The New Art and Science of Teaching Art and Music by Solution Tree

to arts education and utilize the specific suggestions and techniques for implementing them in the classroom • Improve teaching practices and student understanding by utilizing strategies that ensure students learn at the highest levels • Examine methods for increasing student engagement and improving classroom culture to help students thrive in art and music programs • Confront the unique challenges in art and music programs and feel inspired to collaborate with other teachers to continuously improve fine arts programs

—Amy L. Duma

Director, Teacher and School Programs, John F. Kennedy Center for the Performing Arts

A joint publication

Visit go.SolutionTree.com/instruction to download the free reproducibles in this book.

Solution Tree

SolutionTree.com

ONUSCHECK • MARZANO • GRICE

“I’ve been a fan of Robert Marzano’s work since The Art and Science of Teaching demystified what good teaching looks like. With this book, Onuscheck, Marzano, and Grice turn their attention to the unique teaching methods inherent in art and music instruction. Balancing research about effective instructional practice with the art of teaching, this book is truly a gift to those of us in the arts education field.”

MUSIC

3. Within the category of context, teachers will learn art- and music-specific strategies for: • Engaging students • Implementing rules and procedures • Building relationships • Communicating high expectations

teaching and learning in art and music classrooms

• Understand which instructional elements are best suited

AND

2. Within the category of content, teachers will learn art- and music-specific strategies for: • Conducting direct instruction lessons • Conducting practicing and deepening lessons • Conducting knowledge application lessons • Conducting all types of lessons

• Receive time-tested strategies and ideas to improve

ART

Within the category of feedback, teachers will learn art- and music-specific strategies for: • Providing and communicating clear learning goals • Using assessments

K–12 teachers will:

OF TEACHING

Each chapter includes self-rating scales teachers can use to assess their performance and determine areas of strength and improvement. Each chapter ends with guiding questions for curriculum design. This book will help all teachers address the learning outcomes for art and music necessary for student success.

SCIENCE

In The New Art and Science of Teaching Art and Music, authors Mark Onuscheck, Robert J. Marzano, and Jonathan Grice explore how teachers can apply The New Art and Science of Teaching framework to teaching art and music. This comprehensive book offers over one hundred detailed strategies for and examples of implementation. Throughout the book, the authors address the following design areas within three categories of teaching: (1) feedback, (2) content, and (3) context.

AND

Founder, Attitude Concepts for Today

ART

—Tim Lautzenheiser

THE NEW

“It would be impossible to consume the content of this book and not come away a far better teacher. The authors have made certain there isn’t a stone unturned, and we are the benefactors of their extensive and definitive writing. This is a book to read, to study, to reread, and to integrate the wisdom of its pages into every aspect of our teaching journey.”

Copyright © 2020 by Solution Tree Press Materials appearing here are copyrighted. With one exception, all rights are reserved. Readers may reproduce only those pages marked “Reproducible.” Otherwise, no part of this book may be reproduced or transmitted in any form or by any means (electronic, photocopying, recording, or otherwise) without prior written permission of the publisher. 555 North Morton Street Bloomington, IN 47404 800.733.6786 (toll free) / 812.336.7700 FAX: 812.336.7790 email: info@SolutionTree.com SolutionTree.com Visit go.SolutionTree.com/instruction to download the free reproducibles in this book. Printed in the United States of America

Library of Congress Cataloging-in-Publication Data Names: Onuscheck, Mark, author. | Marzano, Robert J., author. | Grice, Jonathan, 1978- author. Title: The new art and science of teaching art and music / Mark Onuscheck, Robert J. Marzano, and Jonathan Grice. Description: Bloomington, IN : Solution Tree Press, 2019. | Includes bibliographical references and index. Identifiers: LCCN 2019000814 | ISBN 9781945349805 (perfect bound) Subjects: LCSH: Art--Study and teaching. | Music--Instruction and study. | Art teachers--Training of. | Music teachers--Training of. | Effective teaching. Classification: LCC N85 .O647 2019 | DDC 707.1--dc23 LC record available at https://lccn.loc.gov/2019000814 Solution Tree Jeffrey C. Jones, CEO Edmund M. Ackerman, President Solution Tree Press President and Publisher: Douglas M. Rife Associate Publisher: Sarah Payne-Mills Art Director: Rian Anderson Managing Production Editor: Kendra Slayton Production Editor: Laurel Hecker Content Development Specialist: Amy Rubenstein Copy Editor: Miranda Addonizio Proofreader: Elisabeth Abrams Text and Cover Designer: Laura Cox Editorial Assistant: Sarah Ludwig

Table of Contents .

About the Authors Introduction

. .

vii

. .

The Overall Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 The Need for Subject-Specific Models . . . . . . . . . . . . . . . . . . . . . . . . . 6 About This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Providing and Communicating Clear Learning Goals

Using Assessments .

Conducting Direct Instruction Lessons

Conducting Practicing and Deepening Lessons

Conducting Knowledge Application Lessons .

Using Strategies That Appear in All Types of Lessons .

. . . . . . . . . . . . . . . 11 Element 1: Providing Scales and Rubrics . . . . . . . . . . . . . . . . . . . . . . . . 12 Element 2: Tracking Student Progress . . . . . . . . . . . . . . . . . . . . . . . . . 16 Element 3: Celebrating Success . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 . . . . . . . . . . . . . Element 4: Using Informal Assessments of the Whole Class . Element 5: Using Formal Assessments of Individual Students Summary . . . . . . . . . . . . . . . . . .

. 23 . 24 . . . . . . . . . . . . . . . . 26 . . . . . . . . . . . . . . . . 28 . .

. .

. . . . . . . . . . . . . . . . . . . . . 31 Element 6: Chunking Content . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Element 7: Processing Content . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Element 8: Recording and Representing Content . . . . . . . . . . . . . . . . . . . . . 36 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 . . . . . . . . . . . . . . . . . Element 9: Using Structured Practice Sessions . . . . . . . . . . . . . . . . . . . . . Element 10: Examining Similarities and Differences . . . . . . . . . . . . . . . . . . . . Element 11: Examining Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

41 . 41 44 47 50

. . . . . . . . . . . . . . . . . . 51 Element 12: Engaging Students in Cognitively Complex Tasks . . . . . . . . . . . . . . . . 52 Element 13: Providing Resources and Guidance . . . . . . . . . . . . . . . . . . . . . 54 Element 14: Setting New Artistic and Musical Challenges for the Learner . . . . . . . . . . . . . 56 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

. . . . . . . . . . . . . . 59 Element 15: Previewing Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Element 16: Highlighting Critical Information . . . . . . . . . . . . . . . . . . . . . . 62 Element 17: Reviewing Content . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Element 18: Revising Knowledge . . . . . . . . . . . . . . . . . . . . . . . . . . 66

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC Element 19: Reflecting on Learning . . . . Element 20: Assigning Purposeful Homework . Element 21: Elaborating on Information . . . Element 22: Organizing Students to Interact . Summary . . . . . . . . . . . . .

Using Engagement Strategies

Implementing Rules and Procedures .

Building Relationships

. .

68 . 70 . 73 . 75 . 78

. . . . . . . . . . . . . . . . . . . . . . . . . 81 Element 23: Noticing and Reacting When Students Are Not Engaged . . . . . . . . . . . . . . 81 Element 24: Increasing Response Rates . . . . . . . . . . . . . . . . . . . . . . . . 83 Element 25: Using Physical Movement . . . . . . . . . . . . . . . . . . . . . . . . 84 Element 26: Maintaining a Lively Pace . . . . . . . . . . . . . . . . . . . . . . . . 86 Element 27: Demonstrating Intensity and Enthusiasm . . . . . . . . . . . . . . . . . . . 88 Element 28: Presenting Unusual Information . . . . . . . . . . . . . . . . . . . . . . 89 Element 29: Using Friendly Controversy . . . . . . . . . . . . . . . . . . . . . . . . 91 Element 30: Using Academic Games . . . . . . . . . . . . . . . . . . . . . . . . . 94 Element 31: Providing Opportunities for Students to Talk About Themselves . . . . . . . . . . . 96 Element 32: Motivating and Inspiring Students . . . . . . . . . . . . . . . . . . . . . 98 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 . . . . . . . . . . . . . . . . . . . . . 103 Element 33: Establishing Rules and Procedures . . . . . . . . . . . . . . . . . . . . . 103 Element 34: Organizing the Physical Layout of the Classroom . . . . . . . . . . . . . . . . 106 Element 35: Demonstrating Withitness . . . . . . . . . . . . . . . . . . . . . . . . 107 Element 36: Acknowledging Adherence to Rules and Procedures . . . . . . . . . . . . . . . 109 Element 37: Acknowledging Lack of Adherence to Rules and Procedures . . . . . . . . . . . . 110 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Element 38: Using Verbal and Nonverbal Behaviors That Indicate Affection for Students . . . . . . . 113 Element 39: Understanding Studentsâ&#x20AC;&#x2122; Backgrounds and Interests . . . . . . . . . . . . . . . 116 Element 40: Displaying Objectivity and Control . . . . . . . . . . . . . . . . . . . . . 118 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

10 Communicating High Expectations

. . . . . . . . . . . . . . . . . . . . . . . 121 Element 41: Demonstrating Value and Respect for Reluctant Learners . . . . . . . . . . . . . 121 Element 42: Asking In-Depth Questions of Reluctant Learners . . . . . . . . . . . . . . . . 125 Element 43: Probing Incorrect Answers With Reluctant Learners . . . . . . . . . . . . . . . 127 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

11 Developing Expertise

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Step 1: Conduct a Self-Audit . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Step 2: Select Goal Elements and Specific Strategies . . . . . . . . . . . . . . . . . . . 133 Step 3: Engage in Deliberate Practice and Track Progress . . . . . . . . . . . . . . . . . 134 Step 4: Seek Continuous Improvement by Planning for Future Growth . . . . . . . . . . . . . 134 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Afterword

Appendix A: The New Art and Science of Teaching Framework Overview .

137 139

Appendix B: Recommended Resources .

143

Appendix C: List of Figures and Tables

147

References and Resources

Index

149 .

153

About the Authors

Mark Onuscheck is director of curriculum, instruction, and assessment at Adlai E. Stevenson High School in Lincolnshire, Illinois. He is a former English teacher and director of communication arts. In his current role, Mark works with academic divisions around professional learning, articulation, curricular and instructional revision, evaluation, assessment, social emotional learning, technologies, and implementation of the Common Core. He is also an adjunct professor at DePaul University. Mark was awarded the Quality Matters Star Rating for his work in online teaching. He helps build curriculum and instructional practices for TimeLine Theatre’s arts integration program for Chicago Public Schools. Additionally, he is a grant recipient from the National Endowment for the Humanities and a member of the Association for Supervision and Curriculum Development, National Council of Teachers of English, International Reading Association, and Learning Forward. Mark earned a bachelor’s degree in English and cultural studies from Allegheny College and a master’s degree in teaching from the University of Pittsburgh. Robert J. Marzano, PhD, is cofounder and chief academic officer of Marzano Resources in Denver, Colorado. During his fifty years in the field of education, he has worked with educators as a speaker and trainer and has authored more than fifty books and three hundred articles on topics such as instruction, assessment, writing and implementing standards, cognition, effective leadership, and school intervention. His books include The New Art and Science of Teaching, Leaders of Learning, Making Classroom Assessments Reliable and Valid, The Classroom Strategies Series, Managing the Inner World of Teaching, A Handbook for High Reliability Schools, A Handbook for Personalized Competency-Based Education, and The Highly Engaged Classroom. His practical translations of the most current research and theory into classroom strategies are known internationally and are widely practiced by both teachers and administrators. He received a bachelor’s degree from Iona College in New York, a master’s degree from Seattle University, and a doctorate from the University of Washington.

vii

viii

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

Jonathan Grice is the director of fine arts at Adlai E. Stevenson High School in Lincolnshire, Illinois. Previously, he served as the fine arts department chair and visual arts teacher at Riverside Brookfield High School in Riverside, Illinois. The Fine Arts Division at Stevenson High School has a long tradition of excellence and has been recognized for its high standards and accomplishments at the regional, state, and national levels. The division is regarded as one of the most exemplary high school arts programs in the United States by some of the most prominent colleges, universities, and professional organizations. At Riverside, Jon helped lead the school in becoming a PLC. Riverside was also recognized as a School of Distinction in Arts Education by the Illinois Alliance for Arts Education. In 2017, Jon was recognized by the National Art Education Association as the Western Regional Supervisor/Art Administrator of the Year. In 2016, he earned Art Administrator/Supervisor of the Year from the Illinois Art Education Association. He has presented on a number of topics, including PLCs, standards-based grading, unpacking standards, and response to intervention. Jon holds a master of arts in educational leadership from Concordia University and a bachelorâ&#x20AC;&#x2122;s degree in visual arts education from Northern Illinois University. To book Mark Onuscheck, Robert J. Marzano, or Jonathan Grice for professional development, contact pd@SolutionTree.com.

Introduction

The New Art and Science of Teaching (Marzano, 2017) is a comprehensive model of instruction with a rather long developmental lineage. Specifically, four books spanning two decades precede and inform The New Art and Science of Teaching and its use in the field. 1. Classroom Instruction That Works: Research-Based Strategies for Increasing Student Achievement (Marzano, Pickering, & Pollock, 2001) 2. Classroom Management That Works: Research-Based Strategies for Every Teacher (Marzano, 2003) 3. Classroom Assessment and Grading That Work (Marzano, 2006) 4. The Art and Science of Teaching: A Comprehensive Framework for Effective Instruction (Marzano, 2007) The first three books address specific components of the teaching process, namely instruction, management, and assessment. The final book puts all three components together into a comprehensive model of teaching. It also makes a strong case for the fact that research (in other words, science) must certainly guide good teaching, but teachers must also develop good teaching as art. Even if they use precisely the same instructional strategies, two highly effective teachers will have shaped and adapted those strategies to adhere to their specific personalities, the subject matter they teach, and their studentsâ&#x20AC;&#x2122; unique needs. Stated differently, we can never accurately articulate effective teaching as a set of strategies that all teachers must execute in precisely the same way. The comprehensive model in the book The New Art and Science of Teaching (Marzano, 2017) reflects a greatly expanded and updated version of The Art and Science of Teaching (Marzano, 2007). One of the unique aspects of The New Art and Science of Teaching is that it focuses on student learning, rather than being teacher focused, as we depict in figure I.1: Effective Application of Instructional Strategies

Specific Student Mental States and Processes

Enhanced Student Learning

Source: Marzano, 2017, p. 5. Figure I.1: The teaching and learning progression. 1

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

According to figure I.1, the intervening variables between effectively applying an instructional strategy and enhanced student learning are specific mental states and processes in the minds of learners. If teachers do not produce these mental states and processes as a result of employing a given strategy, then that strategy will have little or no effect on students. This implies that teachers should heighten their level of awareness as they use instructional strategies for maximum efficacy.

The Overall Model At a basic level, the model in The New Art and Science of Teaching (Marzano, 2017) is a framework that educators can use to organize the majority (if not all) of the instructional strategies that research and theory identify. The model has several parts: three overarching categories, ten design areas, and forty-three specific elements.

Three Categories At the highest level of organization, the model has three overarching categories: feedback, content, and context. 1. Feedback refers to the all-important information loop teachers must establish with students so that students know what they should be learning about specific topics and their current level of performance on these topics. 2. Content refers to the sequencing and pacing of lessons such that students move smoothly from initial understanding to applying knowledge in new and creative ways. 3. Context refers to those strategies that ensure all students meet these psychological needs: engagement, order, a sense of belonging, and high expectations. Embedded in these three overarching categories are more specific categories of teacher actions (design areas).

Ten Design Areas In The New Art and Science of Teaching framework, each of the ten design areas is associated with a specific teacher action, as follows. 1. Providing and communicating clear learning goals 2. Using assessments 3. Conducting direct instruction lessons 4. Conducting practicing and deepening lessons 5. Conducting knowledge application lessons 6. Using strategies that appear in all types of lessons 7. Using engagement strategies 8. Implementing rules and procedures 9. Building relationships 10. Communicating high expectations Table I.1 shows the ten teacher actions within the three categories and describes the desired student mental states and processes for each. For example, when the teacher conducts a direct instruction lesson (the third design area), the goal is that students will understand which parts of the content are important and how they fit together.

Introduction

Table I.1: Teacher Actions and Student Mental States and Processes Teacher Actions Feedback

Content

Context

Student Mental States and Processes

Providing and Communicating Clear Learning Goals

1. Students understand the progression of knowledge they are expected to master and where they are along that progression.

Using Assessments

2. Students understand how test scores and grades relate to their status on the progression of knowledge they are expected to master.

Conducting Direct Instruction Lessons

3. When content is new, students understand which parts are important and how the parts fit together.

Conducting Practicing and Deepening Lessons

4. After teachers present new content, students deepen their understanding and develop fluency in skills and processes.

Conducting Knowledge Application Lessons

5. After teachers present new content, students generate and defend claims through knowledge application tasks.

Using Strategies That Appear in All Types of Lessons

6. Students continually integrate new knowledge with old knowledge and revise their understanding accordingly.

Using Engagement Strategies

7. Students are paying attention, energized, intrigued, and inspired.

Implementing Rules and Procedures

8. Students understand and follow rules and procedures.

Building Relationships

9. Students feel welcome, accepted, and valued.

Communicating High Expectations

10. Typically reluctant students feel valued and do not hesitate to interact with the teacher or their peers.

Source: Marzano, 2017, pp. 5â&#x20AC;&#x201C;6.

Each of the ten design areas corresponds with a design question. These are a set of questions that help teachers plan units and lessons within those units. Table I.2 shows the design questions that correspond with each design area. Table I.2: Design Questions Design Areas Feedback

Content

Design Questions

1. Providing and Communicating Clear Learning Goals

How will I communicate clear learning goals that help students understand the progression of knowledge I expect them to master and where they are along that progression?

2. Using Assessments

How will I design and administer assessments that help students understand how their test scores and grades relate to their status on the progression of knowledge I expect them to master?

3. Conducting Direct Instruction Lessons

When content is new, how will I design and deliver direct instruction lessons that help students understand which parts are important and how the parts fit together?

4. Conducting Practicing and Deepening Lessons

After presenting content, how will I design and deliver lessons that help students deepen their understanding and develop fluency in skills and processes?

5. Conducting Knowledge Application Lessons

After presenting content, how will I design and deliver lessons that help students generate and defend claims through knowledge application?

6. Using Strategies That Appear in All Types of Lessons

Throughout all types of lessons, what strategies will I use to help students continually integrate new knowledge with old knowledge and revise their understanding accordingly? continued ď&#x192;

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

Context

7. Using Engagement Strategies

What engagement strategies will I use to help students pay attention, be energized, be intrigued, and be inspired?

8. Implementing Rules and Procedures

What strategies will I use to help students understand and follow rules and procedures?

9. Building Relationships

What strategies will I use to help students feel welcome, accepted, and valued?

10. Communicating High Expectations

What strategies will I use to help typically reluctant students feel valued and comfortable interacting with their peers and me?

Source: Marzano, 2017, pp. 6â&#x20AC;&#x201C;7.

Within the ten categories of teacher actions, we have organized sets of strategies in even more fine-grained categories, called elements. As teachers think about each design question, they can then consider specific elements within the design area.

Forty-Three Elements The forty-three elements provide detailed guidance about the nature and purpose of a category of strategies. Table I.3 depicts the elements that correspond to each design area. For example, the design area of providing and communicating clear learning goals involves three elements. 1. Providing scales and rubrics (element 1) 2. Tracking student progress (element 2) 3. Celebrating success (element 3) As a teacher considers how to provide and communicate clear learning goals that help students understand the progression of knowledge he or she expects them to master and where they are along that progression (design question 1), the teacher might think more specifically about providing scales and rubrics, tracking student progress, and celebrating success. These are the elements within the first design area. Finally, these forty-three elements encompass hundreds of specific instructional strategies. Table I.3 lists the forty-three separate elements in The New Art and Science of Teaching framework beneath their respective design areas.

General and Subject-Specific Strategies Over 330 specific instructional strategies (embedded in the forty-three elements) have been articulated as a part of the general The New Art and Science of Teaching framework. (For detailed descriptions of the strategies articulated in the general model, see Marzano Resources, n.d.) For example, Marzano Resources (n.d.) articulated the following nine strategies for element 24, increasing response rates. 1. Random names 2. Hand signals 3. Response cards 4. Response chaining 5. Paired response 6. Choral response 7. Wait time 8. Elaborative interrogation 9. Multiple types of questions

Introduction

Table I.3: Elements Within the Ten Design Areas Feedback Providing and Communicating Clear Learning Goals 1. Providing scales and rubrics 2. Tracking student progress 3. Celebrating success Using Assessments 4. Using informal assessments of the whole class 5. Using formal assessments of individual students

Content Conducting Direct Instruction Lessons 6. Chunking content 7. Processing content 8. Recording and representing content Conducting Practicing and Deepening Lessons 9. Using structured practice sessions 10. Examining similarities and differences 11. Examining errors in reasoning Conducting Knowledge Application Lessons 12. Engaging students in cognitively complex tasks 13. Providing resources and guidance 14. Generating and defending claims

Context Using Engagement Strategies 23. Noticing and reacting when students are not engaged 24. Increasing response rates 25. Using physical movement 26. Maintaining a lively pace 27. Demonstrating intensity and enthusiasm 28. Presenting unusual information 29. Using friendly controversy 30. Using academic games 31. Providing opportunities for students to talk about themselves 32. Motivating and inspiring students Implementing Rules and Procedures 33. Establishing rules and procedures 34. Organizing the physical layout of the classroom 35. Demonstrating withitness 36. Acknowledging adherence to rules and procedures 37. Acknowledging lack of adherence to rules and procedures

Using Strategies That Appear in All Types of Lessons 15. Previewing strategies 16. Highlighting critical information 17. Reviewing content Building Relationships 18. Revising knowledge 38. Using verbal and nonverbal 19. Reflecting on learning behaviors that indicate affection 20. Assigning purposeful homework for students 21. Elaborating on information 39. Understanding students’ back22. Organizing students to interact grounds and interests 40. Displaying objectivity and control

Communicating High Expectations 41. Demonstrating value and respect for reluctant learners 42. Asking in-depth questions of reluctant learners 43. Probing incorrect answers with reluctant learners

Source: Marzano, 2017, p. 8.

Teachers can indeed use these nine strategies to increase students’ response rates. However, the articulation of these strategies in The New Art and Science of Teaching framework does not imply that they are the only strategies that can be used to increase students’ response rates. When applying The New Art and Science of Teaching to a specific content area (such as art or music), there are additional, subject-specific strategies that teachers can use to increase students’ response rates. This book focuses on such strategies. For example, chapter 6 of this book describes the strategy of artistic play as a way to preview new content during an art lesson. While artistic play is not articulated as a strategy in the general The New Art and Science of Teaching framework, it is a powerful strategy and is clearly associated with element 15, previewing strategies. Thus, it appears in our discussion of that element in this book. The same logic applies to our treatment of the other

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

forty-two elements: we provide art- and music-specific strategies for each element of the general The New Art and Science of Teaching framework. Appendix A (page 139) presents an overview of the entire The New Art and Science of Teaching framework featuring the categories, design areas, and elements. This can serve as an advance organizer while reading this book.

The Need for Subject-Specific Models General frameworks like The New Art and Science of Teaching certainly have their place in a teacher’s understanding of effective instruction. However, a content-specific model of instruction can be a useful supplement to the more general framework in The New Art and Science of Teaching. The content-specific model should fit within the context of the general framework, but it should be based on content-specific research and should take into account the unique challenges of teaching a particular content area. For art and music, such a content-specific model should address important aspects of artistic or musical knowledge, procedures, and instruction, such as vocabulary, artistic and musical literacy, criticism, reflection, artistic and musical process, technique, and expression. A content-specific model for art and music should address these aspects in depth and relate back to the general framework of instruction. We designed this book to provide just such a model. Specifically, in the following chapters, we address the three overarching categories—(1) feedback, (2) content, and (3) context—with their corresponding ten categories of instruction and the embedded forty-three elements that feature specific strategies expressly for art and music. Although this text predominantly provides suggestions to support lesson planning around art and music instruction, we encourage readers to explore the foundational book The New Art and Science of Teaching (Marzano, 2017). In doing so, they will likely infuse their content areas and grade levels with additional strategies.

About This Book In chapters 1 through 10, we situate an art- and music-specific model within the broader context of The New Art and Science of Teaching framework. Each chapter addresses a set of related elements and their associated strategies. When an element requires different approaches for art and music, we present strategies in separate sections dedicated to each content area—readers can examine the sections that best apply to their subject areas. When an element applies similarly to both subjects, the strategies appear together. On occasion, the nature of fine arts classes necessitates a completely different approach to an element. In these cases, the element will have a different name than in the overall model, and the reasoning will be explained in the text. Part I, focused on feedback, begins with chapter 1, which describes how teachers can articulate the content to be learned in the classroom using learning progressions (called proficiency scales) and use those scales to track students’ progress and celebrate their success. In chapter 2, we explain how to assess students’ current status relative to the content articulated in the proficiency scales. Part II addresses content. In chapters 3, 4, 5, and 6, we articulate instructional strategies for teaching the art and music content that students need to learn. Chapter 3 focuses on conducting direct instruction lessons, chapter 4 on conducting practicing and deepening lessons, chapter 5 on conducting knowledge application lessons, and chapter 6 on using strategies that appear in all types of lessons. Part III, concentrated on context, reviews issues pertaining to student engagement (chapter 7), rules and procedures (chapter 8), building relationships (chapter 9), and communicating high expectations to all students (chapter 10).

Introduction

Chapter 11 describes a four-step process for developing teachersâ&#x20AC;&#x2122; expertise. In anticipation of chapter 11, each chapter contains self-rating scales for readers to assess their performance on the elements of the model. By doing this, they can determine their areas of strength and the areas in which they might want to improve relative to The New Art and Science of Teaching. All of the self-rating scales in this book have the same format for progression of development. To introduce these scales and help readers understand them, we present the general format of self-rating scale in figure I.2. Score

Description

4: Innovating

I adapt strategies and behaviors associated with this element for unique student needs and situations.

3: Applying

I use strategies and behaviors associated with this element without significant errors and monitor their effect on students.

2: Developing

I use strategies and behaviors associated with this element without significant errors but do not monitor their effect on students.

1: Beginning

I use some strategies and behaviors associated with this element but do so with significant errors or omissions.

0: Not Using

I am unaware of the strategies and behaviors associated with this element or know them but donâ&#x20AC;&#x2122;t employ them.

Figure I.2: General format of the self-rating scale.

To understand this scale, it is best to start at the bottom with the Not Using row. Here, the teacher is unaware of the strategies that relate to the element or knows them but doesnâ&#x20AC;&#x2122;t employ them. At the Beginning level, the teacher uses strategies that relate to the element, but leaves out important parts or makes significant mistakes. At the Developing level, the teacher executes strategies important to the element without significant errors or omissions but does not monitor their effect on students. At the Applying level, the teacher not only executes strategies without significant errors or omissions, but also monitors students to ensure that they are experiencing the desired effects. We consider the Applying level the level at which one can legitimately expect tangible results in students. Finally, at the Innovating level, the teacher is aware of and makes any adaptations to the strategies for students who require such an arrangement. Each chapter also contains Guiding Questions for Curriculum Design to support planning and aid in reflection. Appendix A provides an overview of The New Art and Science of Teaching framework. Appendix B features recommended reading and resources for art and music teachers. Appendix C lists the figures and tables featured in this book. In sum, The New Art and Science of Teaching Art and Music is designed to present an art- and music-specific model of instruction within the context of The New Art and Science of Teaching framework. We address each of the forty-three elements from the general model within the context of art and music instruction and provide specific strategies and techniques that teachers can use to improve their effectiveness in teaching art and music and elicit desired mental states and processes from their students.

FEEDBACK

CHAPTER 1

Providing and Communicating Clear Learning Goals

The New Art and Science of Teaching framework begins by addressing how teachers will communicate with students about what they need to learn. Clearly stated learning goals are a keystone of effective teaching and learning practice, and communicating them to students is essential. Students need to know what is expected of them in order to develop and demonstrate the skills and creative processes we want them to develop in art and in music. In subjects like mathematics, science, reading, and writing, there are long-standing, defined learning goals that express desired education outcomes. These academic areas state familiar learning targets—master addition and subtraction, know how to find the radius of a circle, understand the process of photosynthesis, or learn the rules of grammar and how to write coherently. Conversely, in the areas of teaching art or music, discussions about learning goals are less definitive and lack common consensus. In many schools, learning goals within art and music curricula remain unspecific or unstated. There are a number of reasons that art and music curriculums often lack specific learning goals. The main reason is that arts education is historically limited or under-supported. Too often, school budgets cut art and music programs, upending any efforts to sustain a defined, visionary, goal-driven curriculum. Or, if not cut from school programs, art and music teachers often work in isolation—sometimes serving as the only art or music teacher for the entire school or district. This is true even in some of the most affluent schools. When art and music teachers work on their own, they rarely have enough time to reflect on learning goals or improve instructional and assessment practices, nor do they have the added value of collaborating with colleagues in their subject area. In considering how to provide and communicate learning goals in art and music programs, we are starting a discussion that is long overdue. In this chapter, we synthesize the smart thinking of a number of art and music teachers, and we clarify the value of those insights as we seek to articulate a vertically aligned curricular experience from elementary school through high school. By doing so, we can create a better, more unified commitment to teaching and learning goals that develop students’ artistic and musical potential over time. In addition to defining learning goals through scales and rubrics, this design area also includes elements related to tracking students’ progress and celebrating their success. Together, these three elements— 11

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

(1) providing scales and rubrics, (2) tracking student progress, and (3) celebrating success—create a foundation for effective feedback. Here we describe how each element might manifest in an art or music classroom.

Element 1: Providing Scales and Rubrics

While artistic and musical skills vary among students, learning goals in these content areas should point all students in the same intentional direction. Instruction to reach those goals varies with each student—like all areas of learning, art and music can and should be differentiated to meet the needs of the individual student. Long-term goals in teaching art and music help guide the intention of more focused, individualized outcomes. Long-term goals may include developing students’ artistic literacy, expression, and appreciation of the similarities and differences between artistic styles, genres, and historic periods. In service of these broader goals, teachers assign specific projects and provide instruction on certain techniques and information. We present these long-term learning outcomes in the following sections and encourage teachers to work with students individually to reach each goal—focusing on continuous improvement, growth, and personal bests. Goals in art and music are highly adaptable. Teachers should modify goals to fit the medium and the composition the student is producing—drawing is very different from creating a sculpture, just as vocal performance is different from playing the violin. The purpose of a goal in art and music is to continuously bring attention to a particular area of growth, recognizing that performance in that area may be very inconsistent from one composition to the next. In the following sections, we list goals that teachers can adapt for many different classrooms and for many different artistic and musical projects. Teachers should modify these goals in relation to the expectations of the task, the stage of students’ arts education (beginning, intermediate, and so on), and the developmental capacity of the learner (elementary, high school, and so on). Once teachers have established learning goals, they should elaborate on individual goals by creating proficiency scales. Figures 1.1 and 1.2 display two examples of proficiency scales, one in art and one in music, respectively. We want to stress a few important points about these two examples. First, proficiency scales should describe an artist’s or musician’s work in relation to an expectation or competency. Second, notice that the skill in each of the examples remains the same. It is the description that identifies the degree to which the student demonstrates or performs these skills that changes. Third, always express the scale in the affirmative. These should not criticize students; they should help identify the student’s current ability and what he or she might need to continue to develop in order to support sustained growth. In the art and music classroom, rubrics often are built with multiple proficiencies in mind in order for students to better understand the teacher’s expectations for learning. Clarifying these expectations is important for the intricate learning that occurs in the arts. Obviously, there are many different possible skills to identify in art and music. Taking the time to compose these proficiency scales can benefit a number of instructional efforts—developing assessments, providing feedback, peer-to-peer review, and student self-reflection. Remember, students need to learn how to talk about their own skills and their own skill development. Creating usable language in these areas benefits both the teaching and learning process.

Scales and rubrics articulate what students should know and be able to do as a result of instruction. The content in a scale or rubric should come from a school or district’s standards. As noted previously, schools often lack standards for art and music. When creating learning goals and scales, we recommend referencing the National Core Arts Standards’ four artistic processes of creating, presenting, responding, and connecting, as well as the anchor standards, for additional guidance (National Coalition for Core Arts Standards [NCCAS], 2014b).

Providing and Communicating Clear Learning Goals

Concept Development Artistic Intent, Voice, Theme, Research, Sustained Investigation, Experimentation 4: Exceeding Standards

I can explore a concept in an individual piece of art and develop it throughout a series of related works.

3: Meeting Standards

I can explore a concept and develop it throughout my artwork.

2: Approaching Standards

I can explore a concept within sections of my artwork.

1: Developing Standards

I can brainstorm a concept through spoken, written, or sketched plans.

Rhythm Accuracy of Note and Rest Values, Duration, Pulse, Steadiness, Correctness of Meters 4: Exceeding Standards

I can perform accurate rhythms at the subdivided level when sight-reading and playing prepared music at the notated tempo.

3: Meeting Standards

I can perform rhythms at the subdivided level when playing prepared music at the notated tempo.

2: Approaching Standards

I can perform rhythms at the subdivided level when playing prepared music at a reduced tempo.

1: Developing Standards

I can perform accurate rhythms at the subdivided level when playing prepared music at a reduced tempo with intervention.

Figure 1.2: Proficiency scale example for music—Rhythm.

Finally, we should note that educators use terms such as learning goals, learning targets, scales, and rubrics in many different ways. In fact, there are no universally accepted definitions for these terms. We recommend that within a department or school, teachers come up with some general rules about how they will jointly use these terms and then stick to those rules. The term goal is usually the most general in the set. Goals can be broad or specific, long term or short term in nature. The term target is usually reserved for relatively specific statements of knowledge and skill. In many academic subject areas, teachers commonly establish daily learning targets, sometimes articulating them as “I can . . .” statements. It’s best to think of scales and rubrics as a listing of targets (or goals) that are hierarchic in nature. Novice targets (or goals) are at the low end of the scale; complex targets (or goals) are at the high end of the scale. Educators sometimes differentiate scales and rubrics by defining a rubric as constructed for a specific task. By contrast, a scale (also referred to as a proficiency scale or performance scale) would measure the development of a specific skill that can be used across tasks. For example, an art teacher might design a rubric for the specific task of students interviewing and photographing an individual who has impacted their lives. A music teacher might construct a proficiency scale for appropriate finger position while using bar chords on a six-string guitar, a skill that applies across a wide variety of pieces for the guitar. In this book, we will use the terms scales and rubrics somewhat synonymously. Both art and music teachers can use the scale in figure 1.3 (page 14) to rate their current level of effectiveness with providing scales and rubrics. In the following sections, we explore specific learning goals for art (page 14) and music (page 15).

Figure 1.1: Proficiency scale example for art—Concept development.

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

Score

Description

4: Innovating

I adapt behaviors and create new strategies for unique student needs and situations.

3: Applying

I provide scales and rubrics, and I monitor the extent to which my actions affect students’ performance.

2: Developing

I provide scales and rubrics, but I do not monitor the effect on students.

1: Beginning

I use the strategies and behaviors associated with this element incorrectly or with parts missing.

0: Not Using

I am unaware of strategies and behaviors associated with this element.

Art Table 1.1 lists suggested goals for artistic assignments. These goals demonstrate a varied approach and take students through a process of artistic development focusing on planning, creation, and reflection. For instance, the goal titled planning helps students develop a foundational approach to creating art through exposure to research, experimentation, and artistic expression. Other goals, such as use of media, advance students’ awareness of techniques in order to produce art. Taken together, learning goals for creating art require students to demonstrate more integrated skills, pay close attention to presentation quality and effect, and develop their own artistic voice. In addition to art creation, table 1.1 contains learning goals for areas of critique and assessment, so that students’ self-perception, ability to express artistic analysis, and competence at interpretation can mature. These holistic, clearly stated goals provide students with a greater awareness of how artistic development is multidimensional. Students begin to see how they can set individual goals in ways that advance their skills in both creating art and thinking about art. Table 1.1: Goals in a Visual Arts Classroom Topic Area

Description of Goals

Creating: Conceiving and Developing New Artistic Ideas and Work (NCCAS, 2014b) Planning

Student actively gathers research, experiments with techniques, and effectively plans works of art. This may include collecting visual references, writing reflections, experimenting with media techniques, drawing thumbnail sketches, or building a maquette (a small preliminary model).

Use of Media

Student consistently shows controlled and advanced use of media and tools through the inclusion of subtle changes and intricate details.

Composition

Student effectively and consistently shows strong composition emphasizing focal points (juxtaposition of lines in drawing, arrangement of color and brush strokes in painting, and so on).

Time Management

Student actively engages in the artistic process and effectively manages time to meet project deadlines and classroom procedures.

Persistence

Student actively engages in the creative process to move past setbacks and revise artwork and ideas. Presenting: Interpreting and Sharing Artistic Work (NCCAS, 2014b)

Presentation Quality and Craftsmanship

Student presents artwork in an exemplary manner with clean borders in a format appropriate to the composition with no rips, tears, stray marks, or smudges.

Artistic Voice

Student effectively communicates ideas through the use of visual imagery and composition. Student utilizes balance, contrast, rhythm, imagery, and text to express ideas.

Figure 1.3: Self-rating scale for element 1—Providing scales and rubrics.

Providing and Communicating Clear Learning Goals

Topic Area

Description of Goals

Responding: Understanding and Evaluating How the Arts Convey Meaning (NCCAS, 2014b) Student describes artwork using accurate vocabulary and descriptive language to identify the subject, materials, and style in which the artist created it.

Analysis

Student examines structures and design principles to deconstruct art into smaller parts.

Interpretation

Student creates a claim with supporting evidence that reinforces the interpretation of a work of art. This may include personal, historical, and societal perspectives.

Criticism

In social settings, student provides positive and constructive feedback to peers, while also being able to accept feedback from peers and teacher.

SelfAssessment

Student accurately identifies areas of strength and areas to improve, while making plans to revise the work.

Connecting: Relating Artistic Ideas and Work With Personal Meaning and External Context (NCCAS, 2014b) Synthesis

Student creates and discusses artwork that relates to personal experiences and different people, places, and times.

Music The music learning goals in table 1.2 cover a diverse range of musical skills that embrace both the challenging aspects of musical technique and the exploratory value of improvisation. In reviewing this list of musical goals, notice the way the goals welcome each new student into the process of learning music. Students begin their music education at different times in elementary, middle, or high school. Likewise, students arrive in the music classroom with varying backgroundsâ&#x20AC;&#x201D;some with prior training and others without training. As we consider how to better nurture the musical development and expression of students, goals in the music classroom need to recognize and encourage continuous improvement along a growth continuum. The purpose of these goals is to express to students the variance in musical development and the different ways in which their musical strengths may emerge. As students begin to build on their musical strengths, introducing other musical skills becomes an important way to reinforce those strengths and also challenge them to develop further musicianship. For instance, one student might demonstrate strengths in musical literacy, while another might enter the classroom with greater strengths in technique. Building from these strengths and then introducing each student to other goals help sustain development and commitment. These overarching goals provide a strong vision for musical development and facilitate individual goal setting for each young musician. Table 1.2: Goals in a Music Classroom Topic Area

Description of Goals

Creating: Conceiving and Developing New Artistic Ideas and Work (NCCAS, 2014b) Arranging

Student uses existing music or musical elements to adapt and combine them into a new and original piece of music.

Composing

Student composes music using original ideas and varied musical elements and styles for different instruments, voices, or technologies.

Improvising

Student spontaneously creates music within a rhythmic or melodic context.

Persisting

Student actively engages in the creative process to revise and complete music.

Performing: Realizing Artistic Ideas and Work Through Interpretation and Presentation (NCCAS, 2014b) continued ď&#x192;

Description

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

Topic Area

Description of Goals Student performs accurate pitches and notes when playing prepared music and when sight-reading at the notated tempo.

Tone Quality

Student performs with characteristic tone that is consistent through the full range and duration of the music.

Intonation

Student performs notes in tune relative to either the ensemble or a tuner. This includes pitch accuracy of written notes.

Technique and Posture

Student performs with efficient and fluid coordination of mechanical elements including proper execution of articulations and correct performance positions.

Musicianship

Student performs dynamics and stylistic elements accurately.

Aural Skills (Ear Training)

Student identifies and performs scales, rhythmic patterns, melodies, and chord changes within music literature.

Ensemble Skills

Student works productively to support positive classroom culture, while helping the ensemble grow musically.

SelfManagement

Students organize their rehearsal and performance schedule with advance planning and resolve conflicts if and when they arise.

Responding: Understanding and Evaluating How the Arts Convey Meaning (NCCAS, 2014b) Description

Student describes the musical components and imagery when listening to music.

Analysis

Student examines a musical piece by deconstructing the whole into smaller elements using technical terminology.

Interpretation

Student demonstrates musical insight with evidence that supports the interpretation of music. This may include personal, historical, and societal perspectives.

Criticism

Student provides positive and constructive feedback to peers, while also being able to accept feedback from peers and teacher.

Self-Assessment

Student accurately self-assesses strengths and areas for growth, while setting goals to improve.

Connecting: Relating Artistic Ideas and Work With Personal Meaning and External Context (NCCAS, 2014b) Synthesis

Student creates and discusses music that relates to personal experiences and different people, places, and times.

Element 2: Tracking Student Progress Tracking student progress in art or music is similar to tracking student progress in any other content area: the student receives scores based on scales or rubrics and the teacher uses the student’s pattern of scores to “provide each student with a clear sense of where he or she started relative to a topic and where he or she is currently” (Marzano, 2017, p. 14). Monitoring student progress in art and music helps generate and sustain motivation. All too often in art and music programs, students become discouraged by a perceived lack of progress or talent. Many students give up on the arts, claiming that they aren’t good enough or aren’t talented enough. When we think about monitoring and tracking student progress in art and music classrooms, we want to consider how that process can help students see and reflect on their own development. This means being highly attentive to providing feedback that builds students’ capacities to see how their skills are emerging and maturing—especially in smaller, incremental ways. The following sections describe strategies for tracking student progress in art and music (page 18). We recommend that teachers use the scale in figure 1.4 to rate their current level of effectiveness with element 2.

Rhythm and Note Accuracy

Providing and Communicating Clear Learning Goals

Score

Description

4: Innovating

I adapt behaviors and create new strategies for unique student needs and situations.

3: Applying

I track student progress, and I monitor the extent to which my actions affect student learning.

2: Developing

I track student progress, but I do not monitor the effect on student learning.

1: Beginning

I use the strategies and behaviors associated with this element incorrectly or with parts missing.

0: Not Using

I am unaware of strategies and behaviors associated with this element.

Art In the art classroom, tracking student progress takes many different forms. First and foremost, educators must monitor student progress in relation to expectations. Since they can examine and evaluate art against many different criteria, students need to know what those expectations will be. Identifying them for students (as described in element 1, page 12) can help students better focus on areas of growth and learning and monitor their progress from art project to art project. These expectation descriptors, checklists, or rubrics interface with an ongoing gradebook that focuses on finding evidence of students’ developing skills. When building rubrics, think through the gradation of skill development. Spend time reviewing rubrics with students to help them compare their skill development to the benchmarks. Many art teachers make use of portfolios, in which students collect their work throughout the semester or year. These portfolio systems work best when students actively use them in reflective ways—they should not be only “warehouses” or “art collections.” Portfolios are most effective when they help students see, describe, and discuss their developing capacities over time. Teachers can use the following strategies to track student progress in the art classroom. • Checklists: The teacher creates a list of learning goals and assessment artifacts that the teacher and student check off as he or she completes the tasks. • Gradebooks: The teacher uses the gradebook to report student progress on learning goals rather than homework, attendance, participation, and exam scores. Over time, the teacher gathers a collection of evidence documenting if students are meeting or not meeting class goals. The gradebook should be accessible to the teacher, student, guardians, and support staff. • Proficiency scales and rubrics: Teachers or students are responsible for collecting and saving scored rubrics in order to review and discuss them over the course of the class. Both the teacher and the student use the performance rubrics to evaluate the student’s performance and growth. • Multimedia portfolios: The student collects visual artifacts documenting his or her artistic process to review and discuss growth and development. Portfolios may include actual artwork and investigative artifacts or they can be digital, showcasing images, videos, and recordings. • Technology: Online technologies and learning management systems allow teachers to collect evidence of individual learning and artistic artifacts, similar to a digital portfolio. Examples of these platforms include: Artsonia (www.artsonia.com) Seesaw (web.seesaw.me) Google Drive (drive.google.com)

Figure 1.4: Self-rating scale for element 2—Tracking student progress.

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

Music In music, students need supportive teachers who help them perceive their individual development as they are working to meet class expectations. Providing learning targets and scales that require students to provide evidence of their progress over time builds musical scholarship alongside musical performance. Establishing strong progress-monitoring habits in young musicians enhances their productivity as they practice their instruments and work to make gains toward their personal goals.

The following list offers suggestions on how to monitor student progress in multiple ways with the intent that students become better at self-assessment. • Checklists: The teacher creates a list of learning goals and performance assessments, such as playing tests, that the teacher and student check off as he or she completes tasks. • Gradebooks: The teacher uses the gradebook to focus on reporting student progress on learning goals rather than homework, attendance, participation, and exam scores. Over time, the teacher gathers a collection of evidence documenting if students are meeting or not meeting class goals. The gradebook should be accessible to the teacher, student, guardians, and support staff. • Proficiency scales and rubrics: Teachers or students are responsible for collecting and saving scored rubrics in order to review and discuss them over the course of the class. Both the teacher and the student use the performance rubrics to evaluate the student’s performance and growth. • Multimedia portfolios: The student collects musical artifacts documenting the performance process in order to review and discuss growth and development. Portfolios may include physical or digital artifacts showcasing audio, videos, compositions, arrangements, practice logs, and so forth. • Student self-reflections: The teacher guides students to write responses reflecting on their growth and progress.

Element 3: Celebrating Success Tracking progress on learning goals allows teachers to celebrate students’ growth and achievements. Celebrating success in art and music classrooms should focus on acknowledging progress and improvement. Teachers traditionally celebrate high scores or top performers, so celebrating growth may be an adjustment. This emphasis on improvement rather than results applies to all subject areas, but can be particularly impactful in the arts. Sustaining an ongoing commitment to artistic or musical development is a challenge for students. Students frequently quit arts programs by the time they reach high school—often earlier. They get bored with their instruments. They stop practicing. Or, they think they are not artistically talented—especially compared to their classmate who appears to be a child prodigy. In The New Art and Science of Teaching Art and Music, one of our major intentions is to sustain our students’ commitment to art and music programs. We need to think about the strategies that will connect students with an internal motivation to continue their artistic and musical development even through the more difficult challenges of learning. In considering motivation for

Technology provides music teachers with various highly effective tools that help monitor student growth and development over time. Tools such as SmartMusic (www.smartmusic.com), musictheory.net, Breezin’ Thru Theory (www.breezinthrutheory.com), and others not only record sound for comparison, but also manage immediate feedback, provide developmental suggestions, and facilitate more effective approaches to learning music and musicianship.

Providing and Communicating Clear Learning Goals

young artists and young musicians, consider how different elements and suggestions might work differently for different students with differing needs. Element 3 focuses on strategies for art and music (page 20) that work to celebrate the success of students in vivid, smart ways. Figure 1.5 presents the teacher self-rating scale for celebrating success. Score

Description I adapt behaviors and create new strategies for unique student needs and situations.

3: Applying

I celebrate success, and I monitor the extent to which my actions affect students.

2: Developing

I celebrate success, but I do not monitor the effect on students.

1: Beginning

I use the strategies and behaviors associated with this element incorrectly or with parts missing.

0: Not Using

I am unaware of strategies and behaviors associated with this element.

Figure 1.5: Self-rating scale for element 3—Celebrating success.

Art Celebrating success in the visual arts inspires and motivates students. Traditional and time-honored ways of celebrating art through school displays or art fairs are effective ways to celebrate student art and artistic expression. These displays instill a sense of motivation and pride in a student, and they provide recognition among friends and family. When art is publicly visible, it invites ongoing feedback beyond the classroom in the form of supportive or encouraging comments. We also recommend extending the celebration of art into the community—striving to connect students with the greater purpose of art and artistic expression. Educators can connect with school- or community-based publications or other media where students can see art celebrated beyond the walls of a museum. In considering art and celebration, find ways to value student art beyond grading it and be sure to refer back to those celebrations to commemorate students’ artistic efforts and achievements. Strategies for celebrating success in art include the following. • Recognitions of student growth: The teacher guides students to collect and review artifacts they create in class. The teacher can ask students to identify areas that exemplify artistic growth and achievement. The teacher should reinforce that students can learn artistic skills just like any other subject. Throughout the process, the teacher should regularly praise students for their work, citing specific examples students should be proud of. • Art exhibitions: The teacher establishes student art displays throughout the classroom, hallway, school, and community. Teachers should make efforts to use the school website, social media, or other websites (such as Artsonia) to share student art. • Art awards: Establish traditions to recognize student achievement in your classroom, art department, and school. This may include student artist of the week, month, or year, as well as other class superlatives. Information about individual students, artwork, and awards can be displayed on class bulletin boards, in hallways, in announcements, on websites, in event programs, during assemblies, and so on. • Art competitions and festivals: The teacher encourages students to participate in local, regional, and national art competitions. The teacher may choose to embed competition guidelines into the curriculum or identify student artwork for submission. Celebrate participants and award winners publicly through school communications.

4: Innovating

THE NEW ART AND SCIENCE OF TEACHING ART AND MUSIC

• School publications: Utilize student art to illustrate school and district publications, such as pamphlets, curriculum guides, calendars, board of education reports, and so on. • Purchasing student art: The school purchases student artwork on an annual basis. Then it frames or otherwise prepares them for display and exhibits them permanently in the school.

Music

• Recognizing student growth: The teacher guides students to review artifacts and performance recordings and asks them to identify areas that exemplify musical growth and achievement. The teacher should reinforce that students can learn music skills just like any other subject. Throughout the process, the teacher should regularly praise students for their work, citing specific examples they should be proud of. • Performances and concerts: The teacher creates opportunities for students to perform music for their peers, family, and community. This may include performances in class, throughout the school, at evening concerts, or at community events. • Music awards: The teacher helps establish traditions to recognize student achievement in the classroom, music department, and school. This may include student musician of the week, month, or year, as well as other superlatives. Teachers can display information about individual students and the awards on class bulletin boards, in hallways, in announcements, on websites, in event programs, during assemblies, and so on. • Contests and festivals: The teacher encourages students to participate in local, regional, and national music competitions. The teacher may choose to embed competition guidelines into the curriculum, such as composition and arrangement contests or state solo and ensemble competitions. Celebrate student participants and award winners publicly through school communications.

Musical performances bring people together and provide a place to celebrate musical dedication and achievement. Celebrating success in music has two facets: (1) celebrating the ensemble and (2) celebrating the individual. In musical performance we often celebrate the ensemble—the performance of the group. This kind of celebration is important, as well as meaningful to students; however, celebrating the individual in relation to the ensemble is equally important. When recognizing individual progress, educators connect teaching, learning, and assessment practices back to the goals they have laid out for students. The following list provides a number of different suggestions for building these celebrations of musical success. When considering these strategies, note how they recognize the individual student for his or her own improvement.

Providing and Communicating Clear Learning Goals

When teachers engage in curriculum design, they consider this overarching question for communicating clear goals and objectives: How will I communicate clear learning goals that help students understand the progression of knowledge I expect them to master and where they are along that progression? Consider the following questions aligned to the elements in this chapter to guide your planning. • Element 1: How will I design scales and rubrics?

• Element 3: How will I celebrate success?

Summary By providing scales and rubrics, tracking student progress, and celebrating success, educators can initiate far-reaching implications for better teaching and learning practice. When art and music teachers intentionally and cohesively plan these three significant elements, students benefit greatly. They begin to see how they can achieve goals—through incremental change. Likewise, they begin to see how learning goals intersect with one another, how they reinforce one another, and how they continuously challenge artistic and musical growth over time. A teacher’s thoughtful work in this design area allows students to see these interconnections and develop a greater sense of momentum and commitment to learning. A steady focus on these three foundational commitments builds up other important components of teaching and learning in ways that create positive and challenging experiences for young artists and musicians. By working on these three elements in art and music classrooms, educators can generate a more sophisticated commitment to the process of creating art and music. In doing so, we begin to see The New Art and Science of Teaching Art and Music as an interplay of learning commitments that build up our students’ abilities to generate and critically reflect on art and music.

• Element 2: How will I track progress?

—Amy L. Duma

Director, Teacher and School Programs, John F. Kennedy Center for the Performing Arts

A joint publication

Visit go.SolutionTree.com/instruction to download the free reproducibles in this book.

Solution Tree

SolutionTree.com

ONUSCHECK • MARZANO • GRICE

MUSIC

teaching and learning in art and music classrooms

• Understand which instructional elements are best suited

AND

• Receive time-tested strategies and ideas to improve

ART

Within the category of feedback, teachers will learn art- and music-specific strategies for: • Providing and communicating clear learning goals • Using assessments

K–12 teachers will:

OF TEACHING

SCIENCE

AND

Founder, Attitude Concepts for Today

ART

—Tim Lautzenheiser

THE NEW