This manuscript is a final project paper from a graduate level course: Digital and Participatory Culture

The ability to interact meaningfully with tools and work collaboratively with others are two skills that are central to modern cultural engagement, according to Jenkins, Purushotma, Weigel, Clinton, and Robison (2009). These skills, distributed cognition and collective intelligence, are also central to modern musical engagements that students may encounter in their lives. Tobias’ (2013) “typical ways people engage with music in participatory culture” (p. 30) all include some element of these two skills as individuals and groups work together to make use of digital, analog, and acoustic instruments, tools, and applications in creating remixes, covers, tutorials, etc. The development of such skills not only opens up pathways to the types of musical interactions indicated above, but also can afford students ways to engage in forms of participatory culture--affiliations, expressions, collaborative problem solving, and circulations (Jenkins et al., 2009)--in a music classroom, thereby creating new ways to connect and participate in such a setting. It is on these two skills, distributed cognition and collective intelligence, as well as the notion of collaborative problem solving that this music curricular project seeks to help students foster while encouraging them to play with sound in new and interesting ways.

The project described below involves student groups creating an intermedia product (Tobias, In Press) that connects sounds, a motion controller, and movement sequences in a unique way in which all the individual parts fuse together to create a unified product. In the project, students will generate and record sounds to be triggered by a motion sound controller they construct using the web-based computer programing tool Scratch. Students will then test these controllers by composing movement-sequences as a way of assessing the product’s possible effectiveness as an interactive sound installation. This project makes use of the  instructional approach of design-based learner (Barron & Darling-Hammond, 2008) that operates on the understanding “that children learn deeply when they are asked to design and create an artifact that requires understanding and applications of knowledge” (p. 45). This approach encourages students to not only create a product that exemplifies their understanding and takeaways from certain experiences, but also to dialogue with the product and other members of their design team as they refine their work in a way that is dynamic and organic. In order to help with the refinement process, the project includes elements of pilot-testing and iterative design from the works of Birringer (2005) and Dena (2011).

​The overall intent of this project is to give students chances to foster skills needed so they can more fully participate in modern cultural activities, including musical activities. Music teachers must realize their role in helping students develop these cultural skills and see, as Jenkins et al. note, “[e]veryone involved in preparing young people to go out into the world has contributions to make in helping students acquire the skills they need to become full participants in society” (2009, pp. xiv-xv). In developing these skills in musical settings, student will also develop musical analytical and creative skills in their explorations of multiple musical dimensions as they generate sounds to be used in the project, during their development of a motion controller, and while they explore space and pilot-test their work through movement sequences. A secondary overarching goal of this project is to demonstrate other ways that students and community members can engage with musical sounds and products in more participatory ways that do not necessarily function within the tradition of common participatory performances (Turino, 2008). This is embedded within the culminating sharing event. Finally, I hope that this project can illustrate ways of opening up creative and collaborative spaces for more participatory interactions with music within music classroom settings. Such spaces would RATHGEBER SOUND + CODE + TEST 4 allow for lower-barriers to expression and engagement, a focus on creating and sharing musical works, higher-degrees of social collaboration, and greater student agency and ownership over their contributions (Jenkins et al., 2009) in the ways of musicking

This manuscript is a history master's degree domain project. 

History classes can be an enjoyable journey through time for students. However, history is often presented in a dry and/or non-experiential manner. Music history can be one of the areas of study that the second paradigm often holds true. When I take a look back on the my own music education, most lessons that focused on composers and their historical context were the least enjoyable and most quickly forgotten. I am surely not alone. In a 2007 study, Campbell, Connell, and Beegle found that one area of concern middle schooler noted about their music classes was “boring music” they learned about that did not relate to their musical taste. So, why is it that music history and “classical” music, in general, is regarded as boring areas of study for so many students? The problem could lie in the way in which such lessons are presented. How can music educators expect students to enjoy learning about and retain information on music history when, all too often, it is presented in the form of outdated, lecture style lessons that do not seem relevant to students’ lives, their educational needs, and personal preferences?

For my music history domain, I tired to find a way to present Western Art Music History to my students experientially in an interdisciplinary manner so that they would find enjoyment and relevance in what they learned. I regularly include classical music in my lessons and fifth grade students are expected to experience a survey and display a basic level of understanding about four periods of Western Art Music History; Baroque, Classical, Romantic, and 20th Century/Modern. Yet, I have always struggled with marking these types of lesson highly engaging. Therefore, I developed some methods, tools, and projects that would assist me in teaching this part of my curriculum in a way that would be well received by my students and also leave them with a developing body of knowledge. In doing this, I attempted to change the way I ​taught to help develop my students’ “21st Century Skills” of collaboration, critical thinking, making global connections, self-direction, and use of technology as a learning tool, as described by Ravitz, Hixson, English, and Mergendoller (2012). Two methodologies utilized as guiding concepts to achieve these ends are Project-Based Learning (Solomon, 2003) and flipped learning as advocated by Kahn (2011). 

The following manuscript is a concentration master's degree domain project:

Music is often used to tell stories. During any time spent listening to popular music radio and/or YouTube streams, a listener will experience a torrent of stories set to music. Artists like Adele, the Beatles, and Kanye West, among many others, have relied upon music’s narrative qualities to reach their musical audiences and create works that deeply connect with and engage them. If not for music ability to aid in telling a story, there would be little need for the grandiose soundtracks of John Williams, Hans Zimmer, and Danny Elfman that accompany blockbuster movies.

Classical composers knew this very well as they created so-called “Programatic” pieces of music that sonically, with or without the use of lyrics, led listeners through vivid and intricate story lines filled with richly defined characters. Schubert’s Der Erlkönig, Wagner’s operatic works, Berlioz’s Symphonie Fatastique, Tchaikovsky’s Nutcracker, Saint-Saëns’ Carnival of the Animals, Mussorgsky’s Pictures at an Exhibition, and Prokofiev’s Peter and the Wolf remain relevant by still delighting musical audiences of all ages because of their strong reliance on narrative. Perhaps it is because of this that program music can make up the profusion of classical masterworks that are heard in general music classrooms.

Program music and music that express narratives are routinely the focus of music listening activities for elementary school students in and out of music class. However, it is the view of this author that music’s narrative qualities possess great potential for developing compositional abilities in a straight-forward and structured manner. Stories provide young composers with an entry point for them to transition plot elements and characters into sonic representations, truly beginning to think in sounds.

Likewise, poetry and music have a strong and time-tested connection. Since composers have been creating musical works for voice and lyrics, poetry and rhyme have been employed as a means of conveying emotional and/or narrative contexts. During the late Classical and throughout the Romantic periods, lieder was a dominate musical form in which composers like Schubert and Schumann, among others, took poetic works and set them to music. Often times, these musical settings can be perceived to be much more powerful than their source material alone.

In many lesson plans, picture books, short stories, and poems (Gromko, 2003; Kaschub & Smith, 2009) are not only used as a jumping off point for compositional activities, but also to help students understand what a composer does and assist them in developing their own compositional “toolbox.” Music educators need to find ways to demystify the compositional process for their students and develop strong compositional encounters that will challenge and build upon students’ creative musical thinking. Using stories or poems as inspirational starting points provide students with a scaffold to build upon that will not only allow the compositional outcome to be unique to them, but also organized in such a way that its form may yield a higher level of aesthetic appeal, as suggested by Hickey (2003).

The Intersection of Music Education and Literacy Development 
Music can be found interwoven throughout the fabric of most “non-musical” areas of the school curriculum. Barrett, McCoy, and Veblen (1997) identify affective, social integration, subservient, and cognitive integration styles of music’s use in classrooms. Music is often used to provide for transitions between one activity to another as is the case in welcome songs, or as a RATHGEBER FREE CHOICE DOMAIN 3 social bonding agent in the form of school songs and music that support community traditions. Music is very often found in non-musical classrooms in a subservient style in which songs are used to reinforce curricular aims. These ways are all present within this author’s educational setting. However, in an attempt to reach out and create more cognitively integrative and interdisciplinary connections between music and non-musical curricula, music educators sometimes must reach beyond their personal comfort zones. As such, I began to seek new ways of integrating music with outside educational concepts.

​While in a staff meeting that focused on the teaching and assessing of literacy targets, I began to discover the profound connections that literacy development has to music education, specifically in the areas of listening/responding to and creating music. Upon rereading Ruthmann’s (2007) article, “The Composer’s Workshop: An Approach to Composing in the Classroom,” and attending a presentation by Kelly-McHale (2011) regarding composing using an adaptation of the “Writer’s Workshop” model, I began to seek out information about the “Writer’s Workshop” and other literacy education methods that might be useful when helping structure activities that would help develop my students’ music composition skills. Upon consulting numerous literacy coaches within my district, I was led to the work of Calkins (2006) as well as Boushey and Moser (2006). As I read The Daily 5 (Boushey & Moser, 2006) and A Guide to the Writing Workshop (Calkins, 2006), my mind began to race with countless possibilities to integrate and build upon literacy development tools and concepts that my students were familiar with and could easily make use of in the area of music composition. As I toyed and experimented with “literacy-based” compositional activities, I noticed how much my students seemed relaxed when composing and fully engaged in their activities. I RATHGEBER FREE CHOICE DOMAIN 4 decided that throughout the following year, I would apply my energy towards developing a philosophically and research supported framework for using literacy education tools in composition as well as create a handful of succinct compositional activities with student examples that I could share with other music educators. By proposing and presenting a session entitled “Book-Based Compositions” at the Illinois Music Educator’s Conference of 2012, I found a way to share my findings with music teachers from all over the state of Illinois. The remainder of this domain paper will highlight the work that was done and the products created for this presentation. 

The following manuscript is a master's degree theory domain project:

Composer Franz Schubert made a long lasting impact upon western art music history with his memorable and emotional melodies, as well as his unique way of sonically telling a story. Though his ability to construct impressive orchestra works is well respected, it has been argued that it is in the area of lieder that Schubert’s supreme talent as a composer and storyteller exhibits itself (Osborne, 1977). Schubert could take a vibrant poem from a famous poet like J.W. Goethe and give the story and characters even greater depth, freeing the story from the constrains of the written word into a sonic life. Steen (2003) put it this way: “[i]t is almost as if the poem was a landscape, whereas the song was the landscape painting, the work of art” (pp. 211-212). Many contemporary composers, songwriters, musical artists, and music video directors go to great lengths to achieve the kind of storytelling efficiency that Schubert seemed to tackle effortlessly.

​To my students, the music that they take ownership of and revere can be easily lumped into one of two categories; dance tunes and story songs. During in-class discussions and one-onone conversations about musical preference, students often express how they choose music that can capture their imagination by giving them an understandable story, have catchy melodies or micro-melodies, and that affects them emotionally in some way. Some of their favorite artists like Taylor Swift, Adele, Green Day, and Eminem rely upon story-based songs. In an attempt to help my students understand one historic figure that may have had a major impact upon the music they enjoy and in hopes of expanding their musical appreciation, we explored a heavily story-based and emotional lieder of composers like Schubert. Of all of Schubert’s works, his

​This manuscript is a unit design using Universal Design for Learning from a master's degree class:

​This composition curriculum has been developed for a third grade elementary general music class at Country Meadows Elementary School of the Kildeer Countryside School District 57 in Long Grove, Illinois. The third grade is broken up into three general classrooms of twentyfour students and one self-contained bilingual class of ten students. The bilingual students are divided and mainstreamed with their general classroom peers for specials classes (art, music, and physical education). Each music class is comprised of approximately twenty-eight students, including one student on the autism spectrum with a one-on-one aide. Student aides come to specials classes and are often active participants in classroom activities.