General Music through a Kaleidoscopic Lens

1. General Music through aKaleidoscopic Lens Janet R. Barrett Katheryn Vukson Jonathan Harnum Evan Tobias Jacqueline Kelly-McHale

2. Mapping the territory Elementary General Music High School General Music Middle School General Music

3. General music as a symbolic system • Looking at a field of study as a symbolic system • “Symbolic systems are. . . • Historically constructed, • Socially maintained, and • Individually applied” (Geertz, pp. 363-364) • For music teacher education . . • How do music teachers (and music teacher educators) • historically construct, socially maintain, and individually • apply conceptions of general music?

4. Examining general music from multiple perspectives The search for an organizing metaphor . . . Patrick Slattery Curriculum Development in the Postmodern Era . . . Postmodern kaleidoscopic sensibilities create designs that are “constantly changing and becoming something new, and yet all of them remain interrelated” (2006, p. 283)

5. Overview of presentation General Music • Through a pedagogical lens (Katheryn Vukson) • Through the lens of instructional design (Jonathan Harnum) • Through the lens of critical theory (Evan Tobias) • Through a sociological lens (Jacki Kelly-McHale)

6. Focus Questions In what ways do these varied lenses challenge music teacher educators to examine how we represent general music to beginning and experienced general music teachers? How do the lenses challenge beginning and experienced general music teachers to consider the purposes, content, organization, and impact of general music?

7. Katheryn Vukson: Pedagogy as a lens

9. Listening in the classroom… What is intuitive listening?

10. “Intuitive listening is an active process involving unique cognitive and affective responses to music that extends beyond listeners’ technical understanding of the music” “Intuitive listening allows individuals to find themselves in the music, to become creators of the musical experience” (Dunn, 2005)

11. Pedagogical Impediments • Too much repertoire • What students can “do,” not what they can remember. • How much is “too much?” • Lack of Context • Relate music to human culture • What is Active or Passive listening?

12. Cool 80’s graphic

13. Pedagogical Impediments • Too much repertoire • What students can “do”, not what they can remember. • How much is “too much”? • Lack of Context • Relate music to human culture • What is Active or Passive listening?

14. Cool graphic (vignette about student’s memory of pieces played only once)

15. “But who pays more attention [to the music] than a couple dancing to a slow popular song, their bodies moving in time to the music and who, alerted by the harmonic movement that the song is moving to closure, end their dance with the end of the song” (Gracyk, 2004, p. 63)

16. “Compositions are perceived as a series of peaks and troughs, so that each work is broken down into a series of highlights. The great composer theory of teaching music history has been reduced to the great moment theory. Students are told, not only what to listen to, but what to listen for! The end result is that the blow-by-blow descriptions that constitute most listening guides leave little room for students to hear anything other than what is prescribed by the text” (Carruthers, 1996, p. 59)

17. “Intuitive listening involves subjective, objective, and imaginative response” (Dunn, 2005)

18. Insert title here in this top bar Integrated Listening Model “To note what they hear (and/or think/feel/see).” (Hanley, 1997, p. 3)

19. Insert title here in this top bar Facets Model (Barrett, McCoy, & Veblen, 1997, p. 77)

21. High School General Music and the Design of Learning Environments Jon Harnum

22. Why High School General Music?

23. High School General Music Course Teaching Teachers to Plan for HSGM Content Method Design of the Learning Environment

24. cognitive science theory building computerscience understand learning understand teaching social science psychology education neurology Learning Sciences design of learning environments Learning Science (LS): Brief Overview

25. A Common Model of Instruction MUSIC Teacher Learner Learner Learner Learner Learner diagram adapted from Palmer, 1997, The Courage to Teach

26. knowinglearner knowinglearner knowinglearner Expert Practitioner knowinglearner knowinglearner MUSIC Knowing Learner knowinglearner knowinglearner Teacher as co-Learner If the expert in the class is a student, the teacher should help the student problematize his/her approach. diagram adapted from Palmer, 1997, The Courage to Teach

27. Fostering a Community of Learners: Research, Share, Perform

28. Listen/Analyze History ComposeArrange Culture Perform Compose/Arrange History Culture Performance Listen/Analyze/Describe TASK Fostering a Community of Learners: The Jigsaw Method Jigsaw Groups:Student numbers will determine how many jigsaw groups may be formed. Consequential Task:Can take the form of a project, performance, test, or other. Students understand and are involved in task assessment.

29. Conclusion There is no such thing as a long piece of work,except one that you dare not start. —Charles Baudelaire (1821-1867)(French poet)

30. Looking Through the Lens(es) of Critical Theory Evan Tobias

31. Hip Hop Women Tension Misogyny

32. Too often discomfort leads to avoidance of these issues I thought, which in turn can perpetuate the norms, prejudices and silencing or invisibility of marginalized voices. (Tobias, 2007)

33. Non-performers

34. Non-musicians

35. “Teachers who exemplify democratic stances • work with and alongside students to challenge • and interrogate injustice and exclusion • by problematizing taken-for-granted assumptions; • music’s reflection of the social contexts in • which it is embedded can serve as one locus • for this investigation.” • (Barrett, 2007, pp. 157-158)

36. Racism Homophobia Sexism Nationality Class

37. Racism Homophobia Music Curriculum Nationality Sexism Class

38. Canon

39. MC Lyte? Sista Souljah? Lauryn Hill? Queen Latifah? Salt-n-Pepa? Canon Jean Grae? Missy Elliott? Roxanne Shante? Monie Love? Psalm One?

40. “by setting standards they represent what is considered worthy of inclusion. Works that do not measure up are excluded, either in the sense of deliberately omitted or ignored and hence forgotten. Canons are therefore exclusive. They represent certain sets of values and ideologies, which in turn represent certain segments of society. (Citron, 1993, p. 15)

41. “While certainly not a unified system of thought, critical theory contains some general assumptions: all thought and power relations are inexorably linked; these power relations form oppressive social arrangements; facts and values are inseparable and inscribed by ideology; language is a key element in the formation of subjectivities, and thus critical literacy –the ability to negotiate passages through social systems and structures–is more important than functional literacy or the ability to decode and compute; and oppression is based in the reproduction of privileged knowledge codes and practices” (Slattery, 2006, p. 229)

42. “construction of a political understanding of schooling • that includes an analysis of reproduction of status quo • values and power arrangements, resistance to • dominant structures, ideology as inscribed in cultural • and social arrangements, and the predominant • influence of these cultural, social, and power • arrangements called hegemony” • (Slattery, 2006, p. 238)

43. Hegemony

44. Hegemony “maintenance of domination not by the sheer exercise of force but primarily through consensual social practices, social forms, and social structures produced in specific sites such as the church, the state, the school, the mass media, the political system, and the family” (McLaren, 2003, p. 202)

45. “itis a commonplace that music and education are gendered in their historical tendency to exclude women and girls or marginalize them from the mainstream of musical life; to prescribe and proscribe certain musical activities for each gender; and to perpetuate white, male, heterosexual perspectives on music theory and practice in what counts for musical knowledge” (Jorgensen, 2003, p. 20)

46. postcolonial feminist poststructuralist Theories queer critical media critical race

47. Critical Theory to Critical Pedagogy Theory to Practice Praxis

48. “identity politics emerges out of the struggles of oppressed or exploited groups to have a standpoint on which to critique dominant structures, a position that gives purpose and meaning to struggle. Critical pedagogies of liberation respond to these concerns and necessarily embrace experience, confessions, and testimony as relevant ways of knowing, as important, vital dimensions of any learning process.” (hooks, 1994, pp. 88-89)

49. Male / Female Left Brained / Right Brained Strong / Weak With Us / Against Us Right / Wrong Thinking / Feeling Pass / Fail Process / Product Oppressor / Oppressed Musician / Nonmusician Us / Them

50. Problematize