AN INVESTIGATION INTO THE USE OF
PORTFOLIO ASSESSMENT IN Et-FWUTmY MGSIC ZD'uaTIG6
JOAN C . FRANSEN
A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of
MASTER OF EDUCATION
Department of Curriculum: Humanitles and Social Sciences University of Manitoba Winnipeg, Manitoba
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Ali InVESTIGATIOIO IBTO TEE USE OF
POlgTFOLIO ASSESSHENT IZ? -Y MUSIC EDUCATIOI?
A ThesislPracticum submitted to the Faculty of Graduate Studies of The University
of Manitoba in partial fulfïilment of the requirements of the degree
of
Joan C. Fransen 01998
Permission has been granted to the Library of The University of Manitoba to lend or seU copies of this thesis/practicum, to the National Library of Canada to rnicrofdm this thesis and to lend or seIl copies of the frlm, and to Dissertations Abstracts international to publish an abstract of this thesidpracticum.
The author reserves other pubücation rights, and neither this thesis/practicum nor extensive extracts from it may be printed or otherwise reproduced without the author's written permission. TABLE OF CONTENTS
Page ABSTRACT ...... vii ACKNOWLEDGEMENTS ...... viii
LIST OF TABLES ...... ix Chapter 1 . INTRODUCTION AND RATIONALE Introduction ...... 1 Statement of significance ...... 11 Statement of problem ...... 13 Delimitations ...... O...... 14 Def initions ...... 15 2 . LITERATURE REVIEW Introduction ...... 18 Assessrnent themes in the general curriculum ....20 Assessment as a holistic vehicle ...20 Student involvement in assessrnent ..22 Assessment in arts education ...... 23 Music assessrnent ...... 26 Portfolio assessrnent ...... 34 Introduction ...... 34 Rationale for portfolio assessrnent . 35 Portfolio assessment in arts education ..O...38 The contents of a music portfolio . 42 3 . METHODOLOGY Introduction ...... 48 Research rnethod and design ...... 48 Students ...... -49
Datasources ...... 50
c -l Daia coiiection procedu~es...... JI Analysis of data ...... 52 Scientific standards ...... 54 Limitations of the methodology ...... 55
Summation ...... 56
4 . RESULTS AND DISCUSSION Introduction ...... 57 Content of the unit ...... 58 Using tools for self-reflection
in the music classroom ...... 59 Observation responses ...... 60 Videotape recording ...... 62 Listening logs ...... 63 Exit slips ...... 64 Student self-assessrnent ...... 67 Student-led conferences ...... 68 Portfolio survey ...... 70 Discussion ...... -71 5 . SUMMARY AND CCNCLUS IONS
Summary ...... 79 Conclusions ...... 80 Implications for classroorn practice ...... 82 Recommendations for further research ....83
----- .--a KCI~C~~JLCS...... as
APPENDIX A ...... 92
APPENDIX B ...... 96 Abstract Assessing and evaluating music in an elementary school program is very difficult due to high numbers of students and limited contact tirne. The purpose of this study was to determine an effective process for using student portfolios in the music room and to develop assessment tools appropriate for inclusion. Twenty students from a rnulti-age (fourth, fifth, and sixth grades) class participated in a six-week mini-portfolio study which followed one curriculum unit. Students completed exit slips, listening logs, observation responses, video- recordings, self-assessments, and a survey. Some students were involved in student-led conferences, showcasing their musical learning with their parents.
Students enthusiastically completed al1 tasks. Most impressive was their ability to articulate what they had learned in the conference forum. Findings suggested that the use of portfolios is beneficial for the assessment of music learning .
vii Acknowledg~-ments In undertaking and completing my course work and thesis
I have relied on the support of many people. For their encouragement I am truly gxateful.
First, 1 wish to acknowledge my thesis committee. Dr.
Francine Morin has validated my interests and encouraged me not only to seek answers but to keep questioning. Dr. Joan Walters has shown me that children are multi- dimensional beings who deserve the opportunity to learn and express themselves in ways that exhibit their potential. Dr. Barbara
Graham has helped me examine my beliefs in order that 1 may
make my philosophy congruent with my practice.
Second, the students of Room 213 willingly accepted my invitation to participate in classroom research. Their enthusiasm for learning inspires me.
Third, a group of administrators gave me the opportunity
to teach--Betty Ash, Bi1 Roberts, Aida Rodrigues, and Roberta
Hechter. The value and honour they place on music education and my role in educating students is appreciated. Most importantly, my family and friends have encouraged
me to pursue my interests--my parents, Jake Fransen and Adelaide Fransen, my brothers and their families, the Peters-
Fransens and the Epp-Fransens, and my closest friend, Cathy
Horbas. Thank you for understanding the many times '1 just
couldnrt make it because 1 had to work on my paper."
viii List of Tables
Summary table of content anal. ysis of str idents'
observation responses ..,...... 61 2 . Summary table of content analysis of students' exit
slips ...... 64
3 . Results of portfolio project survey ...... 70 Chapter 1 Introduction and Rationale
Introductinn One of the primary challenges confronting music specialists is the struggle to provide meaningful, accurate assessrnent and evaluation. Within the first few weeks of my teaching career 1 began to question my practice and wonder how
1 could measure student growth in the music room. Initially, answers came easily. 1 created tests, rating scales, and what 1 would later learn were called "rubrics" to help me determine if students were learning in my classroom. Before long 1 recognized that developing the students' musical skills had become the focus of my practice. 1 re-examined my philosophy of music education to detemine how 1 could address the areas of music that are significant and of value. As a result of this examination I created lessons that delved deeper into music--critical thinking, aestheticism, true musicality.
As it turned out, creating lessons in these areas was much easier than devising a process to assess student growth. A second problem arose regarding time constraints. The music specialist does not have any "down" time. Students move in and out of the room every half hour. Keeping records or 2 remembering observations for writing anecdo ta1 comments later is difficult. In addition, contact time is at a premium. Interruptions occur which disrupt or even cancel class time.
It is difficult to provide meaningful evaluation under these circumstances. How can al1 dimensions of musical learning be assessed and managed in the music classroom? Related to time constraints is the problem of high student numbers. Hundreds of students are taught by the music specialist daily. Getting to know al1 students and providing any kind of assessment is a challenge. As 1 looked around to my colleagues for help 1 realized that those who had even thought of music in this way also struggled to find ways to reflect musical growth. Traditionally, music teachers and administrators have avoided a discussion of student assessment and evaluation in music. Among some music teachers a certain "assessment phobia" exists. Assessment, as an important facet of curriculum and instruction, has been avoided. A philosophical conflict exists when teachers feel that assessment takes one away from the very practical, active, and aesthetic nature of music-making in the classroorn.
1 believe that my students are positively disposed to music. There are valid reasons for this. First, they are curious, multi-dimensional beings who love to experiment. 1 see this every time a group enters my room. As well-behaved 3 as they are, the instruments look too inviting so some students "try them out" before they sit dom for instructions. They have been exposed to a variety of music specialists who have contributed to their appreciation of and respect for music. Second, many of the cultures my students represent place a high value on music as a form of celebration and expression. Developing opportunities for authentic assessment enhances their musical learning, helps them to develop skills in self-reflection, and furthers their natural interest in music.
The Manitoba Curriculum Guide (1978) provides a scope and sequence for musical learning. This guide draws on the very
concrete knowledge necessary for ski11 development. 1 draw heavily on the suggestions for sequencing as becomes necessary in the development of music learning; that is, in my classroom we make music--on a variety of levels. The teaching of skills for musical literacy takes place within the aesthetic context when we reach the point of requiring such tools to progress. 1 try very hard not to be skill-driven. As part of the school community, 1 draw on opportunities for students to develop process skills for learning. 1 believe that 1 need to provide an environment for music-making that allows children to draw on prior experience, experiment, feel free to take risks, share with others--as well as, to collaborate, and have input in their learning. In my 4 classroom, students are seen as "experts-in-the-making" and are given opportunities to spread their wings. They are actively involved in decision-making that ef fects what they learn. It has been exciting and yet frustrating to develop criteria and appropriate tools for assessment in light of the apparent neglect many music educators have dernonstrated. When administrators are oblivious to what constitutes best teaching I practices in music, it is easy for educators themselves to lose sight of assessment. Assessrnent and evaluation should be an integral part of learning and, in contemporary schooling, will remain in the forefront. Many reasons for the neglect of assessment and evaluation in the arts exist. First, assessment, whether forma1 or informal, does not appear to be given much attention in teacher training programs. Teachers are reluctant to assess students because it is difficult and they feel unequipped to evaluate student learning in arts education courses. Few arts education professionals have the expertise needed to develop rneaningful arts tests (Zerull, 1990) . Observation techniques, test construction, knowledge of performance-based assessrnent and evaluation need attention. This training, before the beginning of a teaching career, could encourage rather than discourage application in the classroom and create further motivation for study by the teacher. Familiarity with assessment techniques would move music educators closer to 5 professionalism as they fulfill an obligation to monitor their programs.
It is unfortunate that in the past many music educators have avoided assessment and evaluation as part of their professional responsibility, This avoidance has hindered music specialists in their quest for credibility as educators . Accountability for al1 educators has become necessary in view of recent scrutiny of public schooling. In discussing
evaluation in arts education, David. S. Zerull (1990) states: Arts educators are in a position to take the lead for al1
subj ect matters and convince boards of education, legislatures, and the business community that the
retention of facts is a small part of a young person's education. The goal of an effective education must be to educate the whole child and inspire curiosity. (p.23) A second argument often used for avoiding music assessrnent deals with its measurability. Aesthetic
appreciation and growth propose challenges. Because musical growth, that is, aesthetic growth, involves human judgments, and intrinsic response is difficult to measure, its measurement is inherently subjective (Radocy, 1989). Music educators lack the measurement instruments necessary to provide bafanced, valid assessrnent ( Lehman, 1989). Standardized tests tend to fa11 short in the area of aesthetic assessment. The need for outsiders to quantify aesthetic 6 growth/potential leaves musicians in a state of quandary. In a local example, the Manitoba Music Curriculum Guide (Manitoba
Department of Education, 1978 ) seeks to provide guidelines for
that which is technical and practical rather than for aesthetic education. The writers of the guide likely intended for aesthetic growth to happen but, at the time of its writing
two decades ago, did not identify objectives or strategies to attain such growth. Acknowledgingthe difficulties around assessing aesthetic growth, there are many aspects of musical learning--necessary for aesthetic experience--that can be assessed. Music is a highly specialized subject area with a hierarchy of measurable skills, processes, and concepts. Music is a recognized discipline including an "identifiable battery of information and an extensive number of developable skills which can be learned" (Morin, 1988, p. 3) . For instance, how well a person masters an instrument, whether a s~udentcan identify features of a piece of music, the degree to which a student has achieved musical literacy, and the acquisition of historical
information are al1 areas that are easy to assess. Elements of the curriculum involving music literacy, narnely, rhythm and
rhythmic reproduction, melody and its construction, harmony, form, and tone colour are also measurable. There are several clear reasons for evaluating any program. These reasons are embedded in the three levels of 7 evaluation--student, teacher, and program. Ultimately, evaluation is an ongoing process to help children learn; thus, student assessment must grow out of the curriculum. Performance-based assessment has emerged to provide a framework which addresses this concern. Encouraging students to think about their learning as it takes place involves critical thinking. Authentic, meaningful assessment that provokes thought and engages students is desirable (Cope, 1996). Development of critical abilities is a higher order behavioral objective and as such, becomes a reflection on quality of process and performance that is essential to student growth. Composition and improvisation are examples of musical understandings which require critical thinking. Students must apply and synthesize prior knowledge to create new works. They assess process and product by creating, listening, performing, critiqying, and reflecting on their own work, as well as, the work of their peers. Another level of assessment is teacher development (and growth). By evaluating students' progress a teacher can discern shortcomings in teaching style, content, and effectiveness. Assessment is a direct measurernent of curriculum objectives. If Canada is to improve its music education process, it is vital that music educators realize the crucial signif icance of evaluation (Bates, 1992a) . Evaluation stimulates questions concerning new directions for 8 music education (Boyle, 1989). Teachers want to know if their teaching is effective.
The third level of evaluation in music education is program evaluation, Music specialists have a professional responsibility to assess the curriculum as subject matter and revise it as necessary. This provides strength for music advocacy. In a time of growing restraint, music educators may be called upon to provide concrete justification for the continuation of music education in light of funding cutbacks. As one of the very few expressive arts taught in schools it is particularly crucial that the music education profession displays itself as an initiator of creativity and producer of musically literate students by impressing upon society the necessity of educating the whole child. Governments and the public hold educators accountable. In order to fund music education, educators may be asked to submit evidence of validity for teaching music in the schools. Lack of support will develop if programs are not justified, In the past, it has been easy for music specialists--most administrators have little knowledge in the area of music. Although there is an expectation for teachers to do a good job of assessing, it is often only by good faith that this has occurred. In music programs where assessment has been present, the norm has been towards quantitative measurement, Past 9 practices have been very narrow. For those who have researched measurement techniques, again a focus on quantitative measures has been predominant. Quantitative
evaluation provides reliable, valid measurement of many behavioral objectives. Rogers (in Hanley, 1992a) states that the belief that tests are more reliable than observation is a common assumption underlining recent evaluation procedures.
Measuring concrete behavioral objectives is quite simple. Written tests and oral examinations (either verbal displays of knowledge or performance-oriented adjudications) provide evaluations of one's cognitive knowledge--knowledge that is basic to music. Unfortunately, these are arti ficial. Assigning value to specific aspects of the music curriculum needs attention; too often, attempts to assess student growth focus on the unimportant or more weight is assigned to certain areas over others based on their scientific measurability. One must remernber, music is not a science; music is an art. There is a large grey area surrounding assessrnent and aesthetic education. More recently, as the cal1 for accountability has risen, the number of music educators interested in formal assessment and evaluation has increased. The Canadian Music Educators' Association has developed a statement of beliefs on evaluation in music education in which they say that al1 dimensions of musical learning should be evaluated: attitudes, values, 10 aesthetic responses, and critical judgment (Bates, 1992a) . These dimensions do not lend themselves to quantitative testing. Music is, after all, process-oriented, as well as, product-oriented. In order for arts specialists to satisfy their concern that so much of music is affectively-based, qualitative measurement has begun to emanate. Qualitative assessment examines students in the context of social and environmental forces. Music experience is subj ective and personal. Hanley (1992a) states the belief that the objectification of music is a trivialization of it. Because qualitative assessment may be open-ended, the potential for student growth is readily available. Music specialists have the privilege of teaching students over a period of several years. Valuable assessments of student progress and growth may be noted over time. This positive attribute allotted music specialists allows the development of qualitative measurement to take place. Evaluative decisions are better when they have a strong information base; that is, a base including both subjective and objective information. It would be limiting to rely upon either quantitative or qualitative measurement exclusively. Al1 domains (cognitive, affective, and ps ychomotor) need consideration. Subjectivity needs not negate objectivity. The use of a variety of qualitative and quantitative procedures can complement one another. II Tests and other forma1 measurement techniques alone do not hold rnuch value but are useful in enhancing the quality of objective information. A teacher's insights, feelings, and intuitions make the interpretation of this objective inf omâtiûn strûnger . The inclüsion of student self- evaluation strengthens assessment further. To equip students to evaluate their own interests, abilities, and achievements, is to provide them with one of the rnost valuable assessment tools--that of critical reflection. Evaluation should include a combination of qualitative and quantitative measurements that enable teachers and students to improve instruction, monitor student progress, assess prograrn effectiveness, and provide a basis for reporting. It should be an ongoing, systernatic process using formative and summative techniques.
It is imperative that music specialists, and arts educators in general, seek to develop quali ty assessment criteria and devices that will critically reflect arts education. There is a crucial necessity for realistic and meaningful assessment of music education. Statement of Sianificance
What is education for understanding? According to Gardner, schooling for understanding combines "features of apprenticeships with certain aspects of schools and other institutions" (Gardner, 1991, p.125). The value of an 12 apprenticeship lies in contextualizing knowledge and skills in a practical way. Gardner's reports of several projects in which he has been involved, show bis leaning toward vicarious experience within and outside of schools.
Elementary music education already goes a great distance toward what Gardner is suggesting; that education needs to be real and authentic. By combining process and performance with audience participation, students can develop their intuitive knowledge to a level of understanding. Music teachers engage learners in authentic music behaviours such as singing, playing, improvising, composing, and listening. Students are encouraged to think and act like real musicians. This process is as real as the life of a professional musician. Music educators are mandated to teach more than just skills. Providing qualitative experiences of quali ty and opportunities to assess these experiences in the music room are extremely important in gaining musical understanding* In the local field of music education, teachers feel isolated* Although local music organizations exist, far too often, collaboration concerning important issues such as evaluation, does not take place. Teachers often ask each other what type of assessment tools are being used in their schools but many are reluctant to delve deeper into the assessment issue. There is much demand placed on music teachers for 13 appropriate, authentic assessment. The complexities of music teaching and fearning are such that many challenges and
problems are presented- There are very few strategies for assessing music learning that are readily practical
(Willoughby, 1995). The research and practice literature is sparse and there is a need for further exploration in this
area. The significance of this study is that it will contribute to music education by providing the field with the story of one music teacherls attempt to provide meaningful assessment. Statement of Problem One of my main goals for student outcome in music education has become the ability to critically reason and develop personal preferences; that is, what do students like in music and why do they like it? As a teacher, how do 1 go about developing this ability in students and if it is developed, how will 1 know? How can students be involved in the music evaluation process? How will I assess musical growth, whether it be creativity or aesthetic response, and, also, how will 1 report to parents, administrators, and any other interested parties? Most important, how can 1 make this process part of the learning experience, thus, adding meaning and authenticity to assessment? These questions, and many more, have led me to search for a medium that will appropriately display student development 14 in my classroom. The purpose of my study was to determine an effective process for using student portfolios in music education and to develop assessment tools appropriate for
inclusion. To this end, I gathered information to gain insight around the following questions. How does one make use of a variety of tools for self-reflection? Which components are beneficial for inclusion in the portfolio? How do students view the portfolio process? What are the benefits and shortcomings of the portfolio process? Finally, how can portfolios function as a practical form of assessment in the music program? Delimitations An abundance of literature relevant to student assessment in mainstream subject areas has emerged. While this literature is not directly related to music assessment, some ideas are pertinent. The review of literature in the area of general curriculum was limited to those documents that addressed the subject of authentic assessment. There are many assessment tools which might be used effectively in music education. This study focused on one key approach, namely portfolio assessment. One reason portfolio assessrnent is valuable is because of its power to represent a student' s musical learning over a long period of time. Due to time constraints, a mini-portfolio study was carried out. The focus shifted from long-term value of portfolios to an 15 examination of tools, process of keeping portfolios, and presentation of learning to parents. This study was extended over a period of six weeks in order to coincide with the school% time line for Student-Led Conferences* This study could have been conducted with an entire school population, To make the research more manageable, one classroom of intermediate multi-age students was selected for involvement in this study. The students are representative of the broader community at John M. King School. A specific unit of study--namely, music in the Medieval time period--was chosen. This coincided with the activities of other classes in the school. The curriculum goals included identifying and differentiating monophonic, homophonic, and polyphonie music. De finitions The following are terms used in this study. They are ordered alphabetically. Alternative assessment, authentic assessment, and performance-based assessment are used interchangeably to describe assessment that is based on tasks directly related to learning--that is, "exhibits of learning" (Perrone, in
Viechnicki, 1993, p. 371). While rooted historically in the nineteenth century, this type of assessment has resurged in reaction to more traditional, paper-pencil, on-the-spot testing. Assessrnent is the process of gathering evidence to document learning and growth (Hanley, 1992a; Hill, in press) . Criterion-referenced tests measure individual growth related to a particular objective. Evaluation of a criterion- referenced test shows a teacher what the student has learned and what needs re~ctediation (Bessom, Tatarunis, & Forcucci, 1980). Curriculum objective and learnina outcome refer to specific goals identified for learning. They are usuall y referred to in terms of expected student behaviour: for example, the student will compose a four-phrase melody using the AABA form. Evaluation is the process of reflecting upon al1 the data collected (Hanley, 1992a; Hill, in press) and making judgments based on the data. Measurement refers to assessrnent providing quantitative data. Norm-referenced tests are not for measuring specific objectives but for comparing groups of students or programs (Bessom et. al., 1980) . Objective measure indicates a measurement tool that provides clear cut, right or wrong answers for the assessor. A standardized test is one that has a consistent and uniform procedure for administering, scoring, and interpreting 17 data. Tests that are not standardized have not established a consistent procedure (Moore, 1983) .
Subjective measure refers to a rneasurement tool that, by nature, will be prone to human interpretation.
Test refers to a tool for representing growth of an individual ' s knowledge of specific content.
Traditional assessrnent refers to the most commonly used assessrnent tools of the recent past, namely, those tools that require the student to restate knowledge or skill outside a situational context . Chapter 2 Literature Review Introduction The literature involving meaningful music assessment is relatively sparse. Previous studies have focussed on quantitative research and attempts to quantify subjective
traits inherent in the arts. A dichotomy--0bjectifying subjective qualities--exists in these attempts which leaves music teachers alone in a place where pressure for accountability is rampant. It is unfortunate that there is little research emanating from the music field which assists the music practitioner in reflecting on and assessing student
development. Method texts, used in pre-service courses, provide some evidence of an attempt to address the issue of music assessment. Much other work in the form of scholarly research is not always shared via avenues that are accessible for practitioners. In the field of general education and curriculum studies, one is able to find a wealth of research in the area of assessrnent and, in particular, alternatives to traditional measurement . Admittedly, it would be a formidable undertaking to attempt a review of this area but some common themes arise 19 which should be of interest and benefit to the elementary music specialist. It is fascinating to note that research and application of assessment in the so-called "non-arts" subject areas has turned to cornmon traditions in the arts and begun to draw upon practices such as the preparation and presentation of portfolios of students ' work. Ironically, by looking outside of music education to other subjects, one is able to find a practice that has enjoyed a long history in th2 arts, particularly, the visual arts, and has potential for music education. Recently, some studies in the arts have addressed the area of authentic assessment. Several very prominent researchers in the area of arts education have become involved in portfolio pilot projects in the arts. While reports of these llworks-in-progress"tend to focus on the visual arts, attempts at assessing student growth through music portfolios has been part of their studies. In the absence of any substantial account into the area of music assessment, it is worthwhile to review the literature of arts assessment, in general, in a bid to parallel its value for music education, The purposes of this chapter, then, are multiple . First, an identification of the common themes of assessment, as apparent in general curriculum, produces thought-provoking material. Second, identifying assessment as seen by arts 20 education advocates and describing portfolio pro jects underway among arts educators shows support for alternative assessment, Third, a brief description of music assessrnent as it has been addressed in the past orients the reader to the timeliness of this study. Finally, a description of portfolio assessment, its merits, shortcomings, and suggestions for its implementation in music education brings the chapter to a close . Assessment Themes in the General Curriculum Assessment as a Holistic Vehicle
Viechnicki and her colleagues (1993 ) state that performance-based assessment or "exhibits of learning, " a phrase coined by Perrone (lggl), was common already in the nineteenth century but lost importance as standardized tests came about, Recently, dissatisfaction with achievement testing has been voiced; these norm-referenced tools are not assessing many of the educational outcornes that are valued most by music educators (Forseth, 1992). "Much of school- based assessrnent actually prevents students from becoming thoughtful respondents to, and judges of, their own work"
(Wolf, 1989, p. 35). The precision of standardized testing has been greatly exaggerated (Goldman, 1990) . Information can be misconstrued or used to support a variety of causes-
Although standardized testing seerns to be exact, it is not difficult to manipulate results to suit the purposes of the assessors.
Elliot Eisner (1993) speaks of a shift in the purpose of evaluation during the 1960s from a knowledge-seeking activity to a decision-making one. By the mid 1980s, realization struck that educational standards would not be raised by mandating assessment practices but by increasing quality of education and teaching (Eisner, 1993), The cry for holistic assessment rather than single- incidence measures grew louder (Calfee & Perfumo, 1993;
Cramer, 1993; Eisner, 1993; Goldman, 1990; Wolf, 1989). Evaluation which documents process and product of al1 three domains (cognitive, af f fective, and psychomotor) was sought (Cramer, 1993; Eisner, 1993) . Assessment reflecting real- life tasks began to intrigue curriculum designers (Eisner, 1993) . In Experience and Education (1938) John Dewey said, "One of the greatest of educational fallacies is that the student only learns what he is being taught" (in Eisner,
1993, p. 222). Part of authentic assessment, then, includes tasks which will help students to problem solve as in the real world, I befieve that learning how to learn is one of the most fundamental of educational aims. Creating tasks which give students the opportunity to display an understanding and connectedness of ideas and concepts, allow for more than one acceptable solution to a problem, and require students to 22 recognize the whole rather than simply individual elements is the challenge (Eisner, 1993). Working in groups is also a possibility (Eisner, 1993; Goldman, 1990) . Many authentic, real-life situations require one to work arnidst others. This relates to a second theme--namely, student ownership. Student Involvement in Assessment Assessment is an excellent vehicle for involving students in learning and showcasing their achievements (Cramer, 1993) . Student input is important so that ownership is assumed. With active involvement in the contents and their selection students are able to monitor their own progress, and identify their strengths and areas which require attention. When value is placed upon assessment, a message is sent that the contents are, indeed, important (Cramer, 1993) . Authentic assessment which involves students actively in decision-making helps students recognize what type of work is considered to be of high quality. Students are encouraged to take charge of their own learning (Paulson, Paulson, 6 Meyer, 1991) . The portfolio, as a form of assessment, is one such way of empowering students to be actively involved in self- assessment (Forseth, 1992; Johns & Van Leirsburg, 1992;
Paulson, et. al., 1991; Vavrus, 1990; Wolf, 1989). Learning about oneself in a developmental framework is fundamental to growth and achievable through portfolio assessrnent (Goldman, 1990). Portfolios are a means for enhancing teacher/student 23 involvement in evaluation (Chittendon, in Goldman, 1990). The act of self-assessrnent is central to portfolios
(Calfee & Perfumo, 1993; Vavrus, 1990) . It leads to
independent, self-directed learners (Johns & Van Leirsburg,
1992; Paulson, et. al., 1991) This reflection is authentic and provides students with opportunities to practise assessment--a ski11 that is crucial to their lives. Self- assessment becomes a routine (Wolf, 1989). Assessment in Arts Education Arts educators face many challenges when planning assessment. Some of these are marking individual growth and progress, measuring the overall short- and long-term effects of the arts in schools, and providing feedback to students, parents, other teachers, and administrators (Willoughby, 1995). It is a challenge to create assessments which capture student growth and learning without destroying the abstract and subjective value in the arts. Other concerns, as stated by Willoughby, are limited one-to-one contact with students, class meetings that are irregular and infrequent, and class scheduling which results in insufficient time to irnmediately record feedback and comments. There is no "dom tirne" for the arts specialist. Zerull (1990) cites concerns that arts teachers perceive tests as narrow and superficial. If these are used for assessment, learning becomes narrow and superficial too. 24 Scientific assessment does not exhaust the ways in which we know. Instead of looking at "What has the child learned?" we should look at "Has the child learned?" There is a need to assess learning and the process of learning. This type of assessment, though dif ficult, must be central to meaningful student evaluation (Zerull, 1990) . Scholars in the arts have expressed a need for assessing the entire learning process. Wilson (1996) establishes a set of principles for governing arts assessment. He advocates holistic tasks, relating assessrnent to instruction and conducting assessrnent with concern for reporting to al1 effected parties. Gitomer, Grosh, and Price (1992) show concern for motivating learners. This motivation is more likely if learners are active; learning must be connected to students' experiences and interests. Learning is integrated and assimilative not decornpositional in nature. Current educational practice is often passive, stereotypic, conformist, decomposed and non-motivating (Gitomer et- al.,
1992). Gruber (1994) advocates a balanced approach. More attention needs to be paid to cognitive, psychomotor, affective, and behavioral traits as connected. Balance provides the teacher with a variety of evaluative options to observe and measure.
Parsons ( 1996) makes cornparisons between opposing purposes for evaluation in the visual arts. He states that 25 the purposes for evahation range from those which are politically motivated (summative, standardized, external) to those which are pedagogically motivated (formative, an outgrowth of teaching, action-orientedl . Although Parsons places higher value on the political purposes, he rejects the notion of external, standardized assessment as superficial. Parsons differentiates between "medium-specif ic" and "interpretive" views of aesthetic understanding. "Medium- specific" assessment refers to the use of artifacts as evidence for demonstrating understanding of a particular concept. The art stands on its own. " Interpretive" assessment goes further and involves the verbal articulation of concepts to demonstrate understanding. Natural language cannot be ignored. It is deeply connected to the world of ideas. Language connects ideas into networks (attitudes,assumptions, emotions, relationships, and expectations). Connecting these networks is interpretation. Parsonst ideas are congruent with the balance suggested by Gruber Al1 of these concerns, and many more, have led decision- making bodies to develop studies of assessment in arts education. Assessments have been undertaken in such places as New Jersey--"Student Performance-Skill Development" (Sterling
& Bolin, 1980), Albany (Stoneberg, 1989), Albuquerque (Webster, 19891, North Carolina (Willoughby, 1995), Des Moines 26
(Svengalis & Johnson, 1990). Many of these assessments consisted of traditional, paper-pencil tests measuring knowledge and skill. Others have departed from this as a reaction to the inefficiencies of standardized tests. The search for alternative assessment possibilities has become more intense with focus on developing the whole child (Rohwer, 1997). Music Assessrnent Many method texts have been written in the area of music education. It is surprising that assessment and evaluation play only minor roles in these writings, In those texts which evaluation is discussed, the information is quite dated. It is interesting, then, that assessment is described in terms of measurable outcomes (Andress, 1980; Bessom, et. al, 1980;
Edelstein, Choksy, Lehman, Sigurdsson, d Woods, 1980; Hoffer,
1993; Nye & Nye, 1985). The value placed upon observable curriculum objectives is strong. Hoffer (1993) reminds the pre-service teacher to base learning on curriculum outcomes rather than teaching to the test. The availability of standardized tests is featured by some authors as a means to measure musical achievement
(Bessorn, et. al., 1980; Peters 6 Miller, 1982) , Norm- referenced tests may have a place if one's goal is to rate a program in the context of a larger body. In the realm of assessing student achievement, however, standardized measures 27 fa11 short. Learning outcomes are not measured in this way
(Bessom, et. al., 1980). In order to plan for musical growth a music teacher must determine the desirable outcomes for students, plan activities which will help students achieve these outcomes, and determine ways in which these outcomes will be assessed (Bessom, et. al., 1980; Nye 6, Nye, 1985). Hoffer (1993) introduces the problematic nature of establishing measurable criteria for assessment What is easiest to assess is likely least important in the realm of musical learning. Authors speak of teacher-constructed or criterion- referenced tests in terms of relating to learning outcomes. Commonly, they reiterate the necessity for valid, reliable, and practical consideration to be taken into account when preparing measurement toûls (Hoffer, 1993; Bessom, et. al,
1980; Nye 6 Nye, 1985). Here, the reader finds hints of admission that subjectivity is acceptable--with the reminder that it must be objectified. There is agreement among writers that music encompasses al1 three domains; namely, cognitive, psychomotor, and affective (Bessom, et. al., 1980; Nye & Nye, 1985; Peters
& Miller, 1982). Bessom (1980) suggests the necessity to separate the domains for assessment purposes. Others group cognitive and psychomotor together in contrast to affective; that is, the former two are quite easy to assess, whereas, the 28 latter presents problems due to its subjective nature. It is much easier to describe cognitive and psychomotor learning in terms of learning outcornes; however, the reader is reminded that students ' learning is influenced by the total musical experience and the affective domain is interrelated with the others. In any learning situation involving musical response, an overlapping of the cognitive and the affective is necessitated by the demands of verbalization; to put into words something about music means thinking about it, using terms accurately and with understanding ...The fact that cognition is a legitimate part of the affective response to music helps simplify the problems of measuring affective response . Evaluation of attitudes and values, though intricate, is possible because many
aspects can be verbalized, put into specific statements, and clearly pointed out by teacher or student. (Colwell,
in Bessom, et. al, 1980, p.335) In the last several years, writers of music assessment articles have reiterated the importance of assessment as an outgrowth of curriculum objectives (Bass, 1982; Clingman, 1992; Cope, 1996; Hanley, 1992b; Niebur, 1994; Radocy, 1989). Paul R. Lehmann states that teachers will improve their assessrnent practices by defining their expectations more precisely (in Mitchell, 1994). Discrepancies in these 29 objectives need to be faced. On the one hand, teachers are reminded that measurement grows out of curriculm outcomes; on the other, they are told that aesthetic growth is hard to assess (Bass, 1982). It is difficult to assess achievement in music because many prirnary goals of music education cannot be stated in terms of observable behaviour.
The Music Educators' National Conference (MENC) , an American organization, is playing an important role in music assessment. The special focus of an entire issue of their publication, Music Educators ' Journal, dwelt on evaluation in music education (Senko, 1989) . In this issue, Boyle, Lehman, Radocy, and Kimpton (1989) spoke of accountability in education, and the necessity for a balance of subjective and objective assessment. Although earlier writers speak of the subjective nature of music, it is in this issue that the affective domain is truly validated. Rather than apologizing for subjectivity, Boyle (1989) speaks of the insights, feelings and intuitions that teachers bring to evaluation and how their decision- making makes objective information stronger. Radocy (1989) asserts that evaluators should remember to be human and helpful . Since that issue, the MENC has been part of a strong advocacy movement in music education. Assessment is seen as a form of validation and the method for providing 30 accountability- In 1996, the MENC produced a document "Performance Standards for Music: Strategies and Benchmarks for Assessing Progress toward the National Standards, Grades PreK-12" (Cope, 1996) . As part of the American federal government's bill "Goals: 2000," the arts have corne into focus as curricular subject areas, The result of these political documents is the plan for national music evaluation- Along with these reforms is the recognition that musical growth must be measured in many different ways, Different types of learning require different assessment (Niebur, 1994). We must be flexible to children's various learning styles and levels (Cope, 1996) . Lines says: Assessrnent is (1) a continuous and dynamic process whereby students are helped to learn from their own
experiences; ( 2 ) multi-dimensional, using a range of
forma1 and informa1 measures; (3) collaborative, allowing the teacher to assist learning; and (4)
authentic, that is, connected to tasks that have genuine purpose and relate to daily life (in Cope, 1996, p. 41) . In Canada, the Canadian Music Educatorsl Association
(CMEA) has made similar attempts to address the timely issue of assessment . Through the Queen1s Symposium on Evaluation in Music Education, (February, 1990), the topic of evaluation was considered in a national context. Invited participants representing the major regions of Canada and various ranks of 31 the teaching prof ession listened as the keynote speaker, Richard Colwell, presented his views. The foflowing statement of beliefs on evaluation in music education was drafted as an outcome of this gathering. Al1 learning fundamental to achieving the goals of
education must be evaluated, Evaluation should be learner-centred and contribute to student growth,
Evaluation should reflect the obj ectives of the music program,
Al1 dimensions of musical learning including attitudes,
values, aesthetic responses, and critical judgement should be evaluated, Evaluation should include a variety of planned qualitative and quantitative procedures which enable teachers and students to assess progress, improve instruction, monitor program effectiveness, and provide a basis for reporting. Evaluation should be an on-going, systernatic process using formative and summative techniques. Student self-evaluation should be an integral part of the evaluation process (Bates, 1992a) .
As a result of the symposium, CMEA formed a Task Force on Evaluation in Music Education. Sub-cornmittees in the areas of individual student assessment, evaluation of music classes and 32 ensembles, program evaluation, and the role of the teacher were formed.
The May 1992 issue of the Canadian Music Educator was devoted to assessrnent and evaluation. Duane Bates, Betty
Hanley, Susan Knight, Rodger Beatty, Brenda Porter, and Lee
Willingharn ( 1992 1 provided articles representing various happenings in Canada and the necessity for quality assessrnent practice in music education, Bates (1992a) expressed concern over the divergent execution of evaluation practises throughout Canada.
Evaluation ranges from the highly structured practice of some to haphazard execution of others. In another article Bates
(1992b) states that a quality evaluation process is important in interpreting a subject's worth to society. The subject areas with thorough evaluation processes will likely stand the tallest. To be effective, evaluation should:
reflect the growth of the individual;
reward effort;
be matched to, and be an integral part of, the objectives
and the focus of the instruction or learning experience;
take into consideration al1 of the domains--affective,
cognitive, and psychomotor--and reflect a variety of
teaching and learning strategies;
be communicated in a clear and concise form to students,
parents, and principals; 33 equip students to evaluate their own interest, abilities, and achievernents (Bates, 1992b, p. 17) . Hanley (1992a) synthesizes materials in the educational
evaluation movement. Her work displays the belief that assessrnent should be a long-term process rather than make use of the single test. A variety of evidence sources in which students are examined in the context of the environment is important. Hanley challenges scientific objectivity. Objective tests have been shown to contain human error and al1 endeavour involve subjectivity. A holistic approach is necessary for music evaluation. It is possible to consider growth in areas other than skill, technical developrnent, and knowledge acquisition. The growth of aesthetic development in students, and even creative work itself, have been avoided by some teachers because of their fear of evaluation or the belief that creative efforts should not be evaluated or critiqued (Hanley, 1992a) . Since that time, Hanley (1997) has provided evidence of attempts at alternative assessrnent through active involvement of students.
Knight (1992) advocates bringing the child into the evaluation process as a means to empowerment. Through questioning, children becorne accountable, learn to question, and take ownership of their learning. Building in self- evaluation as active inquiry enhances self-esteem.
While CMEA has made some good strides at addressing the 34 issue of assessment, the Task Force has not asserted itself. Workshops on Curriculum and Assessment in Sydney, Nova Scotia, in August, 1997 may have rejuvenated the process. Music specialists are left in a quandary and have looked outside the music profession for creative answers to their assessment questions, Portfolio Assessment Introduction One way to provide assessment which synthesizes process with evaluation is to develop student portfolios as a means for reflection. A working definition of portfolio assessment grew out of discussions at a conference on "Aggregating Portfolio Data. " A portfolio is a purposeful collection of student work that exhibits the student's efforts, progress, and achievements in one or more areas. The collection must include student participation in selecting contents, the criteria for selection, the criteria for judging merit, and evidence of student self-reflection (Paulson, et.
al., 1991, p.60). Most portfolio researchers agree with the gist of this definition. First and foremost, the portfolio is a collection of student work. A portfolio in and of itself is not a type of assessment but, rather, an assessment tool. The collection may be assessed when a purpose is defined and when criteria 35 for assessing the collection or individual pieces of work are identified (Cramer, 1993) . The nature of a portfolio--as a collection--1ends itself to assessment because one is able to see a chronology, and hopefully, a sense of growth in the owner, Johns and Van Leirsburg (1989) state that "a portfolio
is a vehicle that helps students to becorne independent learners and encourages teachers to facilitate such individual processes" (Johns & Van Leirsburg, 1992, p. 1) . Portfolios are systematically organized evidence used by the teacher, student, parent, and administrator to monitor growth of the student 's knowledge, skills, and attitudes in a specific subject area. They are authentic forms of assessment because they represent real learning activities going on in the classroom. Portfolios have the potential to create an authentic portrait of what students learn. Rationale for Portfolio Assessrnent
When choosing an assessment tool a music teacher looks for something that reveals a range of skills and understandings, supports instructional goals, values student and teacher reflection, shows changes and growth over a period of time, and provides for continuity in education from one year to the next. This continuity is especially valuable in subject areas such as music, where one teacher continues to provide instruction to the same students for several years. Because portfolios allow input from al1 major 36 stakeholders in a student's growth, they are valuable tools for assessrnent . One must initially identify who these stakeholders are; that is, who are the people who will view the document and what are their interests or need for information (Cramer, 1993) , A portfolio can be evaluated in terms of a standard of excellence or on growth demonstrated by an individual rather than as a comparison of several students' work. Individuals are recognized for their own contributions and achievernents rather than those in relation to others, Students are able to value their accomplishments in and of themselves, thus focussing on the importance of education--self-improvernent, "When students maintain portfolios of their work, they learn to assess their own progress as learners, and teachers gain new views of their accomplishments in teaching" (Wolf, 1989, p. 35) . Wolf continues by stating that much school-based assessment actually prevents students from becoming thoughtful respondents to, and judges of, their own work. Teachers need to be able to capture the moments when students are working at their best. Educators can then use that information to create learning experiences to help students develop further. Authentic assessment capitalizes on the actual work of the classroom. It enhances teacher and student involvement in evaluation, and may more accurately represent some holistic approaches to teaching, including 37 student reflection and self-assessrnent (Viechnicki, et. al.,
1993). The theoretical framework of a portfolio supports a more integral linking of curriculum and instruction with assessment. This is very important in addressing time constraints as well as best teaching practices. The reflection is used in a continuous process to create an educational atmosphere for the student . Grainger (1996 reports of success in student reflection by providing prompting cues, both open-ended and interrogative.
In a study conducted by Calfee and Perfumo (19931, educators stated two main reasons for developing the portfolio approach. The most cited purpose was to support teacher- student dialogue. The next most cornmon remark referred to parent-teacher conferences and contacts. Both purposes are strongly supported by the use of portfolios. In an age where accountability is at the forefront, authentic evidence supports educational decision-making. Finally, assessment needs to be ongoing. A portfolio is an excellent vehicle for such a purpose. It documents development and mastery of skills and facilitates reflection. Collections of students' reflective comments make it possible to see continuity from one point to another. Students are able to think music-making in critical and constructive ways
(Barry, 1996). Portfolio Assessment in Arts Education Student empowerment through portfolio assessment has become the focus of several studies of arts education assessment in the United States. Several educational bodies have undertaken to pilot portfolio assessment . English and Mathematics are two "non-artsf1subject areas in which the use of portfolios has been implemented. "The National Assessment of Educational Progress (NAEP) Arts Assessment Framework for 1996" is an assessment of performance-based art programs (MacGregor, 1994). Students in grades 4, 8, and 12 are assessed in the areas of creating, performinç, interpreting, and responding to art. In addition, since 1992 National Arts Educational Associations have been collaborating in the development of "voluntary standards1' in the areas of music, art, theatre, and dance (MacGregor, 1994) . The three categories which are the focus of the standards are : creation and performance; cultural and historical contexts; and perception and analysis. Two major portfolio pro jects in arts education, "Towards
Arts Assessment Project" (TAAP) and "kts PROPEL" have received attention by writers. TAAP is a joint project of the History-Social Science and Visual and Performing Arts Office and the Sacramento County Office of Education which grew out of political and educational motives (Klingensmith, 1993; Mitchell, 1993) . California arts education prograrns were 39 constantly using assessment as a lever to "lift" arts education from the margin to the mainstream (Klingensrnith,
1993), Beliefs prevailed that multiple-choice, norm- referenced testing for accountability distorted teaching and learning to the degree that children were learning techniques for passing tests, rather than knowledge and ski11 necessary for living. A move in California from assessment by external agencies to interna1 forces, that is, from administrators and test publishers to teachers, provided the impetus for focus on what has been coined "authentic," "alternative," "performance- based, " or "performance" assessments . In an authentic assessment context, students would be asked to demonstrate, directlv, what they know and to provide evidence of learning over a wider domain (Klingensmith,
1993). Teachers needed to be involved in the development of performance assessment. Portfolios would include many foms of assessment . Enhanced multiple-choice, performance tasks, projects, and exhibits al1 have a place in TAAP. The importance of a clear purpose could not be understated. Key to TAAP is the desire to focus on a "big idea," not the details of technique (Klingensmith, 1993) . Technique is important but not the focus of a portfolio, project, or an open-ended problem. Assessment asks students to pull together al1 they have learned in relation to curriculum objectives . It is a synthesis requiring higher order creative skills. 40
Klingensmith's report is a pre-study document. Nearing completion of its second year, advocates of arts education portfolios look forward to its success and findings.
Arts PROPEL is a collaborative enterprise of the Rockefeller Foundation involving the Educational Testing Service (Princeton, New Jersey), Pro ject Zero (Harvard University), and the Pittsburgh Public Schools (Gitomer, et. al., 1992; Hausman, 1992). Its purpose is to explore alternative methods of student assessment in music, visual arts, and creative writing. Significant researchers involved in its success are Howard Gardner, Dennie Palmer Wolf, Drew
Gitorner, and Kathryn Howard (Hausman, 1992). The goal is to develop measures that monitor production, perception, and reflection. Production is action-orientated and refers to do ing . Perception means learning to see better, to hear better,
to make finer discriminations, to see connections between things. Reflection means to be able to step back from both your production and your perception and Say "What am
1 doing? Why am 1 doing it? What am 1 learning? What
am 1 trying to achieve? Am 1 being successful? How can
1 revise rny performance in a desirable way?" (Gardner, in Brandt, quoted in Zerull, 1990) . Gitorner (1992) speaks of the developrnent of a "portfolio culture." Its goal is to provide an environment or climate 41 where desirable learning conditions can develop . Students are actively involved in making art--which initiates the processes of reflection and perception.
PROPEL portfolios include drafts, sketches, and in- process works, Journals are the forum for reflection, The project is looking at the possibility of developing group portfolios where students react to each others' work. Group pro jects and cooperative learning are meaningful aspects of the project. Advocates of PROPEL hold the view that component skills in isolation from a larger context will fail (Gitomer, et. al., 1992). Professional arts educators with a firm grasp of pedagogy, art, and art education are required to provide successful learning. In Blaikie (1994), Gardner states that the teacher's role is that of a coach or mentor. Teacher as artist is central as one who exemplifies productive artistry, Role modelling is important. Pittsburgh teachers are experimenting with different techniques. They are providing students with the context to view themselves as developing artists and thinkers. The teacher's goal is to make reliable inferences about the degree to which instructional activities succeed. Forma1 interviews (one-to-one between teacher and student), rolling interviews (informal as work is in process) , written dialogue through j ournals, cri tiques where students 42
gain experience critiquing the work of others, and formalized assessment with students as partners in the process examine
artistic developrnent over time. Essentially, the Arts PROPEL project follows the belief that the learner constructs understandings in a situational context not in a decontextualized setting (Gitomer, et. al., 1992).
Portfolios are in process in Arts PROPEL. The Contents of a Music Portfolio
Paulson and Paulson (1990) stress a multi-f aceted, multi- dimensional process of portfolio assessrnent which includes the contributions of al1 interested parties, a rationale for including items, and the collection of information over time (Viechnicki, et. al., 1993) . In music there are several diif erent directions a portfolio could take. To best represent a student's growth in music a variety of media would be beneficial. Performances, journals, and other assessment rnechanisrns help to portray the learner's progress (Gardner in Rohwer, 1997). Barry (1996) describes a study involving the development of student portfolios in a university music methods course- Research questions addressed included components for inclusion in a portfolio, assessrnent of a portfolio, a portfolio as a valid alternative to a written examination, student reaction to the process, and instructor reaction to the process. The portfolios, which included philosophy statements, 43 self-evafuation/reflections/ journals, teaching materials, and lesson plans, were seen to be successful and were received positively by both students and instructor. Results indicated validity; however, reliability was not addressed. Barry admits that due to the relaxed grading standards, it is likely that the reliability was low. She states that this does not mean that the process could not be developed to be both valid and reliable. Additional research needs to be conducted (Barry, 1996) . Barry concludes that university students need more emphasis on writing reflective journal entries. Certainly, then, conducting a similar study in elernentary school would need to address this issue also-
Some researchers believe that the student should have sole control over what should be included in a portfolio while others state that al1 interested people should have some input. Teachers and students have a great deal of concern and are most closely linked to the portfolio process so collaboration on a certain level is necessary. Whether the teacher leaves the decision entirely up to the student or whether she embarks upon a reflective process together with the student needs to be considered. At the outset of such a project it would be advantageous to develop--with students--reasoning behind the establisfiment of portfolios. An introduction to portfolios, presented in an 44 age-appropriate fashion, would serve to provide more value to its collection. Discussion with students involving students' evolution of rationale would help to develop meaning for each student. Because music education is aeçthetically motivated it is often difficult to measure growth or explain experiences. Language often seems inadequate. Music educators frequently have difficulty thernselves when asked to describe musical events. This is an area which should be encouraged. One way to inspire and develop this ability is through journal writing. Journal entries would be valuable to a portfolio (Farrell, 1997) . To begin a portfolio, a studentls report of the introductory class discussion and brainstorming regarding portfolios would serve as a springboard for future additions. This could include topics such as "What is music," What I like about music," What 1 donrt like about music," "Where
I'm at in my music education," "What 1 would like to improve," etc.
Farrell (1997) lists audiotapes, videotapes, self- and peer-reflection, teacher observation, inventories, tests, journals, projects as some of the types of work to include in portfolios. Regular audio recordings of individual and class work would be essential items in a music portfolio. Facilitating individual recordings is time consuming; however, the 45 practice would be useful in providing samples of work. This could be done at a variety of stages: at the outset of a new concept, in the practice stage, upon cornpletion or at the performance level of a work. Carlin (1996) takes this one step further and implements videotapes. Here, recordings are used for keeping data on individual student progress, group interaction, documenting creative (aesthetic) growth, and enhancing teacher awareness, Recordings are factual not judgmental. They may be replayed any number of times for review . Recordings by themselves are not complete. Descriptions and reflections, whether they are written or oral, need to accompany each item. Descriptions could include a summary of what the purpose was and what was accomplished by the recording. Time spent reflecting upon quality is helpful and encourages the use of critical thinking skills. Besides self-evaluation, it is helpful to include peer evaluation. Feer evaluation can be qui te beneficial when proper guidance has been used to develop adjudication skills. Discussing with students the necessity for constructive criticism, as well as specifics regarding a particular item, empowers them to cultivate an interest in quality. Teacher reflection is an essential cornponent of a portfolio (Farrell, 1997). An evaluation of the item as well as constructive suggestions for the future provide the student 46 with an opportunity for extending herself. Teacher input is valuable for the teacher too--it provides the educator with ideas for future learning experiences and/or remediation activities. Whereas a literacy portfolio would include a list of al1 works read (De Fina, l992), a music portfolio should include a list of al1 works heard as well as al1 works performed. Again, persona1 reflections help students to develop aesthetic awareness and sensitivity. A music portfolio includes original compositions. These rnay be recorded but should also include manuscript copies.
Traditional notation is not essential if it is contrived by the teacher in situations where students have not yet experienced note-reading. Contemporary or inventive notation, as it evolves, will indicate a great deal in the area of musical literacy growth.
It may be useful to include charts which portray aspects of growth in ski11 areas (Farrell, 1997) . For example, as students learn to name the notes on the staff results of a succession of speed tests may be graphed to help the student see improvement. Musical uses of a portfolio have not been exhausted in this short paper, by any means. What is required is creativity on the part of al1 those interested in meaningful, authentic assessment. The possibilities are endless. Not al1 47 suggestions are feasible; with ingenuity and creative time- management, students can become active in their growth. In this way it is likely that more responsibility will be placed upon the student. A portfolio, then, is a portfolio when it provides a complex and comprehensive view of student performance in
context. It is a portfolio when the student is a participant in, rather than the object of, assessment. Above all, a portfolio is a portfolio when it provides a forum that encourages students to develop the abilities needed to become independent, self-directed learners
(Paulson, Paulson, & Meyer, 1991, p. 63). By empowering students to take ownership of their growth through reflection, teachers, themselves, are empowered to do what they love the best; that is, teachers want to teach. Critical reflection by teachers, parents, and administrators will also help promote educational growth. Through continued assessment, value will be placed upon that which helps to develop the whole person. A portfolio which includes evidence of process, product, and reflection will strengthen music assessment and music education on the whole. Chapter 3 Methodoloav Introduction The purpose of this study was to determine the feasibility of using student portfolios as a vehicle for assessrnent and evaluation. Students collected a variety of artifacts to display musical growth during a six-week time period. Several specific questions were considered. First, how does one make use of a variety of tools for self- reflection? Second, which components are benef icial for inclusion in the portfolio? Third, how do students view the portfolio process? Fourth, what are the benefits and shortcomings of the portfolio process? Finally, how can portfolios function as a practical form of assessrnent in the music program? Research Method and Desian "Given the inherent subjectivity of music and of evaluation of human actions, a person should accept that subjectivity and not hesitate to make informed judgments" (Radocy, 1995, p. 21). Because this study sought answers to individual assessrnent problems in music, a qualitative research methodology was selected. Qualitative research is 49
field-oriented, descriptive, interpretive, and empathetic- There is a distinct relationship between the researcher and the researched. This study was holistic, naturalistic, and field- oriented; the field was my om music classroorn at John M. King School. John M. King School is a multicultural, inner
city school with 590 students. Unemployment is high in the neighbourhood and therefore, related probf emç such as poverty and violence are evident. Many students have familial connections with organized crime, Youth gangs are prominent in the community but have not infiltrated the school. We have many students who admire the qualities associated with youth
gangs, namely, strong cornmitment to each another. This fills the void left at home, Students A group of multi-age students from one class was selected
to take part in the study. They range in age from nine to
twelve years. Their inclusion in the study was based primarily on accessibility. The sefection was made because the students in this classroom presented themselves as eager to learn and open to new experiences. In addition, by choosing students from a multi-age setting rather than a single-age grouping, I felt that I would be able to make stronger correlations for use with other students. While generalizability is not prevalent in qualitative research, 50 adapting the f indings for use with students throughout the rest of the school was desired. At John M. King School students are selected for the multi-age programs based on their relative stability in the neighbourhood. As an inner city school, transiency is an issue. It is hoped that students in these classes will continue at John M. King for at least the three-year duration they remain in each class. A cultural mix is sought which is representative of other classes in the school. Academic ability is not a consideration for inclusion in multi-age classrooms; therefore, it was not a consideration for this study. In short, it was felt that these students were culturally and academically representative of their peers. This study was not intrusive. Students were approached during music class and introduced to the study. The activities were undertaken by al1 students, whether or not their portfolios were considered in the study. No intentional deceit was used in this study. Informed consent was gained from the subjects, as well as from their parents/guardians, prior to the onset of the study. Data Sources Data sources included exit slips following classes, observation responses following videotaping, listening logs for music listening, peer and self-assessments following 51 completion of the curriculum unit, student-parent conferences during the school's "Celebration of Learning", and a survey at the end of the study. My lesson plans and reflections were also considered. Data Collection Procedures
The mini-portfolio pro j ect took place over a s ix-week period. The goal was to follow one unit of study from start to finish. Students included a variety of data in their portfolios. Introductions to the curriculum unit and the research study were made at the outset. Students had experience with the use of portfolios in other curriculum areas and had been introduced to and practised writing reflections about music.
As part of the focus of the curriculum unit, students completed a listening log with reflections from listening to Medieval music as a class activity.
With the agreement of the classroom teacher, five to ten minutes of reflection time was provided in the classroom following music classes, The tools for self-reflection appearing in Appendix B were used and included open-ended tas ks, directed questioning, surveys, and j ournals. Direction was given on the exit slips for students to comment on their interest level, attitude, and behaviour, in addition to content. Exit slips were completed after each class with the exception of two classes--once, when an observation response was completed instead and a second time, when the class was prescheduled for another activity directly following music. A class videotape was made for use during the class, as well as for individual and peer evaluation. Video-recording represented process and product. Recording equipment was used by me, as well as by my students. Reflections on videotaped performances were made on observation response sheets. Work samples were included in the portfolios. These comprised of pieces composed during the medieval tirne period which the class had performed. Historical iniormation relative to the music era was included.
Throughout the study 1 maintained copies of lesson plans and field notes. As suggested by Bogdan & Biklen (l992), field notes had both descriptive and reflective considerations. At the end of the study students wrote a self-assessrnent report and completed a survey regarding their views of the portfolio process. This survey combined a rating scale with open-ended cpestions. Some students scheduled short interviews with their parents to present their portfolios in a conferencinq situation. This took place in the context of school-wide "Student-Led Conferencing." Analvsis of Data To address research question #1, I designed a variety of tools to provide my students with modes of self-assessrnent 53 that would address content, interest, and attitude. The intent of these tools was to give students a diverse perspective in hopes that each student would find some way to reflect meaningfully. My field notes gave impressions of the success of each tool. A content analysis of the students' written records was cûnducted to determine the themes in their reflections . Using the strategy of analytic induction, 1 reviewed the data for content covered and then generated descriptive themes. Each written record was coded, counted, and converted to percentages. Following analysis of the written records, 1 was able to make decisions which answered the second research question relating to the value of specific assessment tools. My decisions were based on the quality of reflections demonstrated using the tools. In order to address the third research question regarding students' view of the portfolio process, 1 developed a written survey which I administered at the completion of the curriculum unit. For each survey the children's ratings were coded to determine the degree of frequency. Childrenfs comments were analysed for common themes. The fourth and fifth research questions were designed to address the logistics of portfolio assessment. These were addressed through field notes made throughout the project, as well as, rny analysis of the students' portfolios. 1 reviewed 54 my field notes, reflected upon the curriculum unit, and created statements that represented what 1 bad learned from the portfolio experience. Scientific Standards Quantitative research concerns itself with maintaining validity, reliability, and freedom from bias. For these reasons, quantitative studies are greatly generalized and easily duplicated. The qualitative researcher places importance on individual context (Bresler & Stake, 1992) . Generalizabili ty is not an issue because the researcher seeks to discover solutions to her own situation. Instead, House (1980) states the qualitative researcher is interested in sustaining credibility (rather than interna1 validity), transferability (rather than external validity or generalizability), dependability (rather than reliability), and conf irmability
(rather than objectivity) (Bresler & Stake, 1992). 1 addressed these concerns by use of triangulation. Reporting qualitative research is an art form. Writing must be crafted to allow the reader to place herself in the researcherfs position, understand the researcherrs conclusions, and even draw conclusions of her own. The strengths of qualitative study are impressive. They include holistic activity ernphasizing contexts, an obligation and opportunity to get the most from fieldwork 55 interpretations, and a sense of empathy enhancing applied
practice in education (Bresler & Stake, 1992) . Limitations of the Methodoloav The weakest aspect of qualitative research is its contribution to research generalization; however, such is not
its intent. Its purpose is to facilitate understanding of the
particular (Bresler & Çtake, 1992) by exploring ideas rather than testing them empirically. It is this limitation that
appealed to me; namely, working from a situational context to solve problems in my classroom addressed my concerns well.
Specific to my study, the data analysis was conducted by one person, hence bias, loss of information, and
misinterpretation were al1 possible. Personal relationships with my students may have biassed the results. Students tend to please their teachers and may have second-guessed my
motives. Throughout my teaching career, 1 have worked
diligently to validate students' opinions and provide a nonthreatening atmosphere so that students are able to test their ideas. No inter-judge reliability was calculated.
According to Bresler & Stake (1992) qualitative research lacks protection against subjectivity in observations, imprecise language in descriptions, vague descriptions of the design, extensive reports, implication of generalizability when unwarranted, and cost and time overrun.
Subjectivity was inherent in the research questions and 56 their analysis. Identifying benefits and shortcornings of a process necessitated making qualitative judgments regarding research data.
Summation
Qualitative research presented the opportune vehicle for seeking answers to assessment questions in music education-
The portfolio study helped me to discover alternatives to traditional assessment, a means for cornpiling student samples, and information for decision making, Chapter 4 Results and Discussion Introduction Proposing my study to the students of Room 213 was very simple. Students were keen and had very few questions. Keeping a portfolio was not new to them and they liked the idea of using a variety of media to present their work. Because their teacher had shown a strong cornmitment to involving his students, consent and assent forms were returned within twenty-four hours and we were able to begin the unit, "Medieval Music," within a week of its introduction.
Twenty of 22 students agreed to participate in the study making the participation level 90.9%. As had been stated at the outset, al1 22 students completed the requirements of the unit as part of their regular course work. Al1 students were given a folder with inside pockets for collecting their work. At their teacher's recommendation they decorated the covers on their own time which was above and beyond my expectations. 1 believe this added value and personality to their participation. Content of the Unit
To set the context for Medieval music, 1 presented the students with a rough tirne line for the major divisions in music history--Medieval, Renaissance, Baroque, Classical, Romantic, and Modern Eras. In addition to exposure to various music within the Medieval time period (ca500-1500
A-D.), 1 wanted the students to discern the basic attributes of rnonophonic, hornophonic, and polyphonic textures. Students filled in a work sheet outlining the historical time line of the major eras and identified characteristics of Medieval music (see Appendix B) . Throughout the study, students were exposed to a variety of recorded music. In addition, the unit focussed on three main performance works--a recorder selection, "Canon in G" by Thomas Tallis, a Song for voice and instruments, "Winter Now
Has Gone Away" by Neidhardt von Reuenthal, and a medieval dance, "Schiarazula Marazula" from the sixteenth century.
For each work 1 had specific goals, Tallis' "Canon in G" was chosen to reinforce polyphonic texture. Additionally, several new fingerings for the recorder were introduced. A variety of strategies was used for teaching this melody including rote learning, sight-reading, and peer tutoring. This canon was introduced gradually and occupied almost half the time given to instruction in the six-week study. "Winter Now Has Gone Away" incorporated singing with a 59 variety of drones performed using definite pitched percussion instruments (xylophones, rnetallophones, glockenspiels, and timpani) . Several indefinite pitched percussion instruments, such as tambourine, finger cymbals, and triangle were utilized to provide additional flavour. Curriculum goals for this work included examining homophonie texture and instrument timbre.
1 intended to introduce "Schiarazula Marazula" as a work for recorder and provided it in a handout with Tallis' "Canon." Because of the length of time it took to teach the canon 1 elected to make mastery of the Schiarazula on recorder optional. Several very gifted students learned the Schiarazula on their own time. Instead, the focus for "Schiarazula Marazula" was on Medieval dance--a line formation with a simple cha-cha was suggested by the authors of
"Medieval Feast" (Ritchey 6 Rempel, 1984). To avoid the need for students to hold hands, scarves were used and added ta the flare. Students enjoyed learning and performing the dance-- especially weaving in and out of the line without becoming entangled! Usina Tools for Self-Reflection in the Music Classroom
The bulk of the data analysis came after the portfolios were complete. 1 taught the lessons and designed the tools prior to the study but, other than briefly explaining how to use each tool as it was introduced, 1 didn't examine the students' use of them until the end. The major drawback was my unawareness of whether to remediate if a particular tool was not used to its maximum benefit- In the future, 1 would recommend piloting the tools first.
1 used a variety of forms to guide the students in their reflections. For a mini-portfolio project such as this, the forms constituted the bulk of the portfolio. These were in the form of observaticn responses, listening logs, exit slips, and a student self-assessrnent guide (Appendix B) . Observation Responses Students' observation responses followed a videotaped performance of Taliis' Canon. Several thematic categories emerged after analysing their comments. They are displayed in
Table 1. 1 was impressed to find that, in completing each of three qüestions, the nighest ranking categories of students' responses were skill-related (576, 45%, and 726 respectively) . This is as 1 had hoped but had not realized the students had begun to develop critical analysis of ski11 development.
Interestingly, the ma j ority of students who made these comments were the students who had performed the best. '1 think it worked better when 1 went second because I started at the right time so the harmony worked. My partner needed Joan to help her count in." One must wonder which cornes first-- mastery or musical thinking. Table 1 Summarv Table of Content Analvsis of Students' Observation Res~onses
Thematic category Percent Rank of total order Responses praising performances. (things 1 did well or liked) .
No comment Responses suggesting improvement.
Effort Behaviour-related Responses referring to learning. Skill-related Effort/behaviour-related No comment
Several students commented that they could improve by taking a slower tempo at the outset. In addition, several students expressed the necessity to practise more--this was noteworthy, again, because these comrnents came from the students who already played better than most of their peers.
As first time users of this form, the students' comments referring to ski11 development ranged from superficial to more in depth. Modelling and the opportunity for practise would 62 likely increase the responses to include higher order thinking such as the correlation of present works to previous listening examples. Suggestions for improving class behaviour followed a pattern indicating a perceived need to react appropriately when others are playing. 1 believe the students behaved very responsibly and honoured the feelings of their peers. It is interesting then, that some students (33%) referred to improving their behaviour The following excerpt is representative, "Things we could improve are not laugh or make fun of the video." Videotape Recordinq
1 made use of video recording during the performance of the recorder canons. While doing my field work, 1 noted that students were able to assess themselves and determine whether they needed to repeat their performances. Because this was a first-time activity in their music class, they were quite concerned that their peers behave while they perform so that they wouldn't be distracted. 1 expected there to be hesitation about viewing each other but none was visible. Prior to viewing the video, the class discussed their anticipated feelings about seeing themselves and appropriate responses from their peers . 1 found that the use of video is beneficial during a class performance (either during the process of learning or as 63 a final product) because students have difficulty seeing the whole picture when they are part of the activity. From my systematic observation of this group 1 learned that once they've had a chance to examine their practise, their involvement changes. In some cases, actions that have not been discussed diminish because students gain a different perspective--they are not always aware of what they look like until they have the opportunity to reflect.
On the technical side, students were given the opportunity to operate the video-recording equipment. This is an added bonus because it facilitates more long-term use. Students are able to operate the equipment while I help their peers. In our school, a crew of students is trained each year to handle sound and light equipment. They are able to take on additional responsibilities and develop an interest in a technical area as well. Listeninq Loas In the six-week interval students heard three listening exarnples from the Medieval time period. These were "Mandatum nomdo vobis", "De Profundis", and 'Ecco" by William Lawes.
Entries for the listening logs were made during class time. Students wrote impressions during and after they listened to the example.
This activity was collaborative. 1 had modelled listening responses previously but felt that the students had 64 little experience and/or vocabulary for listening to pre- modern music. We began with broad, general information and worked towards more specific responses. Identifying instruments, tempo, mood (subjective), genre, and, in some cases, structure resulted from these sessions. Students' discussion facilitated the identification of two additional characteristics of many Medieval songs--strophic and Latin text. Al1 responses (100%) followed directly from the teacher-led discussion. It is hoped that with more experience, students will complete this activity independently or with a group discussion followed by an independent response. Exit Slips The theme categories that emerged after analysing the comrnents made using the exit slips were much more specific than any other tool I used. Table 2 illustrates the nine sub- themes and their rankings. Table 2 Summarv Table of Content Analvsis of Students' Exit Slips
Thematic Category Percent of Rank
Total Order What 1 learned today. Instrument playing (table continues) Technique 178 2
Playing in canon Singing New parts to a song Working with a partner Music history Music listening Nothing New What 1 did well today. Listened to music quietly Played recorder Played instruments Cooperated Technique Singing Tried my best Other What 1 will work on next class. Skill development General Specific Ef f ort/behaviour Listening 13% 3 Improving my work habits 9% 4 Cooperat ing 6% 5 Trying my best 5% 6 Undecided 4 8 7 (table continues) 66 Using a rating scale, students completed the following question: 1 tried my best (circle a response) of the tirne.
Al 1 Most Some None No response
In tne first question, "What I learned today", only one theme, "Working with a partner" was not entirely skill- related. Skill-related comments ranged from superficial to specific. The more specific comments showed learning that needed to be retained. The following cornent reflects this:
"Today 1 learned the fingering for an F sharp." Several students made this comment; some included a chart showing which holes are covered to play an F sharp. Some remarks were interesting and reflected students' realization that an "aha" experience had taken place; for exarnple, "One thing 1 learned today was that some people donft need to use instruments to make music."
Good listening skills (27%)was the most common emerging theme following the open-ended statement "One thing 1 did well today was..." Students acknowledged their ability to listen to recorded music without talking. This is something that does not corne naturally to my students because it is usual for them to have music playing while doing other things at home.
Until now, many students had never thought of focussed music listening as a sole activity.
The third question directed plans for the next class. Students often asked what they would be doing next class. This was reflected later in their comments. Although this is not what 1 had expected, it helped them to see that there was a progression in learning and they fooked forward to their next class. Some students' responses were very thoughtful and demonstrated their attempts to self-reflect and make plans for improvement . Only 33% of comments regarding plans for improvement centered around behaviour issues. The comments of one student are representative: "Next time IfIl work on listening when Joan' s talking. . .playing my recorder when I'm supposed to." Other comments were related directly to students' performances from that class. "Next class 1 will work on playing in canon, " " . . .switching hands on the recorder," ".. .helping rny partner work on her and me playing together in canon.' Although the majority of students used the exit slip as a record of the past class, I believe students made gains towards reflecting more critically about music and their participation as musicians. Student Self-Assessrnent Written self-assessrnent following a unit of study was not something new to the students . This is a method for 68 reflection I had drawn on extensively in the past. With some revision, a guideline was given to the students for submitting a written reflection about their involvement in the Medieval music unit (Appendix B) . Although guided questions were provided, students were
not required to follow the outline. Most students (65%)
followed the outline strictly. A few students (15%) followed the guidelines loosely. Some students (20%) chose to report without assistance and their reflections tended to move more
in the direction that 1 had hoped. These students were al1 from the sixth grade. Perhaps, due to their prior experience they were more cornfortable self-assessing and did not require a specific format. Their accounts assessed the learning process and critiqued their participation and progress. They also reflected upon the other students' learning. They chose
what was important to them, in addition to commenting on the main elements . Students who followed the outline produced more stilted
pieces. 1 tried to provide specific questioning so that students would be more at ease and able to write. Modelling
and practising responses as a class activity may help to move more students in the desired direction. Student-Led Conferences Eleven of 20 students (55%) and their parents opted to participate in the student-led conferences. Al1 John M. King 69 students have participated in classroom-based student-led conferences for a minimum of two years so the students in the pro ject were experienced with showcasing their work for their parents. 1 videotaped the conferences for analysis and was very impressed with my students' abilities in conveying what they had learned to their parents. Al1 conferences were conducted in English although students were encouraged to use their heritage languages. In one case, two siblings led their conference jointly since they had both been involved in the study. Conferences were held one at a time due to the inclusion of videotaping and were scheduled ten minutes apart .
I provided students with an agenda to direct their conferences. Al1 students followed the agenda to a degree-- some spoke so naturally to their parents that it was obvious that they had conferenced before. Students displayed their portfolios to their parents, explained what they had learned about Medieval music, showed the video-recording, and in most cases, performed at least one of the pieces they had learned.
In the case of the siblings, they were able to CO-opt a third sibling to whom to teach the dance and demonstrate for their parents. In addition, they played the canon. It was moving to be able to see that they had learned what 1 had taught. The ability to articulate and draw conclusions about what they had learned was exciting for me as a teacher. Although 1 had felt that the tools 1 used had not resulted in anything 70 above the concrete, the conference demonstrated students' synthesis of performance and verbalization. Parents were even
more impressed than 1, but what impressed me most was not what the children had learned but that they were able to make their
parents understand what they had learned. Portfolio Survev
Nineteen of 20 anonymous surveys were returned. Students responses were very positive. This group of students was keen to do their best and also eager to please. They have strong familial support and try very hard to live up to their parents' expectations. The survey combined a rating scale
with opportunity for comments. Table 3 indicates student preferences and opinions regarding the various tools used.
Table 3 Results of Portfolio Proiect Survev
1 think 1 learned a lot about MedievaURenaissance music during this project. - -- - .- Scale Agree Disagree
1 5 Students'
Responses 11 6 1 1 O (table continues) Please state how helpful for learning the various activities were. Exit slips 1I Video tapes 13 Observation responses Self-
*One student did not respond to this question,
#Although 13 students responded, only 11 participated in student-led conferences.
Students were asked to comment on keeping a music portfolio for the Medieval/Renaissance music unit. Responses were al1 positive. Eight students indicated that keeping a portfolio was helpful because it organized and recorded what they had learned--making it easier to remember in the future.
One student stated, '1 really liked the Medieval music unit.
1 learned a lot and it was fun. 1 learned many thing[s] and I will remember it all." Discussion In response to the first research question, I believe that making use of a variety of tools for self-reflection is important. Students may latch on to one tool more readily 72 than others. This gives them the opportunity to find something that assists them in reflecting to the best of their ability. In this project, four of the six tools used involved written reflection--observation responses, listening logs,
exit slips, and student self-assessments. This appears to be an adequate balance on first sight; however, the four written tools were used more frequently than the others. Because I believe that students should be successful as much as possible, 1 need to review the weight 1 place on written
reflection over other tools. In some cases, it will be necessary to modify the forms to involve pictorial descriptions or icons to help students with the reflection process. Alternatively, allowing students
to assist each other in scribing or collaborating reflections rnay make students more free to reflect. Another possibility is providing a cassette recorder for oral reflections. With some modifications, al1 the tools for self- reflection 1 used may become beneficial (research question #2) . In my opinion, the exit slips were the most useful written form. 1 feel that my students reflected more critically using this form. Information was fresh in their minds. Since music instruction at John M. King School was received twice per six day cycle, 1 believe that consistent reflection helped to bridge the gaps between classes. 1 was happy that students were given time to complete the exit slips 73 in class and used them to review at the beginning of the next class, It is not realistic to believe that each classroom teacher would provide f ive minutes following music to complete exit slips- The classroom teacher with which 1 worked was very generous in supporting my project; however, he too, admitted that in the long-term he might not be so flexible.
The observation responses proved useful as well, although to a sornewhat lesser degree. In long-term use, videotaping occurs more frequently and, thus, the students have more opportunity for reflecting on their observations. The use of videotape is very valuable but requires strict organization in order to maximize time constraints. With students in grades four, five, and six involved in this project, 1 was able to give them opportunity to operate the equipment. This left me available to help less confident students perform. With younger students this would be less likely.
Videotaping is also valuable because it provides s tudents with the opportunity to view themselves. Students had been unaware of their idiosyncrasies; some of these perceptions changed when they were given the opportunity to step back and see themselves in a different light. One student remarked, '1 can't believe how many times 1 took a breath." The student self-assessrnent guide showed rnixed results. Students who had more experience with written reflection wrote the most detailed accounts of their participation in the 74 curriculum unit. They synthesized skill-development and attitude and provided opinions regarding both. In these instances, individual voice was prevalent, Without the question guide, some students would have been lost. They were in the infant stage of writing reflections about their musical learning. 1 have confidence that with more practise many of these students will develop the skills to reflect rneaningfully, using their own voice. The listening log was the least effective written tool.
Guided listening is an activity that 1 have neglected. This was reflected in the students' inability to reflect independently. 1 believe that this tool could become more valuable if used more consistently than 1 have.
1 was very pleased with the level of understanding reflected by students during the student-led conferences. 1 analysed these conferences for ease and accuracy of displaying information to parents, use of appropriate terrninology, enthusiasm, performing, and an indication that parents had understood what their children had related to them. On al1 accounts, the students exceeded rny expectations. The ability with which students articulated themselves was outstanding.
In theory, 1 had been an advocate of student-led conferencing for a long time but had only practised a modified version.
1 need to reflect on this positive experience and determine how 1 can encourage student-led conferencing on a 75 wider scale. For this project, students met with their parents one at a time. This would not be necessary in the future. Several students and their parents could meet sirnultaneously--some viewing videos while others spoke to their parents while even more performed--1 could make use of additional space to facilitate this. Conferences would not necessarily have to be scheduled. In addition, since we have two conference sessions during the year, perhaps specific classes could be designated for music conferencinq during one of the sessions. In answering the third research question regarding students' views of the portfolio process, 1 believe the students are cornfortable maintaining portfolios and having the opportunity to showcase their knowledge. Comments received on the portfolio survey form demonstrated the students' enthusiasm for their part in the project. 1 reflected earlier that the students were very eager to please me and put forth great effort. This is an attribute chat has been developed in their homes as well as the classroom in which they learn; however, 1 believe that their comments were sincere. The students felt honoured to be selected to work with me on this project and showed a sense of pride in their work. The following excerpt is representative: "It was good. The portfolio will remind us of how we did." Discussion of the fourth and fifth research questions 76 requires an integrated approach because the benefits and shortcomings of the portfolio process influence decision- making and direction for the practical use of portfolios in my music program. Having experienced a concentrated approach to the portfolio process--and seeing the results, leaves me with no question that the benefits outweigh the shortcomings . Creative organization is required to overcome problems arising when developing authentic assessment practice. The biggest benefit to the portfolio process is that students take ownership of their learning. Throughout my project, students spent a great deal of tirne reflecting on their practice and were able to modify their actions to accommodate their learning. Some of their needs were unique. Individuals knew what areas they needed to improve and focussed on remediation. In addition, each student reflected on what they valued. Through long-term use, with regular examination of portfolios, I can modify instruction to suit the needs and interests of individual students. Second, through the use of portfolios, assessment is a natural outgrowth of learning. This happens both collectively and individually. I didnft have to interrupt teaching to test. In the future, when 1 choose to use exit slips, 1 will plan on longer teaching units so that 1 can incorporate student reflection within my contact time--not relying on classroom teachers to give up their time. This will not de- 77 value my point; smaller units of time can also be assessed. Third, regular self-reflection helps bridge the gap between class sessions. My students, unknowingly, were more prepared for music after several days absence than they had been in the past. Having taken the time to reflect brought them closer to the learning process and helped them adjust after long breaks.
Finally, 1 believe my students were more capable of articulating their learning because they had spent tirne reflecting upon it. This was evident, especially, in the videotapes of the student-led conferences. Students took their musical learning, made it their own by using their own language, and transmitted it to their parents. Beside being valuable to their learning, a side benefit to this was music advocacy. Parents were impressed with al1 their children had learned. The greatest shortcoming of the portfolio process is evident in other types of assessrnent, namely, time constraints. My project took place over a six-week period.
Perhaps 1 felt constrained because, as we were following a curriculum unit, 1 was trying to introduce several new tools in a short period of time. Over an extended period of time, some of this anxiety would disappear. In order to lessen the problem of time constraint, one needs to be very organized. Having copies of forms on hand--in advance--is a necessity. 78
Working out a time-line so that classes are at different stages is also important. Avoiding an end-run is a necessity.
In this way, rny role in assessrnent is ongoing and portfolios become practical. Chapter 5
Summarv and Conclusions
Summarv
When 1 undertook the commitment to using portfolios in rny music classroom, 1 hoped to begin to share the responsibility for assessrnent with my students. In many ways this has happened. 1 believe that the use of portfolios with Room 213 has changed the students' level of accountability. Students know that they will be expected to reflect and, thus, test their ideas in class in a way that seeks validation. Their participation level in discussion has been enhanced. Students of fer opinions regarding performance and suggestions for improvement . 1 am encouraged that these students approach music seriously. Their outward actions demonstrate their belief that attending music class is a learning activity not merely an entertainment outlet. My students have developed perspective for musical thinking. They are able to correlate present activity with past experience. They offer their reflections for discussion and show a security in doing so. Using portfolios in my classroom has increased parental awareness for what happens musically at John M. King School. 80 Parents have remarked that their children have returned home at the end of the day to discuss with them the events in the music class. Siblings of students from Room 213--both younger and older--have come to music class and displayed their awareness of what has been shared at home. In some instances, students from Room 213 have taught their families songs they have performed in class.
1 am still responsible for ensuring students maintain
their portfolios. 1 need to structure my classes in such a way to facilitate their use. This requires succinct organization, Conclusions
In seeking answers to my research questions, 1 have
increased my interest and practice of self-reflection. 1 have attempted to make student assessment meaningful for al1 stakeholders--parents, students, teachers, and administrators.
In doing so, 1 have begun to develop a feasible method for portfolio assessment in my classroom,
Making use of a variety of tools for self-reflection is very important. Providing students with the opportunity to reflect on their growth in a rnanner that honours their skills is most important. The use of a variety of tools for writing reflections needs to be enhanced with alternatives such as oral reflection, Components which showcase students are beneficial for 81
inclusion in the portfolio. I must be will ing to modify these components to meet a diversity of students' needs yet encourage them to include a variety of tools which expresses their growth. Exit slips are a valuable medium--whether they
be in written form or orally recorded. Regular entries help students to take responsibility for their learning. By helping students take ownership of their progress, they increase their enthusiasm- This translates into the development of critical thinking skills. In my teaching
situation, 1 am able to see students acquire a deeper level of musical thinking--interest in quality of process and product. My students enjoyed their experience with music portfolios and look forward to continuing with them. The benefits of the portfolio process have become clearer
to me. 1 believe my students have increased enthusiasm and,
thus, desire to develop musically. They push themselves to improve their skills and their enjoyment level. Music has become an important part of their day--something they don' t like to miss. The greatest shortcorning of the portfolio process is in the intensity of organization required to make them
successful. 1 am a highly organized teacher who was able to make portfolios work. Advance planning and introduction to students is necessary to make portfolio assessrnent successful. The role of the teacher changes. Students becorne more 82 involved as partners in assessment as the teacher teases out learning from students. The teacher, in turn, rnay guiltlessly spend most time on the teaching/learning process rather than "interrupting" teaching to assess. Im~licationsfor Classroom Practice To make portfolio assessment a meaningful yet feasible method for evaluation in my classroom, the use of a variety of tools must be embedded in practice. Whether it be video- recording performances, oral, or written reflections, the learning/assessing process needs to be as seamless as possible. This means that I will provide opportunities for my students to hone their reflection skills while developing their music skills. Teaching and modelling the use of assessment tools is enhanced by group discussion. Together, the students and 1 will continue to cultivate tools and their effective use. Alternatives to written assessment will be sought to assist students who may present themselves more effectively in other ways--for example, tape-recording verbal responses.
As has been stated earlier, organization is essential for success. One cannot fil1 a portfolio with nonexistent items. Rather than become overwhelmed in the last days before official reporting times, ongoing input is necessary and more accurate. The beauty of portfolios is in their ability to tell a story over a period of time. 83
Regular video-recording enhances portfolios for student-
led conferencing. 1 am fortunate to teach in a situation where equipment is readily available . Training older students to operate equipment and planning for its use is important. Process and product should be recorded so that students are able to visualize their progress. Because much of the music made in an elementary school is group-generated, the use of video helps students relate their experiences to their parents. My experience with the student-led conference leads me to believe that it is a necessity for reporting to parents. It advocates a child's progress and informs parents about the school's music program. It also provides students with the opportunity to present their learning in a meaningful way. A structure for allowing large numbers of students to meet with their parents in the conference setting needs to be established. Although during my pro j ect students met with their parents one at a time, it is possible to schedule three or four conferences simultaneously. Opening up the music room may not be realistic--perhaps limiting conferences to specific groups of students for each reporting period will facilitate the numbers. Recomrnendations for Further Research There are several directions research could take following this study. Extending the study to a longer period 84 of time is one such way. My project was process-oriented. It investigated the use of tools during a six-week curriculum unit. The real value in portfolios is their ability to portray a student's growth over a long period of time. Second, extending this study to include al1 classes is important. This would have two merits. First, accommodating students ranging in age from six to twelve requires a diversity of tools. Adjustments to existing tools could be made and additional ones would be piloted. Second, since time management is crucial, expanding this project to involve the ent ire school population would provide valuable information regarding feasibility.
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Kl ingensmith, B. (Ed.) . (1993). Prelude to ~erformance assessment in the arts: Kinderaarten throush srade twelve. Sacramento, CA: California State Dept. of Education. (ERIC Document Reproduction Service No. ED 377 100) Knight, S. (1992). Evaluation--Alpha and omega. Canadian Music Educator, (5), 25-31. Lehman, P.R. (1989). Assessing your program's effectiveness. Music Educators Journal, 0(4), 26-29. McKernan, J. (1991). Action research: Studied enactment . In E .C. Short (Ed.) , Forms of curriculum inauirv (pp.309- 326). New York: State University of New York Press. 89 MacGregor, R.N. (1994). Editorial: Measuring up. Art Education, 47(2), 4. Manitoba Department of Education. (1978). K-6 music. Winnipeg, MB: Manitoba Department of Education. Mitchell, R. (1993). A relud de to performance assessment in the arts: Towards arts assessment ~roiect (TAAP). Pre-Publication Draft . Sacramento, CA: Calif ornia State Dept . of Education. (ERIC Document Reproduction Service No. ED 374 457)
Mitchell, R. (Ed. ) , (1994). Measurina ur, to the challencre: What standards and assessrnent can do for arts education. Excerpts from papers ~resentedat a svmposium (Atlanta, Georcria, Se~tember18-20, 1992). New York: American Council for the Arts, (ERIC Document Reproduction Service No. ED 393 788)
Moore, Gary W. ( 1983) . Developincr and evaluatincr educational research. Glenville, IL: Scott, Foresman and Company. Morin, F. (1988). Curriculum and instruction in elementarv music instruction: Course manual. Winnipeg, MB: University of Manitoba.
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Wilson, B. (1996). Arts standards and fraamentation:- - A- - strategy for holistic assessment. Arts ~ZucationPolicv Review, 98(2), 2-9. Wolf, D.P. (1989). Portfolio assessment: Sampling student work. Educational Leadership, 46(7), 35-39. Zerull, D. S. (1990). Evaluation in arts education: Building and using an effective assessment strategy. Desion for Arts in Education, 92(1), 19-24. Appendix A Parent Information Letter Parental Consent Form Student Assent Form
February 25, 1998
Dear Parent or Guardian,
1 would like to ask your permission for your son or daughter to help with a research study as a requirement for the Master of Education thesis being written by Joan Fransen. The pro ject, called "Portfolio Assessment in Music Education" will help me to show students' growth or learning in music. I will see whether this process is feasible for use in the music program throughout the school. 1 will also see how students view the portfolio process.
What is involved? Students will participate in an eight- week music study of medieval/renaissance music involving experiences in singing, playing instruments, listening, movement, and improvisation. For assessrnent purposes, students will be asked to keep a portfolio including work samples, audio and video recordings, surveys, and reflections of the musical learning for an eight-week terrn. Classroom teachers will provide an additional ten minutes following music to complete written reflections of the music class. At the end of the study, students will complete a survey allowing them to give their opinion of the research. Students will present their portfolios as part of Student-Led Conferences. You will be invited to attend the conference to celebrate your childrs learning. Conferences will be no longer than fifteen minutes and will be videotaped. If you consent to allowing your child to participate, it means that your childrs portfolio and/or responses to the process may be used as a source of daca for the study. Participation in the study will not require much additional time than would normally be taken up during regular music classes.
Potential Benefits. As part of the study, it is felt that students will take additional care in completing their work. Their participation in music class will take on additional meaning.
Participation is vol untary. Your son's or daughter' s participation in this study is completely voluntary. The project will be assigned to al1 students; however, if they choose not to participate in the study their assignments will not be considered for study. A choice to decline will not be viewed negatively and you can withdraw your child from the study at any time without penalty. This project has been approved by Winnipeg School Division and John M. King School.
Information is confidencial. Only the researchers will see the surveys. The surveys will be handed in anonymously and names will be rernoved from portfolio contents. Al1 of your child's responses, assignments, and taped conversations will be treated confidentially. Individual children will not be identified in the reporting of the results. Tapes will be destroyed after analysis.
Questions? We would appreciate it if you would return the attached form whether or not you would like your child to participate, so that we know that this information has reached you. You may keep the attached copy of this letter for your records. Reports of the study will be available at the school by September 1, 1998. Please feel free to contact any one of us for further information now or a summary report later. We can be reached at: Joan Fransen (775-4404 OR 453-3347), Mr. W.P. Roberts (77S-4404), or Dr. F. Morin (474-9054). Thank you for your consideration. Sincerely,
Joan Fransen W.P. Roberts, Elementary Music Specialist/Graduate Student Principal John M. King School John M. King School 525 Agnes Street, 525 Agnes Street, Winnipeg, MB Winnipeg, MB R3G 1N7 R3G 1N7 775-4404 OR 453- 3347 775-4404 Dr. F. Morin, Associate Prof essor, Faculty of Education University of Manitoba Winnipeg, MB R3T 2N2 474-9054 Please check the appropriate statements and send this form back to school with your son or daughter:
I have read and 1 understand the permission letter. 1 give consent for my son/daughter to participate in this study.
1 will participate in my child's Student-Led Music Conference and give consent for the use of video-tape for the conference.
I have received a copy of Ms. Fransen, Mr. Roberts, and Dr. Morin's letter for my records.
1 would like more information before giving consent for my child to participate in this study. Cal1 me at
1 do not wish my child to participate in this study. I wish to have a copy of the final report.
Parent's/Guardianls Signature:
Date:
Child's name:
Please send this fosm back to school with your son or daughter . Thanks ! ! ! 1 understand that 1 have been asked to be involved in a project looking at using portfolios in music class. If I agree to be in this project, my portfolio might be used in Ms. Fransen's final report. 1 will do rny best to complete my portfolio, participate in activities during class, fil1 in a survey, and try to attend a Student-Led Conference at the end of the unit. If I like, 1 can participate in the activities but skip the conference.
1 understand that Ms. Fransen wonft use any of rny work that 1 donft want her to use. If 1 let Ms. Fransen use my work she'll rnake a copy and give me back the original. When shels finished Ms. Fransen will destroy her copies of my work and the videos. If there are questions on the survey 1 don't agree with or don't understand 1 don't have to answer them. If I decide 1 don't want Ms. Fransen to use rny work no one will get mad at me. It won't make any difference in my grades if 1 don? want to be part of this project.
1 understand that my name won't be used on any of the reports and that Ms. Fransen won't tell anyone what my work is like because it's private. 1 will keep my survey and conference private too.
If 1 have any questions, I can ask my parents, teachers, or Mr. Roberts or have them cal1 Ms. Fransen at 775-4404 or Dr. Morin at 474-9054.
I have had a chance to ask questions. 1 volunteer to be involved in this project .
I will participate in the class activities.
1 will attend the student-led conference.
1 want a copy of the report.
Childfs Signature: Date: Appendix B Music History Time-Line Exit Slip Form Listening Log Form Observation Responçe Form Student Self-Assessrnent Guide Student-Led Conferencing Guide Portfolio Project Survey Form
Music History March 2/98 Room 213
Medieval :
Renaissance:
Baroque :
Classical:
Romantic :
Modern : 97
DATE :
Exit Slip: Medieval/Renaissance Music Unit
1. One thing 1 learned today was
2. One thing 1 did well today was
3. Next class 1 will work on
4. 1 tried my best ALL MOST SOME NONE of the time today. (Circle the best answer) . LISTENING LOG
Date : Title of Selection:
This selection is an example of
Characteristics of the listening example are
LISTENING LOG
Date:
Title of Selection:
This selection is an example of
Characteristics of the listening example are 99
DATE :
OBSERVATION mSPONSE
1- Today saw our class practising/performing on the
video.
2. The thing (s) we did well were
3. Things we could improve are
4 , 1 liked
5. 1 learned STUDENT SELF-ASSESSMENT
These questions are intended as guidelines. You do not need to answer each one but need to give an accurate description of your involvement with the medieval/renaissance music unit.
Process: How did 1 learn this song? What stepç or stages took place?
Vocal line: Was there a vocal line (the part that's sung)? Did 1 learn the part(s) easily or was/were it/they difficult? How well did 1 know it? Did my classmates know the melody and lyrics (words) well? How did it sound? How many sections were there in the song?
Instrumental line: How many parts did 1 learn? Could 1 play them al1 well? Were some more difficult to learn than others? What made them difficult? How well did my classmates know the parts? Did we play well together? How did it sound? Did 1 like it?
Performance: How well did 1 participate? Did I cooperate each time or did 1 have some bad days? Why did 1 or didn't 1 cooperate? What would make it easier for me to cooperate? What do I need to do to get the best results? How did the class participate? STUDENT-LED CONFERENCING GUIDE
1. Show your parents your portfolio. a)What is Medieval/Renaissance music like?
b)Describe the steps we took to learn the music.
2. Show your parents the class video of the song.
3. Play one Song for your parents using your recorder.
4. Tell your parents what you enjoyed about this unit. PORTFOLIO PROJECT SURVEY
1. 1 think 1 learned a lot about rnedieval/renaissance music during this project.
Agree Disagree 1 2 4 5
2. Please state how helpful for learning the various activities were.
Very helpful a. Exit slips 1
b. Video tapes
c. Observation response
d. Self-Assessment
e. Student-Led Conference
d.7 State any comments about keeping a music portfolio for the rnedieval/renaissance music unit. IMAGE EVALUATION TEST TARGET (QA-3)
APPLlED -i IMAGE.Inc -.-= 1653 East Main Street --- - Rochester. NY 14609 USA ------Phone: 716/482-0300 ---- Fax: 71 6/28&5989
e 1993. Applmd Image. Inc.. All RqhD Reseiued