How might we blur lines between informal and formal learning situations?

Typically, we see formal approaches to learning within the K-12 music education programs. Informal vs. formal learning, as Wright puts it, can appear confusing. However, they are quite opposite of each other. Formal learning is teacher led and the teacher carries out a lesson or activity that was planned ahead of time. On the other hand, an informal learning situation is student led, where the activity has not been planned ahead of time, and the intention is to essentially “to play”. While formal learning situations are meant solely “to learn”. Furthermore, the focus of informal approaches to learning is students. In these situations, students are learning from and with other students.

Students gain a number of valuable things from engaging in practices such as informal learning situations. After reading about the case study conducted and discussed in this chapter you will find that students actually valued the opportunity to learn with and from their peers. Because an informal approach is so student-driven, many of the students in the study felt a sense of accomplishment because they were able to teach themselves, or a friend, something in class. In other words they enjoyed being in charge of themselves and what they were learning. Also, another student commented about feeling independent, and as though they had a responsibility to tend to, which made them take pride in what they were doing. Furthermore, it was a total confidence builder. Other students said they liked that they felt they could make mistakes and not get in trouble for them. During the study, observers noticed leadership among certain students to take place. Moreover, teachers were noticing that the students’ learning capacity was increasing each week. Wright says students were listening to the music more, with more thought and specificity. Lastly, the students took so well to this approach, that they were taking it outside of class, to recess and talking amongst their classmates about what they were doing in music class! I think it’s amazing that through this study they were able to find so many positives of informal learning situations. It’s quite clear that through this approach students were connecting more with the music, and enjoying themselves throughout the entire process.

In the chapter it talks about this idea of music “celebration” that occurs when musics’ two forms of meaning are combined; inherent meaning and delineated meaning. Furthermore, when students respond to these two meanings, and they are positive responses, then that is when music celebration takes place. Wright suggests that this reaction is reached through informal music learning practices. In addition, it’s suggested that musical alienation (the opposite of music celebration); “when both responses are negative”, may be the reason why students tend to resist to formal music education in elementary schools. I feel as though this term of music celebration is evident in the case study, because students were in a sense celebrating, by taking what they learned outside the classroom as well. Furthermore, as educators I feel it is crucial to be aware of the reactions of their students to the music they are hearing and experiencing in class. Always asking ourselves: Are my students expressing music celebration, or music alienation? What do I need to do to ensure they are celebrating what they are learning and experiencing in class?

Some music educators might struggle to feel as though they are actually teaching, or being “teachers” in this type of situation. Others might feel there is too much freedom allowed, which causes more chaos than learning to occur. However, I think that’s why there is this whole idea of “blurring the lines” between formal and informal. By this I mean that the two can be combined with one another to create an environment where both teachers can lead, but then students have the opportunity to lead as well. I think it’s all about balance, and that is how we could address (the most common challenge/struggle within teachers) this challenge among music educators.

A look at my future Informal/Formal Approach to Learning:

(My future music classroom will (hopefully) be a general music class at an elementary school. Even though I honestly have no idea how this might look, I will take a whack at it! I think if I were to implement this type of approach it would look something like this): You walk into the classroom, and like most general music, there are all sorts of instruments in the corner, straight ahead. Instruments such as shakers, blocks, xylophones, drums, and more. Then in the corner diagonal from the door, there is a 7×4 book shelf (28 slots/box shelves) with iPads and headphones. In the other corner, there are a few computers, and electronic keyboards with headphones. Between the corners there are two practice rooms, and in the middle of the room is empty with just a rug for singing time, or play time, etc. Lastly, there is a smart board at the front of the class. At times, my kids (including kinder) will be spending time individually on the iPads, using music apps for creating, exploring and performing. Or another time they might be taking turns on instruments for a new song we are learning. In a different class, mainly for grades 4-6, my students will be learning the 12 bar blues on keyboards and creating songs to go along with it. You might hear a student or group of students take an instrument, or iPad into a practice room to work on a song they are learning or creating. Other days, you will hear my kinder-2nd grade class learning a new dance to the folksong I am teaching them, or using the smart-board to create new rhythms with rhythm icons and shapes. The possibilities are endless ad exciting! 

What kind of music course can address ALL students?

The difference between a hybrid classroom and traditional approaches such as music theory, is that it’s much less customary, and encourages multiple ways of engaging in music in one setting. Also, a hybrid classroom has much more digital media incorporated into the classroom assignments and activities than a music theory or band class. The hybrid approach is essentially a way for music educators to examine and evaluate how utilizing technology in the music class can assist students to engage in music & learning innovatively. Overall, I like to think of it as being much more musically accommodating.

A hybrid classroom could be extremely beneficial to most students. Because the class involves numerous ways of learning and engaging in music to occur in one class setting, one student could be participating in one aspect of music making, while another in a completely different aspect. For example, a student could be creating a song in an app, on an electronic device, while another is composing on an acoustic instrument. That’s just one example, but the possibilities of what students can do in a hybrid class are endless. The hybrid approach eliminates the possibility of every student to be required to be a part of the same activity throughout the entire class period. You could consider it a much more open minded class environment, where many different musically engaging activities and creative learning is taking place. In addition, I think a hybrid class allows for students to be more connected with the music because they had a say or choice in what they created or chose to participate in. Furthermore, if anything, it can be an enjoyable experience with music they will always remember.

Though this class might be beneficial for students in a lot of ways, I think there might be some serious difficulties for music educators to overcome. For example, keeping up to date with technology, knowing how to use certain media devices, and electronic instruments that the students might use, and then being able to teach them how to use them as well. These things alone can require a lot of time and effort and be challenging to grasp. In closing, it would be challenging as an educator, but not impossible and even worth adapting to and getting involved in.

Considering New Types of Music Classes: Kratus 2007

As I read the Kratus article, “Music Education at the Tipping Point”, I found myself feeling nervous for our future music programs. A slight feeling of panic came over me as I thought about the possibility of music classes and programs being cut out of schools! The numbers and declines are scary. This article addressed some of the common issues faced within music programs. Overall, there was a large amount of concern for the number of participators in music education alone, and in more than just one location. However, it suggests in the article that the cause of this unfortunate decline and concern for the future of music education lie in the hands of the schools. Though this may be true for some cases, I don’t think the common denominator lies in funding or testing, because some programs do thrive, just as Kratus suggests. Personally, and for the most part, I agree with Kratus’ suggestions (two factors) of how we have been brought to this tipping point in music education. People, students, even teachers experience music much differently than ever before! Because of how different the world is, and all the new ways of experiencing music, I do believe we need to adjust to this in our music classrooms. Does that mean we get rid of the “old” ways, traditional ways that music programs/general music classes have always been taught? No, not completely, but just as Kratus said, and I couldn’t have said it better: “Music educators, too, can uphold tradition while embracing the future”(Kratus, 46). Furthermore, I think Kratus is right, “school music has drifted too far from out-of-school music, and music education practices have drifted too far from other contemporary education practices” (Kratus, 46).

Although I agree with his points, I will admit that as a future music teacher, I do not know how I will incorporate these changes into my classroom. In other words, I do not yet know how I will utilize “out-of-school”music in a way that is successful and supplemental to my students learning experiences. However, I look forward to learning new techniques and practices within my Teaching Contemporary Musicians course of how to do so. I think a change such as this will intrigue students to sign-up for music classes, and as a result the numbers will slowly but surely increase. Although I do not believe that music programs need to “conform” to the world completely, I do believe that staying up-to-date in some aspect or another will keep students interested, and provide them with more learning opportunities; while still incorporating traditional teaching and music repertoire in order to provide diversity in all things!