Response to Repositioning ‘The Elements’: How Students Talk about Music by Leslie Stewart Rose and June Countryman
While reading the article Repositioning ‘The Elements’: How Students Talk About Music, I had many varying opinions and thoughts come to mind. First, I appreciated that the authors encouraged music teachers to discuss with students the process of choosing repertoire. As a first-year university music student coming straight out of high school, I found it difficult to adjust to choosing my own repertoire for private lessons and masterclass. In high school, I was given music to learn without a second thought. Now I must consider all the factors of skill, style, technique, range, length, etc. when choosing repertoire for solos. While selecting pieces for solos is significantly different than for ensembles, having the background of how to go about the process of choosing repertoire and the challenges it surfaces would have been very helpful coming to university.
I found the idea that music educators feel it is necessary to be “on guard” when expressing alternative teaching methods to other music teachers surprising. I assumed that since those individuals are all working in the same field for generally the same reasoning- to teach, share and inspire others through music- they would support and uplift one another’s decisions in the classroom. If anything, I assumed music teachers would be happy to share with other music teachers about their success in teaching style, so they can potentially help one another to further reach more students.
While I do agree that traditional ways of teaching music can limit student growth and involvement, I also think that allowing students to express their thoughts towards listenings may present some challenges. First, this way of learning may not prepare high school students for university music programs as these programs tend to follow the traditional or “proper” way of teaching music. Another issue that may limit this teaching method is some students may not feel comfortable to share their personal thoughts and opinions on listenings, which would restrict the benefits of the method. I acknowledge that the authors expressed ways in which less comfortable students can communicate their ideas using metaphors; however, being incredibly shy when I was younger myself, I do not believe that simply changing how the students say their opinions will create a comfortable atmosphere, but rather put more pressure on the timid students to participate.
My questions to the authors:
Bibliography
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45– 64.
I found the idea that music educators feel it is necessary to be “on guard” when expressing alternative teaching methods to other music teachers surprising. I assumed that since those individuals are all working in the same field for generally the same reasoning- to teach, share and inspire others through music- they would support and uplift one another’s decisions in the classroom. If anything, I assumed music teachers would be happy to share with other music teachers about their success in teaching style, so they can potentially help one another to further reach more students.
While I do agree that traditional ways of teaching music can limit student growth and involvement, I also think that allowing students to express their thoughts towards listenings may present some challenges. First, this way of learning may not prepare high school students for university music programs as these programs tend to follow the traditional or “proper” way of teaching music. Another issue that may limit this teaching method is some students may not feel comfortable to share their personal thoughts and opinions on listenings, which would restrict the benefits of the method. I acknowledge that the authors expressed ways in which less comfortable students can communicate their ideas using metaphors; however, being incredibly shy when I was younger myself, I do not believe that simply changing how the students say their opinions will create a comfortable atmosphere, but rather put more pressure on the timid students to participate.
My questions to the authors:
- How would you establish equality in participation among students who are not comfortable sharing their thoughts and opinions in front of their peers?
- What would a typical lesson using the non-traditional method include?
- How do you accommodate for the students who have traditional music training from private teaching? Are they able to be open-minded with your teaching style, or does this pose a problem?
Bibliography
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45– 64.
Comments
Eric Teichman
Hi Amanda,
Thank you for your thoughtful response. The technical components you discussed regarding solo repertoire selection are certainly important to consider. What additional issues do you think are significant when selecting repertoire for ensembles? I’m curious about your idea that students expressing their thoughts about music in their own language may limit their abilities to prepare for university music programs. What is it that makes traditional, Western European vocabulary “proper” for teaching music? Also, I think your final question is fascinating, and I hope you will ask it to the author! How can private, formal instruction be limiting to students growing understandings?
Best,
Eric
Thank you for your thoughtful response. The technical components you discussed regarding solo repertoire selection are certainly important to consider. What additional issues do you think are significant when selecting repertoire for ensembles? I’m curious about your idea that students expressing their thoughts about music in their own language may limit their abilities to prepare for university music programs. What is it that makes traditional, Western European vocabulary “proper” for teaching music? Also, I think your final question is fascinating, and I hope you will ask it to the author! How can private, formal instruction be limiting to students growing understandings?
Best,
Eric
Amanda Barrett
Hi Eric,
Thank you for your feedback. In regards to your question about repertoire selection, I think there are many things to
consider when choosing for an ensemble. Issues including technique difficultly are important, but having an equal
spread of music from various eras and cultures, as well as style are a major aspect of choosing appropriate repertoire.
In my personal experience, music in university follows the traditional Western European vocabulary, so high school
students planning on going to university for music may have trouble learning these concepts later in their music
education if they are used to sharing in their own words, thoughts and opinions. I think the main reason music
education still follows this "proper" teaching style of music is because it is known and comfortable. Change can be
difficult to achieve, especially when concerning an entire field.
I think private, formal lessons can be both limiting and beneficial to students. Personally, I have thrived off of private
lessons in trumpet (my main instrument), piano and theory. Without the help of my private instructors, I would not be
able have achieved all that I have in music. On the other hand, I realize that everyone has a very different learning
style and though I benefit with the traditional music education, I know of many others who have tried private lessons
in the past and had a negative experience because they felt it constricted their ability to relate personally to music. I
am curious to hear what the author has to say about this issue.
Thanks again!
Amanda
Thank you for your feedback. In regards to your question about repertoire selection, I think there are many things to
consider when choosing for an ensemble. Issues including technique difficultly are important, but having an equal
spread of music from various eras and cultures, as well as style are a major aspect of choosing appropriate repertoire.
In my personal experience, music in university follows the traditional Western European vocabulary, so high school
students planning on going to university for music may have trouble learning these concepts later in their music
education if they are used to sharing in their own words, thoughts and opinions. I think the main reason music
education still follows this "proper" teaching style of music is because it is known and comfortable. Change can be
difficult to achieve, especially when concerning an entire field.
I think private, formal lessons can be both limiting and beneficial to students. Personally, I have thrived off of private
lessons in trumpet (my main instrument), piano and theory. Without the help of my private instructors, I would not be
able have achieved all that I have in music. On the other hand, I realize that everyone has a very different learning
style and though I benefit with the traditional music education, I know of many others who have tried private lessons
in the past and had a negative experience because they felt it constricted their ability to relate personally to music. I
am curious to hear what the author has to say about this issue.
Thanks again!
Amanda
Response to Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake by Lesley Dawe
I found it very interesting when the author explained how she struggled with the need for perfection as a student in the traditional music class. She admits “attempting to achieve the impossible standard of perfection that [she] felt [she] needed” (Dawe, 22). I also have felt this struggle as a natural perfectionist myself. I was taught that if you follow a certain procedure, you’ll get the results you want. I can relate to the stress of carefully completing this procedure and the frustration when I would fall short of this impossible standard. I am inspired that she has used her past experiences to move forward and change how her students will experience music, and I hope to do the same.
I was surprised at how the author described the traditional teaching style. She explained and used quotes that described the old way of teaching as the teacher stuffing the students’ heads with their opinions, rather than allowing them to have their own opinions and connections. While this sounds completely ridiculous and unhealthy in a learning environment to me, the way that the author described the traditional teaching style is the truth. Old-fashioned teachers believe it is their job to force as much knowledge on their students as possible, so they can later regurgitate on a test to be successful in school. I just have never looked at it in this way.
I was frustrated by the process of the jazz ensemble audition as that the teacher did not set the students up for success by preparing them with the tools they needed to succeed. Ensembles in a high school setting are, in my opinion, for learning and developing as a musician, not for students to be professionals already. If the audition process is too difficult to students, it reflects the teacher. I feel it is the teacher’s responsibility to supply the necessary tools for students to be successful. Music is a constant process and high school students should be expected to continue to develop throughout their years, rather than coming in with perfect knowledge and musicianship.
Questions for the Author:
1. What is your opinion on testing, as this is a very traditional practice in education.
2. You mentioned how you wanted to honour the way your students experienced music outside of class. How does that look with every student’s experience and interest in music being different?
3. Did this shift in teaching style cause a shift in the classroom in the way of authority? Do the students still respect you when you offer them more control?
Bibliography
Dawe, L. (2016). Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake, Canadian Music Educator, (57) 2, pp.22-24.
I was surprised at how the author described the traditional teaching style. She explained and used quotes that described the old way of teaching as the teacher stuffing the students’ heads with their opinions, rather than allowing them to have their own opinions and connections. While this sounds completely ridiculous and unhealthy in a learning environment to me, the way that the author described the traditional teaching style is the truth. Old-fashioned teachers believe it is their job to force as much knowledge on their students as possible, so they can later regurgitate on a test to be successful in school. I just have never looked at it in this way.
I was frustrated by the process of the jazz ensemble audition as that the teacher did not set the students up for success by preparing them with the tools they needed to succeed. Ensembles in a high school setting are, in my opinion, for learning and developing as a musician, not for students to be professionals already. If the audition process is too difficult to students, it reflects the teacher. I feel it is the teacher’s responsibility to supply the necessary tools for students to be successful. Music is a constant process and high school students should be expected to continue to develop throughout their years, rather than coming in with perfect knowledge and musicianship.
Questions for the Author:
1. What is your opinion on testing, as this is a very traditional practice in education.
2. You mentioned how you wanted to honour the way your students experienced music outside of class. How does that look with every student’s experience and interest in music being different?
3. Did this shift in teaching style cause a shift in the classroom in the way of authority? Do the students still respect you when you offer them more control?
Bibliography
Dawe, L. (2016). Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake, Canadian Music Educator, (57) 2, pp.22-24.
comments
Eric Teichman
Hi Amanda,
Thank you for your thoughtful response. How do auditions reflect on teachers? In what ways can they be helpful? Harmful? What can teachers do to make them more accessible and lead to more equitable experiences for their students? And how would that impact the ensembles for which they serve as entry requirements?
Pretty neat that our skype conversation addressed two of your three questions with the author herself!
Best,
Eric
Thank you for your thoughtful response. How do auditions reflect on teachers? In what ways can they be helpful? Harmful? What can teachers do to make them more accessible and lead to more equitable experiences for their students? And how would that impact the ensembles for which they serve as entry requirements?
Pretty neat that our skype conversation addressed two of your three questions with the author herself!
Best,
Eric
Amanda Barrett
Hi Eric,
I think auditions reflect on teachers depending on the situation. In this example, the author mentioned how she was
not prepared for a jazz band audition because she was so used to playing in the classical band setting and did not
have the knowledge or experience of improvisation- which is pretty important in jazz band! In this case, the teacher
could have better prepared the auditioning students by giving them advice on how to go about improv or at least
give them their expectations of the audition so the students could feel a bit more comfortable. In general, I think
there is a fine line between how providing such knowledge is helpful or harmful. Teaching students new techniques
and practice methods are helpful because the student can take that knowledge and actually apply it to their
playing on their own to further their musical development. On the other hand, the two extremes of not giving
students enough instructions and completely taking away any opportunity for independence in their learning can
be quite harmful not only to their ability to learn independently, but also on their confidence as they may feel
frustrated and inadequate when faced with individual learning opportunities or solo auditions because they do not
have the tools they need to be successful.
Amanda
I think auditions reflect on teachers depending on the situation. In this example, the author mentioned how she was
not prepared for a jazz band audition because she was so used to playing in the classical band setting and did not
have the knowledge or experience of improvisation- which is pretty important in jazz band! In this case, the teacher
could have better prepared the auditioning students by giving them advice on how to go about improv or at least
give them their expectations of the audition so the students could feel a bit more comfortable. In general, I think
there is a fine line between how providing such knowledge is helpful or harmful. Teaching students new techniques
and practice methods are helpful because the student can take that knowledge and actually apply it to their
playing on their own to further their musical development. On the other hand, the two extremes of not giving
students enough instructions and completely taking away any opportunity for independence in their learning can
be quite harmful not only to their ability to learn independently, but also on their confidence as they may feel
frustrated and inadequate when faced with individual learning opportunities or solo auditions because they do not
have the tools they need to be successful.
Amanda
Response to Unmasking the Hidden Curriculum in Canadian Music Education by ed wasiak
Ed Wasiak’s Unmasking the Hidden Curriculum in Canadian Music Education was a very impactful read that addresses the major social concerns within the music classroom. As a future music educator myself, I found it interesting that music teachers who want to include popular music into their curriculum may feel judged by other music educators. Similar to the exclusion of students Wasiak mentions, music teachers, in a way, can also be excluded if they stray from the classical Western music approach. It definitely is an adjustment going against the norms of music teaching; however, as a country that claims to be fully democratic and equal, it is our moral obligation to include everyone in our classrooms to the best of our ability.
I was surprised at how relevant and serious the issue of social justice still is in schools. I come from a small high school where 90% of the students and teachers were white and spoke English as their first language. Due to the lack of diversity, I didn’t realize the concern of inequality in my music classes. Regardless of the uniformity within my school, my principal at the time was extremely involved in expressing and supporting equality in all aspects of the school. He would start each day speaking on the announcements about any religious, cultural, gendered, sexual orientation, and/or social group news or celebrations of that day being careful to accommodate all groups equally. This is something that I took for granted then, but now understanding the severity of inequality in the music curriculum, I hope to learn something from him and incorporate his leadership style into my teaching.
The fact that inequity in the school system, and especially the music curriculum, is to the point that it needs to be addressed frustrates me. In Canada, we claim to promote fairness and the right of expression; however, it is hypocritical of us to shame other countries for their sexism and the North American past of racism when, in fact, these issues are still prevalent in our own music curriculums. This article has really opened my eyes to the misrepresentations of all cultures, genders, religions, etc. in the music classroom.
My questions to the author:
1) How do you go about having a music ensemble of high excellence/high standards without excluding those who do not meet the requirements?
2) How do you create an equal learning environment when all the students are coming from different backgrounds meaning they have different advantages in developing their musical ability?
3) What is necessary to take place in post-secondary education music programs in order for the future music educators to solve the issue of inequality in the music classroom?
Bibliography
Wasiak, E. (2017) Unmasking the Hidden Curriculum in Canadian Music Education Canadian Music Educator, Musician Éducateur au Canada, pp. 19- 27.
I was surprised at how relevant and serious the issue of social justice still is in schools. I come from a small high school where 90% of the students and teachers were white and spoke English as their first language. Due to the lack of diversity, I didn’t realize the concern of inequality in my music classes. Regardless of the uniformity within my school, my principal at the time was extremely involved in expressing and supporting equality in all aspects of the school. He would start each day speaking on the announcements about any religious, cultural, gendered, sexual orientation, and/or social group news or celebrations of that day being careful to accommodate all groups equally. This is something that I took for granted then, but now understanding the severity of inequality in the music curriculum, I hope to learn something from him and incorporate his leadership style into my teaching.
The fact that inequity in the school system, and especially the music curriculum, is to the point that it needs to be addressed frustrates me. In Canada, we claim to promote fairness and the right of expression; however, it is hypocritical of us to shame other countries for their sexism and the North American past of racism when, in fact, these issues are still prevalent in our own music curriculums. This article has really opened my eyes to the misrepresentations of all cultures, genders, religions, etc. in the music classroom.
My questions to the author:
1) How do you go about having a music ensemble of high excellence/high standards without excluding those who do not meet the requirements?
2) How do you create an equal learning environment when all the students are coming from different backgrounds meaning they have different advantages in developing their musical ability?
3) What is necessary to take place in post-secondary education music programs in order for the future music educators to solve the issue of inequality in the music classroom?
Bibliography
Wasiak, E. (2017) Unmasking the Hidden Curriculum in Canadian Music Education Canadian Music Educator, Musician Éducateur au Canada, pp. 19- 27.
comments
Eric Teichman
Hi Amanda,
Thank you for your thoughtful response. What a powerful realization you’ve shared here about your principal’s leadership and being able to reflect back on something you had taken for granted, now seeing it as an opportunity to learn from and be a more thoughtful person moving forward! It’s moving to look back on our experiences and see what we may not have realized before, while discovering what it is we value, and ultimately why. I also find your first question for the author interesting, and directly related to your write-up of the school of rock clip you posted. Is Dewey really including everyone in the band to maintain high musical standards? How is his method for including everyone possibly actually excluding some of the students?
Best,
Eric
Thank you for your thoughtful response. What a powerful realization you’ve shared here about your principal’s leadership and being able to reflect back on something you had taken for granted, now seeing it as an opportunity to learn from and be a more thoughtful person moving forward! It’s moving to look back on our experiences and see what we may not have realized before, while discovering what it is we value, and ultimately why. I also find your first question for the author interesting, and directly related to your write-up of the school of rock clip you posted. Is Dewey really including everyone in the band to maintain high musical standards? How is his method for including everyone possibly actually excluding some of the students?
Best,
Eric
Amanda Barrett
Hi Eric,
After discussing the movie clips in class, I can better see your point about how Dewey's high standards for the band
(ultimately for him to win the contest money prize) is excluding to some of the students. Even in the clip I chose, Dewey
excluded Summer from being one of the backup singers because she did not sound the way Dewey wanted. In my
movie clip write-up, I decided to focus on his later response that he would give everyone roles after the recess break;
however, I ignored the fact that he did not see each student as equally important to the band based on their abilities.
He did include everyone by giving some students roles of instrumentalists, singers, costume designers, and backstage
assistants, but each of these jobs were valued on a hierarchy. If he really wanted to include everyone equally, he could
have either given everyone jobs he saw as equal- like giving everyone instruments, or he could have offered the
students the choice of their job, though both of these opinions would have probably impacted the band's success in the
competition.
Thank you for helping me see a different perspective on this topic!
Amanda
After discussing the movie clips in class, I can better see your point about how Dewey's high standards for the band
(ultimately for him to win the contest money prize) is excluding to some of the students. Even in the clip I chose, Dewey
excluded Summer from being one of the backup singers because she did not sound the way Dewey wanted. In my
movie clip write-up, I decided to focus on his later response that he would give everyone roles after the recess break;
however, I ignored the fact that he did not see each student as equally important to the band based on their abilities.
He did include everyone by giving some students roles of instrumentalists, singers, costume designers, and backstage
assistants, but each of these jobs were valued on a hierarchy. If he really wanted to include everyone equally, he could
have either given everyone jobs he saw as equal- like giving everyone instruments, or he could have offered the
students the choice of their job, though both of these opinions would have probably impacted the band's success in the
competition.
Thank you for helping me see a different perspective on this topic!
Amanda
Response to The invisible student: understanding social identity construction within performing ensembles by Ryan m. hourigan
The very opening story about Jason really captured my attention because I, in a way, related to it. No, I do not have special needs that inhibits my social skills; however, in high school, I went from class to class often not saying much to my teachers or classmates. I was incredibly shy, so unless I was in my best friend’s class- which rarely happened over the course of the four years at that school- I would not engage in casual conversation with the people around me. This isolation stemmed from my shyness as a grade 9 student scared out of her mind on the first day of school, and eventually became my persona at school and offered me comfort. Though throughout my years in high school, I began to open up and meet new people, I still at times would feel “invisible”, so I understand, to an extent, Jason’s struggle. Music was an exception for me. I felt like that was the one class I could relate and connect with my peers. It was my favourite time of day, whether it was music class or an ensemble, because I felt accepted and appreciated. It is sad to me that students like Jason experience the feeling of being an outcast without having even one class where he felt comfortable, as music did for me.
I was surprised with the connection Jason made between his relation to the ensemble and his self-worth as a musician. Though these things, as the author says, are not directly connected, it makes sense that Jason would feel like a poor musician if his abilities were unnoticed by the group. This is not saying that we need social recognition to feel good about our musical abilities, but our idea of ourselves can be strongly influenced by how others see us, or even how we think others see us. I was also surprised by how simple things, like greeting students at the door or asking them about their interests, can have a large impact on students’ comfort level and confidence. These things the author suggests are small actions that we often don’t think twice about, but to invisible students, it can make or break their day.
As someone who found a safe haven in music class and ensembles, it frustrates that this is not always the case for invisible students. In my experience, music class and ensembles offer students a time in the school day where they can connect with their peers because of their interest in music. Whether the skill level is similar or there is a large academic gap, I have found students in music class treat one another equally in their encouragement and acceptance. I would like to think that this sense of community is consistent across schools in Canada; however, this article made me realize the unfortunate truth that this is not always the case. What frustrates me the most is that these invisible students go unnoticed by their teachers and peers. I think it is important for teachers to have activities in place to encourage other students to engage with the invisible students. School consumes a large portion of our lives, so we all deserve to enjoy the process.
Questions to the Author:
1) When is the appropriate time to intervene and assist the invisible students? How long before you bring in outside help like counsellors?
2) Do you voluntell your senior students to be paired with incoming grade 9 students, or do you offer the suggestion and accept the volunteers? What if no one volunteers?
3) Do you pair the “invisible”, shy, or socially awkward senior students with grade 9 students?
Bibliography
Hourigan, R. M. (2009). The invisible student: Understanding social identity construction within performing ensembles. Music Educators Journal, 34-38.
I was surprised with the connection Jason made between his relation to the ensemble and his self-worth as a musician. Though these things, as the author says, are not directly connected, it makes sense that Jason would feel like a poor musician if his abilities were unnoticed by the group. This is not saying that we need social recognition to feel good about our musical abilities, but our idea of ourselves can be strongly influenced by how others see us, or even how we think others see us. I was also surprised by how simple things, like greeting students at the door or asking them about their interests, can have a large impact on students’ comfort level and confidence. These things the author suggests are small actions that we often don’t think twice about, but to invisible students, it can make or break their day.
As someone who found a safe haven in music class and ensembles, it frustrates that this is not always the case for invisible students. In my experience, music class and ensembles offer students a time in the school day where they can connect with their peers because of their interest in music. Whether the skill level is similar or there is a large academic gap, I have found students in music class treat one another equally in their encouragement and acceptance. I would like to think that this sense of community is consistent across schools in Canada; however, this article made me realize the unfortunate truth that this is not always the case. What frustrates me the most is that these invisible students go unnoticed by their teachers and peers. I think it is important for teachers to have activities in place to encourage other students to engage with the invisible students. School consumes a large portion of our lives, so we all deserve to enjoy the process.
Questions to the Author:
1) When is the appropriate time to intervene and assist the invisible students? How long before you bring in outside help like counsellors?
2) Do you voluntell your senior students to be paired with incoming grade 9 students, or do you offer the suggestion and accept the volunteers? What if no one volunteers?
3) Do you pair the “invisible”, shy, or socially awkward senior students with grade 9 students?
Bibliography
Hourigan, R. M. (2009). The invisible student: Understanding social identity construction within performing ensembles. Music Educators Journal, 34-38.
comments
Eric Teichman
Hi Amanda,
Thank you for your thoughtful response. I’m interested in your ideas about those “small actions that we often don’t think twice about” and if you can reflect back on your experience in school music classes. Since you found comfort and increasing confidence in music class as a student, do you think that your teachers did anything to impact that environment? What was helpful? What less so? I also really liked thinking about your third question for Hourigan, regarding pairing an older, less socially comfortable student with a newer, grade 9 student. Perhaps this kind of arrangement could end up being helpful in many more ways just for the younger student!
Best,
Eric
Thank you for your thoughtful response. I’m interested in your ideas about those “small actions that we often don’t think twice about” and if you can reflect back on your experience in school music classes. Since you found comfort and increasing confidence in music class as a student, do you think that your teachers did anything to impact that environment? What was helpful? What less so? I also really liked thinking about your third question for Hourigan, regarding pairing an older, less socially comfortable student with a newer, grade 9 student. Perhaps this kind of arrangement could end up being helpful in many more ways just for the younger student!
Best,
Eric
response to Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability by drew serres
I really appreciated Drew Serres thoughts on cultural normalcy regarding disability because it really opened my eyes to how I personally encourage this issue, and it challenged me to think critically about my language and thoughts and what message they portray. The author’s statement that “our definitions of normal support those in power and the dominant worldview, rather than being based in any intrinsic attributes” interests me because I have heard many different people speak about how money controls us, and I think it can relate to this issue of cultural normalcy. The idea that those with disabilities need to “be fixed” is a direct statement from the medical industry. This industry feeds us the idea that normal is to be desired and anyone that falls short of that definition due to mental or physical disabilities is considered lesser than the rest of society. Instead of accepting that everyone is unique, the medical industry forces expensive medications and treatments upon those that fit the description of abnormal, causing us to believe that those with disabilities are broken and need our help. Of course, these medications and treatments in some cases are incredibly life changing; however, many buy into the idea that they need unnecessary medications that are not benefiting them at all.
I was surprised when the author mentioned that teachers avoid eye contact with disabled students and are known to treat them as lesser than other students. Though I understand their dilemma that they don’t know how to properly treat students with disabilities because our society has constantly pushed the disabled community aside instead of being an example of how to treat everyone fairly regardless of their abilities, I think it is the teacher’s responsibility to educate themselves on the matter. Everyone can benefit from learning how to treat one another fairly and equally, but I think it is especially important for teachers to have the proper education on how to interact with disabled students because their actions towards such students may influence how other students- our future citizens and leaders- see their classmates with disabilities.
I was frustrated with the author’s examples of how culture of normalcy plays out in our healthcare. I think there is a difference between society connecting something abnormal with unacceptable and trying to offer those with disabilities help to live to their full potential. I would want my loved ones to have the same opportunities as me regardless of their abilities, and I think many in the healthcare industry want the same for their patients. I don’t think it’s fair to assume that because the doctors were trying to fix Mia Mingus’ legs, as the author uses as an example, that they were automatically out-casting her and not accepting her uniqueness. I personally feel there are doctors and other healthcare practitioners that honestly want their patients who may not fit what’s normal to have the “best” quality of life and focusing on their abnormalities is the way they know how to do that. Also, the article suggests that mental illnesses are being misdiagnosed and over-diagnosed, especially within coloured people of lower social class. I understand that the author is trying to suggest a discrepancy in mental illness diagnoses depending on race and social class; however, I also think mental health is too serious to question whether a diagnosis is accurate because of someone’s race or social class. While it may be worth it to investigate the link between race, social class, and mental illness diagnoses, I think it can also be risky to assume misdiagnoses as mental illnesses can be very serious and should be treated carefully. The author should have included a disclaimer that he is not a doctor or mental healthcare professional and recommend if any readers who have mental illnesses fall into the category of poor and coloured, they should seek professional advice before believing their diagnoses is false.
Questions to the author:
1) With our world constantly changing in attempt of bettering ourselves, why do you think this negative portrayal of disabilities is still so highly evident?
2) You mentioned that mental illness rates are higher among “poor communities of colour”. Does the increasing rates of mental illness in those communities only have to do with misdiagnoses due to cultural normalcy as you suggest, or can the rise also be related to the individuals’ financial state and effects of racism?
Bibliography
Series, D. Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability. Retrieved from http://organizingchange.org/think-everythings-normal-then-its-time-to-reconsider-and-promote-a-new-narrative-of-disability/
I was surprised when the author mentioned that teachers avoid eye contact with disabled students and are known to treat them as lesser than other students. Though I understand their dilemma that they don’t know how to properly treat students with disabilities because our society has constantly pushed the disabled community aside instead of being an example of how to treat everyone fairly regardless of their abilities, I think it is the teacher’s responsibility to educate themselves on the matter. Everyone can benefit from learning how to treat one another fairly and equally, but I think it is especially important for teachers to have the proper education on how to interact with disabled students because their actions towards such students may influence how other students- our future citizens and leaders- see their classmates with disabilities.
I was frustrated with the author’s examples of how culture of normalcy plays out in our healthcare. I think there is a difference between society connecting something abnormal with unacceptable and trying to offer those with disabilities help to live to their full potential. I would want my loved ones to have the same opportunities as me regardless of their abilities, and I think many in the healthcare industry want the same for their patients. I don’t think it’s fair to assume that because the doctors were trying to fix Mia Mingus’ legs, as the author uses as an example, that they were automatically out-casting her and not accepting her uniqueness. I personally feel there are doctors and other healthcare practitioners that honestly want their patients who may not fit what’s normal to have the “best” quality of life and focusing on their abnormalities is the way they know how to do that. Also, the article suggests that mental illnesses are being misdiagnosed and over-diagnosed, especially within coloured people of lower social class. I understand that the author is trying to suggest a discrepancy in mental illness diagnoses depending on race and social class; however, I also think mental health is too serious to question whether a diagnosis is accurate because of someone’s race or social class. While it may be worth it to investigate the link between race, social class, and mental illness diagnoses, I think it can also be risky to assume misdiagnoses as mental illnesses can be very serious and should be treated carefully. The author should have included a disclaimer that he is not a doctor or mental healthcare professional and recommend if any readers who have mental illnesses fall into the category of poor and coloured, they should seek professional advice before believing their diagnoses is false.
Questions to the author:
1) With our world constantly changing in attempt of bettering ourselves, why do you think this negative portrayal of disabilities is still so highly evident?
2) You mentioned that mental illness rates are higher among “poor communities of colour”. Does the increasing rates of mental illness in those communities only have to do with misdiagnoses due to cultural normalcy as you suggest, or can the rise also be related to the individuals’ financial state and effects of racism?
Bibliography
Series, D. Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability. Retrieved from http://organizingchange.org/think-everythings-normal-then-its-time-to-reconsider-and-promote-a-new-narrative-of-disability/
comments
Eric Teichman
Hi Amanda,
In Serres’ article, your trepidation about mental illness diagnoses is reasonable. I think what he’s saying though is that white, affluent school workers or medical professionals have a particular way of seeing and understanding the world and how people communicate and express themselves. When that “normalcy” is not apparent in their students or patients, are they more likely to misinterpret another’s behavior or abilities because they do not align with how the diagnosing professional conceives “normal”? In this case, a more inclusive concept of normal and a deeper appreciation of the people we work with may help provide more meaningful relationships and understandings that could lead to more accurate diagnoses and less unnecessary ones.
Best,
Eric
In Serres’ article, your trepidation about mental illness diagnoses is reasonable. I think what he’s saying though is that white, affluent school workers or medical professionals have a particular way of seeing and understanding the world and how people communicate and express themselves. When that “normalcy” is not apparent in their students or patients, are they more likely to misinterpret another’s behavior or abilities because they do not align with how the diagnosing professional conceives “normal”? In this case, a more inclusive concept of normal and a deeper appreciation of the people we work with may help provide more meaningful relationships and understandings that could lead to more accurate diagnoses and less unnecessary ones.
Best,
Eric
response to Another Perspective The iPad Is a REAL Musical Instrument by david a. williams
I’m interested in the collaborations the author mentions. Including dancers, poets, lighting crew, etc. along with the music would transform a typical school band concert to an exciting and unique show. I think bringing this idea of using other forms of expression and entertainment into a performance would be an especially beneficial approach in a mandatory music class like in elementary school or among certain grade 9 students who only took music to complete their arts requirement. Students such as these may not be fully in love with the idea of playing the clarinet or singing in choir, but they may have a passion for dance or wish to remain back stage as part of the sound crew. Though the idea of giving students the option of whether or not to play a musical instrument for a music class assignment may sound absurd, allowing students to express themselves however they please as a part of a musical performance continues to teach students teamwork, time-management and organization skills that preparing for a typical band concert emphasizes. This is not saying there is no need for traditional band concerts, or that every concert or assignment has to give students the option to dispose of their instruments. This is merely a suggestion to shift the perspective many music educators have about “the right” way to teach music.
I was surprised by the backlash iPads and other electronic devices were getting in music, especially in music education settings. Current music educators have lived through the evolution of technology and have seen how beneficial technology can be outside of the classroom. So why is that any different in the school music room? It’s surprising to think that though we are surrounded by the advantages of technology daily, there are still teachers who fail to see the possibilities technology brings within their classrooms.
I was especially frustrated when the author mentioned music educators being so against iPad music ensembles as, to me, this reflects the teacher’s personality and teaching style. Teachers who are not open to trying new things in the classroom have the impression that only their opinions matter and there is no room for discussion. These teachers have an authoritarian style teaching where they do not have the students’ best interest in mind, but only teach to serve themselves. Whether or not the teacher agrees with iPads being a musical instrument, if the teacher does not at least give technology a try in the music classroom, there is no way of knowing if this new method will be beneficial to the students.
Questions for the author:
1. You mentioned your iPad ensemble was planning on collaborating with engineers and architects at the time this article was written. What did that look like?
2. Did you have any backlash from the parents or other family members of the students who participated in the iPad ensemble?
3. What challenges arose when you brought technology into your music class and ensembles?
Bibliography
Williams, D. A. (2014). Another Perspective The iPad Is a REAL Musical Instrument. Music Educators Journal, 101(1), 93-98.
I was surprised by the backlash iPads and other electronic devices were getting in music, especially in music education settings. Current music educators have lived through the evolution of technology and have seen how beneficial technology can be outside of the classroom. So why is that any different in the school music room? It’s surprising to think that though we are surrounded by the advantages of technology daily, there are still teachers who fail to see the possibilities technology brings within their classrooms.
I was especially frustrated when the author mentioned music educators being so against iPad music ensembles as, to me, this reflects the teacher’s personality and teaching style. Teachers who are not open to trying new things in the classroom have the impression that only their opinions matter and there is no room for discussion. These teachers have an authoritarian style teaching where they do not have the students’ best interest in mind, but only teach to serve themselves. Whether or not the teacher agrees with iPads being a musical instrument, if the teacher does not at least give technology a try in the music classroom, there is no way of knowing if this new method will be beneficial to the students.
Questions for the author:
1. You mentioned your iPad ensemble was planning on collaborating with engineers and architects at the time this article was written. What did that look like?
2. Did you have any backlash from the parents or other family members of the students who participated in the iPad ensemble?
3. What challenges arose when you brought technology into your music class and ensembles?
Bibliography
Williams, D. A. (2014). Another Perspective The iPad Is a REAL Musical Instrument. Music Educators Journal, 101(1), 93-98.
comments
Eric Teichman
Hi Amanda,
Thank you for your thoughtful response. I’m interested in your statement about authoritarian teachers not having their students’ best interests in mind. I think they probably do, but they think that they know what is best for their students. I agree that means they probably value their own opinions and don’t encourage as much discussion. What do you think about those elements is so important? How does being willing to try something new or different show a teacher has their students’ best interest in mind?
Best,
Eric
Thank you for your thoughtful response. I’m interested in your statement about authoritarian teachers not having their students’ best interests in mind. I think they probably do, but they think that they know what is best for their students. I agree that means they probably value their own opinions and don’t encourage as much discussion. What do you think about those elements is so important? How does being willing to try something new or different show a teacher has their students’ best interest in mind?
Best,
Eric
response to Toward Convergence: Adapting Music Education to Contemporary Society and Participatory Culture by evan s. tobias
The article Towards Convergence- Adapting Music Education to Contemporary Society and Participatory Culture by Evan S. Tobias offers a modern twist on expressionism and creativity in the music classrooms. I was particularly interested when the author stated, “This engagement is representative of ‘a public desire to participate within, rather than simply consume, media’.” (30). Tobias goes on to explain how creating varying versions of pre-existing music is a way for people to be interconnected to each other. This stood out to me because I feel music is already a way to feel connected with others as it offers the opportunity to express oneself publicly. While I agree that creating original works is a direct representation of oneself, this article had me realize that making someone’s work into something new can be an equal representation of the individual. Starting an original musical project can be challenging, so feeding off of other’s ideas and making it into something your own can be very beneficial.
It surprised me that, along with technological participatory culture, the author advised music educators to also teach students how to engage in participatory culture without the use of technology. Technology will only grow and develop into the future, so why should we focus on the past? I understand that acquiring a skill without the use of technology is often more challenging and therefore more desired than using technology as an aid; however, in K-12 music classes, teachers need to be concerned about the students’ interests and what is relevant to them, so we can stop the dropping numbers of music students in our schools.
What frustrates me is the unclear copyright laws of what students can or cannot use. This puts music educators in an uncomfortable position to be the judge of whether their students’ work is fair. I feel students should have access to any music to use for educational purposes whether that be remixing, recording, playing, improvising over, etc. Comparing it to other projects involving research, students are allowed access to practically any online or physical sources without seeking permission from the author(s) considering they provide the proper citation. Similarly, students should be permitted to use any form of music they require for an educational purpose so long as credit is given to the creator(s). There is no difference in intent between using other’s music and using other’s papers, so the rules should be consistent.
Questions to the Author:
1. You mentioned that technology and digital media enhance the ability to engage in participatory music culture. Do you feel with technology becoming more incorporated into school music programs that participatory culture will naturally occur also?
2. Music is all about expressing oneself through a creative outlet. In situations where the artist is requesting feedback for future music, such as Imogen Heap, where is the line between creating music to express yourself and creating music in order to please others? When does this become a problem for artists who are not creating content they feel personally connected to?
3. If the entire music department enters a remix contest, such as in scenario 2, how can everyone participate equally? How can everyone’s voice and opinions be heard and considered?
It surprised me that, along with technological participatory culture, the author advised music educators to also teach students how to engage in participatory culture without the use of technology. Technology will only grow and develop into the future, so why should we focus on the past? I understand that acquiring a skill without the use of technology is often more challenging and therefore more desired than using technology as an aid; however, in K-12 music classes, teachers need to be concerned about the students’ interests and what is relevant to them, so we can stop the dropping numbers of music students in our schools.
What frustrates me is the unclear copyright laws of what students can or cannot use. This puts music educators in an uncomfortable position to be the judge of whether their students’ work is fair. I feel students should have access to any music to use for educational purposes whether that be remixing, recording, playing, improvising over, etc. Comparing it to other projects involving research, students are allowed access to practically any online or physical sources without seeking permission from the author(s) considering they provide the proper citation. Similarly, students should be permitted to use any form of music they require for an educational purpose so long as credit is given to the creator(s). There is no difference in intent between using other’s music and using other’s papers, so the rules should be consistent.
Questions to the Author:
1. You mentioned that technology and digital media enhance the ability to engage in participatory music culture. Do you feel with technology becoming more incorporated into school music programs that participatory culture will naturally occur also?
2. Music is all about expressing oneself through a creative outlet. In situations where the artist is requesting feedback for future music, such as Imogen Heap, where is the line between creating music to express yourself and creating music in order to please others? When does this become a problem for artists who are not creating content they feel personally connected to?
3. If the entire music department enters a remix contest, such as in scenario 2, how can everyone participate equally? How can everyone’s voice and opinions be heard and considered?