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Foundations of Music Education

Course Prezi for Foundations of Music Education @ NYU - Fall 2015

S. Alex Ruthmann

on 5 November 2015

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Transcript of Foundations of Music Education

What is Foundational in Music Education?
Sept. 8
Engagement and Tangible Learning
Sept. 15
Sept. 22
Carly Cheriff

Emily McNally
Readings Presentations
Music, Meaning, and Making

Steve Dillon - Ch. 5 -
Designing Meaningful and Engaging Environments

Steve Dillon - Ch. 6 -
The Student as Maker
Oct. 27
Nov. 10
Nov. 17
Nov. 24
Philosophy Essay Assessment Criteria
Dec. 1
Learning and Teaching Broadly
Dec. 8
Class FINAL - Dec. 12

Case Study OR Mentee
Project Sharing
Jacob Friedman

Elyse Barna

Katherine Nedder

Sangmin Oh
Steve Dillon - Ch. 1 -
Designing and Managing the Cultural Lives of Children
Major Projects: --->

Class Overviews: --->

Reflection Materials: --->

Supplemental Materials: --->


Wiggins - Ch. 3 -
Learning Music through Embodied, Constructive Process

Wiggins - Ch. 4 -
Learning Music through Sociocultural, Constructive Process

Constructivist Music Teaching
MPAME-UE 1029 - Foundations of Music Education
Inquiring into Music Learning & Teaching
Fall 2015
S. Alex Ruthmann, Instructor

Music, Meaning and Transformation:
Meaningful Music Making for Life

The Guided Reader to Teaching and Learning Music

Teaching for Musical Understanding (3rd Edition)

Engaging Musical Practices

Teaching Music Creatively

Using Technology to Unlock Musical Creativity

Steve Dillon (2007)

Jonathan Savage (2013)

Jackie Wiggins (2014)

Suzanne Burton (Ed.). (2012)

Pam Burnard & Regina Murphy (Eds.) (2013)

Scott Watson (2011)

Experience Design
Nathan Shedroff (2001/2009)
Engagement (as the experience)
Project 1 - Musical Construction Kits

Initial Steps:
Choose groups of 3-4 and pick up your $20
Set up an original Gmail email account for your group & project. Sign up for a GROUP Build-in-Progress account at
with your group's Gmail and a common password. Document ALL steps of your group's process on Build in Progress using the Android app if you have one.
Share the link to your GROUP build with the class.

Next Steps:
Choose an audience
for your construction kit.
Curate and purchase a set of commonly available materials using your $20 (keep your receipts & do not go over $20!)
EACH member of the group designs an interactive musical experience that can happen with the set of $20 materials designed to engage your chosen audience
Create paper-based documentation of your experience design organized so that a group of people could follow it and engage with it. You may create an online set of instructions with links to audio/video to
your print instructions.
Think about the following questions (Individual & Group):
Who will build your kit and engage in your experiences?
What makes a musical experience engaging? Sustaining?
How much documentation will be needed so that others will be able to recreate your designed experience? What are the best forms of representation for your documentation? Images, videos, audio recordings, steps, narrative?
How do you design for the prior experience of your users?
What can be learned or expressed through the building process?
What can be learned or expressed through your experience designs?
Next Steps (Individual):
Give your kit of materials to a sample from your chosen audience.
Videotape their experience unboxing your materials, following your documentation, and recreating your experience design. Take notes.
On another day, watch your video.
What did the group do that surprised you? How would you design your materials, documentation or experience design differently?
Each member of the group: post a reflective entry summarizing your experience in this project.
Project 1 -
Musical Construction Kit, Instructable & Experience Design
Individually a
nalyze and critique 2 online teaching videos you find particularly effective. In pairs, design and record a short video lesson related to music building on the same best practices. Take another pair of your classmates’ videos and learn from them. Reflect on your experiences both teaching and learning via online video.

Initial Steps:
Pick 2 online music teaching videos you find particularly interesting/effective. Share them with your partner and discuss why you think they are good.

Watch Robin Giebelhausen's YouTube video and read the transcript of her presentation:
After watching Robin's video and reading the transcript, consider the following:
What makes a good online video for use in a classroom?
What makes a good online video when there is no formal classroom (i.e., people learning only online)?
Next Steps:
Create a 3-5 minute instructional video working together in pairs.
Video equipment can be checked out from the 8th Floor or you can keep it simple and use a laptop webcam.
Upload your video to YouTube or Vimeo,
BUT make sure it is UNLISTED, but public to anyone who has a link.
Post your video to the course website -
by Midnight on October 26

Further Steps

Video someone (NOT from your group) watching and learning from your video.
What worked well? What would you change about your video to improve it? What was the feedback from the learner/viewer?
If necessary (based on feedback) reshoot your video to improve it.
What resources (links, text, images, etc.) would be helpful to have around the video to provide more context, links to other supplemental resources, etc?

Final Steps

Record a 3-5 minute reflection video of you and your partner summarizing and discussing:
-Your process of putting together your instructional video and resource page
The learner/viewer's experience learning form your video
How you contextualized your video through making the resource page
What you individually and collectively learned through this experience.

Please post this material as a reply to this topic
***by Midnight on November 13***
Project 2:
Online Music Learning/Teaching Resources Project
Robin Giebelhausen's Online Video Work
Written Transcript of Video:
You will observe music learning and teaching in a progressive music learning environment. Suggested environments include Little Kids Rock Amp Up, Lighthouse, Young Composers & Improvisers Workshop, LREI, Maker State/Dazzling Discoveries, Urban Arts Partnership, and Play With Your Music. You will choose one student from these environments (or others) to help mentor in developing and leading a short workshop around a music-related skill that they are passionate about.

This project has three major sections:
1.) an interview
2.) a mentorship and
3.) a written summary case study:
Initial Steps

Before conducting the interview, you need to answer the interview questions yourself twice: The first time, answer them as you would have answered them when you were the same age. The second time, answer them as you think your interviewee will respond. Finally, interview your student and compare the three sets of answers. Write up a minimum 1000 word summary of what you learned, including how your answers the first two times answering the questions were similar and different from the actual interview responses.

Post to your page in the MusEDLab Community by Midnight, Sept. 20th.
Project 3:
Interview, Mentee Workshop & Case Study
Project 4 - Philosophy Essay

Several of the assigned readings this semester speak to various philosophical issues: Where is music in the lives of children? What is the role of the teacher/facilitator in various learning/teaching contexts? What is important to teach about and through music? How is music best taught and experienced for student learning? You will draft a 2000 word philosophy essay that addresses these, and other questions.

Initial Steps:

Think back through your experiences in this class to date. Consider especially the times when your preconceptions about music learning and teacher were both challenged and reinforced.
Follow the following steps:
Next Steps:
Review the Rubric for assessing your Philosophy Essay here: https://docs.google.com/file/d/0B193L9k1G7ICUnBDY2RKaGJrLTQ/edit
Read back over your draft essay and self-assess yourself according to the rubric. Share it with a peer for feedback.
Project 4:
Philosophy Essay - Due before class final on Dec. 17
New United Kingdom National Curriculum

Purpose of study

Music is a universal language and every pupil should have the opportunity to become fluent. A high-quality music education should provide all pupils with the opportunity to sing and to learn a musical instrument. Pupils should leave school with an appreciation of how music is composed and performed, allowing them to listen with discrimination and judgement to the best in the musical canon.


The National Curriculum for music aims to ensure that all pupils:

perform, listen to, review and evaluate music across a range of historical periods, genres, styles and traditions, including the works of great musicians and composers
learn to sing and to use their voices, to compose and make music with others, have the opportunity to learn a musical instrument, and have the opportunity to progress to the next level of musical excellence
understand musical notations and how music is constructed, produced and communicated through its inter-related dimensions: pitch, duration, dynamics, tempo, timbre, texture and structure.
Attainment targets

By the end of each key stage, pupils are expected to know, apply and understand the matters, skills and processes specified in the relevant programme of study.

Key Stage 1

Pupils should be taught to:

use their voices expressively by singing songs and speaking chants and rhymes
play tuned and untuned instruments musically
listen with concentration and understanding to a range of high-quality live and recorded music
make and combine sounds using the inter-related dimensions of music.

Key Stage 2

Pupils should be taught to sing and play musically with increasing confidence and control. They should develop an understanding of musical composition, organising and manipulating ideas within musical structures and reproducing sounds as part of an aural memory.

Pupils should be taught to:

play and perform in solo and ensemble contexts, using their voice and playing musical instruments with increasing accuracy, control and expression
improvise and compose music using the inter-related dimensions of music separately and in combination
listen with attention to detail and recall sounds with increasing aural memory
use and understand the basics of staff and other musical notations
appreciate and understand a wide range of high-quality live and recorded music from different traditions and from great musicians and composers
develop an understanding of the history of music.

Key Stage 3

Pupils should build on their previous knowledge through performing, composing and listening. They should develop their vocal and/or instrumental fluency, accuracy and expressiveness; understand musical structures, styles, genres and traditions and identify the expressive use of musical elements. They should listen with increasing discrimination, and appreciate and understand a wide range of musical contexts and styles to inform judgements.

Pupils should be taught to:

play and perform confidently in solo or ensemble contexts using their voice and playing instruments musically and fluently with accuracy and expression
compose, extend and develop musical ideas by drawing on a range of musical structures, styles, genres and traditions
use staff and other relevant notations appropriately and accurately in a range of musical styles, genres and traditions
identify and use expressively the inter-related dimensions of music with increasing sophistication, including through extended use of tonalities, different types of scales and other musical devices
listen with increasing discrimination to a wide range of music from great composers
develop a deep understanding of the music that they perform and listen to, and its history.

Key Stage 4 - NONE
Reflection/Blog - Due Oct. 12 at Midnight

Teaching for engagement, expression & learning
... the role of the conductor
Sept. 29
Oct. 13
No Class
October Recess
Oct. 20
Nov. 3
Project Inspiration: Parts and Crafts' "community-supported education"
Experience Design
Nathan Shedroff (2001/2009)
Engagement (as the experience)
From Dillon (2007) Chapter 1:
Gillian Howell - http://musicwork.wordpress.com/
Michael Medvinsky - http://mmedvinsky.edublogs.org/
Adapted from Dillon (2007):
Jon Savage - Ch. 7 -
Music Ed Inside and Outside
the School

Review Course Tech and Websites

Projects 1 & 2 Overviews - Interviews and Musical Construction Kits
View each pair's original teaching video and their summary reflective video
Comment on 3 videos
Complete final reflection
Create an Account and Introduce Yourself on our Class Website

Savage - Ch. 3 -
Your Musical Pedagogy

Dillon - Ch. 7 -
The Teacher as Builder

Sarah Kahn

Catharine Chang
Megan Zhang
Yu-hyun Whang

Dillon - Ch. 4 -
Music Making and Flow
Wiggins - Ch. 5 -
Music Learning as Musical Problem Solving

Savage - Ch. 6 -
Musical Approaches to Assessment

Savage - Ch. 9 -
Researching Music Education
Jacqulyn Tong

Naomi O'Reilly

Dillon - Ch. 11 -
The School as Village

Dillon - Ch. 12 -
Meaningful Music Making for Life
Reflective Practice: Teaching as Research
Hanna Samawai

Sarian Sankoh
Musical Problem Solving and Flow
Roles of the Teacher(s)
Reading Discussion Dates
Projected Course Outcomes
Projects & Assessments
- Project 1: Musical Construction Kits
- Project 2: Online Music Learning & Teaching Resources
- Project 3: Interview, Mentorship, & Case Study
- Project 4: Philosophy Essay
- Weekly Key Insights Journal
- Flipped Videos & Class Q&A Discussions
At the end of this course you will be able to:
Discuss and critique traditional and innovative approaches to music teaching and learning
Use technology to produce, develop, create and share musical and educational concepts, processes and materials
Articulate and discuss issues related to music learning and teaching in schools, communities, online, and hybrid spaces.
Design learning experiences that are relevant to students' interests and connected to their prior experiences.
Begin to articulate, describe and critique the philosophical, psychological, sociological, and musical underpinnings of music learning and teaching experiences.
Begin to articulate a personal philosophy of music education.
Continue to reflectively diagnose personal strengths and weaknesses as a teacher.
Articulate which music education contexts and settings are a good fit for you.
Tuesdays, 2-3:15pm
EDUC 306

& Reflections

Assignment for Week 4
Project 1: Getting Started
Create a GROUP gmail address (you'll use this with Build-in-progress) and create ONE account on http://buildinprogress.media.mit.edu/.
Make your first individual posts on Build-in-Progress as branches. Share at least the following:
What are your initial ideas for what should go into your kit?
What are your initial ideas for your individual experience design for music making, learning or engagement with the kit materials?
Feel free to embed/post text images, audio, external links, or video to illustrate your thinking.
Each time you take a step within the Kit project, add another individual entry to your Build-in-Progress page. Your entries should be a minimum of 2 per week.
Assemble and Build your Kit within a $20 budget
Criteria for Kit's Organization & Presentation:
Would YOU buy this kit for your classroom?
Would YOU post a link to this kit on the Music Teachers Facebook Group representing you and NYU?

Create & Document Your Experience Designs
Think about what makes good written instructions/documentation.
What prior knowledge about music does your design assume?
How can you use images, color, graphics, and other visual design concepts to present your experience design and instructions most clearly?
What are the logical "chunks" or steps users need to follow in your experience design? How long should each step take?
What is your experience design's:
Experience Design
Nathan Shedroff (2001/2009)
Engagement (as the experience)
Assignment for Week 5
Refine Your Experience Designs
Give your kit and experience design to a non-group member
Watch them use and build with your kit. You are encouraged to video this process and take photos for posting to your Build-in-Progress page.
What worked as expected? What did not work as expected? What might you change about your documentation to improve it? Why?

Finish up the Build-in-Progress documentation for your GROUP construction kit
At the next class, be prepared to share the following:
Your Group's Kit, in a box, with all documentation, and an itemized listing of the cost of each item in the box.
The Group's Build-in-Progress documentation related to the creation of the Kit
Each group member is prepared to briefly describe their individual experience design and what they learned through the process of designing it and watching someone work with it.
Each individual member's documentation on Build-in-Progress.

Form Pairs for Online Video Teaching/Learning Project

Your Groups:

Wiggins - Ch. 1 -
Learning: An Embodied, Constructive Process

Wiggins - Ch. 2 -
Learning: A Sociocultural, Constructive Process

Angelica Moore

Amanda Motherway

Where should music education exist?
What are your personal values as a music teacher?
Who are you as a music teacher?
What is the purpose of music education in today's society?
What is the role of the music teacher within music education?
How should music be best experienced?
How do students best learn music?
Recommended Readings
Required Readings
Where is music education?
For whom is music education?
Who are YOU as a music educator?
Constructivist Teaching
Learning to Teach Composing with LEGO Materials:
Build in Progress Community Supported Education
Project Criteria Generation
Teacher as:
Experience Designer
More Knowledgable Other
Musician with Students
Community Manager
Puzzle Cards & Magnets
Model Project
Oct. 10
Presentation of Project #1 Kits
eLab Meetup
eLab Meetup
Nov. 14
Mentee Workshops
eLab Meetup
Oct. 6
No Class

Meaningful Musical Engagement

Dillon - Ch. 8 -
Meaningful Engagement with Music and Personal Meaning

Dillon - Ch. 9 -
Meaningful Engagement with Music and Social Meaning

Dillon - Ch. 10 -
Meaningful Engagement with Music and Cultural Meaning

Geneva Copeland

Sheza Alizai

Yazmin Lancaster
Assignment for Week 3
1. Interview

Choose a student (of any age) and interview them using the following set of questions: . Before conducting the interview, you need to answer the interview questions yourself twice:
The first time, answer them as you would have answered them when you were the same age.
The second time, answer them as you think your interviewee will respond.
Finally, interview your student and compare the three sets of answers.

Write up a minimum 1000 word summary of what you learned, including how your answers the first two times answering the questions were similar and different from the actual interview responses.

Post to your Topic Channel on the http://community.musedlab.org/ site.

Choose Mentee

2. Workshop Mentorship.

Identify someone (of any age and from any setting) to get to know and mentor throughout the course. You will mentor them in designing and leading a 30-minute interactive workshop around a music-related skill they are passionate about. These workshops will be presented at NYU in the middle and late part of the semester in the evenings and during a couple Saturday meetups.

Initial Steps
Project 3:
Interview, Mentee Workshop & Case Study
Begin Case Study Project

You will create a 2500 word, case study (supplemented with media where appropriate) documenting the music learning, teaching, and reflective growth processes observed in your progressive music music environment and experienced within your mentorship experience.

Initial Steps
Choose a progressive music learning environment outside of traditional K-12 public schools.
Schedule at least 2, one-hour visits between now and the end of the semester.
Project 3:
Interview, Mentee Workshop & Case Study
Online Community

Choose teams
Watch Carly and Emily's videos
Music and Technology in Your Life Interview

I’d like to know a bit more about you and your experience with music. Take a moment and answer the following questions
Where do you experience music in your life?
How do you use technology in your everyday life? What technologies do you use?
What does music mean to you?
What music do you listen to?
Do you ever make music?
Are you a musician? Why/Why not?
If you could learn anything about music, what would it be?
What do you like about music in school?
What do you not like about music in school?

Share YOUR Kits
MOVED to Dec. 12th
Full transcript