Week 6 Summative Assessment CUR 713

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Week 6 - Summative Assessment: Contemporary Curriculum Issues Presentation Sherrie Britton-Lewis

Fine Arts Curriculum for Marginalized/Minoritized Students Schools exist in a complex social context made up of external policy, government, and community influences. In order to implement sustainable change, leaders must look at the whole system in which schools are situated. Banks and Banks (1995) suggest that we focus on teaching strategies and practices that help diverse students gain the knowledge, skills, and attitudes needed to effectively create, participate in, and sustain a just and democratic society (Comtois & Comtois, 2021).

Cultural differences in academic achievement between White and non-White students have historically been attributed to background. Certain minority groups' cultures have been perceived as having a negative impact on academic performance. For example, African American and Latino students are subjected to the oppositional culture framework. Characteristics of other groups, such as the quiet compliance and studious nature of some Asian ethnic groups, are, however, perceived as complementing academic achievement (Warikoo & Carter, 2009).

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Behaviorst Learning Theory in Music Establish clear expectations: It is essential to establish clear expectations for behavior in the music classroom. These expectations should be specific, positively stated, and easy to remember. For example, "We will raise our hands to speak" or "We will treat our instruments with care.” Example: On the whiteboard at the front of the room, a teacher can have three laminated music notes. Each time a class enters the room, they start with all three notes. Throughout class, students (as a class) can earn “bonus” notes or lose notes based on their behavior and effort during music. If they earn a bonus note, take one of the three notes and move it up above the silver area. If they lose a note, a bonus note would move back down to the silver area or one of the three notes they started with would move below the silver area. These notes are fluid throughout the entire class. They can move up and down at any time.

Behavorist Application Few would argue that band method books and instrumental tutor books are prolific manifestations of behaviorist approaches to music learning. They are premised on the most influential ideas to come out of the behaviorist tradition – that the transmission of knowledge or information from teacher (expert) to learner (novice) is essentially the transmission of the appropriate response to a certain stimulus. In other words, learning is assumed to have taken place when prescribed changes in behavior result in desirable and measureable outcomes. These ideas have become so ingrained in our thinking we rarely question them. From a purely behaviorist perspective the point of music education would be to present the student with the appropriate repertoire of behavioral responses to specific stimuli and to reinforce those responses through an effective reinforcement schedule. An effective reinforcement schedule would constitute (a) repetition of the material, (b) tasks presented in small, progressive sequences, and (c) continuous positive reinforcement. Behaviorist teaching methods, such as "skill and drill" exercises, rely on consistent repetition in order to provide the necessary effective reinforcement of response patterns. The commonly used maxim that “practice makes perfect” is also an example of this focus on repetition and reinforcement. Other methods include question (stimulus) and answer (response) frameworks in which questions gradually increase in difficulty, guided practice, regular reviews of material, and rewards in the form of grades and awards.

Cognitive Learning Theory in Music • Mind Mapping: Encourage students to use mind maps to organize their thoughts and ideas visually. This not only helps in retaining information but also in making connections between different concepts. • Reflective Learning: Implement activities that encourage students to reflect on what they’ve learned, understand their learning process, and identify areas for improvement. • Problem-Solving Activities: Encourage students to think critically and solve problems using their own knowledge and skills. This could be through puzzles, challenges, or real-life scenarios related to the lesson. It’s about getting those mental gears turning and encouraging students to think outside the box. • Interactive Discussions: Create opportunities for students to discuss and debate topics, sharing their thoughts and ideas. This not only helps to cement their understanding but also allows them to learn from their peers.

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Social learning Theory in Music According to Bandura (1977) , both vicarious reinforcement and vicarious punishment can affect observers’ behaviors. Music teachers often enforce rules by rewarding acceptable behaviors and punishing unacceptable behaviors. Providing clear consequences, reinforcing desired behaviors, and expecting inappropriate behaviors to cease

Rote songs are an essential component of each student’s aural/oral foundation. All music teachers, whether they use learning sequence activities or not, should teach their students rote songs. Instrumental students are especially apt to experience years of music instruction without ever learning to play by ear. They should, of course, first learn to sing each song before playing it.

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Moral Learning Theory in Music The reactions from authority figures caused by the child's behavior can lead the child to think that that specific behavior is good (if rewarded) or bad (if punished). Morals are also learned in a social manner as they are developed through interacting and learning socially acceptable ways to treat others as well as reflecting on the behaviors of all parties involved.

A Music teacher could help enhance moral development in students by setting clear rules for the classroom, and the consequences for violating them. This helps kids at stage one of moral development.

Humanist Learning Theory in Music Experiential, conceptual and pedagogical elements converge in imitation, exploration, improvisation and creation of music. Through movement, speech, singing, and playing instruments, the students are engaged in classroom activities. While the teacher observes, organizes, and plans the lessons, the educational environment is prepared for the students to explore. Conceptually, the Schluwerk encourages students to analyze, reflect, and critique their own work as they develop higher-order cognitive skills. By memorizing and performing music, the students build their technical skills and are intrinsic- ally motivated to share their work(Shafer & Silverman, 2013).

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Learning is driven by internal forces of growth and takes place without the threat of failure. Instead, when the student sees relevance in the subject matter and explores through a process of discovery, the most lasting and pervasive learning takes place. Externally, the teacher is part of the larger group and acts as a facilitator and a guide. The teacher is an equal as a learner and provides a stable environment by valuing each individual’s response, and encouraging students to take creative risks. Through self-criticism and self- evaluation, students direct their own learning using the resources and situations presented to them by the teacher (Shafer & Silverman, 2013).

Constructivist Learning Theory in Music A task that I often set a group of [elementary school] children is for one to hold a steady pulse whilst the others take it in turns to improvise with it. In one such group John had the drum and offered to play the pulse. He played it steadily and at a consistent volume through each person’s improvisations, despite the fact that the three girls in the group had chosen to play glockenspiels. After the piece had finished I asked if anyone had comments to make about the piece. “Yes”, said one of the boys. ‘You couldn’t hear the girls.’ ‘Why was that?’ I asked. ‘They were too soft’, said John quickly. ‘That is true’, I said. ‘What can we do about it?’ ‘They must play louder’, he responded. I suggested that he might also play more softly when they were playing. A look of immense amazement fell across his face. It had simply not occurred to him as a possibility. The responsibility so far had rested totally on the girls. ‘Next time’, I suggested, ‘perhaps the girls can play a little louder and can you, John, try to vary the volume of your beat to suit whoever is playing.’ He proved to be an able and sensitive accompanist the next time round, varying the dynamics for each improvisation. In approximately ten minutes of group improvisation, both we as a group, and John in particular, learned a lot about how sexism operates, and more importantly, how to do something about it (p. 160).

Constructivist approaches refer to both theory and epistemology derived primarily from the work of Bruner, Vygotsky, and to a lesser extent Piaget. The constructivist believes that learning cannot be separated from its social context and that all cognitive functioning is embedded in a social world. Vygotsky (1978) argued that through social interactions, learners come to associate meanings to objects, words, and actions. This knowledge also contains hidden meanings that are usually taken for granted. Most importantly, Vygotsky emphasized the role of language and culture in children’s cognitive development.

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My Philosophy My philosophy of education is that all children are unique and must have a stimulating educational environment where they can grow physically, mentally, emotionally, and socially. It is my desire to create this type of atmosphere where students can meet their full potential.

Theoretical Framework Behaviorism: Theorists such as Skinner (1953) frequently concentrated on observable behavior, holding that practice and associated reinforcement helped to support learning. Behaviorist instruction frequently uses multiple choice questions or other rote methods in its directive lectures and practice problems. It also frequently uses objective assessments.

Constructivism How: • Engage - Help in identifying the necessity for learning new concepts • Explore- Learn more about the subject • Explain- Build explanations and definitions • Elaborate- Utilize prior knowledge and practice skills • Evaluate- Evaluate how learning relates to the objectives Why? Problem-solving is the primary goal in a constructivist classroom. Students ask questions, conduct research on a subject, and use a range of resources to find solutions and answers using inquiry methods. As they continue to study the topic, students reconsider the conclusions they originally came to.

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Constructivism in Planning & Delivery of Instruction Planning: The 5E lesson plan is based on an instructional model that consists of five phases or steps: Engage, Explore, Explain, Elaborate, and Evaluate. This model enables teachers to create cohesive and engaging lessons that build up from one section to the next. Instruction: Constructivism is a theory that encourages learning as an internal, active process where new knowledge is built upon past knowledge. Students' participation, teamwork, and practical experimentation are encouraged in constructivist teaching. The teacher functions more as a facilitator who coaches, mediates, prompts, and helps students develop and assess their understanding, and thereby their learning.

References Brau, B. (2020). Constructivism . Cc_By. https://edtechbooks.org/studentguide/constructivism#:~:text=An %20example%20of%20constructionism%20is,the%20nuances%20of %20engineering%20concepts. ClassPoint. (2023, November 9). A complete Cognitive Learning Theory guide (Examples galore) | ClassPoint . https://www.classpoint.io/blog/cognitive-learning- theory-guide Classroom Activities – GIML – The Gordon Institute for Music Learning . (n.d.). https://giml.org/mlt/classroom/ Comtois, A., & Comtois, A. (2021, August 25). Responding to marginalization of students of color in K-12 education - Cognia - The Source. Cognia - The Source - Cognia - The Source . https://source.cognia.org/issue-article/responding- marginalization-students-color-k-12-education/ Shafer, K. S., & Silverman, M. J. (2013). Applying a social learning theoretical framework to music therapy as a prevention and intervention for bullies and victims of bullying. the Arts in Psychotherapy , 40 (5), 495–500. https://doi.org/10.1016/j.aip.2013.07.004

Week 6 Summative Assessment CUR 713

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