Transcript Start with a Story

Start with a Story
PMEA Summer Conference
July 22, 2013
Sharon M. Potter
PMEA Mentor Program Chair
© Sharon M. Potter, 2013
Why stories?
• Framework for instruction in the artistic processes of
Creating, Performing, and Responding
• Connect to other core subjects
• Develop 21st Century Skills
• Flexible in terms of music content
• History of music and story: Ballads, Program Music,
Oratorio, Opera, Musical Theater, Movie Score,
Multi-media
SAS Big Ideas
• The skills, techniques, elements, and principles of
the arts can be learned, studied, refined, and
practiced.
• Artists use tools and resources as well as their own
experiences and skills to create art.
• The arts provide a medium to understand and
exchange ideas.
• People have expressed experiences and ideas through
the arts throughout time and across cultures.
• There are formal and informal processes used to
assess the quality of works in the arts.
• People use both aesthetic and critical processes to
assess quality, interpret meaning and determine
value.
Types of Stories
• Porquois- Why stories
• Trickster Tales
• Fables
• Folk Tales
• Fairy Tales
• Myths
• Legend
Choosing Your Story
• Choose a story you and your students enjoy as you
will be working with it for multiple classes
• Choose a story from a culture, a time period, a
holiday or celebration which connects to the
curriculum
• Choose a story that supports the musical concepts
and skills you wish to embed within the story.
Sharing Your Story
• Telling with authentic music
• Telling with created music
• Combination of above
• Dramatization
• Puppet show or shadow screen puppets or theater
• Radio Show
• Video or movie
Parts of a Story
• Setting
• Characters
• Plot
Exposition
Climax
Resolution
• Moral or Lesson
Analyzing the Story
• Create storyboards
• Bio Poems, Internal Monologues
• Where would music enhance the story?
Some Possibilities
• Sing and arrange songs from the culture or time period of
the story
• Play instrumental pieces from the culture or time period
of the story
• Improvise sound effects to accompany the story, create a
mood, or describe characters
• Create an overture, incidental music, and/or motives for
the characters
• Arrange songs for instrumental accompaniment
• Listen to music from the setting. Compare and
contrast. Choose examples to use in the telling.
• Use existing art work which represents the story.
• Create art work for sets, costumes, puppets, etc.
• Learn dances from the setting or time period and
integrate them into your project
• Create sound carpets to poetry such as cinquains
and haiku and integrate them into the telling.
• Create rhythmic pieces based on the moral or lesson
of the story
• Involve the audience in the performance
Assessment
• Formative
• Summative
• Process
• Product
• Reflections
• 21st Century Skills
st
21
Century Learning
• Advances in technology
• Need to remain competitive in global society
• Our students’ individual and collective success will
depend on having these skills and dispositions
• Our future success as music educators may depend
on our ability to teach these skills and dispositions
• Many of these skills may be developed through the
arts
Partnership for 21st Century
Learning
www.p21.org
4 C’s
• Critical Thinking
• Creative Thinking
• Collaboration
• Communication
• Character- 5th C
Critical Thinking
“Being able to solve problems is really important in
music class. When someone is absent or something else
is different than when you practiced you have to react
quickly to find someone to fill in or rethink what you
are going to do because you still have to perform.”
6th Grade Student
Bloom’s Taxonomy
Creating
Evaluating
Analyzing
Applying
Understanding
Remembering
In the music classroom
• Design problem based activities that give
opportunities to solve both presented and found
problems
• Develop instruction which is project based and
includes many opportunities for higher order
thinking
• Design questions which are open-ended, encourage
a variety of answers and for which there is no
“correct” answer
• Encourage musical thinking
Creativity
“We had a lot of good ideas and everyone contributed
something creative to the project. We didn’t have a lot
of time to create the opera before the performance so
we needed to keep working even when we weren’t sure
what we were doing.”
6th Grade Student
Teresa Amabile’s Components
of Creativity
• Skill in the domain
• Creative thinking skills
• Intrinsic motivation
Creative Process
• Imagining
• Brainstorming
• Planning
• Making
• Evaluating
• Refining
• Performing
• Evaluating
• Reflecting
In the music classroom
• Provide opportunities for student choice
• Give students autonomy within structure
• Remember that everyone has the potential to be
creative
• Remember that a creative teacher isn’t necessarily
teaching for creativity
• Create a safe classroom environment where all ideas
are valued
Collaboration
“I think collaboration is very important because you
have to collaborate and work together to have a great
anything. A performance is only as strong as its
weakest collaborator or performer. With collaborating
we would get nothing accomplished.”
6th Grade Student
In the music classroom
• Develop instruction where students work together in
different groupings to solve authentic problems
• Encourage students to make compromises and to be
flexible in order to accomplish a common goal
• The students share responsibility for the final project
but students and teacher value the contributions
made by each individual
• Develop collaborative cross-disciplinary units
Communication
“Communication is very important because without
good communication the performance would be a
mess. In music we can communicate in many ways
without talking”.
6th Grade Student
In the music classroom
• Provide opportunities for students to articulate and
present ideas in many different ways and for
different purposes
• Provide opportunities for students to communicate
using different technologies
• Develop listening skills in your students
Resources
• 21st Century Skills: Rethinking How Students Learn.
James Bellanca and Ron Brandt, editors. Solution
Tree Press, 2010.
• An Introduction to Student Involved Assessment FOR
Learning. Jan Chappuis and Rick Stiggins. Addison
Wesley Publications, 2011.
• Curriculum 21: Essential Education for a Changing
World. Heidi Hayes Jacobs, editor. ASCD, 2010
• Drive. Daniel Pink. Riverhead Books, 2009.
• Flip Your Classroom: Reach Every Student in Every Class
Every Day. Jonathan Bergmann and Aaron Sims.
ISTE, 2012.
• Growing Up Creative: Nurturing a Lifetime of Creativity.
Teresa Amabile. C.E.F. Press, 1989.
• Out of Our Minds: Learning to Be Creative. Ken
Robinson. Capstone Publishing, 2011.
• Punished by Rewards. Alphie Kohn. Houghton
Mifflin, 1993.
Questions?
[email protected]