Vision of the Student as an Accomplished Learner
Comparing curriculum planning to a road trip seems like the obvious choice of metaphor: have the destination in mind before setting out on a journey. When looking at the idea of backwards design (Wiggins & McTighe, 2005), however, this concept has only been around for about a quarter century. Sure, its implementation has probably been used prior to its official conception at the end of the millennium, but the widespread usage, in the grand scheme of formal education, is still in its infancy.
Of course, there is much more to it than setting an end point and plotting the best course of action; there needs to be a clearer understanding of what the end point entails. On a surface level usage, educators might simply look to the end of the school year. A single-term class such as United States history might start with Columbus discovering the Americas and end at the present day—or more likely, whenever the class’s outdated textbook was written—with a final exam consisting of important chronological moments in history. Certain classes such as band or choir, where students can repeat the class yearly and still learn about new topics (Bruner’s Spiral Curriculum), can be all too easy to design with only a final performance in mind: students will play more difficult music at the end of the year than at the beginning, and each year, students might audition to a higher rank within their section. The true end point of backwards design, however, exists beyond the end of the school year: What is the lasting impression that a student will forever retain? Does a chef design a meal so that the last bite of food is the best or is it more important that the customer leaves satisfied by the whole meal, remembering positives about each course presented?
The focal point of a course syllabus or curriculum must be the lasting improvement of a student, not a matter of mentioning every possible topic. Here are various examples of class syllabi, a program curriculum for both undergrad and graduate students, and a district-wide, multi-subject curriculum that I created to use as teaching guides within different classes. By having a Vision of the Student as an Accomplished Learner (Duke, 2005), educators can shift the attention from the topics discussed in class to what the student will retain and use as a lifelong skill. “Quality over quantity”, “depth versus breadth”, or “uncovering above covering” are all phrases used to describe the same concept. To create a permanent impression upon a student’s memory, a teacher cannot merely state an idea and expect it to stick. Most people, whether they know the jargon or not, can understand muscle, or procedural, memory. With more attempts, a task will become easier and easier to execute. Musicians and athletes are well aware of the amount of time it can take to solidify their motor control. Even then, this type of memory is reactionary and requires an action to recall. If students are to access a learned concept on cue, or content addressable memories, an educator must build the appropriate schema around the idea so that students can approach it from various angles (Tan et al., 2018). Therefore, the depth of the memory, while not being too narrowly focused, is the key for ensuring that students will understand and remember a concept at will, rather than simply memorizing an idea so that it becomes an involuntary reaction. In this teaching video, I provide a hands-on experience for students to understand the relationship between pitches; while not every bit of information will be retained, the depth of this lesson should leave students with a lasting memory. Because classes are limited by time, teachers only have a small window of opportunity to leave this imprint. If time imposed no restrictions, every concept could be deeply embedded in students’ minds; but with this real limitation, educators must carefully decide which concepts should get the proper attention.
Since lifelong learning is the true desired outcome of education, the next step is developing a measurement for determining whether this goal has been reached to the required extent. Without the goal of permanent concept retention, an assessment has the potential to be just as unfocused as an attempt to cover every individual idea about a topic in a short timeframe. How can one tell if a student understands a concept? How does the student know that they understand? Prior to GPS, people on road trips would need some form of indication that the destination has been reached, otherwise they might just keep driving. On a recent hike, I kept passing signs that told me I was almost at the end of the trail; but until I turned the corner and saw the waterfall for myself, I thought the signs might not be accurate. This is why assessments should look to more than one type of evidence. Trail markers alone were unable to assure me that I was getting closer, but a waterfall without the posted sign might not be the waterfall for which I was looking. By using multiple frames of reference, educators can pinpoint more accurately where a student lies on their journey. In these examples, I created assorted assessments that check various levels of student knowledge. Wiggins and McTighe (2005) reveal six facets of understanding with which one can use as evidence: explanation, interpretation, application, perspective, empathy, and self-knowledge. Not all are required to indicate the desired result, but relying on only one may not reveal any potential blind spots. Assessments not only indicate to the teacher that a student comprehends an idea, but without a meaningful evaluation, the students themselves may not realize their own levels of understanding (Herbart’s concept of Apperception). This video of an informal assessment gives students an opportunity to check their own pulse against the metronome and their peers, further developing the ability to listen beyond themselves while performing (Owen, n.d.).
Once the outcome and the criteria for evaluating it has been determined, the final step is to figure out how to get there in the most efficient and effective way possible. If one was on a hike and wanted to cross a stream without getting their shoes wet, they would try to determine the driest, most stable rocks before traversing the water: this is the lesson planning stage. The teacher knows the destination, the assessment has been created, and then they try to predict which steps would be best. For anyone who has ever crossed a stream in this manner, they know that no rock is truly predictable. What may be a sturdy footing for one, may not offer the same stability for a person of different attributes. When lesson planning, educators must not focus on only one means of achieving the result; there must be alternate routes and backup plans to accommodate all students (Adamek & Darrow, 2018). Leaving some behind is not an option. Only through careful preparation, with all party members in mind, can the leader ensure the highest level of success. Here are several lesson plans that I created throughout the music education program; they are listed chronologically to display the growth in my preparations. It should also be noted that even with the best laid plan in place, it is up to the individual to execute the directions to the best of their ability for a successful outcome. Prior to developing this understanding of student understanding, it felt like I was jumping onto rocks for no reason other than mere amusement. Music education should be an enjoyable activity, but there must be a good reason to risk getting wet.
Ultimately, what is the point of music education? Do schools only have music programs so that a small percentage of students can become professional entertainers? If that is the case, are we as educators fine with allowing the others to fall into the water? With success standards that high, can any teacher be viewed as successful when most students were seen as cannon fodder? Clearly, if this were a war, that war would be lost. Music educators, then, must reevaluate their purpose to attain wide-spread success in their craft (Kelly, 2019). Looking at the destination of lifelong understanding, teachers need to realize that music is merely the vehicle with which to get there. If the outcome for each student is not exactly the same as the next but every individual is able to take something with them for the rest of their lives, then it can be viewed as a victory. From a traditional standpoint, application is typically the facet of understanding most associated with music education. One should remember, however, that five other ways of displaying understanding can be just as meaningful. Explaining a musical idea in one’s own words can indicate subject knowledge. Interpreting the ideas of another or empathizing with their choices can demonstrate social understandings developed in music class. Identifying the possibility of a perspective other than one’s own can begin to expand a student’s cultural understanding, and realizing their own abilities and limitations will express an understanding of oneself within the external world. Having a vision of the student as an accomplished learner is imperative when facilitating lifelong learning, but this vision cannot be realized without first considering the individual.
Daniel F. Galarneau 