The thoughts below are about how my experience above can contribute to an IB program.
I completed a 6 months IBO Certificate course in Leadership.
I have taken Music Category 2 IB DP training. When the instructors asked about my experience, they decided there was no need for me to take Level 1 training. If I need additional training, particularly Category 3 DP or MYP training, I will certainly be glad to work on those areas.
I understand that both Standard Level (SL) and Higher Level (HL) DP students are required to work on Musical Perception, which is largely based on music theory, history and ear training, all of which are standard components in any music degree, and studied in depth in collegiate music theory courses. I studied classical theory at the University of Georgia, then modern Jazz theory at Berklee College of Music. During my first Master’s program at Boston University, I also did more in-depth Classical theory and more jazz arranging. For my MFA program at Academy of Art University, I was required to compose, produce, and arrange music in a variety of styles to suit various film types. When I was in the US, I taught Music Theory and Composition in an online environment, as well as a face-to face AP style music theory course. I like the IB approach to theory and ear training, in that is more integrated throughout the curriculum and reinforced as the student progresses through MYP and DP. I’ll do what I can to get the students to be able to perform as well as possible on their written examinations.
The second main important portion of IB Music requires proficiency in Creating.
There are four main options between HL and SL in DP, which are composing, Music technology composing, arranging, improvising and stylistic techniques. I have composed my self, and have helped students with the journey of composition through traditional methods, as well as through the use of music technology, in order to create both traditional and modern music styles. As a pioneering music technology educator, I also am glad that music technology is afforded equal weight as an option for creating. I have taught arranging in various ways, by manipulating and rearranging popular songs through software, like ProTools ad GarageBand, as well as traditional methods, and through the use of notation software (such as Finale or Sibelius) and recording programs, like Logic. I improvise and have taught improvisation, largely through jazz ensembles, and through blues and rock style music. As far as stylistic techniques, most classical theory uses the options of Bach Chorale and Figured bass. I like how the IB stretches this concept farther by including very distinct style options to teach students how to compose in different fashions, including, Renaissance, and various 18th, 19th, and 20th century techniques. I also think it is important for student to reflect on their process and be able to grow in their thinking as they progress. I am also quite used to providing frequent formative feedback for students as they develop along the path to their summative pieces.
The third component in IB Music is Performing. I have much experience in teaching this part of music. I believe that performance is one of the most critical aspects of music learning, as it embodies experiential learning. Also, what is music, if it is not performed and heard? Learning to play an instrument encompasses the individual in a bodily experience. That experience can be individual, with a small group, or with a large group. I have performed and taught in all of these ways. Even back in the public high school where I taught, I held monthly recitals for individuals and small groups to perform and hone their skills in front of smaller audiences. This helps develop their confidence as well as gives them the experience of a lower risk summative assessment. These experiences are also formative through their journey towards a larger goal, such as an end-of-semester larger, more formal concert. I have had students present through a variety of means, including music technology, piano, guitar, jazz and rock combos, a cappella groups, choirs, and wind ensembles. I believe in providing multiple experiences for students to hone their craft. Doing so also provides plenty of material that can be drawn upon to submit for portfolio summative assessments.
I have worked at a school that was transitioning toward IB, and have worked in non-IB schools. Through my connections and work with colleagues and through organizations like KIMEA, I have learned and heard about some pitfalls to avoid when running an IB program. I think it is important to have someone with different experience than the norm to challenge the status quo and to make things better. For example, I am aware of and and have seen music programs that have switched to IB, and had their performing arts programs dwindle as a result. I have seen non-IB schools have thriving Arts programs, but lack the theoretical, historical, and reflective pieces that IB offers. I think having someone with a cautious eye toward developing a robust program is more important than having someone that simply follows minimum IB requirements. I would like to help nurture and develop an IB program that goes above and beyond the minimum requirements established by IBO, so that it combines both the creative and perceptual tasks, while also maintaining a thriving performing arts performing program.
I completed a 6 months IBO Certificate course in Leadership.
I have taken Music Category 2 IB DP training. When the instructors asked about my experience, they decided there was no need for me to take Level 1 training. If I need additional training, particularly Category 3 DP or MYP training, I will certainly be glad to work on those areas.
I understand that both Standard Level (SL) and Higher Level (HL) DP students are required to work on Musical Perception, which is largely based on music theory, history and ear training, all of which are standard components in any music degree, and studied in depth in collegiate music theory courses. I studied classical theory at the University of Georgia, then modern Jazz theory at Berklee College of Music. During my first Master’s program at Boston University, I also did more in-depth Classical theory and more jazz arranging. For my MFA program at Academy of Art University, I was required to compose, produce, and arrange music in a variety of styles to suit various film types. When I was in the US, I taught Music Theory and Composition in an online environment, as well as a face-to face AP style music theory course. I like the IB approach to theory and ear training, in that is more integrated throughout the curriculum and reinforced as the student progresses through MYP and DP. I’ll do what I can to get the students to be able to perform as well as possible on their written examinations.
The second main important portion of IB Music requires proficiency in Creating.
There are four main options between HL and SL in DP, which are composing, Music technology composing, arranging, improvising and stylistic techniques. I have composed my self, and have helped students with the journey of composition through traditional methods, as well as through the use of music technology, in order to create both traditional and modern music styles. As a pioneering music technology educator, I also am glad that music technology is afforded equal weight as an option for creating. I have taught arranging in various ways, by manipulating and rearranging popular songs through software, like ProTools ad GarageBand, as well as traditional methods, and through the use of notation software (such as Finale or Sibelius) and recording programs, like Logic. I improvise and have taught improvisation, largely through jazz ensembles, and through blues and rock style music. As far as stylistic techniques, most classical theory uses the options of Bach Chorale and Figured bass. I like how the IB stretches this concept farther by including very distinct style options to teach students how to compose in different fashions, including, Renaissance, and various 18th, 19th, and 20th century techniques. I also think it is important for student to reflect on their process and be able to grow in their thinking as they progress. I am also quite used to providing frequent formative feedback for students as they develop along the path to their summative pieces.
The third component in IB Music is Performing. I have much experience in teaching this part of music. I believe that performance is one of the most critical aspects of music learning, as it embodies experiential learning. Also, what is music, if it is not performed and heard? Learning to play an instrument encompasses the individual in a bodily experience. That experience can be individual, with a small group, or with a large group. I have performed and taught in all of these ways. Even back in the public high school where I taught, I held monthly recitals for individuals and small groups to perform and hone their skills in front of smaller audiences. This helps develop their confidence as well as gives them the experience of a lower risk summative assessment. These experiences are also formative through their journey towards a larger goal, such as an end-of-semester larger, more formal concert. I have had students present through a variety of means, including music technology, piano, guitar, jazz and rock combos, a cappella groups, choirs, and wind ensembles. I believe in providing multiple experiences for students to hone their craft. Doing so also provides plenty of material that can be drawn upon to submit for portfolio summative assessments.
I have worked at a school that was transitioning toward IB, and have worked in non-IB schools. Through my connections and work with colleagues and through organizations like KIMEA, I have learned and heard about some pitfalls to avoid when running an IB program. I think it is important to have someone with different experience than the norm to challenge the status quo and to make things better. For example, I am aware of and and have seen music programs that have switched to IB, and had their performing arts programs dwindle as a result. I have seen non-IB schools have thriving Arts programs, but lack the theoretical, historical, and reflective pieces that IB offers. I think having someone with a cautious eye toward developing a robust program is more important than having someone that simply follows minimum IB requirements. I would like to help nurture and develop an IB program that goes above and beyond the minimum requirements established by IBO, so that it combines both the creative and perceptual tasks, while also maintaining a thriving performing arts performing program.