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 (cl July, 1998 National Library Bibliothèque nationale I*I of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services senrices bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON KY A ON4 ûtiawaûN KIAON4 Canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation, FACULTY OF GUDUATE STUDiES ***** COPYRlGHT PERMISSION PAGE 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 stridents' 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,