Technology can and be extraordinarily useful in helping to differentiate instruction for all types of learners. People, but more specifically children, learn in a variety of ways and technology can assist. Whether a student watches a YouTube video of a professional clarinetist for embouchure or uses their phone to practice their individual part against a performing ensemble, technology can engage students in a way that motivate their learning.
One of the first things educators must consider when designing instruction is the type of learners they have in their classroom. Bauer (2014) discussed the need for content to be represented in multiple ways as well as students having many different ways of engaging with the material and expressing what they have learned. Along with knowing one's students, this multiplicity of learning provides students with multiple avenues towards success. Technology is helpful in each one of these facets. While a choral student may have the notation for a concert piece right in front of them, the teacher may share a Spotify playlist with multiple renditions of the same piece (representation). Rather than doing sight-singing examples in school, a student could use a program like Sight-reading Factory that can be utilized online (engagement).
Instead of keeping a physical practice look, a blog or Google Doc could be utilized to help students keep track of their progress toward goals (expression). To be used effectively, however, educators must also have clear student-learning objectives defined; this is another thing that should be considered in the design process.
With clear learning objectives determined, educators can design learning plans in which these outcomes align with appropriate assessments as well as the activities needed for students to succeed in providing the necessary evidence of their learning. Through this backward-design process, however, there is an important consideration to take into account. Bauer (2014) referenced that learning is contextual, active, social, and reflective. As an example, a choral student may normally learn in a group setting where everyone practices and performs together (contextual). Much of the class is spent practicing good vocal technique while rehearsing music for performance (active) in which every participant is a stakeholder. This means they work together to create the best product possible (social) and constantly discuss goals and needs for improvement (reflection). In all of these facets, technology can be used for assistance. Recording practice tracks where other parts can be heard can be uploaded to SoundCloud for students to access and practice with outside of the classroom (context).
Students could submit videos of themselves singing small sections of their music on Google Classroom to show their progress (active). The teacher could open an online forum where students can freely discuss how in-class rehearsals are going, goal-setting, advertising for school performances, etc. (social and reflective).
Another possible strategy to maximize student learning is the use of Project-Based Learning (PBL). PBL is a great way to help a variety of learners gain meaning in their learning. Within PBL, students are asked to work collaboratively on solving a problem or completing a task in an authentic, real-world manner. Planned accordingly, such activities cover all aspects described above. For example, advertising a choral concert has real-world applications, is contextual (what is being advertised and how), active (planning and implementation), social (connecting with the community) and reflective (how did thing work and what should be done better for the next concert?). The technology required is only limited by the imagination. Students could be introduced to Canva to create a design, or perhaps students would use Garageband to create a short podcast to be played over the school PA system or local radio station. Technology seems to make everything more accessible, even communication.
Bauer, W. I. (2014). Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.
No comments:
Post a Comment