EnsembleManager 2
Advertise on ChoralNet 
ChoralNet logo

Teaching to the Standards: The Olde Fashioned Way

If Choir is going to be taught using national or state standards, what should the standards be? What are we really teaching in Choir, anyway? What's the most important skill that serves as a foundation for the best -- and most enjoyable -- choral programs? I'm aware that many of these discussions have already taken place, with most standards already in place. That being the case, I'm thinking that we may have to rethink some of those policies if choir -- as many of us know and love it -- is going to thrive.
 
While standards were developed with input from choral educators, it was the political push to "improve our schools" that really fueled the engine -- and it's the political and administrative push for educational accountability that is getting us in trouble. For unfortunately, I believe most politicians and administrators are confused about what choral programs are all about, and their confusion is resulting in policies which have the potential to destroy much of what's greatest about school choirs.
 
I recently responded to a post on another discussion board, in which the OP (a middle school Choir teacher) said that they were going to have to teach to the standards starting next year. The OP continues, "The rub here is that assessing many standards requires a grade based on VOCAL ABILITY.  At the middle school level, I don't believe this is appropriate.  We've all heard the stories of 'My music teacher told me to lip sync and so I never sing anymore.'  Is the new story going to be 'I was below expectations in 7th grade choir on the standard of singing accurately and with a good tone ... so I quit'"??
 
And here's more from the OP:

"The rules:
We cannot give 0s
We cannot give extra credit
We cannot grade on attendance (aside from attendance at the concert)
We cannot grade on behavior
We cannot grade on participation or attitude
We cannot grade on preparedness (having materials)
We cannot downgrade for late work (late work would be a behavior, not a skill)"
************************************************************************************* 
Here's my response (and I'd love to hear what anyone else thinks):
 
I would shift the paradigm. Choral standards should not be centered on vocal or musical skill acquisition, with students "measured" and graded accordingly. Instead, we should analyze what makes successful choirs successful. If we do that, really getting to the heart of what makes a choir a choir and not a voice class, we might just come to the following conclusion:

A successful choir is one in which each student...

A. Creates a safe "team" environment which supports everyone's best work. The individual singer pulls their own weight, and makes choices conducive to their fellow singers' success. Together, all work hard to create the best choir possible.       
       1. all improve their singing on a moment-to-moment basis, taking the teacher's direction and conscientiously applying it
       2. all learn/memorize their music
       3. all grow in confidence and presence vis a vis performance skills
       4. all learn certain measurable skills (such as rhythm notation, key signatures, et cetera)

Since a successful student is one who supports their peers and creates safety, the standard is not "behavior," "attitude," "preparation," or "participation."  Rather, the standard is whether or not a student is creating safety and support -- two critical SKILLS, sometimes known collectively as teamwork. And yes, you can value them, teach them, and grade these skills.
 
So, when we dig beneath the surface, we may realize that things like behavior and attitude are actually a huge part of what's really learnable and teachable in a Choir -- they are a key facet of teamwork, and should be deeply valued as standards to be upheld. And taking them entirely out of the standards -- as will happen next year in the OP's school -- shows a complete lack of understanding of the choral process.

So, don't give in. Don't let the administrators and politicians ruin your program. They have positive intentions but they don't know what the heck  they're doing much of the time -- especially when it comes to the Arts. You can continue what you know to be the standards for a great choral program, and satisfy the "leaders" at the same time -- but you decide which skills are important~!  If you agree that the above four points ought to be considered as standards, they are all easily measurable through vocal assessments, observation (rubrically notated if you must), and written/oral tests.
 
CHOIR AND FOOTBALL

I would be SO curious to learn about your administrators' edict to the PE teacher. When that professional is teaching football, do the administrators suggest they ignore the skills inherent in teamwork? Or ignore "the rules" of football? Do these "school leaders" tell that PE teacher to grade the students on how fast the student runs, how hard they block, and how well they catch the ball? Period?

I can see it now -- chaos on the field and in the huddle. The quarterback can't even call the plays because of the rudeness and distractions of two of the students.... Then they get to the line of scrimmage, and these same two students dash ahead before the ball is snapped, throwing vicious blocks, and cussing at the opposing team as they trip them. Then they run fast and they catch the ball. Sure, the referee threw the penalty flag, and the team was penalized. But so what -- those two kids have some SKILLS!

Do these same well-intentioned but severely misguided leaders suggest these two students get an "A" in the football unit?

And just one more thing: Many choral conductors will tell you that the singers in their choirs don't necessarily have great voices. But (they will add), THAT'S NOT WHAT MAKES A GREAT CHOIR.

A great choir is about working together as a team, with each member carrying their weight and meeting their responsibilities, working together with sensitivity and commitment for the good of the whole. In fact, I would say that teamwork is the PREDOMINANT skill to be taught to Choir students -- with all the other skills I suggested being subsets of that same skill.

True story: At a national convention interest session a few years ago, one of the greatest choral directors around said this about her elite choir, "Some of the singers standing behind me don't have very good voices." What a crack-up moment (!)... but she spoke so much in that one sentence about what Choir is NOT.
 
The purpose of Choir is NOT to develop students' measurable vocal and musical skills. Those things will happen, yes, but the PRIMARY standard driving a great choir is the standard of teamwork, personal responsibility, sensitivity to ones' peers, commitment to something greater than any one singer, of discipline, empathy, social skill development, et cetera. All of which happens through the process of ensemble music-making, which ultimately teaches an even richer lesson about the power and poignancy of choral music.
 
I think we need to remember this, lest we allow the politicians and administrators to diminish (at best) or completely ruin (at worst) the choral experience for untold millions of kids, and thousands of teachers. If we allow state and national standards to be based on what those outsiders assume Choir is all about, then we are doomed to cheapen it, to dehumanize it, and to ultimately run the risk of losing what I believe to be a core standard within the most successful choral programs.

All my best,

Tom

PS: Don't get me wrong, I'm not against all administrators and politicians. Just the unenlightened ones who wield their power like a club ... and treat teachers like ignorant servants rather than skilled professionals. (;-)
Replies (13): Threaded | Chronological
on August 28, 2009 9:04pm
The standards that are referenced in this post are state standards.  Each state has a mechanism for developing standards for everything taught in public schools, so I can't comment on individual standards or on the process.   These standards are not written on stone tablets and their should be a way for them to be re-written in a more student-friendly fashion if you want to get involved.  Who has time? The process varies from state to state and the quality of the standards produced varies as well.  Some states (I believe Arizona) actually have separate standards in secondary schools for general music as opposed to a music ensemble.  I believe this can be a good thing.
 
You may want to look at the National Standards for Music Education on the MENC website: 
There are links to supporting documents as well.
 
Standards are part of the problem.  Another problems springs from the fact that the current state of education requires some sort of quantitative "assessment".  My cynical side would say that It is all about bean-counters wanting to distill education down to a number.  It has sometimes been a positive force to make educators consider what they are teaching and how they evaluate what is learned.  An example:  I had a bright-but-flaky seventh grade student who could not seem to pass all of his classes that was honored for his outstanding score on the ACT test through the Duke Talent Identivication program.  He scored well enough to get into most state universities.  It caused some controvsersy since his grades were not just low but flunking. Teachers were encougaged to change their grading policies to reflect what a student was learning.  Some teachers were even giving extra credit for bringing tissues or class materials.  Some of his teachers were marking a zero in the gradebook for things like "did not bring pencil to class".  The suggestion was that "not bringing a pencil" needed to be dealt with as a behavior issue and not as a grade.  This seems to be the current mind set in the education community.
 
I would highly recommend that grading not be based on "attitude" but on, at least, things that can be observed, heard, or measured in some way.  Some examples:  Written work in elementary music theory, a number of rhythm patterns to be tapped at sight (grade based on how many were passed with plenty of chances to pass more), correctly identifiying diction rules or concepts (types of consonant sounds, which sound to hold on a dipthong etc), and information about composers and musical styles.  If you must have a "singing" component, perhaps the percentage of the total grade could be such that any student who does well on the rest if the curriculum and gives an honest effort could still make an "A". 
 
In any case, public school music teachers in the USA who have used grades as a disciplinary consequece will probably be better off if they use other consequences for poor behavior or re-think their approach to classroom management totally.  Their may be some satisfaction in turning in a low grade for some student who has been a pain for the entire school  year, but it really is not defensible if things get heated up with an administrator or even a lawyer.  Better to have papers with grades, a list of demonstrated musical competencies, and other documented evidence of musical growth.  This material may not take up much class time, in reality.
 
We must not assume that choir is all about the grade.  The grade is something we turn in to the office and should have some relationship to certain published standards.  But the "purpose of choir" reaches far beyong the grade.  I have never known a choir member to fondly mention their grade point average in school choir.  We all know the memories we hold dear in choir or musical theater, and our students are no different.  Tom, you do a first class job of describing this in your post.
 
So, in summary, develop a grading system based on some measurable standard to keep the bean-counters happy. <cynical comment alert>  They know so little about what we do that it shouldn't be to difficult.  You may have to give up the idea of using the grade for revenge or punishment.  You may also find something that actually improves your student's musical knowledge and encourages growth.
 
And then be about the business of making choir into everything we know it can be.
 
on August 28, 2009 9:45pm
Robert,
 
I'm with you 100% about the grading issue. "Grades as behavioral motivation" is a concept I deplore. However, I do think that teachers can grade based on what we truly value, teach, and hope our students learn ... and that can include supportive behavior.
 
When I taught, that was always part of the grade, since it was a key part of the curriculum. The students knew it, the parents knew it, and it was never a problem. And that's not to say that the students "behaved" in order to get a good grade. Not at all. But they learned to value supportive behavior and the safe atmosphere it created for its own sake.
 
And as you mentioned, there were lots of more objective "measures" as well. (Funny you should mention bean-counters -- I called them that first, before I changed the terms to administrators and politicians! :-)
 
Thanks for the tip to explore the national standards, too. I could definitely be better-informed on that score.
 
Alright, due to the marvel of moderator approval time, I just checked on the National Standards as revised for Choir. Interesting checklist, with several pedagogically controversial elements. And no, nothing on there about the personal or social skills which choral students might master.
 
Here it is, should anyone else want to take a look:
 
 
 
 
All my best,
 
Tom
on August 29, 2009 4:58am
Here's my response to this thread:
 
If you want a good choir, you need:
The right to give extra credit
The right to grade on attendance (aside from attendance at the concert)
The right to grade on behavior
The right to grade on participation or attitude
The right to grade on preparedness (having materials)
The right to downgrade for late work
 
as well as
 
the right to grade on skills improvement.
 
It's true that a truant student who fools around is less likely to do well on skills, anyway.  But choir is not about the individual.  It's about the team.  That should be part of the grade:  How they positively or negatively effect the team.
 
A singer can be the best singer in the world, with astronomical sight-reading ability and an impeccable ear,  but won't do the choir any good if s/he is not there, or not on time, or not behaving, or not equipped with the proper music.    On the other hand, a singer who goes above and beyond the call of duty---for example, in participation, by helping to pass out and collect the music, sort it and file it, should be rewarded (with extra credit).  Who on earth made up the  rules that you must abide by?
on August 29, 2009 1:32pm
Let me try to clarify.  Here is the list from Marjorie Drysdale's post:
"The right to give extra credit
The right to grade on attendance (aside from attendance at the concert)
The right to grade on behavior
The right to grade on participation or attitude
The right to grade on preparedness (having materials)
The right to downgrade for late work"
 
In some states and/or school systems you may not be able to do some or all of these things according either to state law or district policy.  They are not your legal "right".  I do not agree that this should either policy or law. But in many places it is, sadly, reality.  My suggestion is that we must find a way to get things done in spite of this. You can argue into the night that you need these rights, but what are you do to do if you do not win the argument?  If it is a state law or policy, you probably will not win the argument.  You must be creative and resourceful to figure out how to comply with policy and still get things done.
 
I haven't given an "attitude" grade for almost ten years, and my groups have much better attitudes, which is the whole point.  Attitude is a huge factor, perhaps the huge factor, but I was never able to improve a poor attitude with a bad grade. 
 
On the other hand, attitude does affect a number of observable factors which can be graded.  One example:  A rubric could be developed to grade rehearsal skills such as posture, position of held music, eye contact with conductor, as well as any other things you feel is important.  All of these observable behaviors can be affected by "attitude", which is not observable in the strictest sense.
 
 
on August 29, 2009 5:43pm
Interesting discussion.
 
Grading philosophies aside, my fear is that many states are instituting standards that have nothing to do with the way Choir is or should be taught. The mere notion that even a few teachers are going to be bending over backwards to count some irrelevant beans when they could be immersing the kids in the magic of Choir is almost beyond frustrating.
 
And while I'm all about "acting with integrity" and "Truth to Power" when I'm convinced that leaders are in the wrong, isn't there another option?
 
One possibility would be for some person or group to take a stand and come up with some Choral Standards that actually coincide with what we WANT to be focusing on in Choir. Like in the good olde days, when students had fantastically rich and enjoyable experiences in Choir ... without the teacher needing to quantify or assess zip. All those teachers leading all those students in wonderful music-making -- without even the thought of a rubric. That's what I don't want to lose.
 
Robert said earlier, "Who has time?" But I'm a little distrustful -- if the majority of irrelevant and potentially damaging state standards become institutionalized, I suspect that too few teachers will actually stand up against them.
 
All my best,
 
Tom
 
 
 
 
on August 29, 2009 7:10pm
Tom,
 
Perhaps the ACDA chapter or the MENC chapter in the state where this situation was described could get involved.  I know that the MENC guidelines for performing sacred music in a public school have been very helpful.  Well-written standards might not solve this problem but it could help.  
 
It occurs to me that a good set of standards could also be used by young teachers to improve the job they do instead of getting in the way.
on August 29, 2009 8:33pm
Consider the following related to the idea of standards:
--they exist to provide a framework for complete learning of the music curriculum.
--they include important and legitimate elements of music education not necessarily related to performance, a dynamic most choral programs focus on exclusively.
--they are assessable, which means they can be made available to all students equally, as they are in core subjects. 
 
According to NCLB, a standardized benchmark of education must be attainable to all students in a democratic society.  Music represents an inequity because many schools don't offer music classes.  In the eyes of those in favor of the standards, they represent a way for music to attain a legitimacy alongside core subject matter.  Would you argue against the standards if all schools were required to fulfill a mandate to offer music education equally to all students?  Would teaching to the standards be too large a price to pay for this to happen?
on August 30, 2009 10:31am
Phil,
 
Here are some answers (and questions) based on your points:
 
--they exist to provide a framework for complete learning of the music curriculum.
  • I'm mainly writing about Choir, so I don't think this applies. And if you're suggesting that Choir should be the place where students engage in this complete learning, I would disagree -- there's barely enough time to prepare for concerts in most schools.
  • Are you referring to Choir, per se, or "Music Education, K-12"?
--they include important and legitimate elements of music education not necessarily related to performance, a dynamic most choral programs focus on exclusively."
  • I can definitely agree that Choir kids can do supplemental projects and papers outside of class. As long as 1) Their doing so doesn't compromise the choral rehearsal process or the performance, and 2) The amount of outside work is not unreasonable, when looked at in relation to that for all their other classes -- keeping in mind their current homework for Choir as well (learning or memorizing the music and/or staging).
  • I would recommend work related to the music being sung, as well as rehearsal/performance process papers. Requiring written reviews of other choirs also really adds to their overall education.
--they are assessable, which means they can be made available to all students equally, as they are in core subjects. 
  • Not sure if I understand you. NCLB has nothing about Music Education or Choir, as far as I know (it being predominantly focused on students' Reading/English, Math, and Science test scores).
  • Could you explain further?
According to NCLB, a standardized benchmark of education must be attainable to all students in a democratic society.  Music represents an inequity because many schools don't offer music classes.  In the eyes of those in favor of the standards, they represent a way for music to attain a legitimacy alongside core subject matter.  Would you argue against the standards if all schools were required to fulfill a mandate to offer music education equally to all students?  Would teaching to the standards be too large a price to pay for this to happen?
  • First off, I have tons of problems with NCLB, both philosophically and practically. That said, if NCLB (or whatever government mandate is in vogue) valued Choir and/or Music Education as much as it valued what it currently tests, I might be less averse to it.
  • However, the standards instituted for Choir/Music Ed can't be the same sort of standards the leadership currently employs. Those standards (and the state standards we're discussing) are based on student and teacher "accountability," and are tied directly to testing and other objectively observable measures of individual student growth.
  • The driving force behind NCLB is the sense among many leaders that teachers aren't teaching well and students aren't learning what they need to learn, so they're going to force the issue ... and have a great way to get rid of those bad teachers. Not an ideal milieu for a celebratory and open-hearted exploration of the Arts!
  • So, I would go back to my original points. Standards for Choir should support the sort of choral programs we and our students truly value -- an ensemble experience of personal responsibility, teamwork, and musical collaboration and sensitivity. As soon as NCLB started to demand individual accountability and testing for each singer, Choir as many of us know and love it would be gone forever ... and only those brave enough to ignore "the standards" would have great programs.
  • And that might be happening already, in states which currently institute standards such as the ones which motivated this post.
  • To your last question, if the standards were reasonable and appropriate, the price would be right. If the standards were on a par with current NCLB standards, fogeddaboudit. (:-)
All my best,
 
Tom
 
 
on August 30, 2009 6:40pm
Tom,
 
Your points are well taken and make sense in the context of traditional choral music education.  What you must bear in mind is that standards, frameworks, assessments, and other by-products of NCLB are in place not to create meaningless extra work for you and other excellent choral directors; they exist to insure that all music teachers will render quality music education and do so consistently.  I'm sure you'll agree that your program occupies a special place in the choral education firmament; is it fair other students equally deserving of a quality education but hampered by low socio-economic and ethnic status miss out on a quality music education because their teachers fail to meet the same standards you use?  Many of them have no teachers at all.  For years school districts have failed to properly include music education into their curriculum; if the standards were adopted nationally, these districts would be obligated to offer instruction at least approaching what you provide.  Aren't all children deserving of that?  
 
NCLB is often viewed as education reform; I submit it is civil rights reform.  It will be difficult for choral directors such as yourself to make the transition to standards-based teaching because you cherish your own experiences with performance so highly, but ultimately it will better serve the art of music and the population as a whole.  We live in a time of waning attendance in the concert halls and competition with popular culture.  Perhaps the standards are the only way for our ilk to survive.
on August 30, 2009 11:34pm
Phil,
 
While I understand the general principles behind the intent of NCLB (improved education for all), I believe the resultant emphasis on testing has had abomidable consequences, negatively affecting kids, teachers, and administrators. Obama and Duncan's upcoming merit pay for teachers (based on test results) is one more ugly side effect.
 
As to your other points about NCLB's music education standards not being adopted nationally at present, my understanding is that there are no music education standards in NCLB. From what I've read, NCLB does call Arts classes "core" subject areas, but they don't have any specific standards. (I say thank goodness to that, as you know.)
 
And I'm not so sure that "if the standards were adopted nationally, these districts would be obligated..." to offer Choir OR Music Education. UNLESS the standards were put in the same testing mode as Math, Reading, et cetera -- and then I would probably hate them, believing that the schools would be better off waiting for some great administrators and teachers to start a choir/Music Ed class.
 
But as I've said before, if the standards were supportive of actual best practices in Choir, I would support them. RE your point that "ultimately [standards-based teaching] will better serve the art of music and the population as a whole," I have a similar response -- ONLY if the standards represent best practices.
 
By the way, one minor correction to an assumption you're making. I do not have, nor have I ever had, a choral program. I'm a choral clinician and author who has sung with many choirs. And though I have formed and led a couple of groups over the years, I am primarily a Drama/Speech/English teacher, and stage director. I've also been head of a Performing Arts department.
 
Here's a link to an article about NCLB and Music Education/Choir:
 
 
All my best,
 
Tom
on August 30, 2009 1:22pm
Robert,
 
You wrote, "It occurs to me that a good set of standards could also be used by young teachers to improve the job they do instead of getting in the way."
 
And I couldn't agree more.
 
RE your suggestion that we actually work to change the standards in some of these states (and/or create national "ACDA" standards that could be applicable everywhere), I'm on board.
 
Anyone else?
 
Tom
on August 30, 2009 9:05pm
Tom,
 
I will visit with or email some of the movers and shakers music education in my state and test the waters on this issue.  If anyone on the list is familiar with their own state standards and feels that they are of high quality I would appreciate hearing about it either privately or in this forum.
 
Some history:  In years past teachers in all subject areas would meet and "write curriculum" for a large book that was distributed to teachers and placed on a shelf where it promptly gathered dust until it was time to write curriculum again.  I suspect that some of the state standards may have been written with this end in mind with very little thought given to what would happen if teachers were actually required to teach to the standards.  For reasons of my own, I believe that this was probably more true in fine and performing arts than other areas.
 
I submit that the rationale for standards submitted by Phil, which, in summary, is quality music education for all students, has not largely been served by the standards in many states or by the national standards. (Please see Phil's post for his full rationale and excellent explanation.)  Further, while some standards in all academic areas are minimum standards to be expected of all students, there are in fact standards for classes like physics, calculus, and biology II that only apply to students who take those classes.  This should be the case in music as well.  Standards for a performing ensemble could be different from general standards.  I suspect this last statement to be controversial in today's educational evnironment, even though there is a valid comparison to curriculum in other academic areas.
 
I will do my best to avoid further posts until I have had some time to gather some information from my personal network.
 
Tom, I believe you have my contact information if you feel you need it.
on August 31, 2009 5:25pm
I learned that in Arizona they have separate ensemble standards, and they seem to be used more as a helpful guide than a dictate. More from the AZ teacher about their experience with these standards at http://www.menc.org/forums/viewtopic.php?id=3116
 
And here's the link to the AZ standards:  http://www.ade.state.az.us/standards/arts/revised/ 
 
All my best,
 
Tom
  • You must log in or register to be able to reply to this message.