When we began to use journals, one goal my colleague and I had was to introduce students to a variety of music to which they likely hadn’t been exposed. We chose reper- toire that related to different musical genres, and used that as a launching point to discuss various composers and musical styles. Since listening examples were related to the music we performed, students were more receptive as they listened, and were able to make strong connections to what they heard. For example, we listened to various pieces by Hungarian composer, Béla Bartók, while we worked on Timothy Broege’s Bartók Variations (Grade 2, Grand Mesa Music Publishers). In another class we played three different recordings of a short excerpt from a symphony and had students compare and contrast the three per- formances. Not only did they learn to listen critically, but they also developed a better understanding of characteristic performance practices.
Sample listening/critiquing questions: • How is this music similar to or different from the
music we performing?
• Listen for your instrument (or voice). What do you like about their performance? What would you change? Why?
• Listen to the recording and critique the performers’ dynamics (or any particular performance element you wish to be the focus). What did you like? What would you change? Why?
• For a tone poem: Were you able to follow the “story” in the music? What musical elements made the story clear to you?
• How did the composer create a feeling of excitement (or calm, tension, suspense, joy, etc.)?
When guiding students through these
questions you may need to review the ele- ments of music and focus your students’ attention on a specific one. Remember that listening is a skill, and being able to perceive various elements in a complex piece of music takes time and patience. Consider repeat- ing listening examples several times over the course of a few weeks to give students a chance to build on their first impressions. Students will also benefit from focusing their studies on one genre or composer at a time. By listening to a several examples from one composer or genre over an extended period,
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students will be able to make stronger con- nections and develop a deeper understanding of the subject matter.
Other Options For Using Journals
By now it is clear that journals can be used to teach almost anything. In addition to the aforementioned ideas, they can be used to teach basic music theory, history, terminology, and a variety of other concepts. Journals can be tailored to work within the parameters of any program, and to suit the needs of specific students. Here are some other considerations: • Journals are an excellent platform for introducing new concepts and teaching rhythm. For example, one might start class with a rhythm containing four eighth notes, and then replace the first three with a dotted quarter note to show how the new rhythm is counted.
• Reading and responding to students’ journals can be time-consuming. Incorporating more rhythm exercises and short written responses will speed the process, however, having them write longer reflections and taking the time to respond to them will make the experience more meaningful.
• Journals provide an alternative means of assessing students’ growth. For those who struggle with performance, journals are a great way to demonstrate understanding of musical concepts.
• It is important to incorporate journals into every class in order for students to fully embrace using them as a routine. On days when more time is needed to work on music, a shorter rhythm or a quick written response will suffice.
• Consider a regular journal collection schedule (i.e. every Thursday). For large classes, collecting them on different days for various groups makes reading and responding easier. For example, one might collect woodwinds
on Mondays,
and brass and percussion on Thursdays.
• If and how they are graded is a personal choice. In general,
35 TEMPO
experience
has shown that
focusing
attention on grades will distract from the main goal of learning. Journals work best when they are primarily used as a learning tool, and as a means to communicate with students.
• Journals can be used as part of the fulfillment of Student Growth Objective requirements, and to meet Common Core Standards.
While using journals takes some time
and creates extra work, the benefits clearly outweigh the costs. Most music students who participate in performance-based programs will not pursue careers in music. Many will stop performing altogether once they gradu- ate high school. Therefore, the experiences provided in these programs must incorporate learning that goes beyond performance. We must be willing to sacrifice a small part of rehearsal time to instill a deeper sense of the value of music in our students. In that regard, incorporating journals as part of a daily re- hearsal routine will open students to endless possibilities.
Please contact Dan Halpern with any comments or questions, or to share thoughts on how to incorporate journals into your music program.
dhalpern@veronaschools.org
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