessionFocus:ElementsconnectionsandTechnology• Homework:Metacognitionreading-article/graphicorganizernotetaking

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o CLASS3• Composing:voice,rhythmpercussion,recorders,boomwhackers,Orffinstruments• PurposefulCentersintheGen.MusicClassroomandopportunitiesforDifferentiatedInstruction• Brainstormingsession:Purposefulcentersgoalsandexamples• UsingTechnologytofacilitatelearning:Compositionand/orCenters• Beyondpitchmatching:energyinthephrasing,singingwithconviction.Tipsforstudents• Cross-curricular creative thinking opportunities: creating art, writing stories, writing lyrics, choreographing

movement)• Classdiscussion/feedback:centersexperiencePros/cons-improvementsandsuggestions• Improvisationopportunities• ChoralReadingSession:Performance,Strategies,teachingtechniques,&Reflection• StudentanalysisofvocalreadingsessionFocus:DIinchoralsetting• Homeworkassignment: Designanactivity/teaching strategy to implementwithMetacognitionopportunities

forstudents

o CLASS4• Metacognition:Studentself-assessment/self-realization:

1.self-reflectivewriting2.self-reflectiveactivitieswherestudentsidentifystrengths&weaknesses/evaluatetheirownprogress3.think-aloudsessionswherestudentssharelearningstrategieswithpartners

• Student-led discussion/design of metacognition opportunities: Sharing from assignment of homeworkassignment,collaborativeenhancingofthesetechniques

• TeacherandStudentPersonalitytypes:Our“colors”andhowtheyaffectteachingandparticipationincreativeactivities

• ChoralReadingSession:PerformanceStrategies,teachingtechniques,&Reflection• StudentanalysisofvocalreadingsessionFocus:MetacognitionandconnectingGeneralMusicwithChoralMusic

curricula• TimetoworkonProject:Purposefulcenterstocultivatecreativity

o CLASS5• EarTraining,RhythmDetectives,popsiclesticks,andotherrhythmicactivitiestotrainstudents’ears• MelodicEarTrainingideas:SolfegeDots• Multicultural infusion with musical elements: Creative listening: Musical Passport Journals Class experience/

discussion:Musicalpassportjournals• Video:Studentsdoingear trainingandcreative listeningandClips/examplesofmusicalpassport journalswith

discussion• Classexperience:Rhythmdetectiveswithpartnersanddots• ChoralReadingSession:Performance,Strategies,teachingtechniques,&Reflection• StudentanalysisofvocalreadingsessionFocus:EartrainingandMulticulturalMusic• PresentationofProjects• Studentanalysisofclass-pros/cons,takeaways

Assignmentsduringtheweek:1. Revise a currently used musical activity to scaffold integrating higher order thinking skills/enhancing creativityopportunity.2. Read the article, PromotingMetacognition inMusic Classes by CarolW. Benton fromMEJ, and take notes usinggraphicorganizer.Bepreparedtoshareduringclass.3.With your group/partner, design an activity, rubric, think-aloud session, or series of prompts/exit cardswhichwillpromotemetacognitioninyourclassroom.

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4.Readthearticle,BecomingaDivergentConductor,byDr.JasonThoms,self-analysisandreflection.5.EdwinGordon-creativityarticle-readanddiscussingroups.

o Otheractivities tobecompletedduringclass time include:discussion, “themind’sear” imaginationactivities,participationinwidevarietyofactivities,singing,analysisofactivitiesandsuggestionstopromotecreativityanddifferentiateinstruction,journalentries,playinginstruments,composing,brainstorminganddesigningactivitiesetc.

o Finalproject:Designpurposefulcenters,differentiatinginstruction,andprovidingopportunitiesforstudent-ledlearning, divergent thinking, creative musical opportunities, and metacognition within a specific area. Alldirectionsforeachcenter,aswellassuppliesneeded,willbespecified.Howeachcentercultivatescreativitywillbeindicated.Wewillcompiletheseprojectsandshareforuseineachother’sclassrooms.

GradingCriteriaandAssessmentMethodsASSESSMENT:LearningTaskrubricforreadingassignmentsanddiscussions,completionofsuccessfulprojects-rubric+peerevaluationofprojectGRADING:Writtenpersonalreflectionpre-assignment-5%SuccessfulCreativeActivity-broughtandshared10%ReadingAssignment#1w/Graphicorganizer:5%ReadingAssignment#2w/contentchart:5%Surveycompletion:5%MetacognitionReadingAssignmentw/graphicorganizer:5%Metacognitiongroupproject:10%DivergentConductorarticlereflection:5%MusicalPassportJournalentriesandotherexitcards:5%ChoralReadingSessionsandDiscussion/Analysis-10%Participationinclassroomactivities,projects,anddiscussions-10%FinalProject:DevelopmentofPurposefulcenters:25%

This is a classbasedon collaborative discourseaswell asaperformanceart.As such,beingprepared toparticipate indiscussionsandactivities is a course requirement. This entails having read,annotated,andthoughtaboutassignmentscarefullybeforeclassstartsaswellasactiveparticipation insinging,moving,notatingmusic,writing, designing of activities,working collaborativelywith others, etc. Sincewewill beengagedincloselyexaminingreadingsanddeterminingthesuccessfulnessofcertainmusicalactivities,yourparticipationisthekeytothesuccessoftheclass.Askquestions.Becurious.Youaremorethanwelcometohavea different interpretationof a text or amusical activity; just be sure to share your perspective in aproductive and supportivemanner. Since the course will be conducted as a seminar-and not a series oflectures-thesubstanceofourclassmeetingswillprimarilyconsistofmusicalactivitiesandyourresponsestothecourse readings (suchasgeneralquestions, impressionistic responses, suggestions,or interpretations)aswellasmyengagementwithyourresponses.Yourthoughtsandquestionswillprovidethestartingpointfor our discussions. Your active participation will be consequently factored into your final grade for thecourse.Ifyou’rereluctanttospeakup,pleasetalktomeandwe’llfigureoutawayforyoutoparticipateinthediscussionaspectofthecourse.

TheGradingPolicycanbefoundintheCourseCatalogue.

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AcademicIntegrityPolicyAprimarytenetofthiscourseistopreparestudentsforprofessionalresponsibilitiesasteachers.Thetimelyarrivaltoclassaswellasthedailypreparationandengagementincoursestudiesisessential.UniversitypolicyonAcademicIntegritymaybefoundintheUArtscatalog.Ifstudentsarenotclearaboutwhatconstitutesplagiarism,youmightrecommendIntroductiontoResearchandDocumentationavailableontheUniversityLibrarieswebsite.

AbsencesDuetothecompressednatureofthefive-dayintensivecoursestructure,absencesfromclasswillnotbeaccepted.Studentswhoarrivelatetoclassorleaveearlywillbeheldaccountableformissedtimethroughadditionalassignmentstobecompletedoutsideofcoursehours.TechnologyPoliciesonTechnologymaybefoundintheCourseCatalogue.ClassFormatAllsummermusicstudiescoursesthatmeetin-personarefive-dayintensivecoursestypicallyrunningfor8hoursperday.Studentsareresponsibleforpreparationofmaterials,forengagingincoursecontentasperthecoursedescription,andinbeingresponsivetocompletionofpreandpostcourseworkasdetailedinthecourseoutline.Coursesofferedonlinemaybeinadifferentformatandmayrunforalongeramountoftime,specifictotheneedsandintentsofthecoursecontent.

EducationalAccessibilityStudentswhobelievetheyareeligibleforcourseaccommodationsundertheADAorSection504orhavehadaccommodationsormodificationsinthepast,shouldcontacttheOfficeofEducationalAccessibilityat215-717-6616oraccess@uarts.edutoarrangeforappropriateaccommodationsandtoobtainanaccommodationsletter,ifapplicable.Facultycanprovidecourseaccommodations/modificationsonlyafterreceiptofanapprovedaccommodationsletterfromtheOfficeofEducationalAccessibility.Accommodationletterscanbeprovidedtoqualifiedstudentsatanytimeduringthesemester,butgradesearnedbeforetheletterisreceivedbythefacultycannotbechanged.NoticeofNondiscrimination

TheUniversityoftheArtsisasupportivecommunitycommittedtoindividualandartisticintegrityandinclusion.Wepromoteandrespectself-expression,awiderangeofideas,anddiversityinallofitsforms.WearecommittedtocreatinganinclusiveenvironmentinwhichUniversitycommunitymembersareabletoaccessacademic,social,recreationalprogramsandservices,aswellasopportunitiesforadmissionsandemploymentonanequitableandnondiscriminatorybasis.

TheUniversityexpresslyprohibitsanyformofdiscriminationandharassmentonthebasisofanyprotectedclassification,includingrace,color,religion,sex,genderidentity,nationalorigin,age,mentalorphysicaldisability,veteranstatus,geneticinformation,theuseofaguideorsupportanimalbecauseoftheblindness,deafnessorphysicalhandicapofanyindividualorindependentcontractor,possessionofaGEDinsteadofahighschooldiplomaandmilitarystatusasdefinedbyPennsylvanialaw,sexualorientation,maritalstatus,familialstatusanddomestic/sexualviolencevictimstatus,inaccordancewithfederal,state,andlocalnon-discriminationandequalopportunitylaws.TheUniversityalsoprohibitsactsofretaliationagainstthosewhoreportactsofharassmentdiscriminationorwhocooperatewiththeinvestigativeprocess.

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Sexualviolence,sexualharassment,intimatepartner/datingviolence,andotherformsofsexualmisconductareconsideredformsofsex-baseddiscriminationandareprohibitedbyUniversitypolicyandbylaw.

TheUniversitywillpromptlyandequitablyrespondtoallreportsofdiscriminationandharassmentbasedonprotectedclassifications.Complaintsofdiscrimination,harassment,andretaliationmaybedirectedtotheUniversity’sTitleIXCoordinatorandDiversityAdministrator,LexiMorrison,atlmorrison@uarts.eduor(215)717-6362.ComplaintprocedurescanbefoundinAppendixAofthefaculty,staff,andstudenthandbooks.

Note:AllfacultyandprofessionalstaffattheUniversitymustreportanyincidentsofsexualmisconducttotheUniversity’sTitleIXCoordinator.Tomakeareport,e-mailtitleix@uarts.eduorfileareportthroughtheTitleIXResourcePage:www.uarts.edu/titleix.