Teaching to the Standards: The Olde Fashioned WayDate: August 28, 2009
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 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.
--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?
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
|
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
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"