Farewell

Something during the conversation in class yesterday made me think of a question that time did not permit me to ask. We were speaking of growth and the assumption that growth is one of the goal of education. Perhaps there is an easy answer to this which I am overlooking, but here goes:

To what extent does transformation imply growth?

Does transformation always cause us to grow? Perhaps not, but if transformation is on the same level playing field with growth, which one takes more precedence? Which should we be aiming for? Both and just hope that it works out?

More about knowing through music

As a former captain of both math team and choir (yes, the geekdom is limitless), I was very intrigued by the last conversation we were having in class yesterday about different ways of knowing through different subject-perspectives. This conversation reminded me of a thought I'd expressed the other day- I wish we could all be Renaissance women and men. What I mean is, while knowledge is divided into subject areas and specialties, this has been imposed by institutions. Is it not possible to love learning and be curious about many things, but with particular passions and foci? The tragedy of applying for college was deciding, as if once and for all, "what I wanted to be when I grew up." I chose music, because I loved it most. However, I drive to the Lawrenceville campus several times per week to hear non-musical perspectives on teaching, learning, and other areas. HOWEVER, music does have a transcendental quality that for me, nothing else provides. So, in that sense, musical ways of knowing are very powerful.

Still, the more other perspectives I learn, the more connections I make when relating to my world. This is probably why interdisciplinary education appeals to me- so that we can know something many ways. However, as music has that seemingly magical power, I believe it should always be included in interdisciplinary approaches, which has not always been the case.

I askedRandall the question

Hey everyone- I asked Randall the question about gender roles and such that I began expressing in a previous blog and we discussed it for a while. How great that we had the opportunity to engage with writers and ask them questions. How often will we ever have that opportunity. Having Randall and Cathy with us was wonderful. Also by the way- the party was really fun. I enjoyed speaking with everyone- whoever didn't come should have. I dont mean to "other" you--I am sure we will have other times where we can all be together. Good luck writing papers everyone.

De-naturalization

Randall Allsop raised an interesting question to me that we never really had a chance to examine today, so I thought I might raise it up here on the blog. In speaking about natural vs. mechanical means of teaching, he asked "At what expense do we de-naturalize children?" This question is very pertinent to me, as an elementary level teacher. I think many of the issues we have discussed about critical pedagogy and the democratic classroom look different for the high school and university level than for the younger generation that is still very much in their naturalized state.

During the break, I was chatting with Laurie, and it occurred to me that as students go through various stages of development, a democratic classroom is going to take on a different shape. With very young children, there are just certain things that have to be established in their minds and the process of learning for an 8 year old is very different from that of the 17 year old high school student. Similarly, I was thinking that the ideal place for the democratic model might just be in that crazy world we call Jr. High. Think about it- kids are questioning just about everything at that point, so why not capitalize (I need a better word, but this is all that is coming to mind) on that potential learning experience?

Musings from the Left Coast

This is a non-academic post, but before we scatter back to our campuses, I wanted to say thank you for all the dialogs and conversations over these three weeks. Many of you know that I resigned from my job on Monday and am moving to New Jersey in August to go to school full-time. I think that I knew that this walking away from my current toxic work environment was coming, but talking through many music education issues with all of you helped me to clarify my own thoughts and gave me that push of courage that I needed.

So. Thank you!

More of the Same

I know that we have discussed the issue of classroom dynamics before, especially in light of our own class setting modeled after the critical pegdagogy approach, but I had another revelation on my way to the car after class today. For me, there was a definite shift in the mood of the today, and I wondered about the reasoning for this. A couple possibilites, as I see it:

1) We were all so tired and in our tiredness, our minds were in some heightened sense of awareness

2) Our discussion of final papers and grades gave us something relativley solid to anchor onto at a time when many of us are questioning, questioning, questioning with no answers.

3) Seeing each other (and our prof) in another setting last night provided an experience with each other in a different social construct that we have currently experienced.

I am curious if anyone else noticed a change in class mood today at all?

Color Blind and Gender Blind

The Benedict article discusses some problematics behind color-blind teaching because colorblind teaching is really to treat all students like white middle class students which is more harm than good. I find this interesting reading the Allsup article where the male students said they did not even really pay attention to the fact that theyhad a girl working in their group. Of course they knew they did but it didn't really cross their mind particularly. This idea is sort of glossed over in the Allsup. Is this problematic? Should the girl be treated differently because she is a girl. Did the boys treat her as a boy? Is this discrimination, sexist or am I reaching on this one. I just find it interesting that color blind is a big problem and gender blind is not even mentioned. Maybe I will ask Allsup tomorrow.

Avril Lavine article and Woodford's pop music comment

I know this is a major taboo but I wanted to post something up about... gasp music! Anyway, I caught this article online about this whole Avril Lavine plagiarism issue. It is somewhat interesting when you do compare the songs.


PLEASE BE WARNED THE FIRST VIDEO/AUDIO COMPARISON HAS SOME BAD LANGUAGE AND IMAGERY. So no 5 year olds in the room while you are watching this!!!

Article

And now back to our regularly scheduled dialogue...

I know this might approaching a dead subject but I am still aggravated by some of Woodford's comments. Perhaps that was his goal; that we would take his arguments and use them as a spark for greater dialogue… but I am still mad.

Anyway, the part I would like to call attention to what occurs on page 82 where Woodford complains about feeling oppressed when he is at summer rock music festivals. He goes further to state that it is anti-democratic for anyone to impose his or her musical values.

To begin with, if you volunteer to attend something how can you seriously be oppressed? I hate to oversimplify things but when you are outdoors, without any reflective acoustic material, having to compete with crowd noise… you are going to have to be loud! Secondly, what is wrong with loud? How one defines loud can be drastically different from another definition.

Secondly, how is playing music loud imposing? Isn’t playing music a way of stating musical values? Yes at 3 am when my neighbors break into a drunken rendition of “Louie Louie” it is annoying but they are stating their love and association to that song. How are we going to engage in a dialogue with people and their musical values when they are not able to play them for fear of hurting the delicate ears of the teacher?

Thirdly, I take real offense to his, admittedly assumed, statement that “rock and roll” or “popular music” fans are the only ones who can cause disruptions when playing music loudly. I can aggravate just as many people by blasting Mozart as I can blasting Slayer. Moreover, please, PLEASE someone explain to me why we still make such a sharp, good versus evil, differentiation between “pop” and “classical.” Perhaps I am again oversimplifying things but wasn’t “classical” music at one time popular anyway? If we keep making these delimitations all we are doing is further separating the educated or correct teacher, and the foolish unintelligent student, when in reality popular music can teach just as much as classical music. Whew, I am glad I finally got that off my chest.

My choices

Our discussion about choices today really had me thinking. What if in choosing a particular piece of music, I make a decision that will hinder a component of my students' intellectual growth? How do the choices I make affect not only my students, but the world outside my classroom? By choosing one path over another do I limit myself from seeing something important in my other options? It has been extremely difficult for me to come to terms with the fact that there is no "right" or "wrong" way to think...instead it is about the choices you make and how they will affect your teaching and your life. I am so conditioned into believing that I must have the correct answer and that there is no middle ground. The "this is the way it is" way of thinking has worked for me so far...so why go against the grain?
I know that my knowledge is limited based on my experiences, but how do I analyze my choices in order to determine what is the best solution for that time period? Do I limit myself with the choices I make? These were some of my big questions in class today...a lot to wrap my mind around.

Politics and bias

I realize that part of what Woodford is trying to tell us in his book is that music educators need to be more aware of things occuring in the political arena. He is saying we should be more proactive and out in the community advocating as intellectuals, however he is soooo biased. Can he please just present his theories and ideas without being such an offensive liberal! I am, as many of you may have guessed, pretty conservative politically and I dont think that because of that I am going to corrupt the youth as a member of the "New Right." Come on! I really like what Woodford has to say about democracy and advocacy but why does he feel a need to divide his readers politically- or are most of his readers liberal? Anyway- I was mad for that whole chapter of conservative bashing.

points to ponder

As I am editing my reaction paper on feminist theory, I just had a surprising revelation. During my undergrad, I had a husband/wife set of professors--he, in History and she, in English. Why is it that he (from whom I had one summer class) is the one---to today--who has pushed, prodded, cajoled and encouraged me in my academic life? Whereas, she--my major professor--is silent? Is it because I ultimately choose to focus on music over writing? Is it a personality issue? Does she simply think that I don't have potential? He writes letters of recommendation for me, he checks in with me to see where I am academically. This is such an odd thought. I see this couple frequently in a social context. Now that I've articulated this and am reflecting upon it, I wonder if I will ever speak to her regarding this.

(for those of you in my group, she is the professor who was presented with the name plate "Feminist" when she arrived as dept. chair.)

burning question

What happened to our burning question that we used to discuss during each class? Anyway here is mine for today- Now that we are reading the entire Woodford book and I have Freire still embedded in my head from the presentation I am starting to wonder- Are their philosophies really this similar?" It seems like Freire would really be on board for a democratic classroom.

happy writing....

The Industry of Multiculturalism

In researching for my reaction paper, I came across the piece “Adiemus” by Karl Jenkins as well as J.W. Pepper’s write-up on the work. A few of the problematics in this statement are italicized for emphasis.

”Although this is an original work, the words, which simulate a tribal language, give it a world-music feeling. In fact, the chant-like character of the piece almost makes you feel as though you are taking part in a tribal ritual. A compelling work that has become popular in festivals and regional choral activities.”

How much of a problem do we have when the industry of multiculturalism caters to complete ignorance? ARGH! (Headache beginning).

Problematics in participation with and for Patrick

Lets talk about democracy and social paradigms. We are not getting graded on our papers and for some of us this is causing some uneasiness, but in the end we know that there will be some grade on our transcript. Also, we sit in a circle as to promote a democratic, equal say type class setting but there is still a different relationship with Patrick in the circle than if the rest of us are in the circle. (this is as a result of a socially constructed paradigm). When Patrick speaks I notice that more people are taking notes. This is funny. But it is because of this teacher/student relationship that we cant seem to get past. I noticed this difference when Patrick came into class after the break yesterday when we had started to resume the class without him. Some of us subconsciously or even consciously care about what Patrick thinks of what we say. Some of us are looking for Patrick to say 'I agree." This is problematic. I also find it interesting that in our class there are some people who talk a lot (myself included) and could probably talk all day because we speak as we think. yesterday Patrick mentioned that there shouldn't be as much silence in the class- we should be participating more. We know from our own teaching experience and pedagogy classes that some students do not participate through speaking as freely and easily as others and also for many of us formulating these philisophical ideas can take a moment of reflection - thinking and then speaking-(reflection is actually a product of critical pedagogy isn't it? Praxis?) Oh and by the way aren't we also getting graded on class participation? These are just some questions to consider. Sometimes the challenge of having a democratic classroom can be daunting. How can we as educators develop an environment where we can really tear down these social paradigms of teacher/student ideologies and grades and teach as we would like to. I think it is also odd that I feel sort of like a rebel writing this- because social paradigms have set me up not to engage in this type of thinking thoughtfully and philosophically about how we are engaging in class discussion,
-More of this to come in our presentation on Critical Pedagogy- stay tuned

On passing, waiting, and taking a stand against prejudice

I was reminded of the practice of “passing” yesterday. I am speaking African Americans, either by mixed heritage or genetic variation, were so light-skinned that they could “pass” as white. This act would alienate such individuals from their families, friends, and communities- but the price would grant them access to power and opportunities. It would spare them the ravages of racism and violence. It would keep them physically safe, and allow them to pursue educational, social, economic, and career opportunities that would never have been available to them as people of color in America. The problem: they had to live a lie every day, and live in fear of the unthinkable consequences of being found out.

Actually, I was reminded of “passing” when we were discussing closeted students in our schools. Being gay today carries with it social stigma, glass ceilings, threats of violence, insurmountable prejudice, and alienation from friends and family. So many find it easier to “pass” as straight than face these issues- but that certainly does not mean “passing” is easy. In order to be accepted, these students must reject themselves. They must live a lie.

It is very convenient that we have a more comfortable chronological distance between civil rights legislation and our environment today. Do the decades that have passed since the Civil Rights Movement mean that racism is over? Certainly not.

Our society is largely prejudiced toward and fearful of gay people. If we wait thirty or forty years until we feel it is more acceptable to speak of these things with our students, we will not have outlasted prejudice and hate toward those with “other” sexual orientation. However, if we allow dialogue- encourage dialogue- now, our courage might help our students (1 out of 10 of them) from living a lie and living in fear. This dialogue can supplement PROTESTS and DEMONSTRATIONS (emphasis added to prevent these being misconstrued as token gestures) such as “The Day of Silence.” The more these discussions and educational endeavors are enacted, the more experience our students and community will have confronting and understanding DIVERSITY in all its forms. After all…

PREJUDICE RARELY SURVIVES EXPERIENCE -Eve Zibart

Segregaring music

(props up the oppression tool on the coffee table) While we were in class today, someone was discussing a piece by Verdi and an Italian folk song and how they are different. This got me thinking are they really that different? While you can easily argue their origins are different, are they not fundamentally the same? Are they not both musical medium? Do they bring out or result in the conveyance of a message or feeling? Do they both result in a reaction from listeners?

I guess the question i have at the core of this is why do people have such a overwhelming desire to label and to segregate. "That's Verdi, not some Italian folk song." "That's west coast pop punk, not east coast pop punk." While I'm not saying we should not indicate some differences, it is those similarities that lie at the core of our beings.


this is not a thought, but a "tentative statement"


S

What about other white culture 'days?'

Some thoughts I had on the drive home from class today took me to make a mental list of the special 'multicultural' days that our nation celebrates. Why is it that some cultural celebrations seem like they create an 'other' designation for certain times of the year in a negative light, while others seem to elevate that 'other' status for that time?

I guess I'm thinking, OK, so having "Black History Month" is problematic because of the implications that the other 11 are non-black history months. But what about St. Patrick's Day? Why is it that people who have no Irish heratage whatsoever are so eager to 'celebrate' this day clearly linked to one culture? The same problematic should be there, but it doesn't seem to be. Or Oktoberfest? Or Pulaski day? Is this because these cultures have assimilated into the culture of power more successfully? Thoughts on this anyone?

I won't even open the can of worms that is the false representation of culture these drinking days can represent...

Just one day?

Reflecting on today's discussion, I really appreciate the argument against having a day or a month designated by schools, governments, (Hallmark? who knows who, really) to appreciate or empathize with a minority population or an influential historical figure. Sure we should be ready to engage with Black history every month, every day! But I don't feel badly or embarrassed that our calendars designate these special days/months. I think they can be thought of as awareness-raising to supplement a classroom and lifestyle which freely dialogues about differences. I have been thinking about a designated awareness day with possibly less controversy/emotion -- Earth Day. I have for a long time felt very strongly about environmental justice, and my lifestyle and my choices reflect my concern for the environment. I pull my colleagues and my students (yes, the pre-Ks!) into discussions and projects about environmental justice year round. They some times listen. they sometimes act. But every April my fellow teachers are bombarded with mail and material that support environmental justice surrounding Earth Day. It’s the push they need to deal with the topic, if only for a week or month. I know, its not enough to settle for just a day. But without that occasion, my colleagues would be listening and talking even less about the environment. Instead of rejecting Earth Day because it is just ...a day... I (dare I say it) celebrate (!) Earth Day for the affirmation it gives my efforts.

NY Times Article

I think this is the article Patrick was mentioning today regarding the transferring of students. Interesting stuff.

Intellectual Validity

First, I'd like to thank everyone for the discussion today during class. It is fantastic to hear all the varied views on the subject of multiculturalism. We got about half way through the presentation, and I have a copy of the powerpoint here for you to download if you wish to see what other questions we were going to pose before time ran out.

I waited until after class today to actually write my reaction paper. I knew that as much as I wanted to write down all my feelings about multiculturalism, I would undoubtedly be "changed" in some of my views during the discussion. Sure enough, some of them did, and now I can reflect that in the paper. Procrastination pays off sometimes!

I was going to write about some reactions from class today, but after reading several different blog entries recently, I've noticed a tendency for people to qualify the end of their insightful, intellectual and powerful blog entries with the phrase "just a thought." I've found myself using that phrase and later deleting it just before posting. Also, we have a thread by Michelle that questions the validity of our thoughts. Considering all the fantastic discourse offered by everyone so far in this course, I don't think there is anyone who could be labeled "unintelligent."

I got home today with a huge headache. I felt as if I had just taken the SAT's--my brain was mush. Thinking critically for three hours is very difficult for me. I began to question whether I would ever be able to handle this sort of academic discourse on a more permanent basis!

Why do some of us seem to feel this intellectual insecurity? Perhaps because we have all been led through discourse to question our own long-held beliefs? Perhaps because we have read too many articles by well-seasoned academic authors and we feel we have such a long way to go to reach that point?

Thinking this through, I really don't think that any of us should feel that this process of intellectual stimulation and discourse makes any of us less intelligent than the other. We all come from different places and are in various stages of our academic development. I, for one, am in awe of the way we express ourselves in words and wish I could take you all with me as the school year resumes. Just don't give me a headache.

TODAY

Today was a very interesting day. I apologizing for being so vocal in class, but I honestly cannot help it. In an academic setting such as this one, discussing issues that I find myself so passionate in I have no self-control. With that disclaimer in mind, I still have so much I long to say.

A few things really jumped out at me today, fist is the definition of multiculturalism. I think it is important to include “class, sex, sexuality, age, abilities, geography, and other forms of ‘location’” as Morton acknowledges (33). Secondly the process of unlearning and the process of acknowledging what I do not know, as a teacher, before I even begin teaching. That seemed not only scary but also uncomfortable at best, not only do I have to brush up on the things I do know but I have to think about the things that I do not know. What?! This seems impossible and humbling at the same time. Yes I know that I am not the “all knowing being who is the god sent to impart knowledge on the empty vessels of my students, but that is more of a thought rather than a list of what I do and do not know. Also when I am in the classroom, most of those, “wow, I never thought of it that way” moments come from my students imparting new and fresh ideas on me.

In the Morton article she quotes Shehan Campbell and Carol Scott-Kassner, “multiethnic music education is ‘to offer children an understanding of how the music reflects people’s lifestyles and ways of thinking across cultural boundaries.” (33). I think this should always be our goal as music educators. I am not going to teach a Brahms folk song without explaining the history and inspirations behind it, so why would I teach a Dominican folk song any differently? Conversely I agreed with Morton “each person belongs to more than one cultural group.” The football player can also be a poet whom belongs to the Poet Society and may also be Black, and homosexual. That one hypothetical person belongs to four different social groups, he may however only associate and categorize himself with one or more of those categories. After all, people’s actions and hobbies do not define them as people. Just a thought!

Multiculturalism or Multiculturality

As a follow-up from class discussion: origins of Black History Month I am still thinking about the way that We (We as a nation) are okay with Culture Weeks and Black History Month and designated Other's days and celebrations. What is it that we are so afraid of? Why does Other frighten us? Why are we threatened by differences? Are we not secure in who we are that we can only feel superior/safe if we push down someone else--either with race or gender or language?

What can compel us to reach through this scariness? That quote at the end of the presentation was powerful. When we know someone or understand the context/experience, of course we're not scared nor threatened by them. So, why do we persist in keeping boundaries in place?

My own worst enemy

There were some comments today in class about how young children can readily speak their mind and ask anything they want. In certain contexts it is deamed as 'cute' and acceptable. But the question arose as to "When do we stop ourselves from asking certain questions and doing different things?" Does society predetermine what is acceptable conversation and what is not? Does our location affect what we enable ourselves to do and say? Or are we our own worst enemies?

In the past few weeks, I have found that I prohibit myself from saying certain things or expressing my opinion because I don't know how other people will take it. I sometimes feel that my thoughts aren't 'correct' or valid in a particular discussion because I lack the experience that I deem necessary to validate what I am thinking about. Am I creating an enemy within myself or am I afraid to express myself because society has told me that certain topics and opinions are unworthly of consideration?

In West Philadelphia born and raised...

I am still trying to get over the problematics of the teacher in the Walcott article who said that she just taught the theme song of the Fresh Prince of Bel Air as a carrot to teach the "important" stuff. That comment completely minimizes the work they had done on the song and actually causes more harm than it would have been to just not learn the song in the first place. Why do teachers sometimes feel that they need to trick students into learning? Why are teachers so fearful to teach music outside the Western, European cannon? Is learning rap music in school problematic in that it makes music education in America the study of "monoculturalism" instead of multiculturalism? What is the issue? A lot can be learned and a lot of issues can be spoken about in the context of a hip hip education as it relates to the lives of students and society than would be brought up without it. It enables a dialogue. How disheartening to know that some of the teachers who are attempting to tackle something as large and important of rap and hip hop are not addressing these issues and are instead using it as bait to get the students interested in the "important stuff."

Who gets to say what and when????

At some point in our discussion of different contexts for certain buzzwords, I remembered an adage I learned in childhood:

"Sticks and stones may break my bones, but words can never harm me."

I don't know who taught me that, but I began to wonder why that little saying is taught to children. I think it is so kids do not get their feelings hurt by bullies on the playground or on the bus, and so that they feel empowered to decide not to let someone's words hurt them.

Words only have the power we give them. Language and meaning is socially constructed, and we largely make our own meanings as we interact with one another. I do not think we learn by eliminating certain words, but rather by becomming selective about how to best communicate our meaning. I swear like a sailor in my house, but know I will not come across the way I wish if I do so in a job interview. I think we best serve our students by empowering them with the flexibility to express themselves they way they wish in many contexts. Music, as Bowman mentions, helps develop this responsive adaptability. So, while we may discuss that certain words have no place in the classroom, it is important that we do discuss rather than outlaw.

Again, words only have the power we give them- and someone's insult cannot harm me unless I give them that power.

Hey, if someone calls me a "geek," I'll invite them over for some Star Trek.

Boys vs. Girls

After our discussion today, I have been thinking about gender issues in my pre-k music classes. Frankly, the girls really rule the roost at this age. ("Reviving Ophilia" is an interesting book about the phenomenon of girls' transition from being ahead of the boys developmentally through elementary school, then transforming to more passive adolescents and adults, generally scoring lower than males. Has anyone read this?) Anyway, in some activities, I divide the class into sections. Sometimes randomly, sometimes by gender. I wonder if I am unintentionally creating an issue by naming and separating the genders? Maybe there are children who would rather not be grouped or identified with their gender. Maybe grouping the sexes showcases strengths and weaknesses from which the children might form generalizations. Has anyone thought or dealt with this in their classroom?

Does anybody know how to type a title into your blog? For some reason, I can't click my cursor into the "Title" box to give my posts a catchy title! Well, I apologize in advance for not titling my posts. Any one else having this issue?

Near the end of the class today, a discussion arose out of Laurie's A for authority in her four points of feminism in academia. I was very intrigued by the assumption that I initially agreed with that male teacher= stern and female= gentle. Where do these sexist stereotypes come from?

Perhaps they might be connected to another point we made in discussion the role of violence in gender roles. If males are more likely to express violence overtly in a physical sense, while females would express violence covertly in an emotional sense, does that differentiate between how different sexes control (something I'm beginning to see is closely related to violence) a classroom? And if the different sexes are wired to express control in different ways, is it even possible to expect the gentle female to be effective teaching a class in a stern manner and vice versa?

Please tell me if this makes any sense at all...I'm trying to formulate some thoughts for that paper looming ahead next week...

Feminism and ignorance

In class today, after viewing the video that interviews folks on the street about their views on feminism, I remember someone saying something like "what could possibly be the reason for not believing in women's rights?" in response to the lady with the black hat who was clearly not speaking her mind because her husband was standing nearby. Something we should examine that time did not permit today is why there are people who know what feminism is and can articulate its meaning, yet chose to not identify or associate with it. There are several religions out there, some more extreme than others, that say that women are secondary to men and have a doctrine to back that up. For some people who have lived their whole lives abiding to these doctrines, feminism is something that cannot even enter into their daily lives. It simply does not compute. For them, it is much simpler to live by these sets of rules imposed by their culture than to break the trend and risk alienation, or worse, damnation. We should be careful when saying that these folks should be "liberated" or that they are ignorant. Clearly, as seen in the video, this woman was not ignorant of feminism. Does she need someone to "save" her from her oppression? Or is she better off living this duality?

Tools and Society

During our discussion today, we came across a topic that really interested me. It was right after we watched the video of the woman who was describing each letter of the alphabet. After watching some of us were debating on her use of tools as a means of describing and enabling oppression. In essence by giving women these tools we further confine them into the kitchen. But can't this also be said about every tool in society? Take for example this laptop I am using to type. Yes, the computer and the laptop computer have radically changed academia and the world for the better. We have nearly 24/7 access to information as well as the means to be productive (in a business sense) at all times. Unfortunately, this also results in constraint. For example with the onset of computers there is no excuse for any submitted paper to have spelling errors, or not be typed. In essence by having the ability to produce 24/7, we are forced to produce 24/7. Just a thought


Shaun

Over Analyzing

I was talking to a friend and he told me about how the more he reads about multiculturalism, or feminism, or any ism he finds himself over analyzing and reassessing how he looks at himself and the world in which he lives. I found this to be true about myself in many decisions and experiences that I have had.

Coming from a very diverse school and living environment I found that I was naive or jaded about certain things. I took certain things for granted because I was immersed in culture. I have always had friends from different social circles, ethnicities, and races. As a student at WCC I found myself gravitating toward the ethnic students, since majority of them came from cities...we had that in common. I was also in Jubilee singers, were most of the members were Black or Hispanic, so my closest friends at WCC just happened to be all Black or Hispanic. Sophomore year in college I was asked to run for an official position in BHA, the Black and Hispanic Alliance by a few of my closest friends who were members. After much reluctance, for fear of rejection I decided to run and won unanimously. The following year of my term I had to overcome many obstacles an ended giving up…something I still regret to this day.

Some of these obstacles I had to overcome were from three different sides, I had Blacks, Whites, and Hispanics asking me why I was an officer. Since I was neither Black nor Hispanic they could not wrap their head around the fact that I had a leadership role in such a group. I had people ask me if I was the “and” or if I thought I was Black. No one ever asked what the mission of the organization was; they just assumed they knew better than its members or its officers. Now these experiences made me have many in depth conversations with my close friends. And we asked each other many questions and probed each other for answers, trying to seek out an understanding to the ignorance that existed in our world of academia in 2005. Some of the questions we came up with were: What is “acting black” and more importantly since when does a color hold personality and character traits? Do I, a white woman, have a right to head an organization that is for the unity and cultural understanding of racial groups that I do not belong to? If people that know me perceive me this was how do others on the street perceive me?

This is why I remembered my friend’s predicament from the beginning of my blog. I have been there…over analyzing each and every detail. Am I too uppity? Are words just words, and if so, why do they hurt so much when certain people in certain circumstances say them? My over analyzing got so bad that I could not step on to a subway without wondering how each person perceived me. Was the way I dressed too much one way or too much another? My friend is having legitimate fears and concerns…and I think Patrick said it best today after class, that we are constantly changing and there is no way to analyze everything about oneself at one time. Who knows who we will be tomorrow or what will change in our lives.

The F* word

Just a few random thoughts to add to today's discussion. I was so displeased at having to speak on the topic of Feminism. Like Alison, I do not understand my negative reaction to this word; I certainly believe in equality for women. Do I just shut down the topic because it is painful and seemingly un-solvable? I did like the idea of a delineation of feminism as a movement and feminism as a way of critical thinking. We need a new word for our generation, because I think when most women understand the concepts involved in gender equality, we are behind them, but the term is so off-putting and has such negative connotations, that we don't want to be associated with it. So, today's thoughts were my very rough ideas when approaching this issue. I am certainly not the poster child for this term/issue/movement!

As I've been mulling over the conversations and my thoughts this evening, I realized that I prefer working (again, in general), with male colleagues and for male supervisors/administrators. I feel like a traitor to my gender for saying this, but in my work experience, men have tended to be more fair, more honest (what you see, is what you get--again, this may tie into women trying to fit into the paradigm of male institutions) and steadier. Generally, you know what to expect when you walk into a man's office. I find that I trust my male colleagues far more than my female ones. If I have a challenge, I often go to a male colleague for advice instead of a female. Why is this? Is it because men are perceived as being logical thinkers and can solve problems; whereas women are sheer emotional thinkers and would simply empathize with me?? I have great women friends, but at work, it's different.

I don't know if I should even voice these thoughts aloud, but they are truth for me.

A new view for multicultural education

After reading the Morton article, it definately made me reconsider the ways in which we implement a multicultural curriculum into our classrooms. There are many teachers that subscribe to the philosophy that I need to include units on diverse cultures just to expose my students to this type of music. On the other hand, many performance based programs only choose music that will challenge the students and produce and accepted outcome. They do not feel that they need to fluff their program with extra pieces just to touch on the philosophy of music education. I have to say that I subscribe to neither philosophy. I feel that we need to program music that will teach our children something about the world, but the music must also have substance and be a viable teaching tool for musical concepts as well. I also liked Morton's idea about choosing music based on the cultural diversity within your classroom. If we choose music that directly relates to the students in some way, we recognize their identity and will encourage others to learn as well. We validate their culture's existence and enable others to see how the music relates to particular traditions. In a nutshell, I feel that musical works of various cultures should be used to enhance a music program and its students...not to add extra fluff.

Feminism and Its Changing Role in Society

I just wanted to respond to some of the class discussion today. Some members of the class expressed thoughts of trying to be more masculine as teachers in order to gain respect and control of the classroom. I wonder from whence this idea of power=masculine. Why did you identify female conductors as appearing masculine when they conduct. Can they not maintain power and yet retain their sense of femininity? I had a beard all year and wore a tie everyday but it was not that I was trying to appear more masculine- I was simply trying to appear older. I would be interested to hear the other side of this from a female perspective. Also, as a man I do see some type of paradigmatic shift in how we see men in society and I am seeing this shift through how men are portrayed in television shows. Consider for a moment "Family Guy" "King of Queens" "Everybody Loves Raymond" "The Simpsons" "Married with Children" "King of the Hill." What do these shows have in common. They all portray the husbands and fathers as inept, rude, unintelligent, insensitive, ignorant and portray the husband/father as another child in the house. I find this to be problematic. Even on commercials- I am thinking of the Coors Light commercial where the woman is taking a pregnancy test and shouts that it is blue and the man (of course oblivious and concerned only with beer) responds that he is happy as well because his beer bottle has turned blue which means it is cold enough to drink. This is not ok! I am not suggesting that we go back to television shows where "father knows best" but why does the father now know nothing. I do not plan on being a husband or father the way it is portrayed in these commercials and television shows and I do NOT feel comfortable with society presenting men in this light and no one saying anything about it!

The Stigma of Feminism

When we were initially assigned feminist articles to read, my reaction was...annoyance? That's pretty disturbing for someone who self-discloses as a liberal female. It was troubling me that i was so repelled by a movement I know essentially nothing about. granted, i earnestly tried to read the assigned articles with an open mind...but my preconceived notions undoubtably got in the way.
Is the feminist perspective for me? (haha- do I "agree?") I don't know yet. However, I came away tonight with more respect for feminists, as well as sympathy for the profound stigma our society has for them. I mean, until now, I never "knew" anyone in the feminist movement and read only very brief textbook footnotes about their ideas and contributions. I knew the ERA didn't pass. Women grew out their arm hair and shaved their heads. They yelled about PC-ness. Bras were burned. Unlike other protesters in other movements, I never felt the romanticized revolutionary spirit that the civil rights movement evokes for me.

If I never learned any primary-source information, where did these negative impressions come from?

Since i didn't know, i had to challenge them. Now, I look at those "radical" statements and appreciate the fact that I'm hired based on my knowledge and not my typespeed. I don't have to wear a dress to school- or anywhere i don't want to. For women now in their 60s- that wasn't the case when they graduated. This is alarmingly recent history!

The ERA didn't pass, and women were so outraged (rightfully so) that they earned an exaggerated reputation of being "bitchy." My repugnance for the term "feminist" is ingrained in my desire not to be seen as bitchy- in my need to be perceived as feminine so that i'm desirable, perhaps another consequence of imposed gender roles. Feminists have to fight against the fact that their affiliation- the very term "feminist"- has become a dirty word in this country. Well, people who challenge the status quo- women who remind me to be critically aware that I am, at times, oppressed due to my gender- are "irritating" because they expose those uncomfortable truths. They force us to acknowledge that we are not all treated equally and that many women are complicit...and these women do not want to be reminded of that...I guess I should say "we" instead of "these women..."

What incredible courage it takes to persits while being constantly written off before your words are heard or read. Hooray- now there is one more woman who will listen. I may not "agree" with everything a "feminist" author writes- but I will expect and allow myself to agree with some things, too.

Ellsworth and a different approach

After reading the Ellsworth article I had something of a random/experimental idea. Perhaps it is just my education at WCC or the subscription to their "institution" that has influenced my teaching, but when I look at learning music, specifically choral music in my classrooms I, and I suspect many of us lean toward imitating. We read what is on the page and emulate it in our world. In essence many music educators feel that imitation of the original musical performance is best and most desired. It would be interesting to adopt Ellsworth's approach of having her students submit paragraphs framing their writing in a musical sense. That we take a look of where we (teacher AND students) are approaching the music in question and use the music as a medium to create a new representation of that medium. Perhaps instead of looking at music in the absolutes of "This will make my choir sound good," or "This will challenge my choir" we could and should approach music for our classrooms as "How will my choir understand this?," or "How do I understand this?" Just a thought

The Stereotypical Female?

After reading Lamb's article, I had to wonder if I am oppressed in the fine arts department of my school. I am the only female in the music department...3 male band directors are my superiors. Sometimes I feel like they place me in the nurturing role only because I am female, while they get to stand on stage and wave the baton. Does anyone else encounter this? I know that I am valued but sometimes it feels like I am shoved to the side just because the band program is so big and strong and run by two "competent" males and an assistant. Didn't we all have to go through some of the same curricula in order to get where we are today? Don't we all appreciate music and value it as a great art form? If this is the case, shouldn't we all be counted as equals and recognized for our work in music with our students? How do I even start to formulate the answers to these questions?

Reflections on Multiculturalism...so far...

I wonder whether or not non-white students are “othered” more when there are token “multicultural” and “diversity” celebrations in which such cultures are recognized without white nationalities being explicitly explained or included. Does this not establish an “us vs. them” idea? If white is the “given,” the “norm” that need not be “celebrated,” then we are assuming that for the months out of the year that aren’t “black history month,” etc., than all other times are obviously Caucasian-centered. Would it be less harmful, I wonder, to spend a week on, say, Polish composers in a music class as we move around the world? In other words- to promote a global perspective by discussing white nationalities and European contributions as part of multicultural education, rather than multicultural education merely supplementing the traditional? I feel like multiculturalism and diversity have come to say, “let’s include ‘everybody else’ for a unit or a theme,” and then get back to the standard, implicit dominant culture. If we are going to “celebrate diversity,” then we should acknowledge all our different cultures EXPLICITLY so that no one group is implied as the default. Caucasians might fear explicitness of this sort because, as Delpit observed, liberal whites in positions of power try to underplay their power because it makes them guilty and uncomfortable. This is not critical behavior. Acknowledge the nationalities, classes, races, and religions that have been valued differently in our society. Indeed, it is vitally important to learn about subordinated cultures. However, if we cannot acknowledge dominant cultures and peoples, students will not get the full picture. Instead, they will be schooled into believing that the curriculum gives them a nod for a unit here and there. If we are not all included in multiculturalism and diversity- yes, even whites- these words will continue to evolve into euphemisms for the othered. In traditional curricula, white-centered perspectives are the given. This cannot be reversed without naming.

Bradley and the NY Yankees

Just so you know. I was at the Yankee game yesterday (they won 12-0) but I paid close attention to the fact that we sang the National Anthem in the beginning and God Bless America at the 7th inning stretch. Bob Sheppard (the stadium announcer) even says- "please rise and remove your caps". He also says "please join in the singing of God Bless America as we join in silent prayer for the men and women giving their lives to preserve or freedom and our way of life." I think these words are so interesting. Yankee stadium does seem to be creating an "other" mentality here. People could certainly be excluded here. I went with my older brother (an atheist, liberal, Canada loving, America hating, philosophy professor) and he even stood up. He doesn't beleive in most of what the Yankee voice was requesting of the audience but he stood anyway. I didn't ask him why but I just found the whole thing interesting. Guys are swearing and drinking beer and throwing peanuts but once God Bless America began they had to stand quietly and remove their caps in silent prayer. Interesting?

I'm wondering about the suggestions Ellsworth recommends as I'm sure many of us are thinking too! As a student/writer now, I can really appreciate her approach of using writing as a two-way communication tool and wonder how differently this would require our classrooms to be structured. When I think about this in terms of my classroom, I actually have very little written from my students to evaluate. When grading time comes around, out comes that little performance rubric to assess who was a 3 and who was 4. I'm not evaluating the written word of students proccessing of their learning, but rather their "musiking." How can I maintain the flow of communication with my students when I must evaluate the worth of their learning with meaningless numerals?

Multiculturalism - does it work?

I suppose this is a little ahead of things, but I've been reading the multicultural articles for our presentation on Wednesday and something struck me. A quote in Morton's article by Stephen May reads "Over the years, multicultural education has promised much and delivered little." This got me thinking about the very reasons why we as educators teach "multiculturalism" in a broad term. Until I read this article, I don't think I knew what multiculturalism actually meant. I just assumed it meant programming and teaching diverse music. It seems to be so much more. I guess this is a preview to a question we are likely to ask everyone on Wednesday: "What do you think multiculturalism is and what does it do for your students?" That's a tough question if you really get into it! I'll be trying to answer that myself before Wednesday.

Bradley and implications for the Church

After reading Bradley's thoughts on music as a tool on the one hand for community building and on the other hand for fascism, I ask myself about the implications of these ideas for the church choir director. Similarly to Bradley's experience with the South African freedom songs, the Christian hymns and service music that I teach my church childrens choirs are a part of a powerful tradition. They stand as pillars of our faith, and are, for many Christians, the most effective vehicle to worship. They are community building, and singing is one of the few ways that the whole Christian congregation can participate together in worship. When children learn the hymns of the church and settings of the psalms, they are empowered with the ability to participate with their parents and community in worship. They are further empowered when they LEAD the congregation in worship when they sing an anthem. (I only WISH our congregation would dance and sing along like the South African delegates!)
However, while the outward message taught to the children in our church is to live like Christ and to love and serve all people, an underlying message is that our heritage of hymns and prayers are so powerful that all else is subordinate to them. Even within one church, elitism can become quickly apparent in the selection of hymns. Are the hymns selected only from the American/ European tradition of hymns, or are freedom songs, hymns from Africa, Asia, and South America present? Are contemporary hymns included or excluded? The hymns selected by a congregation, by ministers, and by choir directors preserve certain cultures and traditions, and reflect significantly on the church as a whole.

A New Way of Grading

I found Ellsworth's article on how she changed her grading system and methodology for reading her students' papers facinating. Wouldn't it be wonderful if all professors took our different reading styles into consideration and asked us how they wanted us to read and critique our papers? I think that her statement that the "interaction between students and new information is performative...different students readings will vary considerably." I know that I read differently than the person next to me. This article also helped me to examine the way in which I take comprehend the information I read. I also thought about the papers I had my students write. What would happen if I asked them to tell me how they would like me to read their papers? I can't answer this question, but I would like to try it when I get back to school. If nothing else, it would be a great learning experience for both myself and the students. A role reversal might take place where teacher becomes student and student becomes teacher (Regelski's role typification).

An article on young teachers?

As I read the Lamb article I was struck that some of the issues she described as having in the classroom are similar to those are experienced by young teachers (ie they are not taken as seriously, they are viewed by their appearance, they are seen as not as authorative or knowlegable.) I do not bring this up to minimize the struggle that women face but rather to question if there are any studies on young teachers and their struggles with students and particularly with other teachers and administration.

Issues with Interlude 3

I apologize if this posting is much shorter than my previous, today defined the concept of a "long day." I had some serious issues with some aspects of Interlude 3 namely, the opening few paragraph in which the author attempts to ground the concept of learning using neurology. Quotes like "...possibility for fundamental change becomes increasingly limited as we become older (page 1), and the concept of "neural Darwinism" are not only misinformed, they have been proven false in recent years. Fortunately (or unfortunately depending on how one looks at it), my girlfriend is currently a doctoral neuro-science candidate. From the work that she does, as well as the conferences we have attended there is a wealth of new evidence point to the contrary. This concept is defined as "Neural Plasticity," or in a brief definition the adaptability of the brain. The brain and, more importantly, the neural pathways within the brain are much more adaptable and self repairing than previously thought. Perhaps this article is a bit dated? Does anyone know when this was published?


On Monday I'll have some supporting evidence and experimented data to look at to sort of prove my point.

interesting Friere interview

http://findarticles.com/p/articles/mi_qa3960/is_200401/ai_n9406002/pg_1

Emailed Article

Hey did anyone get the email from Patrick. I didn't, but I didn't get the link to this blog originally so I just want to make sure he didn't send it. If he did can someone forward it to me. Thanks so much
jspiccirillo@gmail.com

Small and Intentional Fallacy

Reading Small and his ideas on emotion and how it relates to the experience of music has me recalling a moment I played Cage's 4' 33'' and another day I played Varese's Poeme Electronique. In both cases the students thought the music was "wierd" and they asked me what it "meant." I responded by asking them what it meant to them. I told them that what the composer thinks it is has nothing to do with what the music is, because music's significance has to do with what you make of it. Of course small would say that they way we interpret and experience music may not be our own- but a cause of our community and what has been socially constructed as one way or the other, but I think it is interesting that students want to know the answers- and are at times not concerned with the why or how those answers (if there are any at all) came to be. Does this have to do with the control paradigm of teacher and student? Teachers have the answers and students ask the questions ideology. Or maybe it is about getting the A. The students want to know what is the "right" answer before they form their own opinions. ?

I felt like I was right there with Small in "Interlude 3..." about 99% of the time. However, he confused me with the following quote (appearing in the 9th un-numbered page): "But a piece of music appears to have no reference to anything outside its own sound world." This comment responded to the philosophical question, "where does the meaning of a musical composition lie?" Considering the article explains socially constructed meanings and realities, the above "answer" was not what I expected. I have a few problems with this. I am not contending that every piece of music paints a clear representation of something, as a painting on canvas might do. However, there are many pieces of music in which the composer attempted to convey something specific. What about program music, in which composers tell us what their work is "about"? Or music with lyrics? I am not sure how Small feels about sung music considering he is focused on music's power to transcend verbal language. Could lyrics not, however, supplement and be supplmented by music? I agree that each performance enables us to arrive at new versions of meaning. However, I struggle with the concept that music has no reference to anything outside its own sound world." What do you think?

How does Resgleski know what teaching in my district is like?

I have to chuckle as I give this article it's first glance through. While Resgleski is talkng about teachers role as data transmitters I find myself contemplating a battle of sorts I regularly find myself in in my district when in communication with the other elementary general music teachers (there are 11 of us) He states on p. 97 "Because no one questions whether technique could be taught in more efficient and interesting ways, the reality of the paradigm and the inevitability of its use is insured."

It seems as though many of my colleagues only question techniques when they are difficult, and when they can find ways of making them easier- then they might change. Of course, this is not all, but since the teacher closest to my age is 19 years older than I am, I often feel as though my perspective on questioning current techniques is looked down upon. I.e., "These methods have been working for years. Why do we need to change them?" Does anyone else encounter this battle? I mean, I'm not asking people's ages, but it seems like we are younger people in this class. How do you approach processing these types of changes in paradigms? This is one of those big, difficult questions for me, and I'd love to hear your thoughts on this one.

Discords

Just finished reading the three articles on feminism and had some revelations. I just realized that I have yet to have a female music professor. The women teachers that I have had, have been for private lessons or coaching. I do know when I go to the annual CMEA competitions, I feel rather isolated in the sea of tuxedoed conductors. And I as I am meeting more people at the regional ACDA reading sessions and workshops, the female conductors that I have met are all in elementary education (I do realize that I have not met everyone). I liked what Lamb had to say about this, "A major disjuncture in music pedagogy is that even as the identity 'woman' is socially constructed and complex, the discipline of music essentializes that identity into a singular 'woman', a diva or a piano teacher, but not a conductor. There is disbelief in woman as conductor, such that an expectation that I will have to prove myself through performance (walk like a man) is always (already) just beneath the surface of classroom actuality. Again, the dearth of women as bona fide conductors and the experiences reported by other women in music education indicate that this disbelief is not an extraordinary situation." 128

Why is this??? Are we changing this reality?

I'm sure I will learn more over the weekend as I prep for Tuesday's presentation.

Going against the grain

I love this Regelski article! First of all it is so refreshing to read through an article that is clear and easy to read after the curriculum article the other day. Regelski would probably say that a social ideology and institutional paradigm of the expert writing an article for we "amateurs" to read is problematic and I would agree. In any case this article really has me thinking about times in the classroom where a student might have asked why what we were learning was important or something that I probably had to brush under the rug for the sake of time or because i might have thought the student was trying to cause a stir, but now I think that this may have been a red flag I should have reflected on. It is possible that I was teaching in a way that I had thought was important at one point but that I had taken for granted and lost vision of its purpose. Maybe it is true that as music teachers we lose touch of what it is like to be a "non-musician" experiencing music.
I also think about when I began teaching and the music department had a "plus/ minus" system in place in chorus where if you said something "good" or "smart" or were "behaving" you would get a plus and if you were "bad" "misbehaving" or whatever you would get a minus. I remember telling my AP how intrinsically wrong this was. I gave her Alfie Cohen's "Punished by Rewards" to read which she did. But I also had to convince the students of its problematics. When a student was being distracting they would plead to me to give that person a minus. Or they would say- the old teacher would have given them a minus for that. And vice versa with the plusses. I engaged with the students many times about why I found the plus and minus system wrong and that I would rather the music students be intrinsically motivated to participate in chorus. It just goes to show you how very difficult it can be to follow Regelski's suggestions and go against the grain to change institutional paradigms that have been set in place.

Talking to Me

Wow. I'm guilty. Lisa Delpit is speaking to me. I can't say that I have knowingly silenced dialogues (I hope I haven't!) with colleagues of other races. But I have to admit that I have questioned the practices of one African-American teacher in my school, just as Delpit suggests that progressive, middle-class educators do. There is a teacher in my school who does yell at children. She shouts directions to children even when we are in the middle of singing. I once heard her tell a three-year-old that the she was "saying something stupid". She loves the students, and the students love her, but I think they are all afraid of her. She and I get along very well as friends/colleagues, but I've always secretly thought, because our educational philosophies are so different, that I would never want my own child to be in her class. I would probably continue to think like this if I hadn't read Lisa Delpit's article. It describes this exact situation: The white, progressive teacher who disagrees with the strong, authoritative tactics of a black teacher. Put in context, it's very clear to me why this teacher teaches the way she does. She wants the students to grow up learning how to deal with structure and authority. She was probably raised in a very structured and strict educational environment. I also know exactly what Delpit means when she describes the passive styles of many white teachers. I've observed teachers in my school who are literally teaching children to function in a passive-aggressive culture. They train them to read signals that are different from the words they speak. This article is so revealing. I'll be passing it on.

My Very First Blog!

Ok, now I’m REALLY confused. Comparing this”Silenced Dialogue” article with Woodford’s depiction (citing Dewey) of a democratic classroom leaves me wondering if the two can be reconciled. Plus, the Teachers, Research and Curriculum article put so much stock in various forms of research. Did that author intend it for only certain audiences? I didn’t get that feeling from the initial reading, but when I consider the use of language in that article compared to this one, I wonder if certain levels aren’t automatically excluded.
In response to the quote at the beginning of the article referring to the process method of writing, I can’t help but think about my classroom compared to that of grade level teachers. Of course, I’m speaking in just some instances, but I do see lots of “process method” teaching happening, and I often look on jealously, because I don’t have that luxury in the music class. I have had little success in attempting to use it in class, and I always just attributed it to the wide variety of skill levels. It had never occurred to me that this is a divisive thing among teachers of different races. Does anybody have any personal experience with this?
Reflecting on the use of veiled commands- something my induction program is vehemently coaching me in- I find that this difference is probably not true just of black families, but from white as well, leaving some student very confused about how to respond. Similarly, students that are used to hearing question-commands respond with strong negative feelings to the ‘authoritative’ commands. In my school, I think we have a variety of students from these backgrounds, and is why when classroom assignment time comes around, different parents advocate for “not this teacher- she’s too strict,” or “not this teacher-he doesn’t have enough structure.”

What are the “dialect readers” the author refers to on page 29?

Half Nelson

For those of you who are as ignorant as I am about wrestling terms: http://en.wikipedia.org/wiki/Nelson_hold Lots to say about the movie, but will post after I finish my paper!

Setting Boundaries

I just finished watching the movie "Half Nelson" and it made me do a lot of thinking about the different relationships that develop between students and teachers. Dan (the history teacher) seemed to have major problems with the issue of boundaries with his student Drey. How can it be acceptable for a teacher to constantly offer rides to a student, for the student to medically aid the teacher when she finds him high in the girls bathroom, and for the teacher to delve so far into the personal life of a student and vice versa? Being a young female educator, I know that I was deathly afraid of stepping over that boundary of professionalism. I have even had problems with some of my male students the past year where they are too clingy. While I know that you need to be there for your students (and we all want to be in some capacity), you cannot overstep that boundary. I know of way too many teachers who let their students manipulate them when they were vulnerable and it has caused massive problems. All too often we hear of the high school or middle school teachers who are having affairs with their students. Would this continue to happen if we changed our educational system and the responsibilities that teachers have to their students? I cannot answer this and it is a very difficult issue...one that will probably linger for some time.

Professionalism vs. Advocacy

The Carr and Kemmis article about curriculum had me thinking of professionalism. I hear the complaint of many teachers and even the authors of this article that teachers and the profession of teaching in becoming less and less about professionalism. With the rise of standardized tests and NCLB teachers are having to teach to the test more and more. This leaves them with less flexibility over the curriculum...you know the argument. What makes me crazy is balancing this with advocacy for music education. We are always trying to legitimize the place for music education in schools. We want it to be seen as "important" the way math and science are seen. Well math and science classes are constantly having to meet standards and taking state tests. In NYC a few music schools (my school included) were asked this year to take a demo REGENTS test in music. These are NYstate tests. YES! Music is finally seen as important and now the state cares enough to have to have students take standardized tests. NO! now we cant take the time to learn the things we had learned in the past and the curriculum will have to change and the job becomes less professional. I am in between on this issue. Should we all bite the bullet and for the sake of advocacy (only 9 of 50 states have arts graduation requirements) lose some of our professionalism?

Thought from July 2

Hey everyone, sorry it has taken me so long to get connected here, but better late than never. here are some thoughts from the reading earlier in the week

Mark, Michael

Although this reading seemed mostly like a historical non biased account of the history of music education there were lines which stood out to me as problematic.
One is at the very beginning when Mark says that music and music making declines when the living environment worsens. I cant help but think of great music that has come from troubled times- Shostakovich in Russia, slave songs, songs coming out of the Vietnam era. These were all troubled times that brought great music.

Another problematic line is on page 10 saying more of less- Little of the music American’s listen to is music which music educators would hope they would listen to. - This is not true- is it? As a music educator it matters very little to me whether my students are listening to Bach or Mozart in their spare time. I am more concerned with how they are engaging with the music they are listening. How does it effect them and how does it relate to their world. Why does Mark assume otherwise?

Also as a side bar: In the section where Mark speaks about changes that need to occur with the educators he says that teachers should take less pedagogy classes and more content classes (1983 Educational Quality Project) and that teachers should be paid more in order to attract “better” teachers. This is problematic! I think it is wrong to assume that more money will attract better teachers. I wanted to be a teacher. It is what I felt I was called to do- money had little impact on my decision. Of course I would not mind getting paid more- who would- but I don’t think I would feel comfortable as a student knowing that my teacher was only teaching because teachers were getting paid more. It makes me think of what Joel Klein is purposing in NYC with principles. He is starting a program which would recognize “exceptional” principles- give them an award and a monetary sum- one for the school and one for their own use. Why? What constitutes one principal being better than another? I think I am getting off on a further tangent than I hoped but this is problematic. Teaching is not a job or a career, it is bigger than that.

In Chapter 2 of the Mark it stood out to me that he mentions, I think it is a Louis Wersen quote, that mentions something like sometimes it is important to stay out of the way of students and allow them to do their own thing. It sort of reminds me of the medical field where one of the principals is “do no harm.” I had never really considered it in the education field. I know that we are supposed to allow students to be independent thinkers a la Dewey’s ideas but the idea of staying out of the students way seemed interesting.
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Fowler

As for the Fowler reading I found it interesting that he seems to speak so strongly on music disappearing. He is saying that the opera attendance is down and the ballet etc. He says even jazz is losing its audience. This may all be true and it is sad to see those forms leaving but I don’t think that this means that the youth is not interested in music. This is just untrue. The music industry I would have to say without any research to back it up, is probably bigger than ever. Kids have IPODs filled with music and are sharing, downloading music, seeing it on the TV. It has become so commercialized. Granted this is pop music, but it is still music- and very valuable because it represents the Lebenswelt of the consumers and the members of society.

Fowler cites another as saying that “music will replace sports as societies leisurely activity.” I thought that was fascinating. As a sports fan I can almost see this happening. I remember a time when sport players were always endorsing products- now I see more musicians and actors doing this. I also remember collecting baseball and basketball cards. No one does that anymore. Ratings for NBA and NHL are at all time lows. Steroids has put a damper on MLB and the image of the NFL has been severely hurt by the legal problems of the Cincinatti Bengal players and of Tank Johnson and Michael Vick. Meanwhile when musicians do things that are similiarly taboo it is not taken as seriously. Probably because the music is still music.

I love how Fowler says that music attends to the human spirit in the way that other subjects cannot. It reminds me of James Jordan’s ‘The Musician’s Soul’ in that music is a sharing of so much of yourself and can enable you to have a deep connection with others.
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Woodford

I am still trying to decide exactly what Woodford is getting at with this idea of democracy in schools. He spends almost the entire Preface and first chapter quoting Dewey and speaking as Dewey (granted he says that his views were influenced heavily by Dewey). It seems like he is speaking very broadly and romanticizing a bit about creating an environments where everyone is equal and cooperating with each other, tolerantly and free of bias. He speaks about challenging everyone- teachers, parents and students alike to be advocates for music education and to engage in thoughtful reflection on how music and music education effects them personally and how that in turn can relate to the individual’s place in society. I feel a bit frustrated however that it seems like he is spinning his wheels a bit. Didn’t he mention the same points many times and yet everytime he says democracy, I am still a bit unclear as to what it is. I am hoping that in Chapter 2 he will start to speak with his own voice instead of hiding behind Dewey quotes

White Thoughts

Reflecting on the past two day's readings, I am a bit unnerved that unknowingly, I am this white, elitist, Western-music pushing power tripping snob. However, upon brief reflection I realized that both in my undergrad years and my current job, I am the minority race/culture. And I feel extremely comfortable and have thrived both personally and professionally in these atmospheres. Conversely, I have had some miserable years in all-white institutions. Things for me to reflect upon!

I also teach English--usually one section a year; either ESL or American Lit. And I found that if you truly let your students speak and really talk to you, there is little negative cultural mis-understandings. Maybe I'm completely naive, but this has been my experience. Immigration and border patrol are hot topics in California; our school had a family deported last year. My classroom has become a safe place for students to vent and to explore their own thought process and values. Our discussions range from English as a national language (all of our ATM's are in Spanish, Vietnamese, and Chinese) to freedom of speech (the whole Don Imus incident was a great discussion starter!). I also ask my students to explain cultural things to me--everything: food, dress, speech patterns, religious views, relationship to time (which cultures show a hour late, which ones arrive early), etc. All these things have been valuable in my understanding and communicating with students and parents.

As for choral music, as I become more comfortable and confident as a teacher and conductor, I am beginning to branch out from Western music. It is only baby steps at this point and some of my experiments have crashed, but I am enjoying the process of stretching my comfort zone--most days!

Wake-up call...

In chapter one of Democracy in Music Education, Woodford discusses the pervading ideals behind most music classes: utilitarianism and aestheticism. (11) Utilitarianism teaches students how to "use" music, most commonly through choral or instrumental performance. Aestheticism seeks to teach students how to appreciate music, although the choice of music to be valued is problematic. After reading this section (8-12), something was bothering me. I reread Woodford's description of these two rationales- and realized I couldn't recall any school music experience that could not be characterized as utilitarian or aesthetic. I tried to find an example among my many classroom observations, and in my practicum experiences, but to no avail. While I am certainly not contending that my experiences are indicative of education everywhere, I am still alarmed. Maybe I missed the point, and some past teacher was trying to be an "agent of social change." Should our "hidden" curricula should be facilitated through music and not explicitly stated.? Can music teachers foster communities of critical inquiry below students conscious awareness? Should we- or is it better to champion a "choir for a better world" or "music class community of social consciousness"?

Propagating Western Music

Woodford (p.8) talks about how music education in the early 20th century was a way to "make cultural use of leisure time." He goes on to point out that music education was a way to "indoctrinate students to the works of the great masters. (p.9)" He points out that this is highly undemocratic and against the writings of Dewey.

I work in a school district that has two WCC graduates running the choral program. The program has thrived on "Western-tilted" concerts. While we believe it is important to sing music from many parts of the world, we do not lose sight of the historical significance that Western Music plays in our society. Much of the later part of the 20th century in music education was a reaction to the years of the "Western-music-only" philosophy of the early part of the century. This reaction has come to the point where our district is one of the very few left with the ability to program sacred music in addition to other multi-cultural pieces. While I'm sure we all believe that there should be a good balance of music for our students, how much is too much?

Dovetailing this with our readings, in order to be democratic in the classroom, I should be involving students in the process of choosing repertoire. Has anyone done this? This is something I would love to try if feasible.

So much to think about!

Welcome!!!!

Hi Folks,

Here is then the space for your blogs. They should happen everyday except weekends and should be a way to address issues, raise questions, express concerns, or just express what is in you mind, all connected to the readings we are doing in class.
You are asked to to an entry and a response a day but you are most welcome to do more than one. Hopefully, this will become something that aids your understanding and interpretation of the text and thus something that is done frequently.
See you in class...