Secondary Curricular Framework · 12/21/2018 · Instruments. Broadly speaking these include: • Melody Instruments: trumpet, trombone, sax and other woodwinds, strings and additional

SecondaryCurricularFramework

ForRhythmSection-BasedEnsemblesandClassrooms

RichardJ.FrankDecember16,2018

PlayTheGroove Curricular Framework 1

[email protected]•1.818.427.5500•playthegroove.com&playthegroove.org

PlayTheGrooveCurricularFramework

ThepurposeofthisresearchandreportistoeducationallygroundthePlayTheGrooveinitiativeintheNationalCoreArtsStandardsof2014.Thesestandardsareenactedonavoluntarybasiswithsometeachersfollowingthem,orthoseoftheirstate/district,andstillothersdonotteachtostandardsspecifically.Teacherreactionsspringfrommanygrounds:apersonalinclinationtogrowandlearn;theadministration’sexpectationthatthestandardsbeaddressed;aneedtolegitimizemusiceducationefforts,particularlywithnew,experimentaltypesofensemblesandmusic;adesiretorespondtomoderneducationalthoughtorachangingstudentdemographic;andasensethatthestandardscanorcannotcatalyze21st-centuryleadershipandunderstanding.Thewiderangeofeducators’reactionstothestandardsunderlinethesimpletruththatnoteverythingisforeveryone.Thereareexcellentjazzeducatorswhoconsistentlyproduceaward-winningensemblesanddevelopwell-rounded,highlysuccessfulmusiciansandglobalcitizens—educatorswhoseethenewstandardsas“sameastheoldbutwithnewwrapping.”Forthoseteacherswhofindfreshvalueinthestandard’sguidance,areneedingtounderstandhowtheyfunctionandsupportlearningandcreatingmusic,thisreportshowsthewaysinwhichPlayTheGroovealigns.AccordingtotheNationalAssociationofMusicEducation(NAfME),therearethreemainimprovementsinthe2014musicstandardswhichcurrentlyapplytoPlayTheGroove:

1. Clearerfocusonconceptualunderstandingtodevelopstudentindependenceandmusicalliteracyinsteadofaprimaryemphasisonknowledgeandskills.

2. Developstudents’abilitytoexperiencethethreeartisticprocesses:creating,performing,andresponding.Thesearearticulatedinspecificprocesscomponents(i.e.,steps)withrelatedenduringunderstandingsandessentialquestions.

3. Greaterspecificityforgrade-by-gradeobjectives—or,asIseethem,clearstepsfromnovicetoadvanceforclassescommonlyfoundinschools:Ensembles,Guitar/HarmonizingInstruments,MusicComposition/Theory,andMusicTechnology.

It’simportanttonotethatthisreportisnotanall-inclusivecurricularframeworkforeverysecondaryjazzensemblesituationandgradelevel.WhilePlayTheGroovecanworkinmanysituationsnotdefinedorexploredbelow,thepurposeofthisframeworkistoworkwithinspecificmarginsandlimitedrangestoclarifythefundamentalapproach,content,resources,andmethodologies,andtothenprovideaclearexampleoftheseinaction.Futureiterationsofthiscurriculumwillexpanduponthisframework.Thisapproachaddressesmanyaspectsofourtargetedaudienceandtheircontent/skillfocus,providinga“transformationalhypothesis”foreachwithinacontinuumframework.Thiscontinuumrepresentsthedirectionoftheparticipant’stransformationasaresultofimplementingthecurriculumateachstep.Thiscontinuumcanshowmovementfromlefttorightorrighttoleft,basedonlabeling.Pleasenote:moreoftenthannot,wetrytomaintaintraditionalapproachestotheleftwithmodern/informalapproachestotheright.



Figure1:Atransformationalcontinuum.

OurAudiences:Whoweseektoinfluencethroughcurriculumandcontent.

Thiscurricularframeworkmustaddresstwodistinctgroupsoflearners:teachersandtheirstudents.Eachgrouphasitsownsetofexperiences,needs,expectations,anddispositiontowardsmusicandlearning.Withinthisframework,andkeepingthetwogroupsinmind,weseektoapplyacohesivelearningexperienceconsistingoflearner-orientedavtions,afocusonexpectedoutcomes,andaholisticapproach.Learner-OrientedThinking.Wepromotelearner-orientedthinkingbyfocusingonthelearner’sneeds,problems,expectations,andperformancethroughdevelopedprocessesthatsolveperformanceissuesandsupportcriticalthinkingskills.Thegoalistohavelearnersbecomeactivesituationalproblemsolvers.Thisrequiresustoseeissuesthroughtheireyesofthelearnersothattheapproachispracticalandapplicable.Therearefourstepstothis:(1)studytheproblem,(2)collaboratewithothers,(3)doanactivity,and(4)solicitfeedbackontheprocess.FocusonExpectedOutcomes.Theobjectivehereistohelplearnersachieveperformanceobjectives.Thiscausesustoconcentrateontherightamountofcontentastoomuchcanbecounterproductive.Through"actionmapping,"wepursueafocusonperformance,notinformation,andwhatstudentsneedtodo,notwhattheyneedtoknow.Toachievethisactionfocus,weseektocreateaflexible,personalizedlearningexperiencethatemploysavarietyofpedagogiesandmethodsthatencourageslearnerstovoluntarilychangetheirlearningbehavior--theendgoalofanycurriculum.HolisticApproach.Assessingbothalearner’sneedsandpriorbackgroundknowledgeisimportanttohelpthatlearnerachieveperformanceobjectives.Doingsomeansaholisticapproachthatincludesscaffoldingconsiderations,formativeassessments,andsummativeassessments.Theseguidethelearnerthroughtheprocessandprovideongoingfeedbacktoidentifyareasneedingfurtherattention.Ourlearner-orientedplanningseekstoinitiateproblem-solvingandunderstandingthrough



authentictasks.Authentictasksarethosethathaveapplicablesettings,experiences,andassessmentsgroundedinreal-lifesituations.Accessibilityiskey.SpecificMarginsandLimitations,CurricularIntentions

Teachers.Secondary(grades7through12)musiceducationteachersinclassroomsituationswhoteachjazzorhavesomesortofahorn/live/pepbandbasicallyconsistingofhorns(trumpet,sax,trombone,woodwinds)andarhythmsection(drums,bass,piano/keys,andguitar).Theteacher’sexperiencelevelcanvarygreatly—frombeingsuper-experiencedinjazzandrunningawell-developedprogramtoabeginningjazzeducatorwithlittletonoexperienceteachingtraditionaljazzstyles,letalonemoderngenres.Students.Optimally,musicianswhohavebeenplayingforatleast6monthsandknowscalessuchasB-flat,E-flat,F,andC,withanapproximaterangeofconcertB-flat(belowmiddleC)toG.Therhythmsectioncanholdabeat/grooveandhasplayedsomecompositionsinafewdifferentstylesandsituations.Thestudentplayergroupcanconsistofasfewasfourplayersto25or30aslongasthereissomesenseofbalancebetweenmelody,harmony,andrhythm.Thedoublingofpartsiswelcomeandencouraged.Instruments.Broadlyspeakingtheseinclude:

• MelodyInstruments:trumpet,trombone,saxandotherwoodwinds,stringsandadditionalguitarists,keys,marimba,bellplayers.

• RhythmInstruments:Drums*,bass*,guitar*and/orkeyboards(piano)*,vibes,ukulele,andanyandallpercussion.*Requiredforthisiterationofthecurriculum.

Readingmusicishelpful,butnotrequired,aslongasthereisdecentinstrumentproficiency.Movementisalsoencouragedasshownbythetwopossibilitiesbelow.

1. PlayerscurrentlyresidingtowardtheleftofthecontinuuminFigure2canbeencouragedtoplaybyearmore(movingtotheright).

2. Aplay-by-earindividualcanbeencouragedtolearntoreadmusic,movingfromarighttoleftposition.



Figure2:Studentpossibilitiesonacontinuumofstrictlyreadingmusictostrictlyplayingbyear.

SituationalConsiderations

HighSchooljazzmusicgroupsareextremelydiverseintermsofstudentexperienceandinstrumentation.Likewise,teachersalsocomeinalllevelsofexperienceandinterestineachsubjectareatheyteach.Ourframeworkseekstoaddressdeficitsandassetsofbothexperiencedandlessexperiencedteachersandstudents.Less-experiencedjazzteacherswillmostlikelybethemajorityofteachersusingthiscurriculumsincetypicalmusicaltraininghasbeen,andcontinuestobe,groundedinclassicaltrainingandinstruments.Experiencedjazzteachersarerarer.Theyoftenaimtobuildandmaintainjazzbigbandstoplayatraditionalrepertoirewithatraditionalconfigurationfourtrumpets,fourtrombones,fivesaxes,andarhythmsection.Whenmorethanonestudentplaysthesameinstrument,someteachersaccommodatetheredundancy,butothersdon’t,resultinginsomeplayerssittingoutsongsduringrehearsalsandperformances.PlayTheGroovehelpsresolvethisconundrumbyworkingwithawidevarietyofinstrumentations,encouraginginclusivity,andofferingawiderangeofcreativemusic-makingskillsusuallyabsentfromtraditionalapproaches.

Accommodatingeitherteacherlevel,PTGemphasizesinformalmusic-makingapproaches,relyingonrecordingsfordemonstration,encouragingstudent-ledensembles,andbringingtheteacheralonginthelearningprocess.Thisheightenstheteacher’sroleasa“guideontheside”insteadofa“sageonthestage.”PlayTheGroove’sflexibilityallowsteacherstoaddressavarietyofsituationsfromavarietyofdirections.Teacher’schooseapproachesthatmeettheneedsoftheiroverallcurricularframeworkthroughajourneythatbeginswiththefollowingquestion.

“WhereamIcurrentonthefollowingcontinuums,andwheredoIwanttogo?”

ExperienceTeachingJazz

LittleExperience ModerateExperience MuchExperience

Figure3:Teachingexperiencecontinuum.

Byapplyingthisframeworkservesteacherswhofeeltheneedtoinnovateinordertoconsistentlyaddressthestudentneedsandapplymodernthoughtineducationallearning.





Teacherreflectivequestion:“WhereamIcurrentoninnovation,andwheredoIwanttogo?”

InterestLevelinInnovation

LittleInterest ModerateInterest MuchInterest

Figure4:Innovationinterestcontinuum.Thisframeworksupportsteacherswhoarecontentwithstickingtotheirfamiliarteachingpaths.Asacomparison,“playing”musicistheexpectedabilityofstudentstoplaytherightnotesintherighttimeandhopefullyintherightfeel.Thisismoreofamechanicalapproach.PlayTheGroovesolicitsa“feeling”approachtocreatingmusic,onethatinvolvesstudent-ownershipatalllevelsofmusicmaking.Masterycanbestressedifthatisaparticulargoal.However,theinitialgoalwouldbetoemphasizefeelingandownershipwhenpossible.ThekeyaspectofPlayTheGrooveisthatstudentsengageincreatingmeaningfulmusiceasierandfaster.Period.“Creating”comprisesadeeperunderstandingofthemusicianshipinvolvedinmakingmusic,andfacilitatesthefourCs:criticalthinking,communication,creativity,andcollaboration.TheTransformation:Whatweseektochangethroughourcurriculumandcontent.

PlayTheGrooveemphasizescohesivelearningexperienceswhichspurstransformationinbothstudentsandteachers.Throughsimplepre-assessment,studentsandteacherswillfindspecificareastheyneedtoaddressandgaininsightintotheirpositiononanumberofmusicalissues.



Someofthetransformations,or“shifts”we’dliketoencourageinteachersandstudentsinclude:

ForTeachersTeacher-ledEnvironment to Student-ledEnvironment(Sage-on-the-Stage) (Guide-on-the-Side)TraditionalJazz to ModernJazzandWorldMusicMostlyReadingMusic to MoreListeningLimitedUseofSmallGroups to SmartUseofSmallGroupsTeacher-DirectedRehearsals to Student-DirectedRehearsalsTeacher-LedPerformances to Student-OrganizedPerformancesTeacher-SelectedMusicChoices to MoreStudent-CentricChoicesNoCross-CurricularActivities to MoreInclusionofOtherSubjectsStrictEnsemble to IncreasedInclusivityinPrograms. Low Moderate High

Figure5:Self-assessmentcontinuum.

ForStudents

PrimarilyReading to MoreAuralInfluencedLittleCritical-thinking to MoreUseofCriticalThinkingLittleCollaboration to HighlyCollaborativeLittle“Creativity” to VeryCreativeNoSelf-learning to HigherUseofMetaCognitionNarrowRangeofGenresPlayed to WideRangeofGenresPlayedNoImprovisation to MoreComfortable

Little Moderate High

Figure6:Self-assessmentcontinuum.



TheContext:Thecontextofthiscurriculumasitencompassesthelearningexperience.

Where:Thiscurriculumisdesignedtoworkinasecondaryschoolclassroomsetting.Specificallywetargetahypotheticallymiddle-of-the-roadhighschool(10thgrade)withatraditionalbigbandarrangementorrandommixedinstrumentations,withanaverageof24studentsperclass.Thefollowingmusicgroupscenarios,althoughnotall-inclusive,areplausible:

Trad.Bigband: 4trumpets,4trombones,5saxes,rhythmsection,andadditionalplayers=~22students

MixedV1: 2trumpets,1trombone,1vocalist,6saxes,4guitars,2basses,1keyboardist,4drummers=~21players

MixedV2: 3trumpets,3trombones,8saxes,4guitars,2basses,2keyboardists,4drummers=~26players

MixedV3: 1trumpet,1trombone,3saxes,6guitars,1basses,3keyboardists,1drummer=~16

MixedV4: 1trumpet,1trombone,2vocalists,2saxes,2guitars,1bass,1keyboardist,1drummer=~11

MixedV5: 2trumpets,2trombones,6saxes,3flutes,2clarinets,1violin,1viola,1cello,1Frenchhorn,3guitars,2ukulele,1bass,2keyboardists,2drummers=~29players

Note:Currently,PTGisNOTsuitableforconcertormarchingbands,stringororchestraensembles,orelementarylevels.

When:Thestructureofthiscurrentcurriculumisdesignedasmodulesorpods—notnecessarilyafull-time,semester-longcurriculum.Rightnow,PlayTheGrooveissupplementarytoafullsemester/year-longstrategy.Themodulesworkbestifimplementedover3-4weeksof2-3sessionseachweek,orweeksfor6-12sessions.10-12sessionsisidealtofollowthecurriculum.However,sincethisisdesignedtobeflexible,therangeoftalentofthegroup,experienceofteacherpresenting,modesofpedagogyused,anddesiredoutcomeaffecttheapproach.Moreinvolvedpodsincludestudent-ledperformances;shorterpodscaninclude,forinstance,afocusonsight-readingoraudio-only,workonimprovisation,applyingtheory,orjustlearningnewsongs.Accommodatingawide-rangeofcomponents,wemadethePTGflexibleandmalleablewithimmediatelyuseful,practicalapplications.How:Weaimtocreatebettermusiciansandheightenmusicianshipthroughplayingsongs.Thatmeansanappliedclassroomapproachthatutilizesubiquitoussolutionsaimedat90+%ofthecountry’shighschoolmusicprogramswithajazzband.



Who:Weaccommodatelearnersandmakers,andworkattheintersectionofthesetwoapproaches:learnerswhowanttomake,andmakerswhowanttolearn.InthisspaceweseetransformationthroughPlayTheGroove’sapproaches.Thosewhoarelearner-focusedwillhopefullybecomemorefocusedonmaking,whilemakersstrivetobecomebetterlearners.

Figure7:Expectedshiftintheapproachesoflearners/makersafterexposuretoPlayTheGroove

Fromobservations,studies,surveys,andpastinteractionswithstudentsandteachers,thefollowingillustrateskeymaker/learnercharacteristicsofteachersopentothePlayTheGrooveapproach.Theseapproachesandconclusionsareborneoutof60+clinicsledbytheprincipalresearcheranddeveloperinwhichteachersandstudentsilluminatedsomekeyareasabsentfromtheirnormalapproaches.CoreSkillsMusic-makingcanbelooselydividedintotwoareas:mechanicalandaesthetic.Forlearners,mechanicalcoreskillsmustbeaddressedaseducationalbasics.

Mechanical:• Createpleasingsoundsandtones,articulation,intonation• Scales• Readmusic,combiningnotestorhythm• Songform• Rhythmicinterpretation• Theory



Toaddressmakers,theaestheticsofinterpretation(feeling)needtobeaddressedaseducationalbasicsinordertore-createasong’sstyleandallowforpersonalinterpretationsandfuturecreationofthemaker’sowncompositions.

Aesthetics:• Form• Rhythm• Articulation,phrasing• Dynamics• Arranging• Alternativestyle/groove• Improvisation• Composition

CustomizedProcess

IfPlayTheGrooveistomeettheneedsandparticularcircumstancesofthousandsofteachers,itcannotfeaturearigidcurriculum.Wemustrelyinsteadonaflexibleandcustomizablecurriculumthataccommodatesamyriadofteacherandstudentsituations.OurgoalforteachersandstudentsparticipatinginPTGpodsis(1)thattheywilldevelopasolidbaseofcoreskills,and(2)willknowhowtoimplementthoseskillsbasedontheircircumstances.ThePlayTheGrooveapproachprogressesthroughfourstepsorphases,startingwithplayingasongfrombeginningtoend,usuallyoverthecourseofoneclassroomperiod.Asadoptersgothroughthesteps,ongoinglearningisapproachedonanas-neededbasis.Forinstance,ifsomestudentsdon’tunderstandacoremusicconceptsuchaswhatarepeatsigntriggers,opened-endedquestionswillreaddressabasicmusic-makingelement.Thefourkeystepsorphasesare

1. Learning2. Problem-solving3. Ideasharingandexchange4. Doingsomethingreal

Learningstartswithformativeassessmentstomakenoteofareastoworkon.Ifsomethingisnotknownbeforetheclassbegins,everyonewillknowplentybytheendofthesession.Solvingproblemsrequirescriticalthinkingtodevelopaplanthattacklesachallengingissue.Perhapsthesolutionwillbeasbasicasanoctavejumponamelody.Amoreinvolvedplanmightusethreeguitarsandtwobassesandanswerthequestionofhowtokeepthemallplaying.Besidescriticalthinking,studentsmustexercisecreativityandcollaborationaswellascommunication.Scaffoldingcanbeputtousesinceweconstantlybuilduponwhatwepreviouslyknew.



Sharingideasalsocallsuponcommunicationandcollaboration.Teachingisabout,andthroughsharingwecementinourownmindstheinformationwecommunicate.Whenwesharewehavetobeclearandprecise;thiscanonlyhappenafterwe’veprocessedtheinformation.Doingsomethingrealmeanscreatingatangibleprojectaftercyclingthroughthelearning,problem-solving,andideaexchangephases.Acycleiscompletedwithaperformancebeforestartingalloveragain.Thenewcyclemightseethechosenmusicmadebetterstillormightinvolvelearninganewsongandbuildingonwhatwaslearnedpreviously.Thus,aperformanceis"doingsomethingreal"andservesatangibleresultthatismeasurablebyobjectiveandsubjectivestandards.IterativeandContinuingUseofPlayTheGrooveTeachersandstudentscontinueusingthefour-stepprocessgoingforward,applyingittomoresongsofvaryingdifficultyandstyles.Reggae,forexample,maylookeasyonpaper,butitcanbeverydifficultforplayerstocorrectlyfeelthegrooveonallinstruments.Morespecifically,studentscan,forexample,addmoreperformancesbygettingoutofthebandroomandintothecafeteriaortheschoolquadtoplayforpeers.Raisingthestakesraisesthelearning.Anotheroptionistotakeaharderanddeeperlookatgenres,culture,andartistsinadditiontomakingthemusic.AddedexercisesmightincludefindingYouTubevideosfeaturingthecultureandcommunityfromwhichthemusicemerged.Cross-curricularactivitiescouldinclude:studentswritingandnarratingintroductionstothesong;doingspecialprojectsforELAsubjects;introducingotherelementssuchasdanceintoperformances,producingeventsratherthanplainband-on-the-stageconcerts,creatinga"showchoir"forinstrumentalmusicthatutilizesengagingmultimediaelements.Studentscangaincompositionexperiencebycreatingnewmelodieswrittentoaugmentorreplaceexistingsectionsofatune.Thegrooveofthetunecanchangefrom,say,Afro-Cubantoswingorfromswingtosalsa.Theharmonicstructurecanchangebyintroducingnewchordalpatterns,("altchords")totheharmonicstructure.



NationalStandards

Source:https://www.nationalartsstandards.org/

Simplyput,thestandardssupplyaprocessthatguideseducatorsinprovidingaunifiedandqualityartseducationforstudentsinPre-Kthroughhighschool.Readmore.AnchorStandards1-11:

1) Generateandconceptualizeartisticideasandwork.2) Organizeanddevelopartisticideasandwork.3) Refineandcompleteartisticwork.4) Select,analyze,andinterpretartisticworkforpresentation.5) Developandrefineartistictechniquesandworkforpresentation.6) Conveymeaningthroughthepresentationofartisticwork.7) Perceiveandanalyzeartisticwork.8) Interpretintentandmeaninginartisticwork.9) Applycriteriatoevaluateartisticwork.10) Synthesizeandrelateknowledgeandpersonalexperiencestomakeart.11) Relateartisticideasandworkswithsocietal,cultural,andhistoricalcontexttodeepen

understanding.



SEQUENCEANDDETAILS:TheClotheslineMethod

Thinkofthisasaclothesline:

Steps: 1 2 3 4 5 6 7 8 9 10

TRANSFORMATION

Learn.SolveProblems.Shareideas.SomethingReal.TheFirstTimeThroughthePTGApproach:Step1-Wherearetheynow?

• AverageHSgroupwithproficientplayingexperience.• They’restartingwiththe3-2-1song-choosingactivity.• Theyareatpost-beginnerlevelandhavebasicmechanicalabilities.• They’veprobablyneverplayedthiskindofunisonchartbefore.• TeachershaveprobablynotspecificallyandexplicitlyexploredthefourCs.• Studentsmightnothavehada“voice”inpickingmusictoplayinclass.

Step5-Wheremighttheybenow?

• Theyplaythesongallthewaythroughfreelyandcomfortably.• Thestudentsidentifiedthingstheyneedtoworkonasagroupandindividually.• Smallgroupsarecomingtogethertosolveproblemsandintroducesolutions.• Aperformanceisonthehorizonwithaclearlystatedshort-termendgoalandneed.

Step11-Wheredowewantthemtobe?

• Theyunderstandthepurposeandneedforagrooveinanypart.• Asagrouptheyputonandperformedtheirowninformalperformance.• Theycanplaythecompletemelodywiththegroupandsection,andalso,perhaps,playitsolo.• Theyperformthesongfortheirfriendsinaninformalbandroomconcert.• TeachersobservestudentsdemonstratingthefourCsinactionaswellasothercoreskills(standards).



• Theyareabletoreflectbackontheirexperienceanddiscusstheirexperiences,whatwentwell,andwhatcanbedonebetternexttime.

AligningtheCoreArtsStandardstoPlayTheGroove’sApproach

Table1isasmallsnapshotoftheexpandedstandardrollout,steps1and2,columns1through3.Thecolumnsincludesomeofthefollowinginformation:

Activitysetsoutwhattranspiresduringthesession.Goalproposeswhatoughttobeaccomplishedduringtheperiod.TransformationdescribestheexperiencewewantforbothteachersandstudentsprovidingcontextfortheactivitybyhelpingparticipantsunderstandtheWHYbehindtheiractions.WNstandsfor"What’sNext?"Itrevealsthefocusofthenextsessionforaddedguideddirection.Timegivestheexpecteddurationoftheactivity.

Thisstepwise,predictableprocesslaidoutinthetableallowseveryonetoconsistentlyworktowardpresentingconceptsas"guidesontheside"insteadof"sagesonthestage."Spontaneityandcreativityencouragestudentstokeepontheirtoes,andteacherscanexperiment,too.PTGissupplemental;itthusallowsteacherstoexercisemodernapproachestoaugmenttraditionalones.Step What Class/TeacherInvolvementandGuidelines

1 Activity:Studentsactivelyparticipateinselectingmusictoperforminclass.ArtisticProcess:PerformGoal:Studentsexerciseindividualthoughtandcriticalthinkinginsongselection.Transformation:Studentsbegintoexperience/realizethecomplexprocessesinvolvedforchoosingmusictoplay(foraclass).Time:20-25minutesworkathome.Teachersalsodothisactivitypriortoclassforeaseofexplanationandtoweighinonchoice.Note:ONEsongaloneisfineforthefirsttimethroughthisapproach.

WR(WebReference):https://sites.google.com/site/ptgprogram/Student-Pre-Survey-Song-ChoosingGL(Guidelines):Thesong-choosingactivityispreferablyanat-homeassignmentwhichencouragesindividualthought.Teachergivesdirectionsbuttheweb/printversionsaremostlyself-explanatory.Teachercollectsformsfromstudents,songisselectedfromindividualsuggestionsusingagrid.Opendiscussionsonties,style,complexity,andoverallplayability.WN?:"Duringthenextsession,you’llplaythecompletesonginoneperiod.Eachstudentwillreceivetherecording."

2 Activity:PlaythroughsonginoneperiodtogainaSinglePointofReference.ArtisticProcess:PerformGoal:Studentsplayacompletesongfrombeginningtoendwithoutteacherhelp.Transformation:Studentscanachievethegoalinoneperiod.Time:45-55minutes

WB:https://sites.google.com/site/ptgprogram/Rehearse-SongGL:1sttimethroughisnotaboutmastery,it'stosimply'playthesong'andgetagroup"SinglePointofReference".Goodtorecordthefinalrunthroughfortheirstarting-point.UsingthePTGPlay-Alongmethod,followsteps1-10looselyortightly.Teacherassumestheroleof"aguideontheside"versus"sageonthestage."Utilizeopen-endedquestionstoencouragereflectivethinking.WN?:“Nextsessionwewilldothesameprocessinhalfthetime.Fornext



time,focusonyourpart.Iemailedtherecordingofthetunetoyou.”

Table1:PartialrepresentationoftheCurricularFrameworkincorporatingthecoreartsstandards.Amorecompletetableofthe1st3columnsofsteps1through11isavailableattheendofthisdocument.ThefulltableisavailableatExpandedCurricularFrameworkwithNationalCoreArtsStandards.Afterprogressingthroughthe11stepsofthecurricularframework,summativeassessmentscanbeundertaken.These,inturn,combine,reiterate,andallowforformativeassessmentsthatprovideafoundationforthenextroundofenhancements.Detailsoftheseassessmentsarenotincludedatthisstageofcurriculumdevelopmentastheyentailadeeperexploration.However,numerousformativeassessmentstranspireduringsteps1-9:Asstudentsrepeatedlyplaythecompletesonganditsparts,theyreflect,self-evaluate,andcreatenewideas-whichisformative.Breakingintosmallgroupsisalsoformativetodevelopingsolutionstochallenges.Thefinalbandroomsessionissummative—thatis,theperformancesessionisaconcretesummaryofstudents’worktodateforaspecificaudienceinaspecifictimeandplace.Thoughintuitivelyperceivedasgroup-summative,withcarefulobservationandlistening,thesessioncanalsobeindividuallysummative,aswell.Bothformsofassessmentcanvarybasedonthecontextinwhichteachersandstudentsareinvolved(TrumbullandLash,2013):

• Informal/formal• Immediate/delayedfeedback• Embeddedinlessonplan/stand-alone• Spontaneous/planned• Individual/group• Verbal/nonverbal• Oral/written• Graded/ungraded• Open-endedresponse/closed,constrainedresponse• Teacherinitiated/controlled/studentinitiatedandcontrolled• Teacherandstudent(s)/peers• Process-oriented/product-oriented• Brief/extended• Scaffolded(teachersupported)/independentlyperformed



Conclusion

Thisinitialdeep-diveintoestablishinganeducationallygroundedcurriculumforPlayTheGrooveisjustabeginning.Theareasabovecanbeexpandedandappliedtoincludethecollegeandmiddleschoollevelsandexpandfrom3-4weekstoafullsemester.Additional“passes”canexpandexponentiallyasadditionalformativeandsummativeassessmentsarerevealedonamicroandmacrolevel.ConnectingPlayTheGroove,theNCASmusicstandardsinconjunctionwithstandardsfromESL,ELA,andSTEMsubjectscanalsorevealnumerouscross-curricularapproaches.EachpotentialareahasitsownmeritthatarguesforaPlayTheGrooveexpansionandeachcanbringmoredepthandbreadthtothePlayTheGrooveinitiative.Wewelcomeyoutojumponboard.BibliographyNationalCoalitionforCoreArtsStandards-MusicModelCornerstoneAssessment:HighSchool

Ensembles.(2013).Retrievedfromhttps://nafme.org/wp-content/files/2014/06/11-Music-MCA-Ensemble-HS-Performing.pdf

StateEducationAgencyDirectorsofArtsEducation(SEADAE)onbehalfofNCCASNationalCoreArtsStandards-Dance,MediaArts,Music,TheatreAndVisualArts.(n.d.).Retrieved

fromhttps://www.nationalartsstandards.org/AssessingArtisticProcess:CreatingEnsembles:Alllevelsandtypes.(n.d.).RetrievedDecember01,

2018,fromhttps://nafme.org/wp-content/files/2014/11/Ensemble_Creating_MCA.pdfModelCornerstoneAssessmentTrumbull,E.,&Lash,A.(2013).Understandingformativeassessment:Insightsfromlearningtheoryand

measurementtheory.SanFrancisco:WestEd.Visual,V.T.(2015,October27).CurriculumDesignPart1:TheHigh-LevelPlanning.Retrievedfrom

https://www.youtube.com/watch?v=wm9G1ofQA84Visual,V.T.(2015,October28).CurriculumDesignPart2:TheClotheslineMethod.Retrievedfrom

https://www.youtube.com/watch?v=HmT1Rkb57rs&t=1sVisual,V.T.(2015,October29).CurriculumDesignPart3:ProducingTheMaterial.Retrievedfrom

https://www.youtube.com/watch?v=mljZhTaq-moVisual,V.T.(2015,October30).CurriculumDesignPart4:IterateOverTime.Retrievedfrom

https://www.youtube.com/watch?v=r4HRk06ytCs&t=35s



AppendixA

ExpandedCurricularFrameworkwithNationalCoreArtsStandards.(clickabovetoseethefullframework)

Step What Class/TeacherInvolvementandGuidelines

1

Activity:Studentsactivelyparticipateinselectingmusictoperforminclass.ArtisticProcess:PerformGoal:Studentsexerciseindividualthoughtandcriticalthinkinginsongselection.Transformation:Studentsbegintoexperience/realizethecomplexprocessesinvolvedforchoosingmusictoplay(foraclass).Time:20-25minutesworkathome.Teachersalsodothisactivitypriortoclassforeaseofexplanationandtoweighinonchoice.Note:ONEsongaloneisfineforthefirsttimethroughthisapproach.

WR(WebReference):https://sites.google.com/site/ptgprogram/Student-Pre-Survey-Song-ChoosingGL(Guidelines):Thesong-choosingactivityispreferrablyanat-homeassignmentwhichencouragesindividualthought.Teachergivesdirectionsbuttheweb/printversionsaremostlyself-explanatory.Teachercollectsformsfromstudents,songisselectedfromindividualsuggestionsusingagrid.Opendiscussionsonties,style,complexity,andoverallplayability.WN?:"Duringthenextsession,you’llplaythecompletesonginoneperiod.Eachstudentwillreceivetherecording."

2

Activity:PlaythroughsonginoneperiodtogainaSinglePointofReference.ArtisticProcess:PerformGoal:Studentsplayacompletesongfrombeginningtoendwithoutteacherhelp.Transformation:Studentscanachievethegoalinoneperiod.Time:45-55minutes

WB:https://sites.google.com/site/ptgprogram/Rehearse-SongGL:1sttimethroughisnotaboutmastery,it'stosimply'playthesong'andgetagroup"SinglePointofReference".Goodtorecordthefinalrunthroughfortheirstarting-point.UsingthePTGPlay-Alongmethod,followsteps1-10looselyortightly.Teacherassumestheroleof"aguideontheside"versus"sageonthestage."Utilizeopen-endedquestionstoencouragereflectivethinking.WN?:“Nextsessionwewilldothesameprocessinhalfthetime.Fornexttime,focusonyourpart.Iemailedtherecordingofthetunetoyou.”

3

Activity:PlaythroughsonginhalfaperiodtoreinforceaSinglePointofReference.ArtisticProcess:PerformGoal:Besidesbasicguidance,studentsdirecttheprocess;theteacherworkstherecording.Playtunein1/2thetime.Transformation:Studentsachieveprevioussession'slevelin1/2thetime(shorteningthelearningcurve).Time:20-25minutes

WB:https://sites.google.com/site/ptgprogram/Rehearse-SongGL:2ndtimethroughistosimply'playthesong'andgettothegroup"SinglePointofReference"quicker.Asking"what'ssoundinggoodandwhatneedsimprovement?"canbeaskedoverandover.Followsteps1-10loosely.Emphasizestudentleadershipwithafocusonexecutingprecisionthebestthestudentscan.LetthemexperimentandgetthefeelformakingchoicesResponsibilityfallsonA28:F29tolisten,hear,remember,andconcentrate.Discussionofupcomingperformancedate,time,andplace(bandroom).Studentsshouldinvitefriends.WN?:"Nextclasswearesuper-focusedonthegroove.It’llmainlyfocusontherhythmsection,notes,andphrasing.

3a2ndSongIntroduction(optional) Ifthegoalislearningtwosongs.classcancommencenoworinthenew

future.Workingtwosongsatonceallowsstudentstoworkondifferentsong-specificmusicalaspects,e.g.,onetunetrainsphrasingandtheory;theothertrainstextureandtimbre.

4Activity:Sessioncentersongrooveprimarilyintherhythmsection,andisreflectedinmelodyandrhythm.

WB:https://sites.google.com/site/ptgprogram/Rehearse-SongGL:Focusisongrooveoftherhythmsection(melodyneedsto'playinthegroove').Loopedsectionsofrepeatedphrasesplayed.



ArtisticProcess:PerformGoal:Rhythmsectiongraspsimportanceofchoosingandfocusingononegroove,whichcanchangeeachtime.Transformation:Ratherthanrandomlyplayingparts,musicians(1)starttounderstandthathowtheyplaythegrooveimpactstheoverallperformance,and(2)realizethatfocusingonjustonethingproducesimmediateresults.Time:15minutes

Playrecording;listenonlypointout"Listentothegroove!!").Playtuneasagrouptosolosectiononly(possiblyoncewithrecording,oncewithout).Rhythmsectionslowlylayersinto"A"groove.Whenallarelocked,musicianskeepthatbasicgroovefor5minuteswithfewandonlyminutechanges/fills.Harmonycanplayalong.Melodycandocacophony(instructedtodoonephraseandlocktorhythmsection).Stop:Play"B"and"C"groovesinlikefashion(canbejust4bars).Ifthereistime:Playtune.Discussion:Howareperformancedetailsprogressing?Howbesttoengagetheaudience—provideshakers,makeaclappingsection?WN?:"Nextclasswearesuperfocusedonthemelody:rhythm,notes,andphrasing.Whatchallengesarepeoplehaving?Whatwillyouworkon?

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Activity:Sessioncentersonthemelodybasedonrhythmsection'slockedgroove.ArtisticProcess:PerformGoal:Melodyplayersgraspimportanceoffocusingononemelodicgroove,whichcanchangeeachtimerhythmicgroovechanges.Transformation:Ratherthanrandomlyplayingparts,musicians(1)starttounderstandthathowtheyplaythemelodyimpactsoverallperformance,and(2)realizethatfocusingonjustonethingproducesimmediateresults.Time:15minutes

WB:https://sites.google.com/site/ptgprogram/Rehearse-SongGL:Focusisongrooveofthemelodygrooveneedstobemaintainedbyrhythmsection).Loopedsectionsofrepeatedphrasesplayed.Playrecording,playtuneasagroup.Witheveryoneonthemelodypart—notesand/orjustrhythmwithaclicktrackorclosedhighhatonall4s—playthemelodyasagrouptoseewherestudentsare.Ask:"Nextclass,weneedtoaddresssomethingelselikeimprovisation,chordstructure,form/arrangement.Whatdoyouthinkweneedtoworkon?"WN?WhatchallengesarewehavingonANYpartofthesesongs?Listen.Startthinkingaboutwhatwecandotosolvethoseissues.

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Activity:Sessioncentersonindividualsandgroupsidentifyingawiderangeofproblems/challenges/concepts(perhapsdigital)tobesolved,utilized,and/oraddressed(shootforsolvingthetop3).ArtisticProcess:RespondingMayresultinhavingsmallgroupsplaythetuneformoreindependence(chamberjazz)andpractice/developconfidence.Inadditiontomelody,harmony,andrhythm,smallgroupscanlikewiseattendtopitch,dynamics,timbre,texture,form,style/articulation,upcomingperformancedetails,etc.Asaclass-putonboardanddetermine3tocoverinthenext2sessions.Goal:Lessplayingthissession-getstudentstocriticallythinkoftheirownplaying(personallyandasagroup)-andcommunicateit.Freedomtoexploreanalysis,personalconnections,othermusicalelementsofrecording,andvisionsfortune.Couldincludeaural-onlyinterpretations.Transformation:Studentsmighthaveneverthoughtabouttheirownplayinginsuchaway.Pluswhatthegroupneeds.Norightanswer-thisismeta-cognitioninaction.Time:15minutes

WB:https://sites.google.com/site/ptgprogram/Resources#CreativeGL:Students,identify,discussandbreakintosmallgroupstosolveaproblemorproblems.Playrecordingtosolosection,playtuneasagroup.Classdiscussion:"Whatareyourownpersonalchallenges?Whatarethegroup'schallenges?Whatdoweneedtodomusicallytogetreadyfortheperformance?"Breakintosmallgroupsof4-5peopleeach.Eachpersonwrites1-2oftheirownchallenges.Decidewhatthebiggroupneedstoworkon(twoitems),andwhichtostartwithtoday.Explainchallengeswithlittleguidance.Ideasneedtobescratchedoutonpaper.Note:Goalcanbeapproachedasagame,e.g.,groupsaredecidedbynumbersinahat.Ask:"Theperformanceiscomingupinxdays—Whatdoweneedtodotogetready?Howdoyouenvisiontheperformancegoing?Howmanyhaveafriendcoming?"Aimforeveryonehavingatleastoneattendee.Writestudentideasonboard.Leavesessionwithhomeworkand"Nextclasswe’lldo…"Groupsarereadytopitchanddo.WN?:"Puttingsomeoftheideasdevelopedintopractice,whatgroupsarereadytointroducetheirideasnextclass?Whoneedsmoretime?"



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Activity:Sessioncentersongroups'no.1priority.No.2isnexttime.Focusedrepetitiontotakesongtoanewlevel.ArtisticProcess:RespondingGoal:Studentssmalldiscussionoftheproblemhopefullycreatedpossiblesolutions.Classexecutesthedrill.Transformation:Studentsseetheirideasinplay,findoutiftheywork,oriftheyneedimprovementorreplacement.Time:15minutes;beflexibleinordertoadequatelyexperimentandshareideas.

WB:https://sites.google.com/site/ptgprogram/Resources#CreativeGL:Studentspresentsolutionstoproblem.Prioritizetop3.Whatdidstudentsexperiencelastsession?Whatvaluableitemsfromlastsessioncanbeappliedtoday?WN?Youhavetheidea,whatgroupisreadytopresentproblem/solution#2and/or3.

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Activity:Sessioncentersonthegroups’No.2and/orNo.3challenges.ArtisticProcess:RespondingGoal:Studentsdiscussproblemandcomeupwithapproachestosolveit.Classexecutesthedrill.Transformation:Studentsseetheirideasinplay,findoutiftheywork,oriftheyneedimprovementorreplacement.Time:15minutes;beflexibleinordertoadequatelyexperimentandshareideas.

WB:https://sites.google.com/site/ptgprogram/Resources#CreativeGL:Studentspresentsolutionstoproblem.Prioritizetop3.Studentscanbeentirelyself-directed.Teachermonitorsandguides,orpartakes.WN?:"We’regoingtoplayxtune3timesinarowwitha1-minutebreakinbetweenfordiscussion.Weneedanewstartforeachone,soeveryonebringinideas."

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Activity:Sessioncentersonfullperformancerun-throughs,checkingform,arrangement,timbre,flow,etc.

WB:https://sites.google.com/site/ptgprogram/PerformanceGL:Assmoothlyaspossible,THEYexecutetherun-throughs.Setupandwarm-uphappensimultaneously.Playersgetquiet,thentune1starts,transitioningrightintotune2,ifthereisa2ndtune.Ifonlyplayingonesong,performittwice,startingitdifferentlythe2ndtime.Engagetheaudienceonthe2ndplay-through.

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Activity:Liveperformance.Studentsaremostlyontheirown.ArtisticProcess:PerformGoal:Everyonehastostepupandexecutetheperformance.Specialdressisn’tneeded.Transformation:Studentsmayneverneverputontheirownperformancebefore;smallandeasyequalsgoodwithlowrisk.Time:15-20minutes

WB:https://sites.google.com/site/ptgprogram/PerformanceGL:Assmoothlyaspossible,THEYexecutetheperformance.Setupandwarm-uphappensimultaneously.Playersgetquiet,thentune1starts,transitioningrightintotune2,ifthereisa2ndtune.Ifonlyplayingonesong,performittwice,startingitdifferentlythe2ndtime.Engagetheaudienceonthe2ndplay-through.WN?:"Students,haveaconversationwithyourfriendswhocame.Whatdidtheylike?Whatneedsimprovement?Whatwasthemostenjoyablepart?Havetheyeverbeensoclosetoseeingmusicbeingmade?"Also,checkyouremailforafinalsurveytocaptureyourviewsonthisnewapproach.

11

Activity:Debrief.Whatwentwellandwhatneedsimprovement?ArtisticProcess:Connecting&RespondingGoal:Studentsexercisecriticalandreflectivethinkingoftheirexperiences.Transformation:Studentsmighthaveneverthoughtaboutthisisspecificterms.EveryonenowhasanewpedagogytoapplytoadditionalPTGsongs.Time:10-15minutesREPEATSTEPS1-11withtwonewtunes.Makeadjustmentsinprocesstoreflectclassrealities,situations,thingsnotaddressedinpastsessions.

Options:Discussion:"Students,whatdidyourfriendsthink?Open-endedquestion:Whatwentwellandwhatneedstobeimproved?Setanotherperformancedatefor3weeksout.Raisethestakesbyinvitingafewteachers,theprincipal,morefriends,andputting2to3studentsincharge.Ifonesongwasplayed,addanotherandtransitionintothe2ndduringthenextperformance.Iftwowereplayed,addathird,likewisetransitioning.Noconducting.Open-endedquestion:Whatwentwellandwhatneedstobeimproved?WN?Readytodoitagain?



Documents

Secondary Curricular Framework · 12/21/2018 · Instruments. Broadly speaking these include: • Melody Instruments: trumpet, trombone, sax and other woodwinds, strings and additional