Singing the Body Electric: How ePortfolios Empower College Musicians to Develop Creative Voices

Singing the Body Electric,[object Object],How ePortfolios Empower College Musicians to Develop Creative Voices,[object Object]

Introductions…,[object Object],Academic Discipline,[object Object],Music?,[object Object],Performing arts? Visual arts?,[object Object],Humanities?,[object Object],ePortfolio Usage,[object Object],Presentation portfolio?,[object Object],Assessment portfolio?,[object Object],Learning/Teaching portfolio?,[object Object],Hybrid of the above?,[object Object]

Introductions…,[object Object],Plans for Use?,[object Object],Within Music Department?,[object Object],Other areas?,[object Object],Type of ePortfolio?,[object Object],Motivation for adoption?,[object Object]

ePortfolios in Higher Education Music Programs,[object Object],University-wide ePortfolio system (Presentation),[object Object],Music Education (Presentation and Learning),[object Object],Example Presentation Portfolio,[object Object],Very few unit-based portfolio systems,[object Object],Mostly Presentation Portfolios.,[object Object],Ex.: University of Rhode Island Department of Music,[object Object],Search of EPAC resources for “music” turns up virtually nothing (Electronic Portfolio Action and Communication <http://epac.pbworks.com>) ,[object Object]

University of Delaware Department of MusicePortfolio system:,[object Object],Unit-based,[object Object],Ordered by Programmatic Learning Goals [PLGs],[object Object],Used by all majors (performance, education, management),[object Object],Sakai-OSP,[object Object],Teaching, Learning, and Assessment [TLA],[object Object]

ePortfolios at the University of Delaware,[object Object]

Three Learning Outcome Sets for Assessment,[object Object],General Education Requirements,[object Object]

UD General Education Requirements,[object Object],Attain effective skills in a) oral and b) written communication, c) quantitative reasoning, and the d) use of information technology,[object Object],Learn to think critically to solve problems.,[object Object],Be able to work and learn both independently and collaboratively.,[object Object],Engage questions of ethics and recognize responsibilities to self, community, and society at large.,[object Object],Understand the diverse ways of thinking that underlie the search for knowledge in the arts, humanities, sciences and social sciences.,[object Object],Develop the intellectual curiosity, confidence, and engagement that will lead to lifelong learning. ,[object Object],Develop the ability to integrate academic knowledge with experiences that extend beyond the boundaries of the classroom.,[object Object],Expand understanding and appreciation of human creativity and diverse forms of aesthetic and intellectual expression.,[object Object],Understand the foundations of United States society including the significance of its cultural diversity.,[object Object],Develop an international perspective in order to live and work effectively in an increasingly global society. ,[object Object]

Three Learning Outcome Sets for Assessment,[object Object],General Education Requirements,[object Object],Programmatic Learning Goals,[object Object]

Dept. of Music Programmatic Learning Goals,[object Object],Express musical ideas through performing, composing, or improvising.,[object Object],Communicate about music both orally and in written forms in an articulate and musically literate manner.,[object Object],Demonstrate an appropriate level of sight reading both melodically and rhythmically.,[object Object]

Three Learning Outcome Sets for Assessment,[object Object],General Education Requirements,[object Object],Programmatic Learning Goals,[object Object],Course Learning Goals,[object Object]

Coordination of Three Goal Sets,[object Object]

Why Sakai OSP?,[object Object],Close control over content,[object Object],Connected with courses,[object Object],Reflection form guidance,[object Object],Possibilities for evaluation and feedback,[object Object],Quantitative assessment of student growth,[object Object],Integration of programmatic and institutional assessment,[object Object],Shared platform, yet customizable to the needs of each particular unit,[object Object]

Why a TLA Portfolio?,[object Object],Reflective engagement,[object Object],Ex. Ear-training reflections,[object Object]

Ear-training Reflective Blogs,[object Object],List the specific practice sessions when you’ve worked on class material and with whom you have worked. (e.g. 2/12: 4-5pm with John and Kate, etc…),[object Object],List the specific practice sessions when you’ve worked by yourself. (e.g. 2/16: 7-8pm alone with MacGamut or webpage X, etc.),[object Object],What specific topics/exercises did you work on for sight-singing?,[object Object],What specific topics/exercises did you work on for ear-training?,[object Object],Comment upon the time you’ve spent practicing? (How did your practice sessions go? Do you feel you are improving on the material? What topics/exercises are giving you trouble? etc.),[object Object],Based on the above, discuss any changes you want to incorporate into practice next week? (What are your strengths and weaknesses and which skills need the most improvement? How will you organize your limited practice time to improve your skills? Are there new approaches or exercises you want to try? etc.) ,[object Object],What in-class activities do you feel would best help you improve? We won’t be able to accommodate every request, but will look for general trends in comprehension.,[object Object]

Why a TLA Portfolio?,[object Object],Reflective engagement,[object Object],Ex. Ear-training reflections,[object Object],Presentation portfolios lacking in student depth and faculty support,[object Object],Difficult to change types of ePortfolios,[object Object],Assessment portfolios missing a chance to explore benefits for learning/teaching,[object Object],TLA portfolio closely connected with courses, thus encourages faculty engagement,[object Object]

UD Music ePortfolio Matrix – Sakai Interface,[object Object]

How do ePortfolios Empower Students to Develop Creative Voices?,[object Object]

AAEEBL Jeopardy,[object Object]

Who is the Body that Sings?,[object Object]

Who is the Body that Sings?,[object Object],How does this clip frame the bodies that sing? Who are these bodies?,[object Object],What does the larger trajectory of this clip in regard to the body that sings? ,[object Object],How might the effect of this clip be different had the movement been from greater to fewer numbers of people singing?,[object Object],Do you perceive any hierarchies, and how are they treated over the course of this excerpt? Are there bodies that are marked or unmarked? Privileged or unprivileged?,[object Object],What are the skill sets being demonstrated, and how do these relate to the bodies who sing?,[object Object]

Centered Model of Identity,[object Object]

Decentered Model of Identity,[object Object]

Decentered Model of Musical Identity,[object Object]

Centered Educational Model,[object Object]

Decentered Educational Model,[object Object]

Decentered Educational Model – Better Yet…,[object Object]

What is at stake?,[object Object]

How does one “play the sunset?”,[object Object]

Developing a Musical Identity:Two Examples of Integrative/Reflective Learning,[object Object],“Music Circles”,[object Object]

UD Music ePortfolio Matrix,[object Object]

“Music Circles”,[object Object],INSTRUCTIONS: Consider personal musical experiences that have impacted your life by filling in these categories and the impact they have had on your life by filling in the spaces below each category listed below. Then, on an unlined sheet of paper, create a music circle diagram. Label each circle with the category title. Inside the circle, write a short description of the music that fits within each category. Then, draw connecting lines between those circles that intersect in some way. Some circles may be related, or connected; others may stand alone. Once you have finished your music circle, upload it (either as a Word Doc or scanned PDF) to your ePortfolio using the prompt at the bottom of this form. ,[object Object],Early memories—songs you remember being sung to you,[object Object],Songs you recall singing in school,[object Object],Musical works you have performed,[object Object],Songs you can sing, or pieces you can play in their entirety from memory,[object Object],Recordings you would not want to live without,[object Object],Your least favorite music examples,[object Object],Music you have heard or performed in the past 24 hours,[object Object],Music you have taught, or love to teach, to others,[object Object],Music that puzzles, intrigues, or challenges you,[object Object],Music that others might be surprised to know you like,[object Object],Additional categories,[object Object]

Example “Music Circles” Artifact,[object Object]

Developing a Musical Identity:Two Examples of Integrative/Reflective Learning,[object Object],“Music Circles”,[object Object],Improvising a Prelude,[object Object]

Composing a Prelude,[object Object]

What is the role of the ePortfolio in (Higher-Ed) (Music) (Programs)?,[object Object],To make the whole educational experience as integrative as its parts.,[object Object],In other words, to make music education musical.,[object Object]

UD Music ePortfolio Matrix – Performance/Academic Areas,[object Object]

Three Types of Reflection (after Van Manen, 1991),[object Object],Anticipatory Reflection – planning, goals, decision making, anticipation of results,[object Object],Active (or Interactive) Reflection – occurs during an activity and may control how it unfolds,[object Object],Recollective Reflection – studies and synthesizes past experiences, giving them deeper meaning,[object Object]

Reflection Form:Sophomore Fall – PLG1C - Improvisation,[object Object], 1. Upload the following two documents: 1) an mp3 recording of a complete piece or musical idea that represents your best improvising of the semester and 2) a PDF of the harmonic framework over which you improvised.2. What makes this recording representative of your best work in the area of improvisation? What features do you find particularly interesting or remarkable? Are there any moments that sound weak or less well conceived? As you discuss your improvisation, please point out particular passages by noting the minutes and seconds (for example, 2'35").3. Improvisation involves the spontaneous production of music within a set of pre-defined parameters governing harmonic structure, harmonic rhythm, rhythmic and melodic figuration, formal design, register, timbre, and dynamics. Describe the parameters you chose to focus on for this improvisation, and then discuss some of the ways that your improvisation explores these parameters. Did the parameters within which you improvised ultimately serve to inhibit your creativity, or rather did they focus it? Please explain.4. Having already worked on improvisation in MUSC165 and 196, how has your approach to this activity changed in the work you have done this semester? While the assignments are different, discuss any elements that have become harder or easier, and comment upon your development as an improviser in classical styles. 5. Improvisation has been described as a kind of composition that occurs in the moment of performance. Having delved into both of these activities in new musical styles, compare and contrast your experience improvising with that of composing this semester. What activity do you find more satisfying, and why? 6. Did you have another piece of music in mind whose style you were imitating in your improvisation? If so, name this piece and discuss the particular features that you imitated.,[object Object]

Reflection Form:Freshmen Fall – PLG1A – Lessons and Performance,[object Object],1. What musical experiences motivated you to choose music as a major and as a future profession? What expectations about being a musician do you bring to your lessons?,[object Object],2. If you have a clear picture of the professional musician you would like to be in 10 to 20 years, please describe this musician. If not, can you articulate a range of professional roles you are interested in exploring? ,[object Object],3. What do you see as the importance of being a good musician and performer in regard to these future professional possibilities?,[object Object],4. What are your shorter-term goals as a performing musician? What do you hope to accomplish over the next four years, and what specific skills and repertoire do you hope to have learned?,[object Object],5. What are your greatest strengths and weaknesses on your primary instrument/voice?,[object Object],6. Discuss with your teacher how to use various practice aids such as a practice log, personal practice journal, progress chart, metronome, and recording technologies to increase the quality, productivity, and effectiveness of your practice time. Describe what practice aids you will try this semester/year and what difference do you think these aids will make to your practice routine.,[object Object],7. Decide with your teacher on two or three aspects of your playing that you want to focus on in preparation for your first and second juries. What aspects did you and your teacher choose, and what repertoire and/or practice methods were you assigned to address these aspects? Discuss with your teacher a personal practice routine and describe this routine.,[object Object],8. Study the rating categories found on the jury evaluation sheet for your instrument/area and discuss with your teacher the standards that will be applied to your next jury. How were these standards chosen? To what extent will the jury scores be relative to the quality of the performance itself, the improvement displayed, and the difficulty of the repertoire performed? Record and discuss these standards here.,[object Object]

Brass Jury Form ,[object Object]

Reflection Form Instructions:Freshmen Spring – PLG1A – Juries and Reviews,[object Object],Two reasons music programs hold juries are 1) to provide/discuss standards with which students may critically evaluate their own performances and 2) to provide an assessment of students' performing abilities according to these standards. This process is ultimately a means to an important end: creating self-sufficient musicians who know how to accurately, critically, and realistically evaluate their own progress. The artifacts and reflections required to complete the cells in this row are designed to support and encourage your growth as a performer and to open up discussion between you and your private teacher regarding the meaning of the jury process.,[object Object],To complete this cell, open the reflection form for your particular instrument/area. On this form, score and comment on your own jury performance using the standards discussed with your teacher at the beginning of the year and recorded in your ePortfolio. For the rating numbers, please use the scale associated with your jury form. This part of the form should be completed as soon after your jury as possible. Later, when you receive your jury scores from the faculty panel, upload this document and reflect on these scores by answering the questions below.,[object Object]

Reflection Form:Freshmen Spring – PLG1A – Juries and Reviews,[object Object],1-x [These questions will differ between instruments/voice. The basic formula will be: "Personal Jury Score and Comments - (Category)],[object Object],2. How did you think your jury went overall? Were there any aspects of your jury that went much better (or worse) than you anticipated? What factors seemed to contribute to the overall quality of your jury?,[object Object],3. Upload an audio or video recording of your jury (if available) and a document containing the scores given to you by the faculty panel.,[object Object],4. Compare the scores and comments you gave your own jury with those given to you by the faculty. Discuss the areas in which your standards seem to exceed, match, or fall below those of the faculty who heard your jury. What scores seemed the most surprising, either high or low? In what areas were faculty scores most consistent? In what areas were faculty scores the least consistent, and by what margin?,[object Object],5. Briefly discuss the comments you received from faculty members. What comments were most helpful, and how do you plan on responding to them in your practice routine? What comments did you find least helpful, and why? If you have questions about any of the scores or comments, note them here and discuss them with your teacher.,[object Object],6. Compare this semester's jury scores and comments to those of previous semesters. [If this is your first jury, you can ignore this item.] Comment briefly on the areas of your playing whose scores showed improvement. What factors (new practice routine, technical change, etc.) do you think have contributed to improvement in these areas? Similarly, comment on areas that seem not to be improving (or declining), and discuss some possible changes to your approach that might help you reverse this trend. Discuss these changes with your private teacher.,[object Object]

Reflection Form:Freshmen Spring – PLG1A – Lessons and Performances,[object Object],1. Describe one or two of your most successful performances this year. What elements made each performance a success? How did each performance represent progress toward one or more of your personal learning goals?,[object Object],2. Comment on the aspects of your practice routine/method that enabled you to achieve the successful performance you describe. What aspects of your practice routine do you plan to continue during your sophomore year? What aspects, if any, of your practice routine might you change to increase your productivity?,[object Object],3. If you employed any practice aids this year that you had not used before you began studying at UD, describe how these aids effected the quality and productiveness of your practice routine.,[object Object],4. How did your improvement of technical facility over the course of the year impact your artistic expression as a performer?,[object Object],5. Becoming a mature performer depends on the integration of various skills and knowledge bases. Evaluate how well your performances integrated solid technique and expressive playing with knowledge you have learned in classes such as harmony and ear-training. How has your approach to and ease of learning a piece been effected by your academic courses?,[object Object],6. If possible (or if required by your studio teacher), upload one or more edited 2-3 min. clips of performances in a lesson, GSR, or other recital that are representative of your best performing this year. Why did you choose these clips, and what makes them representative of your best performing? Be sure to list the music being performed, the venue, and the date of the performance.,[object Object]

Reflection Form:Sophomore Fall – PLG1A – Lessons and Performance,[object Object],1. Take a moment to review your answers to questions #1-3 in the FF_PLG1A_Lessons/Performances cell that you answered a year ago at this time. These questions each addressed your long-range goals as a musician and the expectations and values you brought to your private studies. After taking private lessons for a year, would you answer any of these questions differently, and if so, how? How have your goals and/or values as a musician changed?,[object Object],2. What are your shorter-term goals as a performing musician? What do you hope to accomplish over the next three years, and what specific skills and repertoire do you hope to have learned? Do you think that you are making sufficient and timely progress toward these goals? Revisit the short-term goals that you articulated in response to question #4 in the FF_PLG1A_Lessons/Performances cell. Have your refined or changed your goals over the last year, and if so, how?,[object Object],3. At the end of the sophomore year, every music major completes a process known as the sophomore review, one component of which is a performance hearing in which faculty members consider students' overall progress as performers. In preparation for this important milestone in your studies, what areas of your playing do you think need the most improvement? In what areas do you think you are progressing well? Discuss these strengths and weaknesses with your teacher and describe the repertoire and routine you plan to adopt to continue improving in these areas.,[object Object],4. After discussing the repertoire you plan to perform this year with your teacher, choose at least one piece to analyze using skills and techniques learned in freshmen and sophomore harmony. As you study the piece, mark (on the score) harmonic structure, nonharmonic tones, cadence types and locations, motivic usage and development, and phrase types/functions. When you practice, work to project the musical structures that you have indicated on the score, and record yourself to hear if what you intend to project is audible. For now, please list the piece you chose and describe how you think this analytical exercise might impact your practicing and performance of the piece. (You will be asked to comment on this exercise in another cell of your ePortfolio.),[object Object],5. Discuss with your teacher how to use various practice aids such as a practice log, personal practice journal, progress chart, metronome, and recording technologies to increase the quality, productivity, and effectiveness of your practice time. Describe what practice aids you will try this semester/year and what difference do you think these aids will make to your practice routine.,[object Object],6. Study the rating categories found on the jury evaluation sheet for your instrument/area and discuss with your teacher the standards that will be applied to your next jury. How were these standards chosen? To what extent will the jury scores be relative to the quality of the performance itself, the improvement displayed, and the difficulty of the repertoire performed? Record and discuss these standards here.,[object Object]

Reflection Form:Sophomore Spring – PLG1A – Lessons and Performances,[object Object],1. Describe one or two of your most successful performances this semester. What elements made each performance a success? How did each performance represent progress toward one or more of your personal learning goals?,[object Object],2. Comment on the aspects of your practice routine/method that enabled you to achieve the successful performance you describe. What aspects of your practice routine do you plan to continue during your sophomore year? What aspects, if any, of your practice routine might you change to increase your productivity?,[object Object],3. If you employed any practice aids this year that you had not used before you began studying at UD, describe how these aids effected the quality and productiveness of your practice routine.,[object Object],4. How did your improvement of technical facility over the course of the year impact your artistic expression as a performer?,[object Object],5. Becoming a mature performer depends on the integration of various skills and knowledge bases. Evaluate how well your performances integrated solid technique and expressive playing with knowledge you have learned in classes such as harmony and ear-training. How has your approach to and ease of learning a piece been effected by your academic courses?,[object Object],6. If possible (or if required by your studio teacher), upload one or more edited 2-3 min. clips of performances in a lesson, GSR, or other recital that are representative of your best performing this year. Why did you choose these clips, and what makes them representative of your best performing? Be sure to list the music being performed, the venue, and the date of the performance.,[object Object]

Reflection FormCapstone – PLG2 – Communication,[object Object],1. Upload a [Word or PDF?] document of an extended research paper. In most cases, this paper will either be produced in MUSC312, MUSC313, or it will be your senior thesis. ,[object Object],2. This artifact is meant to represent your capstone achievement as a writer within the Department of Music. What elements of this paper distinguish it as some of your best work in the area of communication? ,[object Object],3. Explain why you chose to write on the topic covered in this paper. How does this topic relates to other personal areas of interest within music scholarship? How has researching this topic informed your work as a music performer and/or educator? If working on this paper seemed superfluous or irrelevant to your other activities, please explain why. Can you think of ways you might have approached your topic that would have been more ancillary to your development as a music professional?,[object Object],4. How did working on your paper inform your sense of the kind of work that music scholars accomplish? What are the types of questions that your work engaged, and how do you see these questions being relevant to the larger project of music scholarship?,[object Object],5. What types of writing do you anticipate doing as a music professional, and how has writing this paper prepared you for these activities?,[object Object],6. The process of writing is, above all, a learning process; we learn more about a topic as we develop our ideas about it through written communication. What were some of the things you learned about your topic that arose through the writing process itself? Did writing about this topic allow you to explore and entertain a variety of perspectives, thus expanding your own perspective as a musician?,[object Object],7. What aspects of working on this paper did you find easiest, and what aspects were the most difficult or frustrating?,[object Object],8. Describe your writing process. To what extent is your final draft similar to your first draft? What parts of your paper changed significantly through the revision process?,[object Object],9. What will be the life of this paper now that you have submitted it to your ePortfolio? Do you plan on researching the topic further? Do you have plans to present a lecture-recital on this topic? Do you plan on submitting this paper with applications to graduate school or posting it to a presentation portfolio?,[object Object]

Sight-Reading Program Philosophy,[object Object]

Sight Reading Skill Areas,[object Object]

Reflection Form – PLG3 – Sight-Reading,[object Object],1. List the pieces that you sight-read this semester. If after completing your entire proposed list of pieces you returned to the beginning, put an asterisk next to any pieces that you repeated.,[object Object],2. Upload an edited 5-10 minute mp3 audio recording that is representative of your best sight-reading this semester. This clip should contain excerpts from no more than three pieces. If multiple pieces are used, they should reflect a variety of styles, tempi, figuration, etc.,[object Object],3. After listing the composer(s), piece(s), and movement(s) on the audio recording, describe why you chose each excerpt, and what makes it representative of your best sight-reading.,[object Object],4. Name one or two pieces that you found most difficult to sight-read and explain what you found to be difficult. ,[object Object],5. Name one or two pieces that you found fairly easy to sight-read and explain why these pieces seemed more accessible.,[object Object],6. What effect did the sight-read music's technical accessibility have on your ability to play consistently and expressively, despite the presence of missed notes?,[object Object],7. One of the important benefits of sight-reading is the opportunity you have to discover and learn new music from the inside out by getting the pieces into your bodies and minds. Compare the experience you had of learning music in this way to the experience of learning music by listening to recordings. What advantages or disadvantages does learning a piece by sight-reading it seem to have?,[object Object],8. Name the one or two pieces that you discovered through sight-reading that you enjoyed the most and briefly describe what you found attractive about the music. Were there any pieces that you thoroughly disliked?,[object Object],9. In the following text boxes, please comment briefly upon your general improvement over the course of the semester in each of the "Cognitive and Technical Sight-reading Skill Areas" listed below. (Please refer back to the sight-reading instruction pack provided you by your ear-training professor for a break down of each of these skill areas.) Please describe any successes and difficulties that you had in each area. Most importantly, try to comment on the degree to which the skills became habitual, that is, an ingrained, automatic part of the way you read music.Skill area #1: Mental Preparation,[object Object],10. Skill area #2: Overall Consistency,[object Object],11. Skill area #3: Data Processing,[object Object],12. Skill area #4: Primary Focus - Engagement of the Inner Ear,[object Object],13. Skill area #5: Secondary Focus - Engagement of the Body,[object Object],14. Skill area #6: Style and Expression,[object Object]

Matrix Scaffold,[object Object],+ Horizontal/Vertical reflections,[object Object],____________________________,[object Object],Deep and Intriguing Learning Story!,[object Object]

“She’s a…Machine!”: Areas of Resistance to ePortfolios,[object Object]

Resisting the ePortfolio Machine,[object Object],The Machine disrupts the “flow” of performance (Csíkszentmihályi 1996),[object Object],The Machine “impinges on my academic freedom”,[object Object],The Machine will need constant oiling,[object Object],The Machine creates an artificial learning environment and imposes an artificial authority ,[object Object],The Machine is “just another thing” we have to worry about,[object Object],The Machine is here today, and gone tomorrow,[object Object],The Machine is…a machine.,[object Object]

How might we respond?,[object Object],ePortfolios create the possibility of “flow” at a new temporal level, previously unimagined and, in many respects, unachieved.,[object Object],ePortfolios create academic freedom by making accessible new “pedagogies of learning.”,[object Object],What doesn’t need oiling? Assess, Assess, Assess!,[object Object],ePortfolios create authority by inviting students to be the author of their own intelligence and identity,[object Object]

Directions for Growth,[object Object],Must emanate from a dynamic knowledge of who we are and who we want to be—as individuals and as community. ,[object Object],Group artifacts, group reflection,[object Object],Reflection on unsuccessful experiences,[object Object],Evaluation forms and rubrics,[object Object],Balancing process portfolio with a presentation portfolio that tells the story (Barrett 2010).,[object Object]

Walt Whitman’s Leaves of Grass (1855):,[object Object],1,[object Object],I sing the body electric,,[object Object],The armies of those I love engirth me and I engirth them,,[object Object],They will not let me off till I go with them, respond to them,,[object Object],And discorrupt them, and charge them full with the charge of the soul.,[object Object]

Student responses,[object Object],On Presentation vs. TLA Portfolio: “I think that having a learning portfolio is the best way to go. The way this is set up, it forces students to actively reflect on what they are learning.”,[object Object],“Making a presentation portfolio should be easy as long as students have the necessary technological skills because so much information is already organized and on ‘paper’.”,[object Object]

Student responses,[object Object],On Learning: “I know that my thoughts on the questions/prompts have changed quite a bit since the beginning of freshman year, I would have liked to have that in writing--I can only imagine others would feel the same way!”,[object Object],“It is great that students will have to download their own recordings and keep a record of repertoire and compositions they have performed/created. This will obviously be beneficial later, and help show us at graduation how far we have come. I know I am personally terrified to listen to my own performances, so I think the idea of recording oneself will be at first intimidating, but will ultimately help with self-assessment and improvement.”,[object Object]

Student responses,[object Object],On Reflections: “I enjoyed the fact that there were questions about our path to becoming music students as well as aspirations. I think keeping in mind our goals from time to time is one of the best forms of motivation and helps create a sense of purpose and meaning in our learning.”,[object Object]

Concluding Thoughts…,[object Object],With creativity in decline, we should argue more persuasively and persistently that school districts rethink any decision to pull music and the arts from their curriculums.,[object Object],At the same time, I think the ePortfolio community will benefit from having music practitioners more actively involved in the use of and research on ePortfolios as productive sites for teaching, learning, and assessment. ePortfolio thinking is musical thinking.,[object Object],Start by asking “who is the body that sings?”,[object Object],Individual understands self and place, and is always dynamically moving to participate in community.,[object Object],Our ePortfolio experiences as faculty and students will be greatly enriched if they are community-based and community-building.,[object Object],By modeling integrative and artistic learning habits, music programs represent a rich place to explore and push the possibilities of ePortfolios – a place to sing the body electric.,[object Object]

Contact Information:,[object Object],Dr. Daniel B. Stevens,[object Object],Assistant Professor of Music Theory,[object Object],Assessment Liaison, Department of Music,[object Object],University of Delaware,[object Object],(302) 831-8890,[object Object],stevens@udel.edu,[object Object]

References:,[object Object],Barrett, Helen. “Balancing the Two Faces of ePortfolios.” Educação, Formação & Tecnologias(May 2010). Accessed at <http://electronicportfolios.com/portfolios.html> on July 17, 2010.,[object Object],Csíkszentmihályi, Mihály. Creativity: Flow and the Psychology of Discovery and Invention. New York: Harper Perennial, 1996.,[object Object],Farrell, Thomas S. C. Reflective Practice in Action: 80 Reflection Breaks for Busy Teachers. Thousand Oaks: Corwin Press, 2004.,[object Object],Korsyn, Kevin. Decentering Music: A Critique of Contemporary Musical Research. New York: Oxford University Press, 2003.,[object Object],Panettieri, Joseph C. “Can ePortfolios connect? These five smart steps can help you navigate perilous ePortfolio territory.” bNet. May 2004. <http://findarticles.com/p/articles/mi_m0LSH/is_5_7/ai_n6038166/?tag=content;col1> Accessed July 5, 2010,[object Object],Readings, Bill. The University in Ruins. Cambridge, Harvard University Press, 1997.,[object Object],Van Manen, M. “Reflectivity and the Pedagogical Moment: The Normativity of Pedagogical Thinking and Acting.” Journal of Curriculum Studies 23 (1991): 507–536.,[object Object]

Singing the Body Electric: How ePortfolios Empower College Musicians to Develop Creative Voices

Singing the Body Electric: How ePortfolios Empower College Musicians to Develop Creative Voices

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