Details of the Study
It is my intention to provide the best music education program possible in my school setting. I have been presented with a challenge, and I intend to ensure my response is informed through research and sound pedagogical practice. As none exists, I feel the need and capacity to engage in this research. I intend to meet my professional responsibilities with a high level of rigor and discipline for the betterment of my students, and believe it is necessary for me to complete this study with the same level of expectation in order to do so properly.
Introduction
Research in beginning band instruction is lacking in the identification of an appropriate grade to begin band instruction. If not for research on instructional strategies and materials, the largest body of research in beginning bands has been on retention and predictive measures, neither of which are topics of pedagogical import (Cavitt, 2006). The vast majority of all research in beginning band has studied students in Grades 6 or lower. Only three doctoral dissertations focused on grade level of entry before 1980, and only one since then has been completed (Cavitt, 2006; Hartley, 1996a). The first study’s conclusion that band instruction should begin in elementary school was based on a comparison between Grade 4 and Grade 7 students, not Grade 6 and Grade 7 students (Strachan, 1964). The second study focused on the optimal grade between Grades 5 and 6, and while directive, again did not consider later grades nor the configuration of grades in different buildings (Silliman, 1977). The 1990s saw a brief influx of articles published on the subject, however that researched focused on elementary grade levels as entry points for beginning band. No research has been completed determining whether or not beginning band should in fact beginning in elementary grades, or if it should in fact not be introduced until Junior High.
Of the research that discusses grade level of entry for beginning band, the most prescriptive work has been completed by Dr. Linda Hartley of the University of Dayton, Ohio. Hartley’s work on the relationships between starting grade, school organization, and student participation and student attitude in music has provided the best evidence of when students should begin band instruction. Hartley’s work stemmed from an increase in the number of schools moving to a “middle school” philosophy, where students would complete up to the end of Grade 4 or 5 in an elementary building and move to a new building to begin either Grade 5 or 6. While directive for schools who have adopted this organization of grade levels, her work only provides hypotheses for what may be successful in schools whose grade configuration is more traditional, with elementary continuing to Grade 6, and students entering a new building for Grade 7. (Hartley, 1991; 1996a; 1996b)
There are many suggestions as to when beginning band should in fact begin. The National Coalition for Core Arts Standards produced what is now known as the National Core Arts Standards which is designed under the assumption that ensemble instruction begins in Grade 5 (National Coalition for Core Arts Standards, 2014). The National Association for Music Education directs administrators toward a Grade 5 entry point to beginning band instruction as a minimum expectation (National Association for Music Education, 2015). It is also a holdover policy from the time the organization was known as the Music Educators National Conference, and was supported at the time by the American School Band Directors Association despite having no specific research or rationale to support such a claim (National Association for Music Education, 2015; Delzell & Doerksen, 1998). Although this seems to show a consensus despite a lack of evidence, the actual implementation is far more varied with schools offering the first ensemble-type instruction in a range from Grade 3 through Grade 9 (Stuart, 2012; Gordon, 2012). In many schools in Canada the trend is to not hire specialty music education instructors at the elementary level, and that in turn creates a trend to delay the grade level of entry to instrumental music education (Wasiak, 2013).
The lack of consensus on the subject is likely due to a myopic view by music education researchers of when beginning band should begin based on the goal of student retention. This study seeks to avoid the concept of retention as a worthy goal and focus on the student first. As a result, the study will identify if indeed ensemble-type music instruction in a band format should begin before Grade 7, or if Grade 7 is an appropriate level to begin such instruction when considering grade level organization in school buildings.
Of the research that discusses grade level of entry for beginning band, the most prescriptive work has been completed by Dr. Linda Hartley of the University of Dayton, Ohio. Hartley’s work on the relationships between starting grade, school organization, and student participation and student attitude in music has provided the best evidence of when students should begin band instruction. Hartley’s work stemmed from an increase in the number of schools moving to a “middle school” philosophy, where students would complete up to the end of Grade 4 or 5 in an elementary building and move to a new building to begin either Grade 5 or 6. While directive for schools who have adopted this organization of grade levels, her work only provides hypotheses for what may be successful in schools whose grade configuration is more traditional, with elementary continuing to Grade 6, and students entering a new building for Grade 7. (Hartley, 1991; 1996a; 1996b)
There are many suggestions as to when beginning band should in fact begin. The National Coalition for Core Arts Standards produced what is now known as the National Core Arts Standards which is designed under the assumption that ensemble instruction begins in Grade 5 (National Coalition for Core Arts Standards, 2014). The National Association for Music Education directs administrators toward a Grade 5 entry point to beginning band instruction as a minimum expectation (National Association for Music Education, 2015). It is also a holdover policy from the time the organization was known as the Music Educators National Conference, and was supported at the time by the American School Band Directors Association despite having no specific research or rationale to support such a claim (National Association for Music Education, 2015; Delzell & Doerksen, 1998). Although this seems to show a consensus despite a lack of evidence, the actual implementation is far more varied with schools offering the first ensemble-type instruction in a range from Grade 3 through Grade 9 (Stuart, 2012; Gordon, 2012). In many schools in Canada the trend is to not hire specialty music education instructors at the elementary level, and that in turn creates a trend to delay the grade level of entry to instrumental music education (Wasiak, 2013).
The lack of consensus on the subject is likely due to a myopic view by music education researchers of when beginning band should begin based on the goal of student retention. This study seeks to avoid the concept of retention as a worthy goal and focus on the student first. As a result, the study will identify if indeed ensemble-type music instruction in a band format should begin before Grade 7, or if Grade 7 is an appropriate level to begin such instruction when considering grade level organization in school buildings.
Background of the Study
The impetus for beginning the study came with the cancellation of a band program at the Grade 6 level at Holy Spirit Academy of the Christ the Redeemer Catholic School Division in the 2017-2018 School Year. Holy Spirit Academy has traditionally offered a beginning band program at the Grade 6 level, feeding into a Grade 7-12 band program at Notre Dame Collegiate, both located in High River, Alberta, Canada. The rationale for the program cancellation included an inability to find a qualified educator, and a report submitted to the Superintendent of the school division two years earlier (Schile, 2015).
The Schile report provided two recommendations specific to beginning band. The first was to “consider the reason grade six instrumental programs are being instituted and consider the logistics around the program including time, budget and facility. Music is mandatory in grade six, but optional at junior and senior high.” (Schile, 2015, p. 23) The second was to “ensure schools that have a dedicated instrumental program in grade six, have a proper facility in place for sound and storage of instruments and equipment.” (Schile, 2015, pp. 23-24) Both of these recommendations stemmed from the fact that across the entire school division, only one Grade 6 Concert Band program was consistently meeting curricular requirements as prescribed by Alberta Education (Schile, 2015). Other contributing issues included the absence of specialist music educators and professional development for generalist music educators (Schile, 2015). Holy Spirit Academy does not have a dedicated space for music, and the logistics around time in particular are challenging for that school. These issues are not unique to Holy Spirit Academy, or even the Christ the Redeemer School Division, but in fact purvey the entire province of Alberta, and much of Canada (Government of Alberta, 2009; Wasiak, 2013).
Any attempts to address these concerns still do not address primary recommendation of considering “the reason grade six instrumental programs are being instituted” (Schile, 2015, p. 23). Therefore, upon learning of the cancellation of the program, I sought to find evidence that supported the decision to cancel, and although no such evidence was found, neither was evidence found that negated the decision to cancel. The need for the study was identified once finding this gap in the research.
The necessity for beginning this research immediately is also high. In 2009 a draft framework for refreshed curriculum for visual art, drama, music and dance was completed with a very poor response from arts educators including music educators (Government of Alberta, 2009; McGinnis, 2010). Alberta Education is currently undergoing a significant curriculum review that will result in largely new curricula for music education in the province (Liepins, 2016). With the poor response regarding the 2009 draft framework, and the potential for a repeat, music educators are nervous and hopeful at the same time regarding how the curriculum review will proceed (Bennett, 2010). The need for music education to be offered to all students is not in dispute, and in fact is supported by research conducted by the Alberta Government (Government of Alberta, 2009). The need for much of that instruction to be in an ensemble format is also supported by research and public opinion (Strachan, 1964; Delzell & Doerksen, 1998; McGinnis, 2010; Wall, 2013; Wasiak, 2013; National Association for Music Education, 2015; Schile, 2015). Although curriculum review is likely to be informed by research, if no research exists to provide evidence of when beginning band should be first implemented, then it runs the risk of being inadequate.
The Schile report provided two recommendations specific to beginning band. The first was to “consider the reason grade six instrumental programs are being instituted and consider the logistics around the program including time, budget and facility. Music is mandatory in grade six, but optional at junior and senior high.” (Schile, 2015, p. 23) The second was to “ensure schools that have a dedicated instrumental program in grade six, have a proper facility in place for sound and storage of instruments and equipment.” (Schile, 2015, pp. 23-24) Both of these recommendations stemmed from the fact that across the entire school division, only one Grade 6 Concert Band program was consistently meeting curricular requirements as prescribed by Alberta Education (Schile, 2015). Other contributing issues included the absence of specialist music educators and professional development for generalist music educators (Schile, 2015). Holy Spirit Academy does not have a dedicated space for music, and the logistics around time in particular are challenging for that school. These issues are not unique to Holy Spirit Academy, or even the Christ the Redeemer School Division, but in fact purvey the entire province of Alberta, and much of Canada (Government of Alberta, 2009; Wasiak, 2013).
Any attempts to address these concerns still do not address primary recommendation of considering “the reason grade six instrumental programs are being instituted” (Schile, 2015, p. 23). Therefore, upon learning of the cancellation of the program, I sought to find evidence that supported the decision to cancel, and although no such evidence was found, neither was evidence found that negated the decision to cancel. The need for the study was identified once finding this gap in the research.
The necessity for beginning this research immediately is also high. In 2009 a draft framework for refreshed curriculum for visual art, drama, music and dance was completed with a very poor response from arts educators including music educators (Government of Alberta, 2009; McGinnis, 2010). Alberta Education is currently undergoing a significant curriculum review that will result in largely new curricula for music education in the province (Liepins, 2016). With the poor response regarding the 2009 draft framework, and the potential for a repeat, music educators are nervous and hopeful at the same time regarding how the curriculum review will proceed (Bennett, 2010). The need for music education to be offered to all students is not in dispute, and in fact is supported by research conducted by the Alberta Government (Government of Alberta, 2009). The need for much of that instruction to be in an ensemble format is also supported by research and public opinion (Strachan, 1964; Delzell & Doerksen, 1998; McGinnis, 2010; Wall, 2013; Wasiak, 2013; National Association for Music Education, 2015; Schile, 2015). Although curriculum review is likely to be informed by research, if no research exists to provide evidence of when beginning band should be first implemented, then it runs the risk of being inadequate.
Method
The purpose of this study is to identify the effect grade-level of entry to beginning band has on students in a split school configuration on their musical knowledge, performance skill and collaboration. To this effect, this study will address the following questions;
Two different student groups will be studied; students in Grade 7 at Notre Dame Collegiate during the 2017/2018 School Year who have already entered concert band instruction during their time in Grade 6 at Holy Spirit Academy, and students in Grade 7 at Notre Dame Collegiate during the 2018/2019 School Year who will have had no previous entry into concert band instruction. Students will be organized into groups according to their non-musical achievement using data collected from their school reports at the end of their respective Grade 7 years for comparative analysis between student achievement groups and from year to year. The study will be a quantitative pre-test and post-test experimental design, with the pre-tests occurring in the first month of the students’ respective school years and the post-tests occurring in the last month of that school year. Although the students in the 2018/2019 School Year will not have had ensemble instruction, they will have had elementary music instruction, and therefore a pre-test will still be a useful tool in measuring their relevant skills.
The dependent variable of musical knowledge will be measured using a researcher-designed test in two parts, written and aural. The content of this test will be based on the current Alberta Program of Studies for Instrumental Music at the Grade 7 level, Breezin’ Thru Theory and Composing, the Master Theory Workbooks and Sound Innovations as resources (Alberta Education, 1988; Breezin' Thru Inc., 2017; Peters & Yoder, 1963; Sheldon, Boonshaft, Black, & Phillips, 2010). The dependent variable of performance skill will be measured using the Watkins-Farnum Performance Scale, a successful tool that has been identified as reliable in previous studies (Watkins & Farnum, 1954; Strachan, 1964; Mitchum, 1969; Silliman, 1977; Moorer, 1977; Gleason, 1998). The dependent variable of collaborative skill will be measured using a researcher-modified version of the “Student Attitudes Toward Group Environments” questionnaire, a Likert scale survey used in other studies on students in collaborative learning environments, which I will modify to make it relevant to a musical instruction environment (Centre for the Study of Learning & Performance; Bronet, 2008).
The instructional period will include transmission of musical learning through the concert band method Sound Innovations, as it has been proven to be one of few methods that systematically meet the requirements of the National Core Music Standards (Watkins K. , 2011). This method will be supplemented by instruction using the Breezin’ Thru Theory and Composing tool which has shown to be a highly engaging method of theory and composition instruction (Wasylak, 2017). The primary teaching method will be a comprehensive musicianship approach from the podium, with standalone units for Christmas, Festival Performance and Marching Band. Every effort will be made to adhere to similar timelines for introduction of concepts in both groups of students, and researcher notes will reflect this effort.
For the purposes of this study, I will engage in practitioner action research, a subset of action research. This is a scenario where the teacher is the same individual performing the research, and therefore is also part of the study because they "are seldom studying a problem in their classroom or school divorced from their own personal and professional beliefs and actions." (Anderson, Herr, & Nihlen, 2007, p. 32) It is important for a researcher in such a context be ready to challenge commonly held beliefs and rules that usually go unchallenged. My previous research conducted through the acquisition of my graduate degree summa cum laude from Boston University, my publications and presentations provide evidence that I am such a practitioner (Windsor, 2014). I will be the students’ regular teacher, and therefore will be participating in the class activities. The previously commonly held belief that I have held to is that student ensemble instruction should begin in later elementary grades, simply because that has been the common practice and advocacy has matched this, as mentioned previously in this document. This study will require me to be open to a new truth, should the study lead to such a conclusion.
- Does entering beginning band in Grade 6 before moving to a new school in Grade 7 impact the transmission of musical knowledge more positively than if the students enter beginning band in Grade 7 after changing schools?
- Does entering beginning band in Grade 6 before moving to a new school in Grade 7 impact the development of performance skill more positively than if the students enter beginning band in Grade 7 after changing schools?
- Does entering beginning band in Grade 6 before moving to a new school in Grade 7 impact the students’ readiness for collaboration more positively than if the students enter beginning band in Grade 7 after changing schools?
Two different student groups will be studied; students in Grade 7 at Notre Dame Collegiate during the 2017/2018 School Year who have already entered concert band instruction during their time in Grade 6 at Holy Spirit Academy, and students in Grade 7 at Notre Dame Collegiate during the 2018/2019 School Year who will have had no previous entry into concert band instruction. Students will be organized into groups according to their non-musical achievement using data collected from their school reports at the end of their respective Grade 7 years for comparative analysis between student achievement groups and from year to year. The study will be a quantitative pre-test and post-test experimental design, with the pre-tests occurring in the first month of the students’ respective school years and the post-tests occurring in the last month of that school year. Although the students in the 2018/2019 School Year will not have had ensemble instruction, they will have had elementary music instruction, and therefore a pre-test will still be a useful tool in measuring their relevant skills.
The dependent variable of musical knowledge will be measured using a researcher-designed test in two parts, written and aural. The content of this test will be based on the current Alberta Program of Studies for Instrumental Music at the Grade 7 level, Breezin’ Thru Theory and Composing, the Master Theory Workbooks and Sound Innovations as resources (Alberta Education, 1988; Breezin' Thru Inc., 2017; Peters & Yoder, 1963; Sheldon, Boonshaft, Black, & Phillips, 2010). The dependent variable of performance skill will be measured using the Watkins-Farnum Performance Scale, a successful tool that has been identified as reliable in previous studies (Watkins & Farnum, 1954; Strachan, 1964; Mitchum, 1969; Silliman, 1977; Moorer, 1977; Gleason, 1998). The dependent variable of collaborative skill will be measured using a researcher-modified version of the “Student Attitudes Toward Group Environments” questionnaire, a Likert scale survey used in other studies on students in collaborative learning environments, which I will modify to make it relevant to a musical instruction environment (Centre for the Study of Learning & Performance; Bronet, 2008).
The instructional period will include transmission of musical learning through the concert band method Sound Innovations, as it has been proven to be one of few methods that systematically meet the requirements of the National Core Music Standards (Watkins K. , 2011). This method will be supplemented by instruction using the Breezin’ Thru Theory and Composing tool which has shown to be a highly engaging method of theory and composition instruction (Wasylak, 2017). The primary teaching method will be a comprehensive musicianship approach from the podium, with standalone units for Christmas, Festival Performance and Marching Band. Every effort will be made to adhere to similar timelines for introduction of concepts in both groups of students, and researcher notes will reflect this effort.
For the purposes of this study, I will engage in practitioner action research, a subset of action research. This is a scenario where the teacher is the same individual performing the research, and therefore is also part of the study because they "are seldom studying a problem in their classroom or school divorced from their own personal and professional beliefs and actions." (Anderson, Herr, & Nihlen, 2007, p. 32) It is important for a researcher in such a context be ready to challenge commonly held beliefs and rules that usually go unchallenged. My previous research conducted through the acquisition of my graduate degree summa cum laude from Boston University, my publications and presentations provide evidence that I am such a practitioner (Windsor, 2014). I will be the students’ regular teacher, and therefore will be participating in the class activities. The previously commonly held belief that I have held to is that student ensemble instruction should begin in later elementary grades, simply because that has been the common practice and advocacy has matched this, as mentioned previously in this document. This study will require me to be open to a new truth, should the study lead to such a conclusion.
References (so far)
- Alberta Education. (1988). Fine arts programs of study: Junior high music. Retrieved February 24, 2015, from Alberta Education: http://education.alberta.ca/media/313013/jhmusic.pdf
- Anderson, G. L., Herr, K., & Nihlen, A. S. (2007). Studying your own school: An educator's guide to practitioner action research. Thousand Oaks, CA: Corwin Press.
- Bennett, L. (2010, February 8). Update on Alberta K-12 Fine Arts Curriculum. Retrieved September 21, 2014, from WeAllNeedMusic.ca - Coalition for Music Education in Canada: http://weallneedmusic.wordpress.com/2010/02/08/update-on-alberta-k-12-fine-arts-curriculum/
- Breezin' Thru Inc. (2017, June 20). What You'll Cover. Retrieved August 2, 2017, from Breezin' Thru Theory and Composing: http://breezinthrutheory.com/about/what-it-covers/
- Bronet, M. S. (2008, December). Student attitudes towards cooperative learning in education. Sherbrooke, Quebec, Canada: M.Ed. diss., Université de Sherbrooke.
- Cavitt, M. E. (2006, Fall). A content analysis of doctoral research in beginning band education, 1958-2004. Journal of Band Research, 42(1), 42-85.
- Centre for the Study of Learning & Performance. (n.d.). SAGE: Student Attitudes toward Group Environments. Retrieved August 2, 2017, from Concordia University: https://www.concordia.ca/content/dam/artsci/research/cslp/docs/newsageo.pdf
- Delzell, J. K., & Doerksen, P. F. (1998, Spring/Summer). Reconsidering the grade level for beginning instrumental music. Update, 17-22.
- Gleason, B. (1998). Effects of Whole Music Instruction on Knowledge, Performance Skills, Attitudes and Retention of Sixth-Grade Beginning Band Students. Contributions to Music Education, 25(2), 7-26. Retrieved July 9, 2017, from http://www.jstor.org/stable/24126952
- Gordon, E. E. (2012). Learning sequences in music: A contemporary music learning theory. Chicago, IL: GIA Publications.
- Government of Alberta. (2009). K-12 Arts Education Curriculum Consultation Report. Retrieved July 28, 2017, from Alberta Education: https://education.alberta.ca/media/482105/kto12arts_consult.pdf
- Hartley, L. A. (1996a). The relationship of student attitude toward instrumental music to beginning instructional grade and grade level organization. Contributions to Music Education(23), 46-61. Retrieved from http://www.jstor.org/stable/24126897
- Hartley, L. A. (1996b, Winter). Influence of starting grade and school organization on enrollment and retention in beginning instrumental music. Journal of Research in Music Education, 44(4), 304-318. Retrieved from http://www.jstor.org/stable/3345443
- Liepins, L. (2016, June 15). Alberta updating curriculum to better prepare students for future success. Retrieved July 28, 2017, from Alberta Government: https://www.alberta.ca/release.cfm?xID=429254F30CF8B-FC56-7936-ADA544AE037D475C
- McGinnis, S. (2010, May 24). Students take to stage to save arts. Calgary Herald, p. B8. Retrieved July 28, 2017, from https://www.pressreader.com/canada/calgary-herald/20100524/284378375568355
- Mitchum, J. P. (1969, August). The Wing "Standardised Tests of Musical Intelligence": An investigation of predictability with selected seventh-grade beginning-band students. Ed.D. diss., Florida State University.
- Moorer, D. S. (1977). A study on the effect of two types of instruction on sixth-grade beginning band students. Troy, Alabama: M.Sc. diss., ProQuest Dissertations and Theses.
- National Association for Music Education. (2015, May). Opportunity-To-Learn Standards. Retrieved July 27, 2017, from National Association for Music Education: https://nafme.org/wp-content/files/2014/11/Opportunity-to-Learn-Standards_May2015.pdf
- National Coalition for Core Arts Standards. (2014). 2014 Music Standards (Ensemble). Retrieved July 28, 2017, from National Association for Music Education: https://nafme.org/wp-content/files/2014/06/5-Core-Music-Standards-Ensemble-Strand1.pdf
- Peters, C. S., & Yoder, P. (1963). Master Theory: Book 1 - Beginning Theory Workbook. San Diego, California: Neil A. Kjos Music Company.
- Schile, H. (2015). Program Review of the Fine Arts & Performing Arts. Christ the Redeemer Catholic Schools. Calgary, Alberta, Canada: Calgary Catholic School District.
- Sheldon, R., Boonshaft, P., Black, D., & Phillips, B. (2010). Sound Innovations for Concert Band, Book 1 - Conductor Score. Los Angeles, California: Alfred Music Publishing Co. Inc.
- Strachan, E. D. (1964). The designation of the appropriate grade level for beginning instrumental study. Ph.D. diss., ProQuest Dissertations and Theses.
- Stuart, E. E. (2012). A survey of beginning band programs in New York State. Masters Thesis, University of Texas at El Paso.
- Wall, M. P. (2013, May 22). Improvising to learn: A study of 5th grade band students. New York City, NY: Ph.D. diss., UMI Dissertation Publishing.
- Wasiak, E. B. (2013). Teaching Instrumental Music in Canadian Schools. Don Mills, Ontario: Oxford University Press.
- Wasylak, V. (2017, July). Truly drill-ceptional: The two women who are making music theory a breeze. School Band & Orchestra, 20(7), 12-14,16.
- Watkins, J. G., & Farnum, S. E. (1954). Watkins-Farnum Performance Scale - Form "A" Book. Milwaukee, Wisconsin: Hal Leonard Publishing.
- Watkins, K. (2011). An analysis of select beginning band method books and the level to which they address the National Standards for Music Education. Ph.D. diss., Ohio State University.
- Windsor, J. (2014, October 25). Teaching Musicking and Professionalism in Alberta Instrumental Music Education. Edmonton, Alberta, Canada: MusiConference Alberta 2014.