Using Journals in Your Ensemble Rehearsal
by Dan Halpern
As music teachers we all hope our students will have the ability to find meaning in various types of music throughout their lives. Making meaning can involve performance, however for most adults it means listening and interpreting. In performance-based school music programs, the majority of time is focused on developing performing skills, but very little time is spent developing reception skills (i.e. listening, critiquing, analyzing, etc.). Music journals are a powerful tool that can allow ensemble directors to incorporate a variety of elements into their rehearsals to address music reception, while improving aspects of performance. They are flexible enough to adapt to almost any situation, and are also useful as a means of assessing student progress.
What are Music Journals?
A music journal is a notebook that each student brings to music rehearsals to record a daily entry. The daily entry can be a rhythmic dictation, a short written response to a music-related question, or anything related to the music being learned. Journal entries can take as little as two minutes, or the entire rehearsal period. Originally, my colleague, Dan Berz and I devised journals as a means to organize “Do Now” activities completed by our 7th and 8th grade students when they entered the classroom. These mostly consisted of simple rhythms for which students would write in the counts. Other times there would be a leading question for students to answer that accompanied a listening example. As the journals became incorporated into rehearsal, it became clear how useful they were for accomplishing larger goals. They can be used as a tool for students to reflect on their performance, and to develop listening skills. Journals are collected periodically for the teacher to read and respond, providing additional opportunities to assess and communicate with students.
Journals for Teaching Rhythm
Rhythmic journal entries are typically the shortest type. They take the least amount of class time, and are the quickest for the teacher to assess. When we first began using journals in 7th grade band class, my colleague and I began the school year with simple 2- to 4-measure patterns consisting of quarter and eighth rhythms. Students would copy the rhythms and write in the counting below using the “1 e + a” system. Afterward, they would chant and clap the rhythms, and then play them on their instruments. We also incorporated rhythms taken from the music we performed. Within a few weeks students adopted the routine and were able to successfully transcribe and perform the rhythms in a few minutes. Over the course of the school year students’ rhythmic abilities improved dramatically. Before long they were easily succeeding at performing syncopated 8th and 16th rhythms. To challenge students we gave them 2-part rhythms to perform as duets, and even had students compose their own rhythms. By the end of the year there was a marked increase in students’ rhythmic accuracy and sight-reading ability.
Journals for Self-Reflection
Journals can be a powerful tool for students to assess their own performance, and to communicate with teachers. In addition to rhythm “do-now’s,” my colleague and I would post reflection questions for students to answer as class began. Questions were designed to focus students on a particular aspect of the group’s performance or their own playing. This also gave students the opportunity to share their views on the music we performed, which provided useful feedback for choosing repertoire and running effective rehearsals.
Sample reflection questions:
These types of questions have a dramatic effect in focusing students on both short- and long-term goals. Soliciting their feedback and using it in class will increase their sense of ownership of the ensemble, and empower them to guide their own learning. Consider the difference between the traditional means of running rehearsal, in which the conductor dictates what and how everything is done (“I said to play forte at measure 33!”), and one in which students’ views are incorporated (“Mary suggested starting at measure 33 to work on dynamics”).
Journals for Teaching Broader Musical Concepts
Music journals are particularly useful for helping students grasp musical concepts beyond those learned through performance. When we began to use journals, one goal my colleague and I had was to introduce students to a variety of music to which they likely hadn’t been exposed. We chose repertoire that related to different musical genres, and used that as a launching point to discuss various composers and musical styles. Since listening examples were related to the music we performed, students were more receptive as they listened, and were able to make strong connections to what they heard. For example, we listened to various pieces by Hungarian composer, Béla Bartók, while we worked on Timothy Broege’s Bartók Variations (Grade 2, Grand Mesa Music Publishers). In another class we played three different recordings of a short excerpt from a symphony and had students compare and contrast the three performances. Not only did they learn to listen critically, but they also developed a better understanding of characteristic performance practices.
Sample listening/critiquing questions:
When guiding students through these questions you may need to review the elements of music and focus your students’ attention on a specific one. Remember that listening is a skill, and being able to perceive various elements in a complex piece of music takes time and patience. Consider repeating listening examples several times over the course of a few weeks to give students a chance to build on their first impressions. Students will also benefit from focusing their studies on one genre or composer at a time. By listening to a several examples from one composer or genre over an extended period, students will be able to make stronger connections and develop a deeper understanding of the subject matter.
Other Options for Using Journals
By now it is clear that journals can be used to teach almost anything. In addition to the aforementioned ideas, they can be used to teach basic music theory, history, terminology, and a variety of other concepts. Journals can be tailored to work within the parameters of any program, and to suit the needs of specific students. Here are some other considerations:
While using journals takes some time and creates extra work, the benefits clearly outweigh the costs. Most music students who participate in performance-based programs will not pursue careers in music. Many will stop performing altogether once they graduate high school. Therefore, the experiences provided in these programs must incorporate learning that goes beyond performance. We must be willing to sacrifice a small part of rehearsal time to instill a deeper sense of the value of music in our students. In that regard, incorporating journals as part of a daily rehearsal routine will open students to endless possibilities.
by Dan Halpern
As music teachers we all hope our students will have the ability to find meaning in various types of music throughout their lives. Making meaning can involve performance, however for most adults it means listening and interpreting. In performance-based school music programs, the majority of time is focused on developing performing skills, but very little time is spent developing reception skills (i.e. listening, critiquing, analyzing, etc.). Music journals are a powerful tool that can allow ensemble directors to incorporate a variety of elements into their rehearsals to address music reception, while improving aspects of performance. They are flexible enough to adapt to almost any situation, and are also useful as a means of assessing student progress.
What are Music Journals?
A music journal is a notebook that each student brings to music rehearsals to record a daily entry. The daily entry can be a rhythmic dictation, a short written response to a music-related question, or anything related to the music being learned. Journal entries can take as little as two minutes, or the entire rehearsal period. Originally, my colleague, Dan Berz and I devised journals as a means to organize “Do Now” activities completed by our 7th and 8th grade students when they entered the classroom. These mostly consisted of simple rhythms for which students would write in the counts. Other times there would be a leading question for students to answer that accompanied a listening example. As the journals became incorporated into rehearsal, it became clear how useful they were for accomplishing larger goals. They can be used as a tool for students to reflect on their performance, and to develop listening skills. Journals are collected periodically for the teacher to read and respond, providing additional opportunities to assess and communicate with students.
Journals for Teaching Rhythm
Rhythmic journal entries are typically the shortest type. They take the least amount of class time, and are the quickest for the teacher to assess. When we first began using journals in 7th grade band class, my colleague and I began the school year with simple 2- to 4-measure patterns consisting of quarter and eighth rhythms. Students would copy the rhythms and write in the counting below using the “1 e + a” system. Afterward, they would chant and clap the rhythms, and then play them on their instruments. We also incorporated rhythms taken from the music we performed. Within a few weeks students adopted the routine and were able to successfully transcribe and perform the rhythms in a few minutes. Over the course of the school year students’ rhythmic abilities improved dramatically. Before long they were easily succeeding at performing syncopated 8th and 16th rhythms. To challenge students we gave them 2-part rhythms to perform as duets, and even had students compose their own rhythms. By the end of the year there was a marked increase in students’ rhythmic accuracy and sight-reading ability.
Journals for Self-Reflection
Journals can be a powerful tool for students to assess their own performance, and to communicate with teachers. In addition to rhythm “do-now’s,” my colleague and I would post reflection questions for students to answer as class began. Questions were designed to focus students on a particular aspect of the group’s performance or their own playing. This also gave students the opportunity to share their views on the music we performed, which provided useful feedback for choosing repertoire and running effective rehearsals.
Sample reflection questions:
- What is your favorite (or least favorite) piece of music that we are playing? Why do you like (or dislike) that piece?
- List three spots in our music that you play very well, and three spots that need improvement. How can we improve those sections?
- What section of our music have we improved the most? How did we make that improvement happen?
- List your musical strengths (i.e. tone, rhythmic ability, articulation, dynamics, range, etc.). What would you most like to improve about how you play your instrument?
- If you were running tomorrow’s rehearsal, what is the first section of music you would work on? Why?
These types of questions have a dramatic effect in focusing students on both short- and long-term goals. Soliciting their feedback and using it in class will increase their sense of ownership of the ensemble, and empower them to guide their own learning. Consider the difference between the traditional means of running rehearsal, in which the conductor dictates what and how everything is done (“I said to play forte at measure 33!”), and one in which students’ views are incorporated (“Mary suggested starting at measure 33 to work on dynamics”).
Journals for Teaching Broader Musical Concepts
Music journals are particularly useful for helping students grasp musical concepts beyond those learned through performance. When we began to use journals, one goal my colleague and I had was to introduce students to a variety of music to which they likely hadn’t been exposed. We chose repertoire that related to different musical genres, and used that as a launching point to discuss various composers and musical styles. Since listening examples were related to the music we performed, students were more receptive as they listened, and were able to make strong connections to what they heard. For example, we listened to various pieces by Hungarian composer, Béla Bartók, while we worked on Timothy Broege’s Bartók Variations (Grade 2, Grand Mesa Music Publishers). In another class we played three different recordings of a short excerpt from a symphony and had students compare and contrast the three performances. Not only did they learn to listen critically, but they also developed a better understanding of characteristic performance practices.
Sample listening/critiquing questions:
- How is this music similar to or different from the music we are currently performing?
- Listen for your instrument (or voice). What do you like about their performance? What would you change? Why?
- Listen to the recording and critique the performers’ dynamics [or any particular performance element you wish to be the focus]. What did you like? What would you change? Why?
- For a tone poem: Were you able to follow the “story” in the music? What musical elements made the story clear to you?
- How did the composer create a feeling of excitement (or calm, tension, suspense, joy, etc.)?
When guiding students through these questions you may need to review the elements of music and focus your students’ attention on a specific one. Remember that listening is a skill, and being able to perceive various elements in a complex piece of music takes time and patience. Consider repeating listening examples several times over the course of a few weeks to give students a chance to build on their first impressions. Students will also benefit from focusing their studies on one genre or composer at a time. By listening to a several examples from one composer or genre over an extended period, students will be able to make stronger connections and develop a deeper understanding of the subject matter.
Other Options for Using Journals
By now it is clear that journals can be used to teach almost anything. In addition to the aforementioned ideas, they can be used to teach basic music theory, history, terminology, and a variety of other concepts. Journals can be tailored to work within the parameters of any program, and to suit the needs of specific students. Here are some other considerations:
- Journals are an excellent platform for introducing new concepts and teaching rhythm. For example, one might start class with a rhythm containing four eighth notes, and then replace the first three with a dotted quarter note to show how the new rhythm is counted.
- Reading and responding to students’ journals can be time-consuming. Incorporating more rhythm exercises and short written responses will speed the process, however, having them write longer reflections and taking the time to respond to them will make the experience more meaningful.
- Journals provide an alternative means of assessing students’ growth. For those who struggle with performance, journals are a great way to demonstrate understanding of musical concepts.
- It is important to incorporate journals into every class in order for students to fully embrace using them as a routine. On days when more time is needed to work on music, a shorter rhythm or a quick written response will suffice.
- Consider a regular journal collection schedule (i.e. every Thursday). For large classes, collecting them on different days for various groups makes reading and responding easier. For example, one might collect woodwinds on Mondays, and brass and percussion on Thursdays.
- If and how they are graded is a personal choice. In general, experience has shown that focusing attention on grades will distract from the main goal of learning. Journals work best when they are primarily used as a learning tool, and as a means to communicate with students.
- Journals can be used as part of the fulfillment of Student Growth Objective requirements, and to meet Common Core Standards.
While using journals takes some time and creates extra work, the benefits clearly outweigh the costs. Most music students who participate in performance-based programs will not pursue careers in music. Many will stop performing altogether once they graduate high school. Therefore, the experiences provided in these programs must incorporate learning that goes beyond performance. We must be willing to sacrifice a small part of rehearsal time to instill a deeper sense of the value of music in our students. In that regard, incorporating journals as part of a daily rehearsal routine will open students to endless possibilities.