Professional Documents
Culture Documents
University
of
Connecticut
Neag
School
of
Education
EDCI
5095
April
2015
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 1
Acknowledgments
This
work
would
not
be
possible
without
the
following
people:
Dr.
Abramo,
for
inspiring
me
to
carry
out
my
vision
of
rock
&
roll
world
domination
Dr.
Eckert,
for
keeping
me
calm
throughout
the
entire
inquiry
process
The
E.O.
Smith
Music
Department,
for
unconditionally
trusting
the
intern
team
The
2015
Music
Ed
Cohort,
for
sticking
together
since
day
one
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 2
Table
of
Contents
Introduction
Project
Summary....4
Internship
Context.......................6
Rationale......6
Envisioning
the
Modern
Guitar
Classroom
Attitudes
Toward
School
Music:
A
Review
of
the
Literature...8
Informal
Learning
in
the
Guitar
Classroom.14
Project-Based
Learning
in
the
Guitar
Classroom.....16
Cultural
Responsiveness
(or
Not)
in
Music
Education.....19
The
Curriculum
Why
Go
Digital?.....24
Course
Summaries..25
The
Eisner
Model
of
Assessment...27
Case
Study:
Piloting
the
Facilitated
Informal
Learning
Method
Introduction....29
Methodology...30
Limitations...31
Student
Profiles....33
Findings:
Efficacy
of
the
Facilitated
Informal
Learning
Method....34
Findings:
Students
Self-Perceptions
and
Perceptions
of
the
Curriculum37
Conclusion
Applications
for
Practice.....41
Toward
Musical
Futures..44
References.....46
Appendices
Appendix
A:
Music
Questionnaires...49
Appendix
B:
Syllabus
for
Pilot
Study.......51
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 3
Introduction
I
am
a
creature
of
the
culture
that
I
create.
Brian
Sella
-
Swimming
Pools
Project
Summary
This year, three music education interns from the UConn Neag School of Education
worked
directly
with
the
Music
Department
at
E.O.
Smith
High
School
in
Storrs,
CT.
Having
completed
our
student
teaching
the
previous
spring,
we
had
the
opportunity
to
spend
an
entire
school
year
working
with
a
single
community
to
further
improve
our
teaching
skills
and
explore
particular
issues
within
education.
The
goal
of
the
fifth
year
internship
is
to
more
thoroughly
explore
non-classroom
issues
such
as
working
with
stakeholders,
immersing
in
the
local
community,
and
developing
large-scale
projects.
In
the
fall
semester,
the
E.O.
Smith
intern
team
collaborated
with
the
music
department
faculty
to
develop
a
mutually
beneficial
research
focus.
We
developed
the
following
research
question
that
would
guide
our
work
for
the
rest
of
the
year:
Research
question:
How
can
we
get
more
students
involved
in
the
E.O.
Smith
music
program?
At
present,
only
18%
of
E.O.
Smith
students
are
involved
in
the
music
program.
(We
define
involved
as
being
enrolled
in
a
music
class
and/or
participating
in
an
extracurricular
musical
activity
sponsored
by
the
music
department.)
The
music
department
faculty
are
highly
interested
in
exploring
strategies
to
increase
involvement
and
improve
students
musical
experience.
Although
we
initially
envisioned
completing
a
joint
report,
the
intern
team
decided
to
branch
off
into
specific
areas
of
interest
in
order
to
explore
those
areas
in
depth.
I
chose
to
focus
on
strengthening
the
general
music
program,
since
those
types
of
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 4
classes
have
the
most
potential
to
reach
students
that
are
not
interested
in
traditional
performing
ensembles.
I
spent
the
fall
semester
exploring
the
various
general
music
course
offerings
to
identify
areas
of
need.
Ultimately,
I
decided
to
put
my
educational
philosophy
to
work
and
develop
a
modernized
class
guitar
curriculum.
Inquiry
project:
Develop
a
culturally
responsive,
student-centered
guitar
curriculum.
Page 5
Internship
Context
E.O. Smith High School is a rural community of 1,173 students. It is a regional high
school
that
serves
grade
9-12
students
from
Mansfield,
Ashford,
and
Willington.
It
is
not
considered
a
diverse
school:
87%
of
students
are
white,
6%
are
Asian/Pacific
Islander,
4%
are
black,
and
2%
are
Hispanic/Latino.
Just
over
10%
of
students
are
eligible
for
free
or
reduced
lunch
compared
to
the
state
average
of
35%.
The
E.O.
Smith
community
is
primarily
affluent;
a
majority
of
students
are
the
children
of
professors
and
faculty
at
the
adjacent
UConn
Storrs
campus.
Curricular
performing
ensembles
at
E.O.
Smith
include
two
sections
each
of
string
orchestra,
concert
band,
and
SATB
choir.
For
general
music,
several
sections
of
guitar,
piano,
and
music
technology
are
offered.
Music
theory
is
offered
for
band
students
on
a
pullout
basis.
There
are
also
a
variety
of
extracurricular
music
clubs,
including
womens
and
mens
choirs,
jazz
band,
and
rock
and
roll
club.
The
E.O.
Smith
music
program
reflects
the
demographics
of
the
school
at
large.
As
previously
stated,
18%
of
students
at
E.O.
Smith
participate
in
the
music
program.
The
guitar
classes
alone
serve
a
mere
4%
of
the
population,
making
it
a
substantial
area
of
need.
Rationale
I deliberately chose to design a class built around guitar performance (as opposed to
using
guitars
as
a
vehicle
for
understanding
recording
technology
or
the
music
industry)
for
the
following
reasons:
1. Class
guitar
is
popular
in
many
schools,
so
the
likelihood
of
having
an
inventory
of
guitars
and
associated
equipment
(amps,
cables,
tuners,
etc.)
makes
my
curriculum
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 6
easily
adaptable.
My
intention
was
to
create
a
class
that
can
be
implemented
into
a
music
program
without
requiring
drastic
changes
or
purchases.
2. Similarly,
schools
are
less
likely
to
have
a
professional
recording
studio,
instruments
with
which
to
form
several
full
rock
bands,
or
other
facilities
needed
for
a
robust
music
technology
curriculum.
My
curriculum
does
offer
many
opportunities
for
technology
integration
if
those
facilities
are
available,
but
they
are
not
required
for
the
success
of
the
units.
3. A
performance-based
class
is
easily
acceptable
by
educators
who
teach
primarily
performance-based
classes.
Although
this
is
not
a
curriculum
for
a
guitar
ensemble,
it
is
more
accessible
than
trying
to
meet
the
same
objectives
with
music
technology
as
the
primary
vehicle.
I
deliberately
chose
to
present
the
curriculum
digitally
for
the
following
reasons:
1. The
curriculum
is
accessible
by
anyone
with
an
Internet
connection.
Students
can
preview
course
outlines
and
use
that
to
decide
whether
or
not
to
enroll,
instead
of
relying
on
the
short
blurb
typically
found
in
course
catalogues.
Stakeholders
(administrators,
colleagues,
parents,
researchers)
can
all
view
the
website
simultaneously
since
there
is
no
single
physical
copy.
2. Digital
documents
are
living
documents.
The
curriculum
can
be
constantly
updated
and
instantly
available
without
having
to
reprint
or
otherwise
alter
a
physical
artifact.
The
material
will
not
collect
dust
in
a
binder
underneath
other
binders
for
all
eternity.
Page 7
3. A
graphic
map
that
links
to
detailed
web
pages
is
attractive,
not
intimidating,
to
the
digital
natives
that
fill
our
classrooms.
Using
technology
to
go
beyond
engaging
with
lessons
and
actually
engaging
with
the
course
structure
itself
is
yet
another
way
to
include
students
in
decisions
that
affect
their
academic
lives.
Page 8
theory
compares
the
relationship
between
the
value
students
place
on
participating
in
an
activity,
and
self-perceptions
of
their
competence.
Lowe
facilitated
focus
groups
of
48
year
eight
(age
12-13)
students
in
Perth,
Australia.
He
found
that
the
majority
of
students
played
an
instrument
for
intrinsic
reasons,
such
as
the
ability
to
express
oneself
or
simply
because
music
making
is
fun.
However,
many
perceived
negative
aspects
of
instrumental
lessons
contributed
to
feelings
of
incompetence.
Repetitive,
technical
work
like
scales
and
etudes
were
seen
as
boring
due
to
their
difficulty
and
lack
of
immediate
musical
gratification.
This
created
situations
where
students
felt
embarrassed
or
incompetent
when
made
to
perform
in
front
of
their
teachers
and
peers.
According
to
the
expectancy-value
theory,
perceptions
of
low
competency
will
contribute
to
a
decrease
in
value
for
the
activity.
This
manifested
in
many
of
the
focus
group
students
choosing
not
to
do
instrumental
ensembles
in
high
school:
the
teachers
expectations
of
methodical
practice
divorced
from
musical
context
did
not
match
the
students
expectations
of
what
playing
an
instrument
should
be
like.
As
a
result,
the
students
felt
so
incompetent
that
they
would
rather
quit
than
continue
pursuing
an
instrument
they
used
to
love.
Further negative feelings toward school music are a result of the disconnect
between
the
music
students
engage
with
outside
of
school
and
the
content
of
their
music
classes
in
school.
In
my
own
teaching
experience,
I
have
met
many
young
people
who
self-
identify
as
nonmusical
despite
listening
to
music
for
hours
every
day.
The
issue
arises
when
they
see
what
the
school
defines
as
a
music
class:
instrumental
and
choral
ensembles
that
focus
on
performing
works
from
the
Western
art
music
canon.
If
this
is
real
music
then
surely
other
students
are
not
real
musicians
despite
their
voracious
consumption
of
music
every
day.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 9
Ruismaski & Tereska (2008) and Campbell (2007) wrote on the phenomenon of
primary
and
secondary
students
negativity
toward
school
music.
They
revealed
that
the
most
common
source
of
this
negativity
is
disengagement
due
to
the
disconnect
between
school
music
curricula
and
the
ways
students
engage
with
music
independently.
School
music,
particularly
the
large
ensemble
paradigm,
is
often
based
on
Western
music
principles
with
a
focus
on
rote
learning
and
performance
as
product.
By
contrast,
these
researchers
found
that
students
prefer
listening
to
popular
music,
engage
frequently
with
recording
software,
and
flourish
in
informal
learning
situations
such
as
garage
bands
and
jam
sessions.
Students
reported
that
they
highly
value
choice
in
what
music
they
engage
with
and
how,
further
amplifying
the
dichotomy
between
in-school
and
out-of-school
music;
the
typical
wind
band
experience
is
teacher-directed
from
literature
selection
to
rehearsal
procedures
to
the
final
performance.
Peter De Vries (2010) also examined the disparities between how students in one
Australian
primary
school
engage
with
music
inside
and
outside
of
school.
Through
surveys,
focus
group
interviews,
and
class
observations,
De
Vries
team
of
researchers
gathered
a
profile
on
the
preferences
of
86
Year
6
(age
12-13)
students
at
Happy
Valley
Primary
School.
This
research
is
unique
because
it
was
actually
requested
by
a
music
teacher
at
Happy
Valley.
She
felt
frustrated
after
years
of
disengagement
in
her
general
music
classes
and
developed
the
aim
of
the
study:
to
discover
the
musical
preferences
of
her
students
in
order
to
adjust
her
pedagogy
appropriately.
Her
experienced
difficulty
with
Year
6
students
is
supported
by
previous
research:
Ruismaski
&
Tereska
(2008)
and
Bowles
(1998)
wrote
on
the
phenomenon
of
upper
primary
students
negativity
toward
school
music.
De
Vries
reached
a
similar
conclusion:
disengagement
is
due
to
a
disconnect
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 10
between
school
music
curricula
and
the
ways
students
engage
with
music
independently.
Although
this
study
is
limited
in
its
scope,
it
contributes
to
the
increasing
body
of
support
for
K-12
school
music
reform.
A
similar
study
by
Kelly-McHale
(2013)
examined
the
correlation
between
one
elementary
music
teachers
curricular
beliefs
and
her
students
musical
expression
and
identities.
The
researchers
observed
four
students
and
one
music
teacher
in
a
Midwestern
suburban
school.
The
teacher
believed
that
if
her
students
became
notationally
literate,
they
would
develop
deeper
musical
skills
and
see
themselves
as
musicians.
Her
curricular
practices
focused
on
developing
music
notation
literacy;
she
taught
mostly
American
folk
songs
and
dances
using
solfege
syllables,
Kodaly
hand
signs,
rhythm
syllables,
and
stick
notation.
The
teacher
also
frequently
discussed
the
importance
of
notation
literacy
and
how
it
would
help
her
students
participate
more
deeply
in
musical
activities
outside
of
school.
However,
interviews
with
the
students
revealed
that
they
found
their
musical
identity
isolating.
The
students
did
not
see
their
classroom
activities
as
transferrable
to
other
venues.
This
outcome
is
supported
by
further
research
(Carlow,
2006).
Additionally,
it
is
highly
important
to
note
that
the
four
students
studied
were
first
or
second
generation
Mexican
immigrants.
Rather
than
utilizing
this
diversity
to
choose
culturally
responsive
teaching
materials
and
enhance
the
perspectives
of
all
students,
the
teacher
only
taught
American
music
supported
by
Western
principles.
Culturally
responsive
teaching
is
a
hot
topic
in
all
subject
areas,
but
the
arts
have
a
particular
duty
and
opportunity
to
engage
and
embrace
it.
By
definition,
the
study
of
art
is
the
study
of
culture.
When
teachers
take
the
opportunity
to
connect
school
and
home
life,
their
students
will
be
better
equipped
to
see
how
classroom
skills
can
be
transferred.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 11
There
are
some
indications
that
secondary
music
teachers
may
have
to
deal
with
unique
stressors
that
impact
their
performance.
In
2010,
Robert
Gardner
conducted
a
survey
of
128,479
K-12
teachers
in
the
United
States,
including
1,903
music
teachers,
in
an
attempt
to
create
a
profile
of
the
typical
teacher.
The
researchers
found
that
music
teachers,
especially
at
the
secondary
level,
are
more
likely
to
hold
part-time
jobs
and
teach
in
multiple
buildings
within
a
district.
They
also
felt
underprepared
to
support
students
with
special
needs,
especially
in
large
ensemble
classes
where
their
attention
is
already
spread
thin
across
40
or
more
students
holding
noise-making
devices.
Not
surprisingly,
the
secondary
music
teachers
reported
lower
job
satisfaction
compared
to
their
elementary
counterparts.
In
fact,
female
elementary
school
music
teachers
were
the
most
satisfied
with
their
work
environment
compared
to
all
teachers.
The
authors
speculate
that
this
is
due
to
the
collaborative
environment
of
being
on
a
specials
team,
and
having
a
work
environment
similar
classroom
to
teachers.
Is
it
unreasonable
to
expect
secondary
music
educators
to
constantly
innovate
while
immersed
in
what
they
perceive
as
a
more
stressful
work
environments?
Not
necessarily,
but
Gardners
research
indicates
that
it
may
not
just
be
sheer
laziness
that
keeps
many
music
programs
stagnant.
It is easy to see some of the problems within music education when students
perspectives
are
compared
to
teachers.
The
studies
by
De
Vries
(2010)
and
Kelly-McHale
(2013)
demonstrate
that
students
greatly
prefer
autonomy
in
the
music
classroom.
It
has
been
shown
time
and
time
again
that
when
students
are
given
ownership
of
class
rules
and
procedures,
they
are
more
likely
to
approve
of
and
abide
by
them.
Why
cant
the
same
be
said
about
an
ownership-based
approach
to
content?
This
allows
teachers
to
use
their
expertise
to
facilitate
robust
learning
experiences
while
at
the
same
time
ensuring
the
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 12
students
remain
passionately
engaged.
Unfortunately,
many
music
educators
are
bound
to
tradition.
For
example,
even
in
general
music
classrooms
it
is
common
for
teachers
to
choose
literature
that
they
personally
enjoy.
For
instance,
a
classical
guitar
etude
can
be
said
to
be
the
best
way
to
learn
how
to
tremolo
pick.
My
cursory
Internet
search
for
the
phrase
songs
with
tremolo
picking
found
hundreds
of
classic
rock
and
metal
songs
that
utilize
the
technique.
Offering
several
song
selections
for
the
tremolo
picking
lesson
will
get
students
excited
about
the
repertoire
instead
of
bored
by
the
technique.
This
is
just
one
of
many
ways
to
incorporate
student
choice
in
lesson
planning
and
engage
with
several
musical
cultures
and
traditions
in
a
single
class.
A
2004
study
by
Hal
Abeles
showed
that
early
exposure
to
classical
music
breeds
a
favorable
attitude
that
can
last
for
years.
This
makes
the
solution
seem
simple:
beginning
instrumental
music
in
the
lower
elementary
grades
will
snowball
into
well-populated
middle
and
high
school
programs.
After
all,
there
are
many
teachers
like
the
woman
at
Happy
Valley
Primary
School
who
are
passionate
about
getting
kids
to
show
off
their
Kodaly
hand
signs
while
they
sing
folk
tunes.
By
all
accounts,
early
intervention
should
make
our
students
more
excited
for
the
advanced
study
of
Western
classical
music.
However,
I
believe
that
intensifying
the
traditional
approach
is
not
the
way
to
reform
music
education;
it
will
only
serve
to
further
mask
negative
trends
by
holding
a
magnifying
glass
up
to
its
positive
attributes.
This
changes
nothing
and
is
ultimately
a
disservice
to
our
students.
In
my
curriculum
I
propose
an
entirely
new
approach
to
both
choosing
the
content
as
well
as
choosing
the
strategies
with
which
to
teach
it.
So-called
emergent
ensembles,
that
is,
rock
bands,
music
technology
workshops,
mariachi
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 13
groups,
and
so
forth
are
successful
because
they
give
students
an
opportunity
to
delve
deeply
into
activities
that
they
may
already
be
pursuing
in
their
community.
Envision
the
legions
of
young
people
who
congregate
in
basements
and
garages
across
America.
They
dedicate
their
afternoons
and
weekends
to
becoming
the
next
Nirvana
or
Lady
Gaga,
or
at
least
to
blow
off
steam
and
annoy
their
parents.
This
widespread
cultural
phenomenon
is
often
brushed
off
by
formal
educators
who
believe
schools
should
not
be
responsible
for
teaching
the
vernacular.
(Newman,
1971;
Caswell
&
Smith,
2000;
Woody,
2007)
In
response,
imagine
the
power
of
turning
this
hobby
into
a
true
curriculum,
backed
by
research,
sequenced
appropriately,
and
funded
generously.
Teachers
will
be
trained
in
methods
of
informal
pedagogy
so
they
can
most
effectively
support
their
students
musical
growth.
Assessments
will
be
built
around
open-ended
projects
that
demand
creativity
and
internal
motivation.
How
much
more
can
students
achieve
with
a
teacher
whose
role
is
to
facilitate,
not
dictate?
A major pitfall of many guitar curricula is not the content itself, but the discrepancy
between
what
is
taught
and
how
it
is
taught.
As
examined
in
the
literature
review,
music
education
does
not
always
offer
students
the
experiences
they
expect
or
want.
If
education
is
to
reflect
life
itself,
(or,
on
a
more
contemporary
note,
prepare
students
for
the
real
world),
then
there
must
be
a
crossover
of
social
context
between
in-school
and
out-of-
school
musical
experiences.
In
rock
musics
case,
that
social
context
relies
heavily
on
informal
learning.
Many
researchers
have
written
on
the
importance
of
informal
social
contexts
in
learning
popular
music.
David
Cope
(2002)
conducted
interviews
with
six
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 14
Scottish
musicians,
all
of
whom
were
primarily
self-taught
and
participated
in
community
music
making
events
called
sessions.
From
the
interviews,
Cope
concluded
the
following:
Informal
learning
may
provide
a
key
to
increasing
the
accessibility
of
participation
in
playing
of
musical
instruments.
Although
such
learning
is
not
a
common
feature
of
academic
subjects,
where
it
does
take
place
context
plays
a
vital
role.The
formality
and
precision
of
classical
music
mean
that
the
likelihood
of
success
from
a
basis
of
self-tuition
and
informal
learning
is
slim.
But,
informal
learning
is
not
uncommon
in
traditional
music,
popular
music
and
jazz.
So,
for
some
forms
of
music,
at
least,
the
provision
of
tuition
which
is
often
seen
as
a
huge
resource
barrier
to
increasing
participation,
may
not
be
as
central
as
the
support
of
social
contexts
where
learning
can
take
place.
(emphasis
added)
(p.
102)
Cope
importantly
notes
that
the
nature
of
music
learning
is
inherently
different
from
other
academic
subjects,
and
as
a
result,
music
learning
environments
do
not
necessarily
have
to
look
like
academic
learning
environments.
Informal
learning
can
be
seen
as
a
constructivist
concept,
since
constructivism
in
education
encourages
learners
to
arrive
at
their
own
version
of
the
truth,
and
that
the
individual
complexities
of
each
learners
sociocultural
experiences
are
rewarded
(Wertsch,
1997).
Other
research
corroborates
Copes
findings
(Allsup,
2003;
Green,
2006;
Rusinek,
2008;
Tobias,
2015).
Formal
education
can
and
should
mirror
the
real-life
traditions
of
the
musical
culture
being
studied,
which
can
more
often
than
not
leads
to
individualized,
student-constructed
experiences.
In
How
popular
musicians
learn,
Lucy
Green
(2001)
observed
and
codified
the
most
common
informal
methods
that
rock
musicians
use
to
learn
their
craft.
In
particular,
she
noted
musicians
tendency
to
acquire
skills
and
knowledges
on
an
as-needed
basis
without
relying
on
an
instructional
sequence.
This
is
the
greatest
difference
between
formal
and
informal
methods
of
music
education;
where
a
didactic
curriculum
might
sequence
knowledge
in
what
is
believed
to
be
the
most
logical,
effective
manner,
informal
musicians
Page 15
learn
whatever
skills
they
lack
to
complete
the
task
at
hand.
While
this
may
go
against
the
norms
established
by
teacher
education
programs
and
teaching
culture
as
a
whole,
Green
found
that
the
popular
musicians
did
not
perceive
themselves
to
be
held
back
by
their
abilities.
A
majority
of
the
musicians
felt
that
creating
positive
interpersonal
relationships
and
achieving
the
ineffable
feel
of
the
music
was
more
important
to
their
experience
than
having
a
particular
set
of
technical
skills
(Green,
2001).
Informal
learning
is
what
happens
when
musicians
engage
with
music
on
their
own
terms.
However,
it
would
not
be
appropriate
for
a
teacher
to
leave
their
students
to
their
own
devices
100%
of
the
time.
How
can
music
educators
set
up
a
democratic
learning
space
that
values
student
agency
while
still
ensuring
quality
learning?
I
believe
the
term
facilitated
informal
learning
describes
the
ideal
scenario
for
the
practice
of
my
curriculum.
In
a
facilitated
informal
learning
situation,
students
receive
guidance
from
the
instructor
while
engaging
in
independent
or
collaborative
work.
The
instructor
is
at
times
a
mentor,
model,
peer,
and
additional
resource.
When
used
thoughtfully,
facilitation
serves
to
enhance,
not
detract
from,
the
authentic
musical
experiences
described
by
Green
(2001),
Cope
(2002),
and
others.
The
case
study
described
later
in
the
report
offers
a
snapshot
of
what
facilitated
informal
learning
can
look
like
in
the
guitar
classroom.
Page 16
allowing
and
expecting
groups
to
work
autonomously
instead
of
following
a
lesson
plan.
Assessment
normally
occurs
through
presentations
of
a
final
authentic
product
(Jones,
Rasmussen,
&
Moffitt,
1997;
Thomas,
Mergendoller,
&
Michaelson,
1999).
Thomas
(2000)
describes
five
criteria
for
successful
PBL
(emphasis
added):
1. Projects
are
central,
not
peripheral
to
the
curriculum.
2. Projects
are
focused
on
questions
or
problems
that
"drive"
students
to
encounter
(and
struggle
with)
the
central
concepts
and
principles
of
a
discipline.
3. Projects
involve
students
in
a
constructive
investigation.
4. Projects
are
student-driven
to
some
significant
degree.
5. Projects
are
realistic,
not
school-like.
(p.
3-4)
In
other
words,
PBL
activities
must
be
authentic
and
significant
in
order
to
be
successful.
They
do
not
simply
synthesize
concepts
students
have
already
learned
(as
in
a
project-
based
assessment),
but
require
students
to
construct
new
knowledges
and
skills
in
order
to
complete
the
inquiry.
PBL
is
the
best
modern
expression
of
John
Deweys
call
for
students
to
engage
in
learning
by
doing.
Several studies have measured the efficacy of PBL on comprehension and retention
of
subject
material.
Gallagher
(1992)
devised
a
problem-based
math
and
science
course
for
high
school
seniors.
Stepien
(1993)
did
similar
research
with
high
school
students
using
problems
that
introduced
ethical
issues
to
science
and
history
curricula.
In
each
study,
the
experimental
groups
engaged
in
PBL
while
the
control
groups
did
not.
Both
Gallagher
and
Stepien
found
that
their
experimental
groups
performed
better
on
the
posttest
than
non-
PBL
students
who
had
been
taught
the
same
material.
A
longitudinal
study
by
Boaler
(1997)
found
that
Gallagher
and
Stepiens
conclusions
held
up
over
time.
Boaler
followed
Page 17
300
British
mathematics
students
over
a
three-year
period.
Half
the
students
attended
a
traditional
school
that
employed
teacher-directed,
didactic
methods
of
instruction.
The
remaining
students
attended
a
project-based
school
that
revolved
around
working
on
open-ended
projects
with
little
use
of
textbooks
or
written
assessments.
Boaler
found
that
significantly
more
students
from
the
PBL
school
passed
the
national
mathematics
examination
when
compared
to
students
from
the
traditional
school,
and
in
fact,
three
times
as
many
PBL
students
attained
the
highest
possible
grade
on
the
exam.
independence
and
motivation
from
students.
How
does
PBL
affect
the
learning
outcomes
of
students
who
are
not
already
high
achievers?
In
1995,
researchers
Bartscher,
Gould,
&
Nutter
surveyed
third,
fifth,
and
tenth
grade
students
who
had
taken
part
in
project
work.
82%
of
the
students
agreed
that
the
projects
motivated
them
to
work
harder,
and
93%
indicated
increased
interest
in
the
subject
matter.
The
following
year,
Horan,
Lavaroni,
&
Beldon
(1996)
compared
the
behavior
of
high
ability
to
low
ability
PBL
students.
The
researchers
observed
five
critical
thinking
behaviors
(synthesizing,
forecasting,
producing,
evaluating,
and
reflecting)
and
five
social
participation
behaviors
(working
together,
initiating,
managing,
inter-group
awareness,
and
inter-group
initiating).
Unsurprisingly,
high-ability
students
engaged
in
both
the
critical
thinking
and
social
participation
more
frequently
than
the
low-ability
students.
It
was
observed,
however,
that
during
the
course
of
the
study
the
lower
ability
students
achieved
the
greatest
gains
in
critical
thinking
and
social
participation
behaviors;
those
students
saw
a
remarkable
increase
of
446%
compared
to
an
increase
of
76%
for
the
high-ability
students.
Page 18
Page 19
Page 20
to
better
understand
their
favorite
genres.
They
become
frustrated
to
learn
that
the
course
will
only
cover
the
baroque,
classical,
and
romantic
periods
of
Western
music.
4. A
group
of
students
use
their
free
period
to
set
up
for
jazz
band
rehearsal.
They
use
some
of
the
equipmentguitar,
keyboards,
and
the
drumsetto
practice
indie
rock
songs
they
have
written
outside
of
school.
The
music
teacher
tells
the
students
not
to
touch
the
equipment
before
rehearsal
begins,
and
instructs
them
to
fool
around
on
your
own
time.
I believe these scenarios will arouse different responses from each reader
depending
on
their
exposure
to
diverse
methods
of
instruction.
Some
may
read
these
as
correct
decisions
by
the
music
teacher:
Students
must
be
directed
toward
the
most
appropriate
music
for
study;
the
band
director
is
a
highly
successful
musician-educator;
the
students
need
to
learn
how
to
appreciate
music
of
high
cultural
value;
the
teacher
must
protect
expensive
equipment
from
unruly
children.
But
in
the
context
of
cultural
responsiveness,
each
scenario
is
suddenly
cast
in
a
negative
light:
The
orchestra
director
is
stifling
his
students
passion
for
quartet
playing;
the
band
director
does
not
value
student
input;
the
music
appreciation
class
is
not
sensitive
to
students
backgrounds;
the
teacher
is
suppressing
his
most
creative
and
motivated
students.
school?
Who
decides?
Should
schools
teach
the
vernacular?
Students
are
not
trained
educational
professionals,
so
should
they
have
a
voice
in
this
conversation?
Recall
the
student
attitude
study
by
Kelly-McHale
(2013).
The
elementary
school
teachers
curricular
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 21
goal
was
for
students
to
use
Kodaly
hand
signs.
She
chose
to
teach
that
concept
through
literature
reflecting
her
own
lived
white,
American,
female
experience.
The
majority
of
her
students
were
of
Mexican
descent
and
struggled
to
relate
American
folk
tunes
to
the
music
they
engaged
with
at
home.
As
a
result,
they
felt
no
connection
to
the
material
and
did
not
understand
why
they
were
being
made
to
learn
it.
The
same
thing
happens
time
and
time
again
in
teacher-directed
environments
to
the
detriment
of
student
engagement.
Here
are
the
original
four
scenarios
with
different
results:
1. A
high
school
orchestra
begins
a
chamber
music
unit.
The
director
meets
with
each
chamber
group
to
assign
literature.
A
violinist
mentions
that
one
of
her
all-time
favorite
pieces
is
an
arrangement
of
A
Night
In
Tunisia
by
the
Turtle
Island
String
Quartet.
The
director
responds
that
jazz
has
its
own
language,
but
is
similar
to
classical
chamber
music
because
it
requires
excellent
communication
between
musicians.
Inspired
by
the
violinist,
the
director
includes
a
mini
lesson
on
jazz
so
students
can
compare
and
contrast
the
performance
traditions
and
see
how
musical
skills
transfer
across
genres.
2. A
band
director
devotes
an
hour
each
night
to
score
study
and
meticulously
counts
students
votes
for
which
pieces
they
want
to
learn.
He
frequently
includes
the
ensemble
in
artistic
decision
making
and
works
hard
to
teach
his
students
the
technical
skills
that
will
help
realize
their
shared
vision.
He
programs
only
the
highest
quality
repertoire
of
a
variety
of
genres
to
ensure
the
students
are
always
motivated
to
make
music.
3. A
group
of
friends
enroll
in
a
music
appreciation
class.
None
of
them
have
ever
played
an
instrument
so
they
are
excited
to
find
a
music
class
that
doesnt
require
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 22
prior
experience.
The
students
are
avid
fans
of
pop
culture
and
are
eager
to
better
understand
their
favorite
genres.
The
instructor
polls
the
class
on
their
musical
backgrounds
and
interests
in
order
to
design
lessons
that
meet
the
needs
of
that
particular
group.
4. A
group
of
students
use
their
free
period
to
set
up
for
jazz
band
rehearsal.
They
use
some
of
the
equipmentguitar,
keyboards,
and
the
drumsetto
practice
indie
rock
songs
they
have
written
outside
of
school.
The
music
teacher
has
never
seen
those
students
so
focused
on
making
music,
so
he
asks
them
about
their
backgrounds
and
interests.
The
jazz
band
performs
an
arrangement
of
Paranoid
Android
by
Radiohead
at
the
next
concert.
John
Dewey
(1897)
wrote,
I
believe
that
education
which
does
not
occur
through
forms
of
life,
or
that
are
worth
living
for
their
own
sake,
is
always
a
poor
substitute
for
the
genuine
reality
and
tends
to
cramp
and
to
deaden.
(p.
77)
Research
shows
that
many
young
people
have
felt
cramped
and
deadened
by
school
music
experiences
that
have
little
connection
to
their
usual
engagement
with
music.
When
the
increasing
diversity
of
American
schools
is
combined
with
the
increasing
standardization
of
learning
experiences,
students
are
likelier
than
ever
to
believe
their
perspective
is
absent
from
the
classroom.
Our
music
programs
should,
as
Evan
Tobias
(2013)
suggests,
help
students
engage
with
music
in
contemporary
society
(p.
29)
as
well
as
strive
to
promote
student
agency
so
they
can
become
independent
thinkers.
Music
education
must
admit
that
the
cultural
vernacular
is
contemporary
society,
and
as
such,
there
is
a
responsibility
to
appropriately
facilitate
students
engagement
with
it.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 23
The
Curriculum
Why
Go
Digital?
A
major
component
of
this
project
was
the
generation
of
a
digital
presentation
of
the
curriculum
materials.
This
is
because
transparency
and
collaboration
are
hugely
important
to
my
educational
philosophy.
As
a
musician,
I
have
always
embraced
collaboration
as
a
means
to
improve
my
own
skills
and
give
back
to
the
musical
communities
that
have
supported
me.
This
experience
has
made
its
way
into
my
general
educational
philosophy;
I
certainly
did
not
complete
this
project
without
help,
and
my
hope
is
that
the
combined
efforts
of
my
professors,
colleagues,
friends,
students,
and
myself
can
be
paid
forward
to
create
outstanding
educational
experiences
for
others.
The
curriculum
website,
www.millanmodernguitar.weebly.com,
contains
the
following
information:
1. Descriptions
of
each
curriculum
unit
2. Visual
maps
connecting
Guitar
1
and
2,
and
their
respective
units
3. A
brief
description
of
the
curricular
method
4. A
more
detailed
rationale
with
research
citations
and
inquiry
highlights
5. Links
to
additional
music
education
resources
6. A
contact
page
Even
though
I
put
a
years
worth
of
full-time
work
into
this
project,
I
realize
that
the
curriculum
is
very
much
a
blank
slate.
It
has
not
seen
a
full
field
test
and
I
can
only
rely
on
my
own
research
and
educational
ideals
to
defend
the
methodology
and
sequencing
of
materials.
By
posting
the
curriculum
publicly,
every
single
aspect
is
free
to
be
viewed
or
altered
by
others.
I
do
not
believe
in
scripted,
one-size-fits-all
teaching.
If
I
get
to
properly
implement
this
curriculum
someday,
I
fully
expect
that
I
will
make
many
more
changes.
I
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 24
hope
that
other
teachers
feel
inspired
to
do
the
same.
A
digital
presentation
ensures
that
my
materials
are
easily
shared,
debated,
and
improved
to
work
toward
the
common
goal
of
improving
students
educational
experiences.
Course
Summaries
Guitar 1 and 2 are comprised of four project-based units each. Each curriculum unit
knowledge
of
rock
musics
history.
By
the
simple
action
of
choosing
to
play
the
guitar,
students
become
situated
in
the
instruments
rich
sociocultural
context.
The
Rock
History
units
aim
to
familiarize
students
with
the
past
and
present
states
of
the
genre
through
the
study
of
important
figures
and
events.
Even
though
this
curriculum
is
primarily
performance-based,
a
well-rounded
music
education
must
ensure
that
students
become
proficient
consumers
and
critics
as
well.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 25
The Rock History and Genre Study unit projects are listed as Student Choice due to
the
myriad
appropriate
ways
students
may
acquire
and
demonstrate
content
knowledge
during
those
units.
Rock
History
1
and
2
are
designed
to
prepare
students
for
the
Genre
Study,
which
mimics
the
Rock
History
model
but
requires
a
more
self-directed
exploration
of
the
students
preferred
rock
subgenre.
Rock
History
can
be
considered
a
broad
exploration
of
many
interconnected
cultural
traditions,
while
the
Genre
Study
is
a
deep
exploration
of
a
single
tradition.
The
curriculum
website
(www.millanmodernguitar.weebly.com)
describes
potential
projects
that
students
might
complete
during
those
units.
Driving Question
Unit Project
Unit 1: Fundamentals
(Student choice)
Unit 3: Improvisation
Unit 4: Songwriting 1
Guitar 2
Driving Question
Unit Project
(Student choice)
(Student choice)
Unit 3: Songwriting 2
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 26
formative
assessment
is
the
teachers
major
responsibility.
A
productive
music
class
often
looks
more
like
barely-controlled
chaos
than
the
trope
of
students
obediently
taking
notes.
After
all,
the
skills
needed
to
create,
interpret,
and
perform
music
require
more
than
rote
memorization
of
concepts.
The
fact
that
my
curriculum
revolves
around
informal
learning,
project-based
learning,
and,
above
all,
the
individuals
relationship
with
art,
means
that
I
had
to
look
outside
the
box
to
find
the
most
appropriate
assessment
system.
My
research
into
arts
assessment
led
me
to
the
Eisner
model
of
assessment.
Elliot Eisner (1933-2014) was professor of art and art education at Stanford
University
for
several
decades.
He
was
a
leading
figure
in
the
fields
of
arts
education,
curriculum
reform,
and
educational
policy
reform.
Eisner
published
often,
but
his
2002
book
The
arts
and
the
creation
of
mind
is
most
often
cited
for
its
insight
into
how
and
why
the
arts
should
be
seen
as
a
necessary
part
of
the
educational
system.
In
his
review
of
The
arts
and
the
creation
of
mind,
James
Rolling
(2006)
summarizes
Eisners
(and
his
own)
view
of
quality
assessment
of
art:
Authentic
assessment
is
repetitive;
like
any
good
mining
operation,
it
revisits
the
shaft
and
extends
it
as
it
follows
after
veins
of
possible
meaning.
Authentic
assessment
does
not
seek
to
quantify;
it
will
move
a
mountain
of
rubble
and
drain
a
bucket
of
sweat
for
the
small
diamond
it
values.
Authentic
assessment
allows
the
miner
to
set
their
value,
seek
their
bounty,
stake
their
claim
and
then
return
their
acquisition
to
open
market.
Authentic
assessment
is
self-directed
and
privately
owned.
What
have
I
learned
today?
What
is
my
evidence?
(p.
12)
Eisner
notes
three
domains
of
student
artwork
that
commend
themselves
to
authentic
assessment:
the
technical
quality
of
the
work,
its
inventive
use
of
an
idea
or
process,
and
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 27
the
works
expressive
power
and/or
aesthetic
quality
(2002,
n.p.).
Together,
these
ideas
form
what
is
colloquially
known
as
the
Eisner
Triangle:
According to this model, a highly successful piece of artwork will form an equilateral
triangle;
that
is,
it
is
equal
parts
technically
proficient,
inventive,
and
expressive.
Many
typical
art
assessment
schemes
focus
on
how
well
the
student
executes
the
technical
objective
of
the
work.
While
technical
growth
is
an
important
facet
of
artistic
growth,
the
Eisner
Triangle
demonstrates
the
reality
that
all
parts
of
the
artistic
process
must
be
viewed
in
context
to
get
a
clear
picture
of
the
students
progress.
Some
may
fear
the
implications
of
grading
someones
personal
expression
through
art;
Eisner
asserts
that
innovation
and
expression
can
still
be
assessed,
though
on
a
more
subjective
basis
than
technical
proficiency.
This
requires
expertise
and
sensitivity
on
the
teachers
part.
In
the
concluding
section
of
this
report,
I
discuss
the
potential
for
applying
the
Eisner
model
to
my
guitar
curriculum.
Due
to
time
constraints
I
was
not
able
to
meaningfully
test
it
during
the
pilot
study.
Nevertheless,
I
believe
Eisners
theories
are
worth
further
study
based
on
the
rigor
with
which
Eisner
and
other
arts
education
researchers
are
able
to
defend
them.
Page 28
Page 29
3. How
might
the
Eisner
model
of
assessment
be
adapted
to
monitor
students
artistic
progress
in
a
guitar
class?
Technical
skill,
creativity,
and
expressive
power
are
important
qualities
to
consider
when
assessing
artistic
products.
Since
the
assessment
model
was
developed
for
visual
art,
how
can
I
adapt
the
parameters
to
most
appropriately
serve
a
guitar
class?
What
target
student
behaviors
fall
under
each
of
the
parameters,
and
to
what
degree
should
they
be
expected
to
appear
throughout
the
course
of
the
study?
4. How
do
students
perceive
the
curriculum?
The
ultimate
goal
of
this
study
is
to
improve
the
curricular
method
of
facilitated
informal
learning.
The
students
opinions
are
valuable
to
me
because
I
want
to
make
sure
that
I
make
appropriate
compromises
to
meet
their
individual
needs.
To
document
students
changing
perceptions
of
the
curriculum,
the
last
ten
minutes
of
each
class
session
will
be
devoted
to
reflective
journaling.
I
will
also
conduct
formal
interviews
at
key
transition
points
to
make
appropriate
adjustments
to
the
method.
Methodology
To
study
these
questions,
I
collected
data
by
observing
and
delivering
lessons
to
two
high
school
students
(aged
14-15,
one
male
and
one
female)
in
my
experimental
guitar
class,
as
well
as
conducting
private
interviews,
from
early
March
2015
to
early
April
2015.
Within
the
study
I
found
that
student
perceptions
of
the
curriculum
were
the
easiest
data
to
gather,
and
the
limited
time
prevented
any
meaningful
work
with
the
Eisner
assessment
model.
The
most
useful
information
came
from
comparing
the
students
self-perceptions
of
their
musicality
to
my
evaluations
of
their
behavior
and
abilities.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 30
The
study
comprised
seventeen
class
sessions
lasting
approximately
fifty
minutes
each.
The
group
met
each
Monday,
Tuesday,
and
Wednesday,
with
substantial
long
weekend
assignments
to
maximize
productive
use
of
the
off
days.
Students
had
access
to
online
curriculum
materials
to
guide
their
home
work.
As
a
tenet
of
the
facilitated
informal
learning
model,
the
majority
of
each
class
period
was
devoted
to
independent
guitar
practice.
The
most
common
class
period
structure
included
an
introduction
of
the
days
objectives,
a
demonstration
of
new
skills
when
appropriate,
and
independent
practice
facilitated
by
my
occasional
participation.
The
majority
of
class
meetings
ended
with
a
ten-
minute
reflective
session
during
which
students
journaled
on
a
topic
related
to
recent
activities.
I
conducted
three
formal
interviews:
on
the
first
day
of
the
study,
approximately
halfway
through
the
study,
and
on
the
last
day
of
the
study.
I
documented
these
interviews
and
my
informal
observations
by
making
typed
field
notes
and
audio
recordings
(Emerson,
Fretz,
&
Shaw,
1995).
I
also
reviewed
the
participants
journal
responses
after
the
conclusion
of
the
study.
Limitations
Time was the most substantial limitation of the study. Making the most of my
remaining
internship
hours,
I
was
able
to
plan
seventeen
meeting
days
over
the
course
of
approximately
one
month.
Since
both
students
had
little
to
no
prior
experience
playing
the
guitar,
it
was
impossible
for
them
to
acquire
the
technical
skills
required
to
progress
through
several
curriculum
units
in
the
given
time
frame.
As
a
result,
I
could
not
test
the
efficacy
of
many
of
the
project-based
learning
experiences
I
had
devised
and
had
to
instead
Page 31
focus
on
the
general
impact
that
the
facilitated
informal
learning
method
has
on
instrumental
practice.
With only two students participating, opportunities for collaboration and peer
learning
were
severely
limited.
I
attempted
to
assuage
this
by
participating
in
many
of
the
activities,
including
my
own
independent
practice
sessions,
and
facilitating
jam
sessions,
discussions,
and
other
collaborative
events.
I
initially
hoped
to
make
more
discoveries
related
to
the
social
learning
of
music,
but
collaborative
opportunities
were
limited
by
the
students
needing
frequent
independent
practice.
I
found
that
the
fundamental
guitar
techniques
needed
for
success
were
best
learned
in
isolation,
hence
devoting
most
of
our
meeting
times
to
independent
practice.
The
makeup
of
the
group
did
have
some
benefits,
though;
the
male
student,
David,
had
no
significant
prior
music
education.
By
contrast,
Julie
has
studied
classical
piano
and
voice
at
an
advanced
level
for
many
years
and
is
described
by
her
teachers
as
hyper-musical
and
creatively
driven.
This
allowed
me
to
study
the
effects
of
creating
a
mixed-ability
classroom.
During
group
activities
I
tried
to
emphasize
David
and
Julies
common
threadtheir
newness
to
the
guitarrather
than
play
up
the
discrepancies
in
their
overall
musical
knowledge
so
as
not
to
intimidate
David
or
bore
Julie.
Finally, as a result of the above complications, the Eisner model of assessment was
not
meaningfully
studied.
Students
were
introduced
to
the
Eisner
Triangle
on
the
first
day
of
the
study
and
revisited
the
concept
during
the
final
days.
But
formal
Eisner
assessment
did
not
occur
on
a
regular
basis
since
both
students
were
preoccupied
with
learning
fundamental
guitar
techniques
for
the
duration
of
the
study.
It
would
not
have
been
appropriate
to
assess
their
ability
to
create
and
interpret
art
without
first
ensuring
they
Page 32
had
the
skill
set
to
do
so.
Further
thoughts
on
testing
the
Eisner
model
can
be
found
in
the
Applications
for
Practice
section
of
this
report.
Student
Profiles
David
is
a
male
freshman
aged
14.
He
enjoys
rock
bands
from
the
60s
and
70s
such
as
Led
Zeppelin,
The
Rolling
Stones,
and
Pink
Floyd,
often
wearing
a
t-shirt
representing
one
of
those
groups.
His
previous
guitar
experience
includes
improvising
by
ear
(known
as
noodling)
along
to
his
favorite
songs.
Davids
prior
formal
music
experience
is
limited
to
rudimentary
fluency
with
standard
notation,
a
relic
from
his
required
general
music
days
in
elementary
and
middle
school.
David
received
a
guitar
for
Christmas
and
was
interested
in
joining
E.O.
Smiths
extracurricular
rock
and
roll
club.
The
music
department
head
spoke
to
Davids
guidance
counselor
about
participating
in
my
study
and
she
agreed
it
would
be
a
beneficial
first
experience
for
him.
David
expressed
excitement
about
learning
to
play
the
guitar
via
experimental
methods
and
retained
that
positive
attitude
throughout
the
study.
Julie
is
a
female
freshman
aged
15
with
extensive
musical
experience.
She
is
a
classically
trained
pianist,
sings
in
the
choir,
and
plays
saxophone
in
the
concert
band.
She
also
enjoys
studying
music
theory
and
has
mastered
theory
content
beyond
the
grade-level
average.
In
the
fall
semester
I
was
responsible
for
Julies
pullout
saxophone
lessons
but
it
was
quickly
determined
that
she
did
not
need
the
extra
help.
When
considering
an
alternate
use
for
that
time,
Julie
remarked
that
she
had
always
wanted
to
learn
how
to
play
guitar.
We
had
a
handful
of
introductory
lessons
but
unanticipated
schedule
conflicts
prevented
further
meetings.
When
I
approached
Julie
about
participating
in
the
study,
she
expressed
excitement
and
gratitude
for
the
chance
to
continue
working
with
me.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 33
Page 34
skills
needed
to
learn
a
cover
song,
isolated
technical
exercises
are
introduced
based
on
students
needs
rather
than
as
prescribed
assignments.
I
did
requite
both
students
to
learn
the
open
G,
C,
and
D
major
chords
and
the
G
pentatonic
scale
in
order
to
play
a
12
bar
blues
progression
in
G.
However,
aside
from
regulating
their
home
practice
routines,
that
was
the
only
task
I
assigned
without
input
from
the
group.
We
did
not
perform
any
rhythmical
exercises
but
I
did
emphasize
ear
training
in
order
to
develop
rhythmic
accuracy
during
practice
and
performance.
David
had
no
guitar
experience
prior
to
participating
in
the
study.
Over
the
course
of
one
month,
he
was
able
to
play
along
to
a
recording
of
Sunshine
of
Your
Love
by
Cream.
This
involved
performing
the
main
riff,
power
chords,
and
taking
an
improvised
solo.
We
also
did
mini-lessons
including
an
introduction
to
the
12
bar
blues
progression
and
soloing
in
G
and
D
pentatonic.
Davids
rhythmic
feel
improved
dramatically
over
the
course
of
the
study.
He
is
also
developing
an
ear
for
soloing
and
is
very
comfortable
playing
in
front
of
people.
I
am
curious
to
see
how
his
newly
acquired
knowledge
(and
knowledge
gaps)
impacts
his
further
independent
learning.
Julie
initially
decided
to
learn
Yesterday
by
The
Beatles.
However,
after
a
number
of
frustrating
weeks
she
decided
to
focus
on
playing
and
singing
The
Way
I
Am
by
Ingrid
Michaelson.
The
song
requires
her
to
perform
a
bass
line
during
the
first
verse
and
chords
during
the
rest
of
the
song.
Julie
did
not
feel
prepared
to
perform
all
of
the
chords
by
the
final
day
of
the
study.
I
instructed
her
to
practice
the
chords
for
her
own
benefit,
but
to
focus
on
the
bass
line
for
her
performance.
I
accompanied
her
on
guitar
so
she
could
hear
the
chords
and
get
used
to
the
nuances
of
performing
with
a
partner.
I
had
expected
greater
progress
from
Julie
due
to
her
musical
aptitude;
she
experienced
two
critical
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 35
setbacks,
including
having
to
miss
every
Tuesday
meeting
for
tutoring,
and
having
to
play
on
an
acoustic
guitar
with
uncomfortably
high
action.
Should
Julie
have
access
to
a
better
instrument,
I
am
confident
that
her
progress
will
increase
dramatically.
As
previously
stated,
the
main
benefit
of
my
curriculum
is
the
student-centered
learning
environment.
In
my
time
observing
the
E.O.
Smith
guitar
classes
I
have
noticed
a
high
level
of
student
disengagement.
This
is
not
due
to
a
lack
of
interest
in
playing
the
guitar;
in
fact,
most
students
create
disruptions
by
playing
their
preferred
rock
and
pop
tunes
instead
of
practicing
the
assigned
piece.
I
interpret
this
as
the
students
attempting
to
make
their
voices
heard.
Every
day
I
spent
observing
the
E.O.
Smith
classes,
I
heard
snippets
of
songs
by
Guns
n
Roses,
Death
Cab
for
Cutie,
Ed
Sheeran,
and
even
the
theme
song
from
the
Super
Mario
video
games.
I
also
heard
students
practicing
chords
that
were
not
part
of
the
course
repertoire.
None
of
the
students
musical
interests
were
present
in
the
curriculum,
which
caused
them
to
act
out
in
order
to
share
the
music
they
wanted
to
learn.
These
early
observations
actually
served
as
a
major
inspiration
for
the
development
of
my
curriculum.
Research
shows
that
student
choice
is
the
number
one
factor
in
sustaining
engagement
(Campbell,
2007;
Rusinek,
2008;
Kelly-McHale,
2013).
By
creating
a
blank
slate
curriculum,
I
allow
the
students
to
choose
materials
that
best
suit
their
needs
and
interests.
From
there,
the
instructor
fills
in
the
blanks
by
using
those
materials
to
guide
the
pacing
of
the
course
and
meet
the
broad
objectives.
This
creates
a
more
responsive,
flexible,
and
productive
environment
for
students.
Based
on
my
observations
of
both
the
pilot
study
and
E.O.
Smiths
guitar
classes,
I
can
confidently
extrapolate
that
my
curriculum
prepares
students
for
more
long-term
musical
success.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 36
The first day of the study was devoted to introducing objectives and expectations.
One
expectation
outlined
in
our
conversation
and
the
course
syllabus
(Appendix
C)
was
the
cultivation
of
a
growth
mindset.
I
facilitated
a
conversation
with
David
and
Julie
about
how
fixed
mindsets
and
growth
mindsets
can
affect
musicians.
In
her
book
Mindset:
The
new
psychology
of
success,
Carol
Dweck
(2006)
describes
the
way
various
mindsets
inform
peoples
goals,
beliefs,
and
decisions.
ONeill
(2011)
writes
that
an
unhealthy
fixed
mindset
compel[s]
individuals
to
seek
constant
validation
of
their
abilities
and
achievements
(p.
37)
and
is
responsible
for
the
belief
that
abilities
are
fixed
attributes.
By
contrast,
a
healthy
growth
mindset
is
characterized
by
a
passion
for
learning,
the
active
seeking
of
challenges,
a
valuing
of
effort,
and
resiliency.
(p.
37)
Cultivating
a
growth
mindset
is
crucial
for
success
in
creative
endeavors
because
those
who
engage
in
art
and
music
are
constantly
surrounded
by
models
that
should
be
seen
as
inspiring
rather
than
discouraging.
I
felt
it
important
to
devote
time
to
a
discussion
of
the
impact
that
mutual
trust
and
respect
have
on
developing
a
healthy
growth
mindset
among
musical
peers.
I
was
particularly
worried
about
Davids
self-perceptions.
How
would
he
compare
his
fledgling
musicality
to
that
of
Julie
and
myself?
During
the
first
half
of
the
study
I
observed
that
he
was
making
adequate
progress
with
his
first
cover
song,
Creams
Sunshine
of
Your
Love.
He
used
an
instructional
video
from
the
popular
website
www.justinguitar.com
to
learn
the
main
riffs,
and
found
supplementary
Internet
resources
whenever
the
video
used
unfamiliar
terminology.
Since
David
and
Julie
spent
most
class
periods
in
separate
practice
rooms,
and
David
has
not
been
exposed
to
many
non-
professional
models
of
musicianship,
I
wondered
how
he
felt
about
the
learning
experience.
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 37
The
midterm
interview
on
March
23,
2015
revealed
that
David
had
an
almost
naively
high
perception
of
his
progress.
I
realized
after
this
interview
that
my
use
of
language
as
a
trained
music
teacher
is
different
from
Davids
use
of
language
as
a
novice.
He
shared
immediately
that
he
had
learned
the
song
pretty
quickly,
which
I
assumed
meant
that
he
was
able
to
perform
the
entire
song
with
technical
accuracy.
The
next
day
I
brought
an
electric
bass
and
asked
David
if
we
could
play
the
song
together.
Our
first
duet
attempt
revealed
that,
while
David
could
play
the
riff
fairly
well,
he
had
severe
tempo
issues.
I
suggested
that
we
play
along
to
the
original
recording
so
we
could
stay
in
time
more
easily.
Again,
David
struggled
to
maintain
the
tempo
for
more
than
a
few
bars
at
a
time.
I
did
not
want
to
discourage
him
by
repeating
the
clearly
unsuccessful
activity,
so
I
left
him
alone
to
practice
playing
along
with
the
recording.
Upon revisiting the interview I realized that Davids self-perception was probably
relative
to
his
ability
level.
Any
gains
are
likely
to
feel
monumental
for
someone
who
has
never
seriously
practiced
an
instrument
before.
David
is
highly
motivated
to
practice
and
enjoys
overcoming
the
challenges
of
learning
his
first
cover
song.
This
is
evidence
that
David
had
a
growth
mindset
at
the
beginning
of
the
study.
With
no
one
else
to
compare
Page 38
himself
to,
David
could
have
been
equally
likely
to
see
his
progress
as
slow
and
unrewarding,
and
to
subsequently
believe
that
he
has
no
musical
potential.
For
many
people,
low
self-esteem
is
simply
a
lack
of
awareness
that
they
can
manipulate
their
outlook
to
begin
with
(ONeill,
2011).
Impressively,
David
maintained
this
mindset
throughout
the
study.
I
offered
him
the
challenge
of
improvising
a
solo
during
his
final
performance;
he
happily
accepted
and
set
off
to
work
practicing.
After
David
shared
his
performance
with
Julie
and
me,
I
asked
what
he
thought
of
it.
Despite
some
expected
slip-
ups,
he
smiled
and
said
he
felt
really
good
about
the
performance
and
the
learning
process.
I anticipated that Julies self-perception of her guitar skills would come from a place
Page 39
Interviewer:
Do
you
feel
that
your
piano
skills
are
crossing
over
to
guitar?
Julie:
Definitely.
Numerous
times
I
observed
Julie
using
her
prior
musical
knowledge
to
advance
her
knowledge
of
the
guitar.
She
frequently
tunes
the
guitar
by
ear
using
a
piano
and
often
double
checks
her
chord
pitches
on
piano
as
well.
During
an
introduction
to
blues
improvisation,
I
deliberately
showed
the
group
only
one
octave
of
the
G
blues
scale
so
as
not
to
overwhelm
them
with
note
options.
Julie
independently
discovered
additional
notes
outside
of
that
octave
and
attempted
to
use
them
in
her
improvisation.
Just
as
frequently,
though,
Julie
expressed
frustration
with
her
lack
of
technical
skill
as
evidenced
in
the
interview
excerpt.
During
the
same
improvisation
lesson,
she
lamented
that
she
heard
a
particular
melody
in
her
head
but
couldnt
figure
out
how
to
play
it
on
the
guitar.
This
experience
did
not
seem
to
negatively
impact
Julies
self-perception.
She
expressed
during
the
midterm
interview
that
she
has
identified
a
crossover
between
her
piano
and
guitar
playing,
and
thinks
the
connection
is
really
cool.
Julie
seems
to
already
possess
a
growth
mindset
as
a
result
of
her
piano
training,
and
refers
to
her
success
in
other
musical
venues
as
evidence
that
she
can
also
succeed
at
the
guitar.
Both
students
experience
made
me
confident
that
it
was
worth
the
time
to
make
them
conscious
of
the
various
mindsets
they
could
adopt.
Students
positive
self-perceptions
were
mirrored
in
their
perception
of
the
curriculum
itself.
Both
Julie
and
David
adapted
well
to
the
facilitated
informal
learning
method.
In
a
journal
entry
from
April
8th,
2015,
David
wrote
that
he
enjoyed
the
unconventional
learning
style,
and
that
this
class
made
me
feel
like
it
was
so
easy
to
do
something
I
thought
would
be
hard.
On
the
same
date,
Julie
said
the
course
was
very
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 40
refreshing
and
felt
very
natural.
Although
Julie
is
content
to
remain
in
traditional
large
ensembles
at
E.O.
Smith,
she
enjoys
having
the
class
time
to
learn
her
preferred
content
at
her
own
pace.
By
contrast,
David
described
in
a
March
25,
2015
journal
entry
that
he
left
concert
band
in
middle
school
because
we
didnt
play
the
kind
of
music
I
wanted
to
learn.
Davids
disillusionment
with
the
formal
school
music
tradition
appears
to
have
been
tempered
by
this
personalized
learning
experience.
The
body
of
research
related
to
student-centered
learning
and
informal
learning
corroborates
the
students
experience
with
my
curriculum.
Overall,
both
Julie
and
David
met
personal
and
musical
success
through
participation
in
the
facilitated
informal
learning
method.
Most
importantly,
they
themselves
recognize
this
success
and
are
equipped
to
continue
learning
independently
beyond
the
scope
of
this
case
study.
Conclusion
Applications
for
Practice
The facilitated informal learning method shows great promise. Research shows time
and
time
again
that
student-centered
environments
are
more
conducive
to
meaningful
learning
than
traditional
direct
instruction
(Hannafin
&
Land,
1997;
McCombs
&
Whistler,
1997;
Weimer,
2002;
Azevedo,
2012).
The
content
and
method
of
this
guitar
curriculum
are
designed
to
promote
a
culturally
responsive,
student-centered
learning
environment.
Facilitated
informal
learning
allows
students
to
learn
guitar
on
their
own
terms
without
developing
the
bad
habits
of
a
completely
unsupervised
musician.
As
far
as
the
content
itself,
much
of
it
is
the
students
choice
to
begin
with.
They
decide
what
songs
to
learn,
what
songs
to
write,
and
what
songs
to
study.
Any
predetermined
musical
examples
(such
as
the
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 41
artists
on
the
Rock
History
timelines)
can
and
should
be
updated
to
reflect
the
students
cultural
positions
as
well
as
the
ever-changing
trajectory
of
rock
music.
So
long
as
the
instructor
is
dedicated
to
a
student-centered
philosophy,
this
case
study
suggests
that
the
majority
of
students
will
respond
positively
to
facilitated
informal
learning.
The most positive measured outcome of the study was the impact of establishing a
class-wide
growth
mindset.
David
and
Julies
experience
indicates
that
it
is
worth
spending
class
time
discussing
that
concept
and
providing
frequent
opportunities
for
independent
reflection.
In
this
case
study,
we
spent
the
entire
first
class
meeting
discussing
behavior
and
performance
expectations
and
did
not
even
talk
about
playing
the
guitar
until
the
second
meeting.
While
I
might
have
initially
preferred
to
make
the
most
of
our
limited
instructional
time,
I
do
not
believe
that
the
students
would
have
been
as
successful,
nor
do
I
believe
their
success
would
have
felt
transferrable
to
other
creative,
effort-based
contexts.
Green
(2001)
observed
that
popular
musicians
overwhelmingly
value
positive
personal
connections
between
colleagues.
This
is
one
of
the
greatest
cultural
differences
between
classical
and
popular
pedagogies.
When
asked,
What
do
you
value
most
highly
in
another
musician,
Greens
interviewees
responded
with
positive
group-oriented
traits
including
friendship,
tolerance,
loyalty,
kindness,
and
shared
tastes.
Young
guitarists
who
participate
in
rock/pop
musical
culture
outside
of
school
will
likely
benefit
from
a
similar
classroom
environment.
It
is
no
shock
that
teams
who
respect
and
value
each
other
achieve
better
results.
By
cultivating
a
growth
mindset
on
the
individual
and
class-wide
scale,
students
involved
in
this
curriculum
will
be
more
open
to
the
cycle
of
collaboration!reflection!improvement
that
is
required
of
successful
rock
guitarists.
Page 42
Although its use was not tested in this study, I anticipate that further work with the
Eisner
model
of
assessment
will
yield
positive
results.
Regarding
young
peoples
post-
school
experiences,
Eisner
(1999)
wrote,
Our
children
will
need
to
know
how
to
frame
problems
for
themselves,
how
to
formulate
plans
to
address
them,
how
to
assess
multiple
outcomes,
how
to
consider
relationships,
how
to
deal
with
ambiguity,
and
how
to
shift
purposes
in
light
of
new
information.
(p.
658)
The
goal
of
education
should
be
to
prepare
students
to
face
these
real-world
issues
independently
and
collaboratively.
Each
authentic
unit
project
is
designed
to
address
some
or
all
of
those
contexts.
Constantly
framing
class
projects
within
the
context
of
Eisners
post-school
visions
will
keep
the
work
relevant
and
relatable.
The
assessment
model
can
be
tailored
and
modified
for
students
specific
areas
of
growth
in
addition
to
being
used
as
a
self-reflection
tool.
Should
the
curriculum
be
piloted
on
a
larger
scale,
I
believe
the
Eisner
model
will
be
the
most
appropriate
way
to
assess
students
personal
artistic
growth.
This curriculum is easily adaptable to any high school setting. The only mandatory
Page 43
financial
and
practical
resources.
In
the
spirit
of
creativity,
teachers
should
not
be
afraid
to
think
outside
the
box
to
procure
authentic
resources.
Consider
human
capital:
what
colleagues,
friends,
or
community
members
can
offer
your
students
a
great
musical
experience?
What
local
music
events
can
inspire
your
students
and
bridge
authentic
experiences
from
the
classroom
to
the
greater
world?
As
previously
stated,
this
curriculum
is
closer
to
a
blank
slate
than
a
fully-fledged
program.
Any
changes
that
promote
a
musically
authentic,
culturally
responsive,
student-centered
experience
are
changes
worth
making.
Toward
Musical
Futures
I opened this inquiry report with a song lyric: I am a creature of the culture that I
create.
Aside
from
the
whimsical
alliteration
and
relevance
of
quoting
a
rock
song,
I
believe
those
ten
words
carry
a
powerful
message
for
educators.
We
are
born
into
cultures
and
we
are
influenced
by
cultures;
but
we
also
create
and
shape
cultures
through
our
practice.
Over
dinner
one
recent
evening
I
lamented
to
a
mentor
that
I
often
feel
alone
among
peers
in
my
desire
to
reform
and
innovate
music
education.
She
encouraged
me
to
be
proud
of
my
tendency
to
make
waves,
and
to
consider
that
integrity
might
be
worth
the
price
of
occasional
isolation.
Throughout
this
inquiry
process
I
kept
myself
in
check
by
constantly
asking:
Am
I
doing
right
by
my
past,
present,
and
future
students?
Am
I
creating
a
culture
that
I
can
be
proud
to
own?
Do
I
want
myself
and
my
children
to
be
creatures
of
this
culture?
Will
my
actions
shape
the
future
of
music
education
for
the
better?
If
not,
what
needs
to
change?
Page 44
Page 45
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Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 48
Appendices
Appendix
A:
Music
Questionnaires
E.O. Smith Music Department Survey (A)
Grade:
1. Have you ever taken a music class before? circle one:
1a. If yes, when and why did you stop? Be specific.
Yes
No
2. Do you know what music classes are offered at E.O. Smith? List them below.
Yes
No
4. What other music classes would you like to see offered at E.O. Smith?
Page 49
2. Is there a music class you wanted to take but couldnt? circle one: Yes
2a. If so, which one and why? Be specific.
No
Page 50
Mon-Wed,
C
period
Music
Department
Practice
Rooms
Ms.
Millan
alexandra.millan@uconn.edu
Course
Description
This
is
a
pilot
study
of
an
experimental
guitar
course.
The
instructor
will
collaborate
with
students
to
investigate
topics
related
to
guitar
performance,
music
theory,
rock
history,
and
songwriting.
The
course
is
based
on
theories
of
informal
learning
and
project
based
learning
(we
will
discuss
what
this
means
during
the
first
week
of
class).
Each
unit
seeks
to
address
an
authentic
driving
question
about
the
guitar
and/or
rock
music.
Students
will,
independently
and
in
groups,
complete
tasks
to
learn
more
about
these
questions
and
improve
their
guitar
skills
and
musical
knowledge.
Due
to
the
experimental
nature
of
this
course,
all
lessons
and
assignments
are
flexible
and
subject
to
change.
There
is
no
set
schedule
aside
from
the
large
units/projects,
but
due
dates
will
be
clearly
laid
out
when
necessary.
Work
will
be
graded
according
to
the
parameters
set
out
for
each
assignment,
but
grades
will
not
affect
students
academic
progress
at
E.O.
Smith.
Objectives
Become
proficient
with
basic
guitar
technique
and
interpreting
music
notation
Understand,
listen
for,
and
use
basic
concepts
of
music
theory
Learn
others
songs
and
write
your
own
original
songs
Know
the
history
of
rock
music
and
how
various
genres
fit
into
that
timeline
Participate
in
the
authentic
culture
of
rock
musicianship
Assessment
Informal
assessment
is
ongoing
by
the
instructor
and
students.
Frequent
discussions
will
occur
about
the
progress
of
the
course.
Reflective
journals
may
also
be
used.
More
information
about
this
will
be
discussed
as
it
becomes
necessary.
Formal
assessment
of
creative
work
will
be
based
on
the
Eisner
Triangle
of
arts
assessment.
Technical
quality:
To
what
degree
does
my
work
display
my
technical
skills
and
knowledge?
Inventive
use:
To
what
degree
is
my
work
creative
and
innovative?
Expressive
power:
To
what
degree
is
my
work
expressive
of
my
emotions?
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 51
Driving Question
Project
Unit 1: Fundamentals
(Student choice)
Unit 3: Improvisation
Unit 4: Songwriting 1
Guitar 2
Driving Question
Project
(Student choice)
(Student choice)
Unit 3: Songwriting 2
Developing
a
Modern
Guitar
Curriculum
Alexandra
Millan,
2015
Page 52