1 / 49

Music Education in Data-based School Districts

Music Education in Data-based School Districts. How to keep music alive for students when you are competing with data and scarce resources? Presented by Michael Tebbano, Ed. D. Sheila Tebbano, Ed. D. October 6, 2005. Does music matter?.

tavi
Download Presentation

Music Education in Data-based School Districts

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Music Education in Data-based School Districts How to keep music alive for students when you are competing with data and scarce resources? Presented by Michael Tebbano, Ed. D. Sheila Tebbano, Ed. D. October 6, 2005

  2. Does music matter? "Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, a charm to sadness, gaiety and life to everything. It is the essence of order and lends to all that is good and just and beautiful. -- Plato

  3. Begin With the End In Mind We hope you will learn: • Why do I need to deal with data when I care about music? • How can I use data to help make decisions that will support kids and my program? • What does it mean to be a data-driven music program?

  4. What are the issues? • NCLB and data-driven school districts • Federal and state mandates for testing: • ELA, Math, Science, Social Studies, Second Language (grades 3-12) • Career & Technical, Physical Education • What happens to Art and Music in the total education of children??

  5. Schools Districts Are Dealing With… • SED School Report Cards • Frequency distribution of how students score in Grades 3, 4, 5, 6, 7, 8, 9-12 • Students scoring in Levels 1, 2, 3, 4 • Regents-for-All…………… • By 2014 school districts are expected to meet a performance index (PI) of 200 • Sub group populations and ending up on a LIST!!!!

  6. Accepting the facts of life? • In an era of high stakes testing of basic academic skills, music education is often seen as superfluous. • But, music combines the affective and cognitive domains,making its study an inherently intellectual activity.

  7. Accepting the facts of life??? • Cognition vs. affect…dilemma? • Arts as servants to academics, expecting to expand upon other areas

  8. 3Processes of Assessment All assessment involves: • Data collection • Analysis • Utilization of results

  9. Why Data? What Knowledge? What Decisions? • Know that data are only crude information and not knowledge by themselves.

  10. The Sequence From Data to Knowledge from Data to Information, from Information to Facts, and finally, from Facts to Knowledge Data becomes information when it becomes relevant to your decision problem. Fact becomes knowledge when it is used in the successful conclusion of your decision process. Information becomes fact when the data can support it.

  11. Data to Knowledge for Decisions http://obelia.jde.aca.mmu.ac.uk/resdesgn/arsham/opre330.htm

  12. The Importance of Data Being More Than Technical • Knowledge is more than knowing something technical. Knowledge needs wisdom, and wisdom comes with age and experience. • Wisdom is about knowing how something technical can be best used to meet the needs of the decision-maker.

  13. National Center for Educational Statistics • http://nces.ed.gov • Search results for: “music” • Document count: “music” (995) • http://search.nces.ed.gov/query.html?col=nces&qt=music&charset=iso-8859-1

  14. NAEP Arts Assessment • 1997, 6,480 eighth grade students in the nation. • National sample assessed 268 schools. • The assessment measured conceptual information in music, art, theatre and dance.

  15. Figure 2.7, The NAEP 1997 Arts Report Card, 1997 arts assessment.

  16. After students completed the improvisation and creation tasks, they completed two self-evaluation questions. Each question was scored using a three-level guide that classified responses as either Inadequate, Limited, or Adequate. Student responses were evaluated considering the overall accuracy, specificity, and appropriate use of musical vocabulary in the response. NAEP, Grade 8 Evaluation

  17. Student Self-Evaluation Questions LimitedIn this response, the student accurately refers to something that was present in the improvisation. However, the response was scored as Limited because the student failed to use sufficiently specific musical vocabulary to describe the performance. AdequateThis response was scored as Adequate because the student gave an accurate assessment of the performance and used appropriate musical vocabulary.

  18. How do you drill down and use data for decision-making for your district, building, classroom, program, performing group?

  19. Accepting theChallenge • Quantitative vs. Qualitative Data • NYSSMA rating • Enrollment data over a 5 year period • Recognizing sub group populations • Develop curriculum mapping and essential questions that can guide the instruction. • Creating benchmarks for improvement • Formative assessments: constructing local assessments of musical knowledge • Charting growth and knowledge patterns of musical behaviors

  20. Quantitative Data: Data measures and statistics that describe phenomena ELA 4 and 8 are quantitative instruments to assess students ability to master the standards. Qualitative Data: Verbal descriptions portraying phenomena Narrative that describes perceived relationships. Quantitative vs. Qualitative Data

  21. NYSSMA Ratings • Quasi-objective process for adjudication of musical performance by students. • Standardized system for deriving quantitative data from qualitative data. • Charting frequency relationships • Assessing progress and musical growth. • Teaching to musical standards.

  22. NYSSMA Data: Levels Graph Charting Performance Levels Auditioned Frequency Distribution of Performance Levels

  23. NYSSMA Ratings: Scores Chart of NYSSMA Scores NYSSMA Scores

  24. NYSSMA Data: Sub Groups

  25. Enrollment Data Over 5 Years • Frequency distribution of enrollment in choral and instrumental music ensembles • Budgetary and programmatic considerations • FTE – Full Time Equivalent • Recognizing and tracking sub-group populations: i.e. students with special needs, race, socioeconomic need

  26. Curriculum Mapping • Curriculum mapping is a procedure for collecting data about the operational curriculum in a school and in a district—the instruction that students are experiencing. • By mapping what's actually taught and when it's taught, teachers produce data that they can use in conjunction with assessment data to make revisions in instruction.

  27. Formative AssessmentOn-going assessment within an educational program whose purpose is to improve the program as it progresses. Or Are They Learning What I am Teaching? http://www.music.miami.edu/assessment/glossary.html

  28. Formative Assessments • Pre and Post testing musical knowledge to chart achievement and to inform instruction. • Curriculum development that requires music teachers to teach musical concepts, not extra-musical trivia. • Chart this information over time and develop the instructional potential.

  29. Formative Assessment Techniques for Music Educators • Essential Questions • How often did you… • Student Journals, Portfolios, Logs, Notebooks • Multiple choice tests • Written assignments • Projects • Observation • Interviewing • Performance

  30. Assessment Data Possibilities • NYS State Arts Assessment (keep dreaming) • Local assessments ?? YES • Mid Term Performance Assessments • Assessments for NYS Standards: constructed locally and used to inform instruction • General Music Assessments • "Inside the Black Box" article can be found on the Kappan web site at: http://www.pdkintl.org/kappan/kbla9810.htm

  31. Can You Relate? • Many school instrumental music programs remove students from the regular classroom for individual or small-group instrumental instruction. Often, this practice causes tension among teachers and administrators. • Many of those opposed to pull-out lessons are concerned that students will fall behind in their academic performance by missing classroom instruction time.

  32. Does Pull Out Affect Test Scores? What do these data suggest?

  33. Elements of a Data-Driven Music Program • Curriculum map of essential core concepts and precepts across all instructional areas • Data on school student participation and achievement in music education across all areas. • Map the delivery of curriculum in classrooms and rehearsal rooms.

  34. Continued • Identify and monitor students with musical talent and nurture their involvement. • Integrating music with other areas of the curriculum and arts education more broadly to make learning more engaging, particularly for disadvantaged and 'at-risk' students. • Promote and market “connections” between music other curricula.

  35. A Tale of Two Teachers • I remember two different music teachers from my youth. One instinctively applied principles of formative assessment, but focused on the emotional force of acquiring the music itself. • giving encouragement, suggestions, techniques, all the tools required to create music beyond the simple decoding of the notes. • Naturally becoming passionate about the power of the music in my own hands, I worked feverishly, caring about each twist and turn of the music in order to be able, one day, to move an audience to tears.

  36. A Tale of Two Teachers • A second teacher was equally well-meaning, but relied on external motivation: • giving stars for scales well done, pieces learned, notes right, competitions entered. • External motivation missed the opportunity to empower students. • Students of that second teacher may get all the notes right and often go home happy with a new star in each successive book. • But will they continue to practice music outside of the ‘token economy’ motivational/assessment context?

  37. A Tale of Two Teachers Moreover, on one day when I had prepared particularly well, I wondered what the very empty feeling was when my teacher admitted she had accidentally run out of stars.

  38. Status Quo Isolate music away from other programs Care only about the NYSSMA ratings-hang it on a wall!! Promote the best, shoot the rest. Withdraw from building activities. Untouchables Visionary Become involved in the issues and concerns of other areas. Transform NYSSMA ratings into a viable statistic worth using. Find ways to meet needs of all students on all levels in all special groups. Be part of faculty committees on systemic issues. Stay current. Roles and Goals for Music Educators

  39. Questions? Comments?

  40. Michael D. Tebbano, Ed.D. Assistant Superintendent, Bethlehem Central Schools 90 Adams Place Delmar, NY tebbmco@bcsd.neric.org Website www.mtebbano.com Sheila K. Tebbano, Ed.D. Director of School Safety & Extended Day Programs Schenectady City School District 108 Education Drive Schenectady, NY 12303 tebbanos@schenectady.k12.ny.us Website www.stebbano.com Thank you for your attention…

More Related