watch shows like American Idol, we are witnessing musicians grow in their ability to communicate. The performers who succeed are those who embody the music and convey meaning to the audience. If we design authentic learning experiences in music that reflects this goal, our students will likewise grow in their ability to communicate their ideas through performance. What would this look like in a choral rehearsal? How would it look to have a choir full of professional musicians?


Professional musicians make decisions; they communicate their ideas through the choices they make. As I thought about this filter, I realized I had to let go of some of my ideas and let my students become more involved in decision-making. Wiggins and McTighe (1998) state that “[a]uthentic learning experiences shift a student from the role of a passive knowledge receiver into a more active role as a constructor of meaning” (p. 11). As I allowed this shift to happen, the students continually amazed me with their thoughtful ideas and suggestions.


Filter 3. To what extent does the idea, topic, or process require uncoverage?


This filter can be a bit confusing but can also lead to some amazing music lessons. Think about ideas and concepts that are hard to grasp, ideas your students typically struggle with or might misunderstand. One aspect of singing that certainly requires uncoverage is singing expressively. Some students as well as some conductors think that merely singing the right notes at the right time results in a good performance. We have all heard choirs that are accurate, but not particularly expressive and whose performances are lackluster. We have also experienced performances that leave a lasting impression. I can still remember tears running down my cheeks when listening to a particularly moving performance of the Brahms requiem.


Exploring or “uncovering” the differences between dynamic choral performances and those performances that are less successful can certainly lead to a better understanding of musicianship.


Engaging your singers in discussions of these differences is one way to help them uncover the meaning behind singing expressively. If we focus our teaching on the big ideas, the enduring understandings that are at the heart of our profession, we will begin to uncover the complexities of music making.


Filter 4. To what extent does the idea, topic, or process offer potential for engaging students?


I have witnessed and been a part of many rehearsals where students are marginally engaged. The singers produce sound, but their body language is weak and energy level lethargic. When students encounter big ideas and when music learning is connected to their interests, they are much more likely to stay focused and involved in the process. By challenging students to go more deeply into the subject matter we encourage them to create meaning for themselves, sustain interest over time, and relate learning to their “real world” experiences.


One of the most dynamic performances I have witnessed involved a choir working with the enduring understanding “music tells a story.” The choir students explored several musical genres while engaging in many discussions about the stories behind the music. Throughout the semester, the teacher noticed students were particularly interested in freedom songs. Because of their interest, the director selected several pieces for the spring concert that focused on the ideals of freedom. The students were able to sing a variety of musical styles, sharpen their reading skills, and work on expressive singing as they learned music that interested them deeply and related


to the world outside of the classroom. Their performance was truly memorable.


With these four filters in mind, I am better equipped to plan choral rehearsals that lead students into a deeper understanding of music making. I now start my planning with questions rather than a handful of pieces that I want to perform. What ideas can we explore that will be of lasting value? What do I want my students to really understand?, What are the values and interests of my students? How can I capture their imagination and encourage them to think deeply about the music? Before planning your next concert, think about these questions and identify some of the big ideas in music. Use these ideas to frame your teaching and you will be in for an exciting adventure.


References


Wiggins, G., & McTighe, J. (1998). Understanding by Design. Alexandria, VA: Association for Supervision and Curriculum Development.


Vicki R. Lind is Assistant Professor of Music Education at the University of Arkansas at Little Rock. She holds a Ph.D. in Music Education from the University of Arizona and M.M.E. and B.M.E. degrees from Wichita State University. Lind has extensive teaching experience at the elementary, secondary, and university level. Prior to her appointment at the University of Arkansas Little Rock, she served on the music education faculty at the University of California Los Angeles and the University of Colorado at Boulder. Her research interests include issues of equity and access in music education and music teaching and teacher education. n


personal attention performance opportunities proven job placement


www.wmich.edu/music 15


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