|
Multicultural Music in
American History via Online 3D
|
Multicultural Music in American History via Online 3D
There exists concern that America's incoming president manifests some of the dysfunctional behaviors that have, historically, been kept hidden in America's seedy underbelly. Electing Donald Trump to the highest political position in the world has brought these behaviors into the public eye. As long as people are willing to bubble maladaptive behavior to the surface in America, why not take a look at 1970's Bronx*? During this era, America saw the origins of gang activity, graffiti tagging, and a musical culture that tells the story: hip-hop (Rhodes, 2016, n.p.). This is not to glorify the era, but to bring into light a moment of history in order to find the comprehension and clarification needed to facilitate correction for future generations. People who assimilate all of history's lessons better understand how to make decisions that lead to a bright future. An exciting prospect considering the technological tools, instructional techniques, and interpersonal awareness available to help modern-day teachers guide the youth. To be sure, the introduction of multicultural music into history lessons via Online 3D can be facilitated by collaborating with colleagues, employing Socratic Seminar questions as a scaffold for exploring feelings, and teaching critical thinking or creativity as these are directly related to caring behavior.
To start with the end in mind, consider these connections. Akinde (2015) explains how critical thinking fosters creativity (p. 2830), and Maroon (2015a) shares how creative teaching reaches all learning styles (para. 1). Therefore, critical thinking fosters an environment that can reach all learning styles. There is a positive correlation between critical thinking and caring behavior (Pai, 2013, p. 428); it follows that there exists a positive correlation between caring behavior and creativity. The logical conclusion is that caring behavior reaches all learning styles. Additionally, “a student’s mental operation (e.g.,decision-making) is similar whether in the virtual or real world” (Loke, 2015, p. 134). Because of this, students can learn critical thinking in virtual worlds in the same way that they learn critical thinking in the real world. When critical thinking can be learned in a virtual world, creativity can be learned in a virtual world. Since creativity reaches all learning styles, learning in virtual worlds reaches all learning styles. Finally, Backlund et al (2010, p. 165) and Kontour (2012, p. 359) observed that behavior can be acquired by completing comparable tasks in desktop virtual reality games. This means that there is reason to believe the physical components of caring behavior, such as body language, can be learned in a desktop virtual reality game. Pai's (2012, p. 428) research has shown that caring behavior correlates with critical thinking, which correlates with creativity, reaching all learning styles. Along the same lines, it is realistic to believe that learning caring-behavior-specific body language via virtual reality can correlate with improved critical thinking and creativity in order to reach all learning styles. “The non-linear nature of technology lends itself to students’ using their intrinsic critical thinking abilities” (Maroon, 2015b, para. 1). The result is that technology provides an environment that can be creative, fostering caring behavior, reaching all learning styles. Enter Online 3D.
Now, to spend a minute with the correlation between creativity and musical instruction. A depth of experience provides more options when designing curriculum. It also improves the probability that a teacher is aware of the limited scope an individual's perception of creativity, thereby allowing room for addition concepts to be adopted by students and colleagues. In other words, music students can guide their teacher's performance by expressing expectations. An example might be student reactions to Rhode's (2016) hip-hop related cultural immersion assignment that instructs them to canvas a potentially dangerous neighborhood looking for graffiti tag names or murals (Lesson Plan #1). Words like “overwhelmed,” “anxious” and “scared” come to mind. This assignment raises a question about the teacher's concern for his students' welfare. Online 3D mitigates any potential danger by providing a virtual reality neighborhood with representative graffiti tags and murals for student exploration and observation. Ultimately, as the teacher adapts to students, a healthy, safe environment of student-centered learning is created, taking into consideration different learning styles and increasing the probability of reaching all students. Additional learner-centered lesson designs include creating new interactive, participatory learning spaces using such tools as online classes, gaming and simulations, online tutors and virtual reality environments (Speak up 2008 for students, teachers, parents and administrators, 2009, p. 8). It is important to note that, although “studies exemplify the complexity of creativity in music education that is not always reflected in manuals and statutes” (Odena, 2012, p. 40), manuals and statutes can provide guidelines within which teachers and students are free to explore and develop enriched learning options, including interdisciplinary collaborations.
The Ruben (2016) study regarding the benefits of co-teaching speaks to interdisciplinary collaborations and contributes to the Blue Ribbon Panel on Clinical Preparation and Partnerships' 2010 call for expanding the knowledge base on effective practices in teacher preparation. The results indicated an overall gain for almost every student in each evaluated subject area. Adult participants were especially pleased with the extended (two-year) duration of the program as they were able to establish strong professional interactions, facilitating cohesion and confidence. Cooperating teachers experienced increased introspection and reflection, becoming strong peer leaders, enabling everybody to reach more students. Teacher candidates brought special education training with specific knowledge of student needs, providing direct support in small groups and one-on-one interactions that resulted in significant gains in student performance. Co-teaching is highly advised in an online classroom as there exists the need for both a subject matter expert (teacher) and curriculum or instructional designer comfortable with basic website structure and online communication philosophy. Back in the classroom, teacher candidates gave an additional and fresh perspective which increased student support and created more social bonds, encouraging enthusiastic student participation. The power of collaboration generated a stronger learning experience and re-energized teachers, bringing inspiration and increasing accountability; two interactive instructors, ultimately, demonstrated for students adult roll models in healthy relationships. This supports the Sternberg, Meyers, Pace, Spencer and Chamberlin (2013) observation that “if you want to teach for creativity, the thing is to do is to teach attitudes for life and, ultimately, roll model them as well” (1:24). Overall, teacher candidates were assets, and schools should recognize the benefits of having as many teacher candidates as possible on campus. As in face-to-face education, embracing the wisdom and insight of an instructional designer when venturing into Web-based instruction helps ensure an instructor create and deliver appropriate, high-quality curriculum.
Along these lines, a focus on integrating social intelligence into teaching, and practice paying attention to the motives and feelings of other people promotes a introspective, insightful, learner-centered academic environment. Understanding how to put others at ease fosters trust and security, improving the quality of the academic environment, and increasing the probability of successful communication between students and teacher which, in turn, leads to increased acquisition of lesson content. One way to improve social intelligence is to practice being assertive (5 tips to developing your social intelligence, 2016, point #1). Speaking up in a non-aggressive manner shows healthy boundaries and relays clear communication of desires and expectations. Part of recognizing when to be assertive is being able to identify when a specific situation creates insignificance, helplessness, or fear. Being objective and specific about the situation includes using “I” statements to share feelings, and clearly express reasonable expectations. Sometimes, this causes an adverse reaction from the other person and, possibly, a situation where there is no room for compromise. In the case of an impasse, it is wise to repeat expectations or discontinue the interaction. Everyday interactions allow opportunities to be assertive (Tucker-Ladd, 2010, point #4). Student and teacher communication during lessons provide good opportunities to practice interaction.
Beginning discussions at an appropriate level within Bloom's hierarchy fosters successful student-teacher interactions. Specific scenarios and independent activities to facilitate material application and verify students understand fundamental concepts in the lesson can be scaffolded with Socratic Seminar questions of knowledge and comprehension (Estes & Mintz, 2016, p. 164). A specific instance of hip-hop embodying the oral traditions of the African griot, kept alive by Jamaican slaves, and, ultimately, transported to New York in the form of Reggae toasts is a good example.
Additionally, pre-service training can increase teachers confidence and certainty about how and why to include multicultural music in the curriculum (Cain, 2015, p. 84). Student creativity engaging all learning styles is cultivated through discovery-based lessons where both the teacher and students are comfortable with a moderate level of uncertainty and ambiguity (Zenasni, Besancon and Lubart, as cited in Cain, 2015, p. 87). Co-teaching increases the probability that ambiguity be accurately identified and guided to a constructive conclusion. This is a modification of the traditional academic environment of route memorization and regurgitation of socially accepted facts that, ideally, leads to a more imaginative learning system. Built upon a foundation of Socratic Seminar questions that facilitate comprehension and provide scaffolding upon which to explore feelings, implementation of an inclusive multicultural program becomes as easy as following specific examples, and as fascinating as innovation allows.
There is reason to believe that the correlation between learning critical thinking, creativity, and caring behavior can be fostered in online virtual reality (3D). Naturally, creativity is intrinsic in the non-linear environment of technology. Fortunately, a safe introduction to a potentially dangerous culture for the purpose of academic analysis is facilitated in the controlled world of online virtual reality (3D). In both face-to-face and online classrooms, collaborative teaching enables the development and delivery of superior curriculum while modeling healthy adult interaction that facilitates student interaction and performance gains. In order to empower classroom participants with the knowledge of when, how, and what to share while expressing feelings about a subject, teachers can include lessons on social understanding. Clarifying comprehension through fundamental Socratic Seminar questions helps open minds while providing guidance for a constructive discussion directed to fulfill lesson benchmarks. Ultimately, learner-centered, moderately ambiguous lessons that integrate multicultural music into the curriculum can be fun while fostering empathy and inclusion.
*Do not be confused by my tongue-in-cheek comparison. The hip-hop era was born in the aftermath of national dialog that saw the addition of amendments intended to correct ongoing civil rights violations. Once the amendments passed, the dialog stopped... with the notable exception of the Bronx.
To start with the end in mind, consider these connections. Akinde (2015) explains how critical thinking fosters creativity (p. 2830), and Maroon (2015a) shares how creative teaching reaches all learning styles (para. 1). Therefore, critical thinking fosters an environment that can reach all learning styles. There is a positive correlation between critical thinking and caring behavior (Pai, 2013, p. 428); it follows that there exists a positive correlation between caring behavior and creativity. The logical conclusion is that caring behavior reaches all learning styles. Additionally, “a student’s mental operation (e.g.,decision-making) is similar whether in the virtual or real world” (Loke, 2015, p. 134). Because of this, students can learn critical thinking in virtual worlds in the same way that they learn critical thinking in the real world. When critical thinking can be learned in a virtual world, creativity can be learned in a virtual world. Since creativity reaches all learning styles, learning in virtual worlds reaches all learning styles. Finally, Backlund et al (2010, p. 165) and Kontour (2012, p. 359) observed that behavior can be acquired by completing comparable tasks in desktop virtual reality games. This means that there is reason to believe the physical components of caring behavior, such as body language, can be learned in a desktop virtual reality game. Pai's (2012, p. 428) research has shown that caring behavior correlates with critical thinking, which correlates with creativity, reaching all learning styles. Along the same lines, it is realistic to believe that learning caring-behavior-specific body language via virtual reality can correlate with improved critical thinking and creativity in order to reach all learning styles. “The non-linear nature of technology lends itself to students’ using their intrinsic critical thinking abilities” (Maroon, 2015b, para. 1). The result is that technology provides an environment that can be creative, fostering caring behavior, reaching all learning styles. Enter Online 3D.
Now, to spend a minute with the correlation between creativity and musical instruction. A depth of experience provides more options when designing curriculum. It also improves the probability that a teacher is aware of the limited scope an individual's perception of creativity, thereby allowing room for addition concepts to be adopted by students and colleagues. In other words, music students can guide their teacher's performance by expressing expectations. An example might be student reactions to Rhode's (2016) hip-hop related cultural immersion assignment that instructs them to canvas a potentially dangerous neighborhood looking for graffiti tag names or murals (Lesson Plan #1). Words like “overwhelmed,” “anxious” and “scared” come to mind. This assignment raises a question about the teacher's concern for his students' welfare. Online 3D mitigates any potential danger by providing a virtual reality neighborhood with representative graffiti tags and murals for student exploration and observation. Ultimately, as the teacher adapts to students, a healthy, safe environment of student-centered learning is created, taking into consideration different learning styles and increasing the probability of reaching all students. Additional learner-centered lesson designs include creating new interactive, participatory learning spaces using such tools as online classes, gaming and simulations, online tutors and virtual reality environments (Speak up 2008 for students, teachers, parents and administrators, 2009, p. 8). It is important to note that, although “studies exemplify the complexity of creativity in music education that is not always reflected in manuals and statutes” (Odena, 2012, p. 40), manuals and statutes can provide guidelines within which teachers and students are free to explore and develop enriched learning options, including interdisciplinary collaborations.
The Ruben (2016) study regarding the benefits of co-teaching speaks to interdisciplinary collaborations and contributes to the Blue Ribbon Panel on Clinical Preparation and Partnerships' 2010 call for expanding the knowledge base on effective practices in teacher preparation. The results indicated an overall gain for almost every student in each evaluated subject area. Adult participants were especially pleased with the extended (two-year) duration of the program as they were able to establish strong professional interactions, facilitating cohesion and confidence. Cooperating teachers experienced increased introspection and reflection, becoming strong peer leaders, enabling everybody to reach more students. Teacher candidates brought special education training with specific knowledge of student needs, providing direct support in small groups and one-on-one interactions that resulted in significant gains in student performance. Co-teaching is highly advised in an online classroom as there exists the need for both a subject matter expert (teacher) and curriculum or instructional designer comfortable with basic website structure and online communication philosophy. Back in the classroom, teacher candidates gave an additional and fresh perspective which increased student support and created more social bonds, encouraging enthusiastic student participation. The power of collaboration generated a stronger learning experience and re-energized teachers, bringing inspiration and increasing accountability; two interactive instructors, ultimately, demonstrated for students adult roll models in healthy relationships. This supports the Sternberg, Meyers, Pace, Spencer and Chamberlin (2013) observation that “if you want to teach for creativity, the thing is to do is to teach attitudes for life and, ultimately, roll model them as well” (1:24). Overall, teacher candidates were assets, and schools should recognize the benefits of having as many teacher candidates as possible on campus. As in face-to-face education, embracing the wisdom and insight of an instructional designer when venturing into Web-based instruction helps ensure an instructor create and deliver appropriate, high-quality curriculum.
Along these lines, a focus on integrating social intelligence into teaching, and practice paying attention to the motives and feelings of other people promotes a introspective, insightful, learner-centered academic environment. Understanding how to put others at ease fosters trust and security, improving the quality of the academic environment, and increasing the probability of successful communication between students and teacher which, in turn, leads to increased acquisition of lesson content. One way to improve social intelligence is to practice being assertive (5 tips to developing your social intelligence, 2016, point #1). Speaking up in a non-aggressive manner shows healthy boundaries and relays clear communication of desires and expectations. Part of recognizing when to be assertive is being able to identify when a specific situation creates insignificance, helplessness, or fear. Being objective and specific about the situation includes using “I” statements to share feelings, and clearly express reasonable expectations. Sometimes, this causes an adverse reaction from the other person and, possibly, a situation where there is no room for compromise. In the case of an impasse, it is wise to repeat expectations or discontinue the interaction. Everyday interactions allow opportunities to be assertive (Tucker-Ladd, 2010, point #4). Student and teacher communication during lessons provide good opportunities to practice interaction.
Beginning discussions at an appropriate level within Bloom's hierarchy fosters successful student-teacher interactions. Specific scenarios and independent activities to facilitate material application and verify students understand fundamental concepts in the lesson can be scaffolded with Socratic Seminar questions of knowledge and comprehension (Estes & Mintz, 2016, p. 164). A specific instance of hip-hop embodying the oral traditions of the African griot, kept alive by Jamaican slaves, and, ultimately, transported to New York in the form of Reggae toasts is a good example.
- Clive Campbell (Kool D.J. Herc) is regarded as the father of hip-hop. Modern rap music finds its origins deeply embedded in the toasting and dub talk over elements of reggae music. In the early 70’s he attempted to incorporate his Jamaican style of dj which involved reciting improvised rhymes over the dub versions of his reggae records. Unfortunately, reggae wasn’t received positively by the majority of New Yorkers. Kool Herc realized this quickly and modified his style by chanting over the instrumental or percussion sections of the day’s popular songs. Because these breaks were relatively short, he learned to extend them indefinitely by using an audio mixer and two identical records in which he continuously replaced the desired segment. (Andrew, 2012, para. 5)
- Intrinsic benefits accrue to the public sphere when works of art convey what whole communities of people yearn to express. Examples of what can produce these benefits are art that commemorates events significant to a nation’s history or a community’s identity, art that provides a voice to communities the culture at large has largely ignored, and art that critiques the culture for the express purpose of changing people’s views. (McCarthy, 2013, p. xv)
Additionally, pre-service training can increase teachers confidence and certainty about how and why to include multicultural music in the curriculum (Cain, 2015, p. 84). Student creativity engaging all learning styles is cultivated through discovery-based lessons where both the teacher and students are comfortable with a moderate level of uncertainty and ambiguity (Zenasni, Besancon and Lubart, as cited in Cain, 2015, p. 87). Co-teaching increases the probability that ambiguity be accurately identified and guided to a constructive conclusion. This is a modification of the traditional academic environment of route memorization and regurgitation of socially accepted facts that, ideally, leads to a more imaginative learning system. Built upon a foundation of Socratic Seminar questions that facilitate comprehension and provide scaffolding upon which to explore feelings, implementation of an inclusive multicultural program becomes as easy as following specific examples, and as fascinating as innovation allows.
There is reason to believe that the correlation between learning critical thinking, creativity, and caring behavior can be fostered in online virtual reality (3D). Naturally, creativity is intrinsic in the non-linear environment of technology. Fortunately, a safe introduction to a potentially dangerous culture for the purpose of academic analysis is facilitated in the controlled world of online virtual reality (3D). In both face-to-face and online classrooms, collaborative teaching enables the development and delivery of superior curriculum while modeling healthy adult interaction that facilitates student interaction and performance gains. In order to empower classroom participants with the knowledge of when, how, and what to share while expressing feelings about a subject, teachers can include lessons on social understanding. Clarifying comprehension through fundamental Socratic Seminar questions helps open minds while providing guidance for a constructive discussion directed to fulfill lesson benchmarks. Ultimately, learner-centered, moderately ambiguous lessons that integrate multicultural music into the curriculum can be fun while fostering empathy and inclusion.
*Do not be confused by my tongue-in-cheek comparison. The hip-hop era was born in the aftermath of national dialog that saw the addition of amendments intended to correct ongoing civil rights violations. Once the amendments passed, the dialog stopped... with the notable exception of the Bronx.
REFERENCES
5 tips to developing your social intelligence (2016). Authentically Positive. Retrieved from http://authenticallypositive.com/5-tips-to-developing-your-social-intelligence
Akinde, O. A., (2015). A pilot study of students' learning outcomes using didactic and socratic instructional methods: an assessment based on bloom's taxonomy. Educational Research and Reviews 10(21), 2821-2833.
Andrew (2012). Would hip-hop exist without Jamaica? The Jamaican Blogs. Retrieved from http://jablogz.com/2012/09/would-hip-hop-exist-without-jamaica/
Backlund, P., Engstrom, H., Johannesson, M., Lebram, M. (2010). Traffic education: an experimental study of a game-based driving simulator. Simulation & Gaming 41(2), 145-69.
Cain, M., Lindblom, S., Walden, J. (2015). Initiate, create, activate: practical solutions for making culturally diverse music education a reality. Australian Journal of Music Education 2, 79-97.
Estes, T. H. and Mintz, S. L. (2016). Instruction: a models approach (Rev. Ed.). Pearson.
Kontour, K. (2012). The governmentality of battlefield space: efficiency, proficiency, and masculine performativity. Bulletin of Science, Technology & Society 32(5), 353-360.
Loke, S. (2015). How do virtual world experiences bring about learning? a critical review of theories. Australasian Journal of Educational Technology, 31(1).
Maroon, N (2015a). Benefits of a creative education. Retrieved from https://nannymaroon.wordpress.com/2015/10/09/benefits-of-creative-education
Maroon, N (2015b). How networked 3D facilitates thought. Retrieved from https://nannymaroon.wordpress.com/2016/08/07/how-networked-3d-facilitates-thought/
McCarthy, K. F., Ondaatje, E. H., Zakaras, L., Brooks, A. (2004). Gifts of the muse: reframing the debate about the benefits of the arts. RAND. Retrieved from http://www.rand.org/pubs/monographs/MG218.html
Odena, O. and Welch G. (2012). Teachers' perceptions of creativity. Odena, O. (Ed.) In Musical creativity: insights from music education research. 29-50. Great Britain. MPG Books Group.
Pai, H., Eng, C., Ko, H. (2013). Effect of caring behavior on disposition toward critical thinking of nursing students. Professional Nursing 29, 423-429.
Rhodes, H. A. (2016). The evolution of rap music in the united states. Yale-New Haven Teacers Institute. Retrieved from http://teachersinstitute.yale.edu/curriculum/units/1993/4/93.04.04.x.html
Ruben, B. (2016). Analysis of stakeholder perceptions of a clinical model involving co-teaching and extended-field experiences in an inclusive middle-grades setting. RMLE Online 39(6), 1-18.
Speak up 2008 for students, teachers, parents and administrators (2009). Project Tomorrow.
Sternberg, R., Meyers, A., Pace, K., Spencer J. & Chamberlin, W. (Speakers) (2013, March 9). Teaching creativity in a climate that discourages it [Audio podcast]. Teacher’s Aide. Retrieved from http://itunes.apple.com
Tucker-Ladd, C. (2010) Building assertiveness in 4 steps. World of Psychology. Retrieved from http://psychcentral.com/blog/archives/2010/02/25/building-assertiveness-in-4-steps/
