Personal Reflections, and Implications for Replication
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TOWARDS RAISING NOT JUST BETTER MUSICIANS, BUT BETTER PEOPLE Elena Claudine Bennett B. A., Cornell University--College of Arts and Sciences, 1978 M.Div., Yale Divinity School, 1983 PROJECT Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in EDUCATION (Curriculum and Instruction) at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2010 TOWARDS RAISING NOT JUST BETTER MUSICIANS, BUT BETTER PEOPLE A Project by Elena Claudine Bennett Approved by: , Committee Chair Crystal Olson, Ed.D. , Second Reader Porfirio Loeza, Ph.D. Date ii Student: Elena Claudine Bennett I certify that this student has met the requirements for format contained in the University format manual, and that this project is suitable for shelving in the Library and credit is to be awarded for the Project. , Associate Chair Rita M. Johnson, Ed.D. Date Department of Teacher Education iii Abstract of TOWARDS RAISING NOT JUST BETTER MUSICIANS, BUT BETTER PEOPLE by Elena Claudine Bennett Throughout history, music has powerfully influenced social justice movements and attitudes in every corner of the world. But the human race continues to struggle today with prejudice and unfairness manifested in many forms, around the globe, and music still has a role to play in facing this great challenge. This project therefore asked: how can music education in an American school help to develop not only better singers and instrumentalists but more tolerant, compassionate, historically informed, socially enlightened students? Over the course of eight weeks, this project taught the history and music of America’s Underground Railroad and of the Civil Rights movement to children in first through fourth grade, to see how those studies might positively affect children’s attitudes towards social justice and their behavior towards other people. I observed responses to the historical material, to the music studies in class, and to the mixed-media assembly shared with our school community. Though striking attitude and behavioral changes were not widely obvious in the short-term, iv students and adults alike responded thoughtfully and enthusiastically to the project. Long-term benefits are expected. , Committee Chair Crystal Olson, Ed.D. Date v DEDICATION I dedicate this project to Jim and Jean Strathdee, whose music and ministry for social justice around the world has inspired me for many years. vi ACKNOWLEDGEMENTS I give heartfelt thanks for the academic advice, encouragement, and inexhaustible support of Crystal Olson and Porfirio Loeza, my mentors and friends throughout this project. I am grateful to Christy Vail and my colleagues at Sacramento Country Day School for allowing flexibility in my teaching schedule these past two years, without which I could not have undertaken this project. For their video and PowerPoint editing, I commend Sarah Song, Porfirio Loeza, and Tom Wroten. Finally, I thank my husband Gary and sister Carmela for patiently letting me bounce ideas off them, sometimes for hours. vii TABLE OF CONTENTS Page Dedication .................................................................................................................... vi Acknowledgments ...................................................................................................... vii Chapter 1. INTRODUCTION .................................................................................................. 1 Challenge .......................................................................................................... 1 Why, and to Whom, Does This Question Matter? ........................................... 1 The Author’s Background and the Context of This Inquiry ............................. 2 Procedure .......................................................................................................... 3 Literature Review ............................................................................................. 5 Research Methods and Documentation ............................................................ 5 Significance for Other Teachers ....................................................................... 6 Limitations ........................................................................................................ 7 2. REVIEW OF THE LITERATURE ........................................................................ 8 Introduction ...................................................................................................... 8 The Practice and Theory of Arts in Education ................................................. 8 History and Role of Music in Social Justice Movements ............................... 19 Group Singing as an Expression of Emotion and Solidarity .......................... 21 Topical Song-Writing as Social Protest ......................................................... 28 Music as a Source of Cultural Strength and Pride .......................................... 37 viii Why Teach Music of Peace and Justice in School? ....................................... 42 Character Education ....................................................................................... 42 Parental Guidance Suggested? ....................................................................... 46 Singing Their Way into History ..................................................................... 47 Releasing the Imagination: From Empathy to Hope to Action ...................... 48 3. DEVELOPMENT AND DOCUMENTATION OF THE PROJECT .................. 52 “He Said It’s Not Just How People Look…That Matters” ............................. 53 In the Days of Slavery .................................................................................... 66 Teaching the Music ........................................................................................ 69 Applying the Moral Lesson ............................................................................ 80 Rehearsing the Assembly ............................................................................... 82 Presenting “Lift Every Voice and Sing” ........................................................ 88 4. EVALUATION OF THE PROJECT, PERSONAL REFLECTIONS, AND IMPLICATIONS FOR REPLICATION ........................................................ 91 Evaluation of the Project ................................................................................ 91 Personal Reflections ....................................................................................... 99 Next Time ..................................................................................................... 103 Implications for Replication ......................................................................... 107 Final Thoughts .............................................................................................. 109 Appendix A. Script for “Lift Every Voice and Sing: A Musical Celebration of Black History, Civil Rights, and Hope” ....................................................... 111 Appendix B. PowerPoint Presentation Used in the Assembly: Song Lyrics and Film Footage ..................................................................... 122 ix Appendix C. Video of the Lower School Assembly, February 23, 2010 ............... 123 Appendix D. Recommended Resources ................................................................. 124 Appendix E. Student Artwork and Photographs .................................................... 130 References ................................................................................................................ 141 x 1 Chapter 1 INTRODUCTION The Challenge I teach music to children – not as a job, or a craft, but as an art. I teach them using songs, dance, puppet and human dramas, instrumental music, musical games, history lessons, movies, visual art, and literature of all kinds. Frequently, even the youngest students then turn around and share their music with others, in the process inspiring and educating their peers, their families, their concert audiences, their teachers, and even the wider community beyond our school. The perennial question for me is: what ultimately is the goal of teaching music in this way? How can I design and implement a more human curriculum that will effectively create—that is, raise up—not just better musicians (or poets, dancers, actors, and artists), but better people? How can I use music and other arts to develop more tolerant, compassionate, historically informed, socially enlightened people, who care about their fellow humans and celebrate the differences between them? Why, and to Whom, Does This Question Matter? This question should be important, in the first place, to government policy- makers, as they weigh curriculum and school funding choices which will influence the strength of our citizenry now and in the future. The question certainly also matters to school administrators—public and private, urban and rural, affluent and struggling alike—as they examine and reexamine the purpose of schooling in American society and education’s direct role in children’s everyday lives. The issue is important to 2 parents, as they seek excellent, balanced education for their children. It profoundly concerns me and all teachers in my position, as we identify and struggle towards our highest goals as individual educators. Above all, the question matters for our children, who seek and deserve spiritual inspiration just as much as they need cognitive development in their schools. The Author’s Background and the Context of This Inquiry