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Metaphoric/analogic thinking, the ability to find and express similarities between two or more dissimilar entities, may seem confusing at first. An example might be describing creativity as a river fed by the springs of climate, motivation, etc. Toscanini, frustrated by his inability to explain a cer- tain nuance, reputedly tossed a silk handkerchief in the air and let it waft gracefully to the floor. That was his use of a metaphor. Musicians often model the use of metaphors (“Think of ___ as you sing/ play this phrase”), and teach- ers must help students develop this way of thinking as well.
Motivation and Higher Order Think-
ing. Motivation is a subject both broad and deep, and it fits in well with projects that challenge students’ thinking skills. Pages 38-40 in the guide and the references on page 65 offer important insights into this area. Briefly, when students are given an authentic task, such as suggesting how to improve a particular musical passage they have just rehearsed (Standards F & G), several things occur: they have been asked to assume the role of an adult and given a measure of control of their learning (motivation) and are exercising higher order thinking as they analyze and evaluate their performance. An easy first step in this is to explain that there are three areas in a rehearsal situation that yield different perceptions of the quality of a performance: what happens within the ensemble; what is audible from the podium or the front of the classroom; and what is perceived by the audience. Ask- ing the students what they heard as they performed causes them to listen more carefully. When this is a familiar strategy, asking two of them to stand behind the conductor or teacher and listen for strong points and challenges carries this approach a bit further. Soon several will volunteer for the task, and student focus, analytical listening skills, higher order thinking and motivation will increase. This is an or- ganic way to ease students – and teachers
Wisconsin School Musician
Creativity
– into more substantive teaching/learning that is student centered. It is discussed in more depth on pages 33-34 of the guide. Also, the teaching examples in Chapter 8 of the guide almost all involve student or peer assessment. Finally, the Learning Loop model described in the guide (pages 29-30) engages students’ higher order thinking, uses motivational strategies and is applicable to all learning contexts.
Disciplinary Knowledge. Obviously, ac- quiring in-depth knowledge of a discipline is a primary function of education and is necessary for both learning and creativity. When addressing a problem, students must be able to call on prior knowledge of the discipline to define it and creatively devel- op and implement a solution. This means knowledge of the music standards, and the curriculum guide demonstrates how to plan, teach and assess student achievement of the standards at all levels.
Problem Attack (Heuristics). Research
has found that a repertory of ways to attack different problems is an important factor of creativity. Some examples are brief, such as concept mapping, brainstorm- ing and trial and error. Other heuristics are more involved, such as the problem solving process of finding and defining a problem, developing and implementing a solution, analyzing, reflecting, etc. (Plan- ning Curriculum in Music, p. 23) and the Learning Loop model, which operational- izes the process (p. 30). Teachers should
model their problem attack strategies and encourage students to use them and create their own as appropriate.
Recap
My articles in the September, January and April issues examine the relation of the
music standards, Planning Curriculum in
Music, the Partnership for the 21st
Cen-
tury Skills and Wisconsin Task Force on Arts and Creativity in Education. When teachers consider them carefully while planning learning projects, their students will become more fully self-realized, able to think critically/creatively and prepared for lifelong learning and for contributing to and functioning in a just and democratic society.
References:
Partnership for 21st
Century Skills. www.21stcenturyskills.org.
Pontious, M., ed. 2009. Planning
Curriculum in Music. Madison, WI:
Wisconsin Department of Public Instruction.
Wisconsin Task Force on Arts and
Creativity in Education. A Plan for Action.
Madison, WI: Wisconsin Arts Board, 2009. www.creative.wisconsin.gov.
Melvin.pontious@dpi.state.wi.us
13
Climate
Heuristics
(a thinking model)
Habits
of mind Higher order thinkingi g Motivation
Dispositions
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