Task 1:
Pre-Posting – Read all of the Freeman & Freeman, Chapter 4 (How Do People Learn and How Do They Acquire Language?)
Posting – From all of the questions at the end of the chapter (pg 101), Key Points, identify 2 you would most want to explore/take up/discuss. What theories or research supports resonates and could be used to bolster your teaching philosophy? What is your own personal and professional rationale for choosing these questions?
Key Point Number 1
ReplyDeleteGoodman & Goodman personal invention and social convention
I was really intrigued by the Goodman & Goodman approach arguing that language is as much a personal invention s social convention. As this applies to the arts, I believe that learners are not always manipulated by their social experiences, but rather learners are always actively seeking sense in the world. I think this is important when giving arts training to students. Since my discipline at times is subjective, we as music teacher must focus on how the music makes sense to the individual. When the student reviews their experience, they are able to make the decision weather or not they like or dislike a piece. But through that process, they begin to make sense of what it is they are working on.
What really resonates is that the text states that individuals present their personal inventions to a group, which provides feedback the learners can use to make their inventions conform with social conventions. Again, applied to the arts, this allows the students to understand their role in performing alongside with one another. I think the goal of teaching music is to guide the student into making sense of their own experience, while at the same time allowing them room to develop their own interpretation of the music.
Key Point Number 2
Cognitive Apprenticeship
The researched carried out by Brown and his colleagues state that the process of acquiring new concepts is through cognitive apprenticeships, or that we learn new things as we carry out activities in particular situations. Again, this key point reflects the process of music education. As the teacher models what it is expected, the learner is given the tools to recreate what was shared on their own. This type of cognitive apprenticeship is essentially what happens when a student partakes in a private lesson. In my own experience, this is the fastest and most direct and most efficient way of delivering a lesson. So much of our music knowledge is actually passed down from teacher to teacher through the generations. From my personal experience, the way that we improve as musicians is also to be surrounded by those professionals who are actively participating in the community. Not only are the lessons engaged, but students also pick up on the little cues from the professionals such as how to appropriately mark music, how to share music on a stand, how to practice, how to work collectively in order to make a unified sound. I think as a music instructor, it is our responsibility to honor the student and recognize them as a professional, and give them the opportunity to perform with those who are also professionals. The more experience the student has (trial by fire!) the better equipped they will become when taking professional college auditions, or even professional performance opportunities.
This really resonates for me. the process of acquiring new concepts is through cognitive apprenticeships - I believe this is the most powerfully condensed way to learn in all disciplines - but particularly in the arts. My apprenticeship with the Merce Cunningham Dance Company at age 21 was by far the most powerful life experience I've ever had. To be immersed in professionalism after experiencing only school and conservatory learning was single handed reason I am still working in the performing arts today. Thanks for reminding me - we are working to form more professional partnerships at Folwell and that is why!
DeleteI love the argument that language is as much a personal invention as social convention. I also find the practice of apprenticeship fundamental in the arts, and I would imaging the same could be said for many other areas of study. Even as and adult who has been producing art for some time, I find great opportunities for growth when I am allowed to work under other artists and get feedback that allows me to consider new things and approach new methods.
DeleteI would agree that cognitive apprenticeship could (and should) be used in all disciplines. I think that many students learn best when they are given a chance to experience new material in a hands-on setting. Modeling for students also helps set their expectations and gives them a goal to strive for. This is so important for the learning process because so often it is rare for students to have intrinsic motivation, but this gives them something to work toward and most students respond well to that.
DeleteThe two theories that stand out most to me are Vygotsky's Zone of Proximal Development and Fisher and Frey's four stages of teaching. The Zone of Priximal Development is a theory I find applies well in all learning situations and environments. With this theory we take in consider, more so than many theories, the individual student, their capabilities, and their current knowledge. As educators we guide students through the process of learning new information, by applying it to prior knowledge (keeping in mind that Vygotsky uses this theory to build onto and improve constructivist theories such as Piaget's). I think this is important to keep in mind when we are discussing ELL learners, because what I have seen from my little exposure to this subject within the real world scenario are schools and school districts taking a one size fits all approach to ELL learners. An example is how St. Paul follows the full immersion for its secondary ELL students. Although I can see why this model is beneficial for some students, I can see why it would be a problem for others. I am not claiming to know what the answer is, or even suggesting that the approach St Paul takes is wrong, I just see it potentially being problematic for some students who may not learn best in that specific environment for a number of reasons that can be broken down when we consider the individual student in conjunction to the collective.
ReplyDeleteFisher and Frey's model of teaching that includes 4 stages: teacher modeling, guided instruction, collaborative work, and independent practice is another model I can see working in so many different scenarios - I also think it compliments the zone of proximal development, as in it could be used in conjunction with. I am finding that more and more I teach the more and more I go to this model to help students learn processes in art production. When I introduction a new medium and/or method I start by showing them examples of the art work. Then I do a live demo where they watch me create (example: using colored pencils to create a still life of an apple). Next, I have them try the process in their sketchbooks while I walk around the room interacting with each of them and help them through the process. Finally, they create their own still life using the methods they were taught. This process seems to really help students get the idea of correct process, and plan to continue developing lesson plans that incorporate this method. I can't help but think this process would be very successful with language learners and perhaps I need to put more thought about how I will use this method to help then, and other students, learn the academic language of art better.
Laura,
DeleteIt sounds like you a great advocate for ELL students that do not fit the one size fits all approach. I too agree that each student is unique and based off of their needs, we need to be able to adapt our lessons to ensure that learning is taking place. This is where I believe the true process of learning and instruction start…I think that another issue with a one size fits all approach is that we will never know students prior knowledge unless they have been apart of the school from the beginning. ELL students who are children of immigrants who have been geographically uprooted may not share the common prior knowledge of the rest of the class.
The correct process is so fundamental when trying to instruct any student, not just ELL students. Your teaching strategies you commented on int he Fisher and Frey’s model seem to allow the student to take ownership of their work. I am sure that your process modeled after the F&F will be very successful in the future!
I wonder if this approach could also be applied to the instruction of college level classes. I feel like we are all expected to fit a one size fits all category, when really, we all learn at different paces and with different instruction. If we are asked to be versatile in our approach to education, wouldn’t it make sense for those who administer teaching license to share the same type of flexibility?
We think alike! I chose the same two applications...I agree that they fit perfectly together and build upon one another. It sounds like you are already implementing the Fisher and Frey model as an art teacher. Don't you love when you are practicing something that you discovered on your own then find there's a whole theory to support it! You're brilliant!
DeleteNick - I think it would be really interesting to see this approach a post-secondary setting. Unfortunately, I think a lot of times in college students are expected to take control of their own learning but in my opinion, teaching is teaching regardless of where or at what level. As teachers, we should always be thinking of how our students learn rather than what teaching style best fits us.
DeleteFor me the two theories that generally fit with my personal philosophy are cognitive apprenticeship and Fisher and Frey’s model of teaching. In general, I am drawn to the Constructivist Learning Theory (CLT) and I think these two fit the same basic goals and understandings. With cognitive apprenticeship, the students are generating an understanding of new content based on their personal experience, but may not be able to apply it in the correct context. This is relevant in business education because the students bring with them a wealth of personal experience with the topics (i.e. marketing and advertising) without having been introduced to the concepts in an academic setting. By providing them with the right context to apply their previous knowledge, they are then able to complete tasks that show me as the teacher that they have mastered the concept. This fits with CLT because we are providing the context, but the students are creating the connections on with their own experiences in order to build understanding.
ReplyDeleteWith Fisher and Frey, we not only have modeling but also guided instruction, collaborative work, and independent practice. Each of these pieces works together to help the students take control of their own learning and build a personal understanding of the new content. As a teacher, I want to provide guided instruction to highlight the key concepts (similar to what Sean did the other night with his tour guide example). This way, I know that the students are picking up on the important language that is presented. Next, I want to give them an example or model of what I am expecting so that they can see what they should be learning and/or doing. With this, they are able to relate it to examples from their own lives to begin establishing a connection with the content. Through collaborative work, the students are able to share their personal connections which will hopefully help them to gain multiple perspectives and force them to think more critically about what they are learning. Lastly, they should be able to practice this new knowledge and new perspectives in order to show that they understand the new content. Again, all of these ideas (especially the group work) are aligned with the goals of CLT and my own personal teaching philosophy.
I really liked your description of the Cognitive apprenticeship. I also appreciate the term you used when talking about “mastering” the content. I believe that knowing, applying and mastering are three very different levels of learning. Students can know what to do, they can apply it, but it really takes time and dedication to be able to master the subject. Mastering for me consist of having a deep understanding of the material, knowing how to use proper application, and then pulling from personal experience to be able to deliver the content with authenticity.
DeleteJesse, I really like how you are going to apply Constructivist Theory to business - it makes so much sense. I never thought about how much prior knowledge the average student has to marketing and advertising, thus a direct link to business. I am eager to apply more CLT to my own teaching. Thanks!
DeleteI appreciate reading how one applies these theories in areas other than the arts. When reading about these theories I automatically apply them to an visual art classroom, but sometimes have a hard time imagining what they will look like inside other rooms.
DeleteThat's funny because I was thinking that it has been so beneficial to be with arts' teachers and learn about how "language" is used and manipulated beyond words and text.
DeleteVygotsky's Zone of Proximal Development
ReplyDeleteThis theory really resonates for me as a teacher. Leading a student forward by aiming for the area just ahead of where their current development and understanding is centered. I learned that Vygotsky believed that peer interaction was an essential part of the learning process. In order for children to learn new skills, he suggested pairing more competent students with less skilled ones. When a student is in this zone of proximal development, providing them with the appropriate assistance and tools, which he referred to as scaffolding, gives the student what they need to accomplish the new task or skill. Eventually, the scaffolding can be removed and the student will be able to complete the task independently. I hope that this will be the case in three weeks in my Theatre/Dance class at Folwell.
More than half of the students do not come to the school because it is a performing arts school, less than half do. In my specialist classes, I am working with about the same ratio - I have around 12 students who are enthusiastic learners and are with me step by step as I teach. Around 18 are disengaged and would rather not be in the class at the beginning of the term. I have found that by grouping students strategically, one enthusiast with one-two students who are at a fundamental understanding, the enthusiast as the opportunity to teach just ahead of their own learning (ZPD) and the other student(s) have the opportunity to absorb the excitement from a peer and learn a new skill. We are about to start our final project working on putting together a one act play. I will be keeping Vygotsky and the Zone of Proximal Development in mind as we journey into this project with students at varying stages of skill.
As far as performance art is concerned, I totally agree with your comments about Vygotsky’s Zone. I too can relate to experience that we always want to be aiming for the step beyond what is reachable. Just out of curiosity, have you ever hit that place in the classroom where you plateau? A few years back, the orchestra I currently conduct hit a plateau about 2 weeks before our concert. The students brains were fired…filled…and really could’t retain any more information. Since that experience, I have always made it a goal to keep the learning process steady by never reaching that plateau. For my experience, I think I started pushing too far out in the content before they were really able to understand the information. I pushed so far, that I lost the majority of the students. Since that experience, I found that if I stay just one step ahead at all times, they will eventually succeed, and then I can push a little more each lesson until the last lesson that usually ends up being the night of the performance. This has lead to major success because the students feel a sense of accomplishment, and the learning never plateaued.
DeleteYes, I have experienced that before. Timing is everything, arriving at performance readiness before the performance can be dangerous. We started rehearsals for our school musical in October for a March show and i was very worried this was going to happen. I held back on diving into the script until two after Thanksgiving for fear of the plateau. We spent a month skill building and community building and I think it's going to pay off. Thanks for sharing.
DeleteI too love the idea of matching students up depending on their ability, with the idea that one student can serve to lead another student. Also, an additional bonus to this set up is that the student who is helping another student is also forced to dig deeper into their understandings in order to help the other student and therefore ends up learning the material even better him/herself.
DeleteFisher and Frey's Four Stages
ReplyDeleteAs a teacher in a school with almost half ELL learners, I find that this theory intrigues me as I believe it would provide a clear learning model for all my students, but particularly for my ELL students. In stage one, the teacher talks the students through the lesson plan, providing them with a model of what they are to do. This is critical for my ELL students who often miss just a verbal explanation. However, I see lightbulbs go off if I do it for them before expecting the same of them. During the guided instruction stage, the students begin to execute the lesson, but with the teachers guidance close at hand. In my class, this stage would be very helpful for ELL students who need further support and explanation but also for beginner students new to the discipline. Students who are confident and journey on more independently at this time. In the next stage, students are grouped strategically but left alone to problem solve collaboratively with peers. Finally, students work alone to develop independence. Hopefully, they are able and ready to do so.
This model is a perfect next step from Vygotsky's theory. It gives a more practical approach and plan to execute the theory. I like the four steps and can implement all four with ease in my Theatre class. I believe that students do need to connect with all four of these stages - it is a natural progression, moves organically and can be applied to almost any discipline.