orchestra
An increased sensitivity to these realities resulted in broadened, more historically accurate discussion of repertoire in my fourth grade strings classroom. Our work with “Bile ‘Em Cabbage Down” began with conversations about the establish- ment of the “American Fiddle Tune” genre, including the fact that the African rhythms and instrumentation which define the style were not brought to America by choice. Our study of “Ode to Joy” included discussion about unequal opportunities af- forded different composers based on race and gender. Students immediately grasped the parallels to current societal inequities.
Student-Inspired Study
Entire units of study can be created to teach about music while celebrating the differences of those in the classroom. My colleague Michelle Kaebisch developed a powerful unit in 2020 in which her high school students were challenged to define and share their “cultural identity” through music. This brilliant, semester- long assignment opened students’ eyes to the fact that identities are based on more than heritage alone, that differences are to be celebrated, and that we are all a sum of our parts. Michelle’s project provided students a safe opportunity and environ- ment to share their authentic selves and to educate their classmates about identities they chose to highlight, ranging from gam- ing culture to gender identity. (“UNIT: The Intersection of Music and Culture” by Michelle A. Kaebisch, Wisconsin School Musician, April 2021, pages 34–35.)
Individualized Assessment
With decreased instructional time and a virtual format for many music classes in 2020–2021, learning objectives were dis- tilled to their very essence. That, combined with an emphasis on connecting with each individual, helped to guide personalized and meaningful assessment. With a focus of personal growth over standardized concepts, educators were empowered to ask students to demonstrate understand- ing through connection to their personal experience.
“…that music curricula will continue to be guided by thoughtful choices of repertoire, inclusive units of study, and personally meaningful assessments that keep students at the center of instructional design.”
My students flourished when given au- tonomy to demonstrate their growth. I was astounded by the variety of ideas and the creativity through which each showed their understanding, whether with a con- nection to a concept or idea beyond the music or with an original composition of their own. These individualized demon- strations of learning connected me with each student at a very personal level and carried the learning further into areas of individual student interest.
As the world shifts back to non-pandemic practices, I hope that music curricula will continue to build on the idea of keeping students at the center of instructional design. The 2020–21 focus on creating af- firming and equitable classroom environ- ments connected us more deeply than ever, despite much of the teaching and learning happening virtually. Continuing efforts to balance repertoire to be more representa- tive while explaining the reasons behind the prevalence of Euro-centric works, to create units of study that celebrate the indi- viduals in our classrooms, and to approach assessment as a means of personalizing and deepening understanding will bring an authenticity and applicability unmatched by any standardized material or outcome.
Elisabeth Deussen teaches fourth grade orchestra in Oregon School District. Email:
emdeussen@oregonsd.net
Wisconsin School Musician 15
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