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Community Structures in Classrooms

Community Structures in Classrooms. Teacher instituted models that promote cooperative learning and groups success. A Few Convenient Truths. Students learn best in a community of their peers.

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Community Structures in Classrooms

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  1. Community Structures in Classrooms Teacher instituted models that promote cooperative learning and groups success

  2. A Few Convenient Truths • Students learn best in a community of their peers. • Music classrooms are all structured differently, including the large ensemble, small ensemble, general music class, and studio settings. • These communities can have different sub-communities or groups that pursue shared interests (like hair metal, grunge music, cyber-punk clown rock, etc.) These shared yet diverse interests make a community stronger.

  3. A Few More Convenient Truths • Teachers are facilitators of community in their class and in their school. • A classroom community will be very different between a choir of 40 people, a marching band of 175 people, and a studio style class of 12 people.

  4. Therefore… • It is feasible to say that the same community building strategies will not work between two radically different sized groups without accommodations. • We need strategies that work best for the type of class we are teaching.

  5. Our Community Debate • For the sake of this presentation, let’s assume that good community is not a debate over whether or not a problem is framed positively or negatively. • Essentially, good community is not “What is wrong vs. How can we fix this?” It is “How can we fix this vs. Hey, want to go for fondue on Friday?”

  6. Large Ensemble (80+) • This group is probably the hardest to build community with in a choir setting. • Sectional bonds are usually formed, and become part of the students identity. • Q: How can we get the students into a good community? • Q: Strong section leader emphasis? Weak section leader emphasis? Something else entirely? • TAKE 5

  7. No Section Leaders? • Choir/Band/Orchestra member emeritus. • A few basic musically based challenges set to reward students for practicing their musical skills (like a whole tone scale, or a tricky percussion rudiment) • That way you may have a greater number of students being recognized for musical ability than just one section leader Sure, he’s the section leader, but can he do this?

  8. Studio Class (8-20) • This class size and setting is by far the most personal (the larger they are the harder it is.) • Scaffolding and Vygotsky are readily apparent here. • Trust is necessary rom the whole room. • Community will almost certainly happen on its own. Help nourish what appears naturally. • Can a true individual studio class happen in a high school? Can the students be trusted to be emotionally mature enough with each other? Is it a good way to learn?

  9. Of Budgets and Bullies • In an imperfect world of budget cuts, random guidance councilor placement into classes, and limited funding, I don’t think that a studio class of any kind should be on the radar of any music program but one that is finely established. • With the right students it could work and be a transformative experience, but not one that is feasible to execute in most schools. • After school program???

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