A Custom Curriculum For Fremont Middle School's 7th and 8th

A Custom Curriculum For
Fremont Middle School’s 7th and 8th grade Vocal and General Music Classes
A Curriculum Project
Presented to
The Music Education Faculty
College of Fine Arts
Boston University
In Partial Fulfillment
Of the Requirements for the Degree
Master of Music Education
By
Naomi L. Woods
Naomi L. Woods: Curriculum Project 2
Table of Contents
I. Introduction 3
II. Demographics and Music Ethnography 4

A. Demographics of Fremont Middle School and Community 4
B. Musical Ethnography 8
C. Current Music Program Summary 10
D. Application of State and National Standards for Music Education 12
III. A Custom Curriculum for Fremont Middle School 13

A. Guiding Philosophy 13
B. Curricular Vision and Design 15
C. Pedagogical Approach 17
IV. Curriculum Content 19

A. Broader Choice for Musicing 19
B. Technology 22
C. Cross-Curricular Connections 24
D. Assessment 26
V. Conclusion 27
VI. Appendices 28
Appendix A: Demographic Charts 28
Appendix B: Ethnography Charts 29
Appendix C: Nebraskan and National Music Education Standards 30
VII. Bibliography 31
Introduction
The aim of this paper is to propose an ideal curriculum for the seventh and eighth
grade students of Fremont Middle School in Fremont, Nebraska. As a product of
demographical and ethnographical research, this unique curriculum vision is designed to
enhance the relevancy and meaningfulness of music education for its current and future
music students. Rooted in progressive ideals, this praxial philosophy focuses on budding
musicianship through active music participation. Jones, an advocate of the progressive
and praxial curriculum, admits that “facilitating musical creativity and lifelong and life
wide musicing is dependent on students developing their independent musicianship”.1
Thus, it is important that every modern curriculum includes critically “chosen musical
challenges” that will “expose what students don’t know”, while offering aiming to
develop their personal artistry through active music participation.2 Therefore, by
focusing on democratic ideals, critical pedagogy, and praxial approaches, the proposed
curriculum offers opportunities for students to not only learn about music, but to
experience music as a living art.
Divided into three main sections, this paper is designed to show a need for
change, suggest philosophical and practical modifications and then to describe the new
curriculum. During the first section of the paper, demographical and music
ethnographical data will be situated within the Fremont community, district, school, and
current music program offered to seventh and eighth grade students. As a result, the data
will highlight changes that should be made in the current music program. Steeped in the
progressive and action based praxial philosophy, the second part of the paper will focus
1
Patrick M. Jones, “Moving Forward With Focus,” PMEA News, (Winter 2005): 26.
2
David J. Elliot, Music Matters: A New Philosophy of Music Education. (New York: Oxford
University Press, 1995): 74.
on the development of a new philosophy that will provide the students the opportunity to
be active music participants who think critically. Lastly, the third section will describe
the curriculum content applications.
I. Demographics and Music Ethnography
A. Demographics of Fremont Middle School and Community
Located in Fremont, Nebraska, Fremont Public School District, FPS, includes
eight elementary schools, one middle school and one high school. “The mission of
Fremont Public Schools is to produce creative, adaptable, productive citizens committed
to life-long learning.”3 FPS is a district committed to excellence in all grades and subject
areas. Progressive in ideology Fremont has experimented with two year-round
elementary schools and continues to develop new curricular assessment tools. Currently,
success in Fremont is measured through test results and “student achievement of the
standards in being measured at all grade levels and in all courses.”4 The testing of its
4,597 students is achieved through a series of pre and post tests given in each classroom
and for each subject. A district of testing success, Fremont’s “teach to the test” mentality
is used both to monitor progress of its students and to “supervise teacher” effectiveness.5
As a result of high testing marks, Fremont has received accreditation from the Nebraska
Department of Accreditation and the prestigious North Central Association and Colleges.
Yet, though 84% of the middle school students will earn their high school
diploma, the success rate does not repeat at the collegiate level (see Table 3). Post-
secondary education completion is an ongoing issue despite the close proximity of
3
Fremont Public School District. “Mission Statement” available from http://www.fpsweb.org
Internet; accessed 15 October 2009.
4
Ibid
5
Daniel Tanner and Laurel Tanner, Curriculum Development: Theory into Practice, 4th ed., (New
Jersey: Prentice Hall, 2007): 161.
regional schools or the fact that Fremont is home to two colleges, Midland Lutheran
College and Metro Community College—Fremont campus. Perhaps the low level of
higher degree completion is an indication that the successful testing occurs, our district
curriculum does not excite life-long learning. However, in sharp contrast, Fremont
Public Schools, F.P.S., boasts a high level of teachers with graduate degrees, 66%,
compared with only 44% of teachers state-wide.
However, with less than 10% of the general population completing a Bachelor’s
degree, the city and district is forced to reevaluate and to take action. In fact, one of the
Chamber of Commerce’s stated goals is creating an implementation strategy to improve
educational attainment in Fremont.6 Perhaps these figures could also be attributed to the
fact that many of Fremont’s businesses do not require Bachelor completion for
employment and choose to move elsewhere. However, the lack of continued education
also translates to a lack of continued musicing for many of the population. Therefore, it
is an improvement goal that cannot be ignored.
Though it is situated thirty-five miles northeast of the diversely populated city of
Omaha, the area’s largest city, Fremont’s 30, 000 residents represents a much more
modest community. A predominantly white (84%) community, Fremont is not an overly
diverse population (see Appendix A).7 Largely European in ancestry, German (45%) and
Irish (14%) are the two largest ethnicities reported. Consequently, Lutheranism (41%)
and Catholicism (31%) are the dominant religions and thus prominent music contributors
in the community. However, with the new addition of a recently built bypass, the more
diversified city of Omaha continues to expand westward. Making the trip to and from
6
City Data “State Demographics: Nebraska” available from http://www.city-
data.com/zips/68025.html Internet; accessed 26 September 2009.
7
Ibid
Omaha faster has had a tremendous impact on Fremont’s own diversity. This fact is most
evident in the recent growth of its Hispanic population (14%) and a slight increase in the
African American population (1%). Because students, “equate what goes on in music
classes or rehearsals with their music teacher’s own musical values”, it is important to
show that all cultures and music styles are valued. In addition, these changes in diversity
should be reflected in the musical choices so that students can connect to their
increasingly diverse community. Also, music education researcher Patricia Campbell
agrees that we should seek to incorporate music that represents the “multicolored
experiences” of our students, showing them “that music travels, and even transcends time
and distance”.8
Economically, Fremont’s statistics correspond to the national and state averages
(see Appendix A). This once thriving agricultural community is now home to businesses
that “range from Hormel Foods Corporation with 1,350 employees to JZW, an important
company, with one employee”.9 Also, known for its antique stores and lakes, Fremont
manages to attract many visiting consumers and tourists. As Table 2 reveals, Fremont is
a typical American city. Yet, though these statistics are merely two years old, the recent
economic shifts has created much larger disproportions within the district (Table 4).
According to the City-data fact finder10, a recent survey revealed a spike in
unemployment shifting from 3% in May of 2008 to 5% in May of 2009. A fact that is
most revealing in the school demographics. Nearly half of the 991 students in grades six,
seven, and eight at the Fremont middle school receive free or reduced lunches. When
8
Patricia S. Campbell, “Embracing the Wide World of Music Cultures,” The American Music
Teacher, 49, no. 6 (June/July 2000): 53.
9
Fremont area chamber of commerce “Community Profile Book: Wake Up to Fremont” available
from http://www.fremonttribune.com/communityprofile/home.shtml Internet; accessed 26 September 2009.
10
City Data “State Demographics: Nebraska” available from http://www.city-
data.com/zips/68025.html Internet; accessed 26 September 2009.
pairing this statistic with the mobile student population (see Table 4 – mobility), we find
that many homes for the middle schools students are not in a stable economic situation.
The implications that these demographics determine for curriculum are two-fold.
First, due to unemployment increases, tax contributions decline which results in a
declining school budget for the district which determines a need for economically
conscious choices. Therefore, teachers must be creative and frugal with the purchase
choices made for their music programs modeling the skills we want our students to
develop. Secondly, this implies that nearly half of our students cannot afford expensive
instrumental purchase or private voice or instrumental lessons. Consequently, music
educators should incorporate options that provide equal access and opportunities for all
students to achieve high levels of musicianship. These choices could include in-school
computer software programs, interactive websites, free voice lessons, group lessons, and
more. Jones agrees, saying that “we must determine what musicing opportunities exist
that student can and are most likely to choose to participate in, in lifewide and lifelong
settings, and then help them develop the necessary musicianship skills, knowledge, and
habits to do so”.11 Therefore, we must find ways to be creative as directors and
educators to reach each individual student at their socio-economic status and level of
musicianship.
Overall, these statistics suggest a need for a diversified array of musical choices
that highlight the rising growth of the community’s Hispanic population, a need for
creative and economically conscientious choices that create equal opportunities for
11
Patrick M. Jones, “Music Education for Society’s Sake: Music Education in an Era of global Neo-
Imperial/Neo-Medieval Market-Driven Paradigms and Structures,” Action, Criticism, and Theory for
Music Education 6, no. 1 (available from http://www.maydaygroup.org/ACT/v6nl/Jones6_1.pdf): 9.
students of all financial background, and active musical ties with the community that will
keep students involved in lifelong musicing.
B. Musical Ethnography
In an effort to provide a clearer understanding of the musical lives and ecology of
the students, a school-wide survey was administered in September 2009. The survey
asked the following questions: “What musical styles/genres do you prefer (see Appendix
D)?” “Are you involved in must at school?” “Are you actively involved in music outside
of school?” and “What music classes or lessons would you like to take at the middle
school that is not offered now?” Out of a possible 991 students 736 surveys were
collected providing a large sample of data.
Reflecting the culture at large, the student preferences proved that “popular music
has a pervasive and undeniable influence”12 on our students. The preference of Rock,
Popular, Rap and Country music genres was evident in their equal weight for all three
grades. They were also the top four genres preferred out of twelve possible choices. In
addition, while some genres showed less popularity among all three grade levels, no
genre was excluded entirely by any grade level. Thus, the students of Fremont Middle
School revealed their concurrence with popular culture and their open-mindedness to a
variety of musical genres. Further agreement was found among the genres that students
listed in the other category. Styles such as reggaeton, hip-hop, screamo, punk, heavy
metal, techno, and rhythm and blues frequented the list. These expected results echo the
research of Hargreaves, Marshall and North which determined that music’s social
functions are “manifested in the management of self-identity, interpersonal relationships,
12
David G. Herbert and Patricia Shehan Campbell, “Rock Music in American Schools: Positions and
Practices Since the 1960s,” International Journal of Music Education, 36 (2000): 20.
and mood” and that “listening to popular music is a central part of teen lives”.13 In other
words, the students use music to identify with culture, each other, and to deal with their
personal issues.
However, while all students hold a musical preference, only 48% are involved in
the current ensemble program at the middle school. This may be an indication of a
student-perceived disconnection between their musical life and school music. Campbell
and Herbert point out that “curricular policy that provides little or no exposure to the
study of rock music within schools may serve to alienate students.”14 Therefore, an ideal
curriculum will increase the number of students “involved in amateur musicing and serve
those already doing so”.15 Changes that would attract more students must be explored.
Thus, a reevaluation of ensemble choices, genres studied, and the role of the teacher must
take place. In addition, increasing the number of students involved at school will only
have a long-term impact if these numbers translate to additional musicing outside of
school.
Whereas 48% of students are involved at school, only 25% choose to transfer
their musicing into their personal life. Though opportunities such as choral arts society,
Sheltered Reality drumming ensemble, dance classes, a community band, church choirs,
Zoe-a summer choir and drama group for middle school students, hand bell choirs, and
community theater, many students are either unaware or choose not to participate.
According to Jones, lasting musical involvement suffers a “breakdown in the middle
13
D.J. Hargreaves, N.A. Marshall, and Adrian C. North, “Music Education in the Twenty-first
Century: A Psychological Perspective,” Cambridge University Press (2003): 151, 154.
14
David G. Herbert and Patricia Shehan Campbell, “Rock Music in American Schools: Positions
and Practices Since the 1960s,” International Journal of Music Education, 36 (2000): 20.
15
Patrick M. Jones, “Music Education for Society’s Sake: Music Education in an Era of global
Neo-Imperial/Neo-Medieval Market-Driven Paradigms and Structures,” Action, Criticism, and Theory for
Music Education 6, no. 1 (available from http://www.maydaygroup.org/ACT/v6nl/Jones6_1.pdf): 9.
school”.16 Thus, amplifying the musical involvement outside of school will have a
broader and more sustaining effect. And, as Jones notes, “we need to reach all students
in our schools, not just those involved in school music offerings.”17
When given the opportunity to ask for desired classes or ensemble choice, the vast
majority answered “I don’t know”, “none”, or simply left the question blank. Perhaps
this was a clear sign of the distinction that students perceive between school music and
their popular culture. However, those that did respond offered many similar solutions.
Drumming ensembles, dance class, hand bells, musical theater, a second show choir,
guitar lessons, and voice lessons all received many mentions. Allsup writes that
democratic education “should incorporate the rights and opinions of both teachers and
students”.18 Consequently, a progressive curriculum for Fremont middle school should
provide both formal and informal opportunities that include the student choices listed
above. Although the survey provided a glimpse into the musical lives of Fremont Middle
School students, the findings revealed a need to appeal to a wider audience.
C. Current Music Program Summary
Under the leadership of four music teachers, the Fremont Middle School offers
the typical assortment of ensembles for music education. Limited by scheduling and
facilities, the performance program is available to all who wish to participate. The sixth
grade music teacher is responsible for a year-long required general music and offers an
auditioned sixth grade choir, as well, as two non-auditioned seventh and eighth grade
female choirs. The band director offers two ability level bands, a stage band, and a jazz
16
Patrick M. Jones, “Music Education and the Knowledge Economy: Developing Creativity,
Strengthening Communities,” Arts Education Policy Review, 106, no. 4, (March/April 2005): 10.
17
Patrick M. Jones, “Curriculum Design Part 1: Demographics & Ethnography: Part 1 of a four-
part series on Curriculum & Assessment for Music Education,” PMEA NEWS, 71, no. 1 (2006): 29.
18
Randall E. Allsup, “Mutual Learning and Democratic Action in Instrumental Music Education,”
Journal of Researcdh in Music education, 51 (Spring 2003): 27.
band for seventh and eighth grade students. Meanwhile, sixth grade band only meets in
sectionals and performs once a year. The orchestra teacher is responsible for string
lessons in grade K-8 and offers orchestra and an advanced Fiddlers ensemble for seventh
and eighth grade students. Directing two auditioned choirs for seventh and eighth grade,
I also teach the seven-week general music class required for seventh grade students while
students in eighth grade may elect to retake the class. Finally, I direct the Show Choir
which is an advance dancing choir that performs regularly through the community and
competes several times a year.
The largest gaps in our curriculum result more from scheduling conflict than
teacher or student interest. All performance ensembles must meet either before school or
during the first period therefore leaving few opportunities for “student creativity”.19 And,
in order to accommodate all four programs, the vocal and instrumental programs meet on
opposite days while non-musicing students receive a study-hall. With class periods only
40 minutes long and utilized daily for school announcements, the shrinking and erratic
class time is a major issue. Jellison, a senior researcher in music education, remarks
about scheduling, “periods for music instruction last on average 38 minutes and for a
typical school year based upon 40 weeks of instruction…only 46 hours of music
education”.20 After doing the math, these figures proved to be a similar match to the
Fremont Middle School program, and in some cases the figures presented were more
generous that our program allows. Furthermore, the seven-week rotation cycle of seventh
and eighth grade general music means that some students are only experiencing active
musicing seven weeks of the school year.

19
20
Judith Anne Jellison, “Senior Research Acceptance Address: It’s About Time,” Journal of
Research in Music Education, 52, no. 3 (Fall 2004): 195-196.
Another major concern presented in the current program deals with the available
space. Although the facility is only five years old, growing populations have caused
facility issues throughout the district. In the case of the middle school, this means that
ensemble sizes must be limited for space availability. In addition, the lack of a
performance space causes further issues during concert season with ten schools,
elementary through high school, vying for the same time slot and performance venues.
D. Application of the Nebraska State Standards for Music
Derived from the National Standards of music education, Nebraska has developed
list of requirements for the arts and specifically for music at each grade level (See
Appendix B). Nebraskan requirements for the arts seem to focus mainly on passive
musical interactions. Words such as identify, describe, explain, understand, establish,
recognize, and select frequent the list of standards. In addition, the most active standard,
“Compose and arrange music” is housed in limiting language, “within specific
guidelines” that could stifle the creativity of the student. 21
Compared to the National Standards, which use active words such as singing,
performing, improvising, and composing, the Nebraskan standards align more with
Reimer philosophy of teaching methods which rely more heavily on listening and
vocabulary before activity. Reimer insists that “music education must attend to the
materiality of music as one major factor in its goal of enhancing every person’s ability to
experience the power of music as fully as possible”.22 Thus, the aesthetics of music are
alienated from the act of musicing. This separation of the musical act from the musical
21
Nebraska Department of Education. “Standards for the Arts” available from
http://www.nde.state.ne.us/Assessment/index.html [accessed November 21, 2009].
22
Bennett Reimer, A Philosophy of Music Education: Advancing the Vision, 3rd ed., (New Jersey:
Prentice Hall, 2003): 47.
knowing implies that students must learn first and act later--a method that is in harmony
with the pre-test/post-test approach of the Fremont district, but not the active aims of the
National Standards.
In contrast to the Reimer philosophy of aesthetic education, Elliot contends that
music cannot be reduced segmented and sequenced facts of knowledge. Instead, Elliot
claims that “music is a human practice, and all musical practices depend on a form of
knowledge call musicianship that is procedural in essence”.23 Doing begets thinking and
understanding, not the other way around. A pioneer in educational philosophy, John
Dewey attests to the fact that the act, through trial and error, ignites the understanding.24
Just as a child learning to stack blocks will falter and try again, so can a musician,
through effort and result, refine his or her musicianship. So, while both sets of standards,
National and Nebraskan, desire quality music education, the inconsistent approaches
require a philosophy that can produce both results.
Part II. A Custom Curriculum for Fremont Middle School
A. Guiding Philosophy
Oppressed by traditionalist approaches, music education, for the most part, serves
as a transmission of knowledge, rather than a transformation in musicianship.25
Therefore, a sustaining philosophy must be established in progressive and democratic
ideals and practices that are concerned with individual musicianship and lifelong
musicing. These ideals are found in the philosophy of praxis. Rooted in the theories of
23
24
John Dewey, Democracy in Education: An Introduction to the Philosophy of Education, (New
York: Macmillan, 1916): 181.
25
Patrick Schmidt, “Music Education as Transformative Practice: Creating New Frameworks for
Learning Music through a Freirian Perspective,” Visions of Research in Music Education, special ed.,
(January 2005): 3.
Paul Freire, praxis education cannot be “purely intellectual; nor can it be limited to mere
activism, but must include serious reflection”.26 It is through this collaboration between
cognitive and activity based methods that the needs of both the State and National
standards are met while also maintaining the vision of Fremont’s mission statement (See
Appendix B).
Philosophy, according to John Dewy, is “the general theory of education”.27 And
Jorgensen contends that theory and practice must shoulder equal responsibilities in a
collaboration of mutual edification.28 However, a theory’s relevance and effectiveness is
proven through practical application in specific situations. And since, “praxial
philosophies of music education emphasize that music ‘ought to be understood in relation
to the meanings and values evidenced in actual music making, music listening, and
musical outcomes in specific cultural contexts’”, this is a philosophy that resonates with
Fremont’s goals.29 Though fragmented into several approaches such as Elliot’s
Curriculum as Practicum or Regeleski’s Action, Learning Theory, all are grounded in the
democratic philosophy of praxis. Therefore, the new curriculum model for Fremont will
be established in the praxial philosophy and based in critical pedagogy and democratic
activities that encourage critical thinking.
B. Curricular Vision and Design
26
Paulo Freire, Pedagogy of the oppressed, (New York: Herder and Herder): 65.
27
28
Estelle R. Jorgensen, “Four Philosophical Models of the Relation Between Theory and
Practice,” Philosophy of Music Education Review, 13, no. 1, (Spring 2005): 27-28.
29
Once a philosophy of education is set, envisioning a curriculum involves setting
objectives that resonate and breathe life into the chosen philosophy. To accomplish this
goal, music teachers must “face reality and reject ineffective approaches”.30 Too long
music education has been teacher-centered, product dependent, and non-transformative.
Therefore, traditional approaches cannot accomplish the objectives of the praxial
philosophy.
The highest goal of any music education curriculum must include the desire to
develop independent musicians.31 “An essential part of our task is to teach students how
to continue developing their musicianship in the future”.32 It is only through
independence our students can emerge as musicians and sustain the lifelong process of
musicianship. Thus, it is the duty of the teacher to provide musical challenges that will
allow us to partner with students in the development and improvement of their musical
independence.
However, students will only engage in a partnership where they feel safe. Carter
points out that when we feel safe, “we have access to feelings, like joy, satisfaction, and
ecstasy”.33 Thus, the new curriculum’s success will be in part based upon the ability of
the teacher to create an environment that allows students to participate in situations that
are vulnerable. And according to Dewy, students who experience happiness during the
30
31
32
33
Tom Carter, Choral Charisma: Singing With Expression, 2nd ed. (Santa Barbara: Santa Barbara
Music Publishing: 2006): 4.
learning process at school are much more likely to become lifelong independent
learners.34
Specifically, students must develop skills in musicianship, which include: music
literacy, music interpretation, composition, performance, production, and leadership.
And, rather than having students mimic our musicianship, we must allow
conscientization, or discovery learning to take place. Therefore, the vision for the
Fremont Middle School will be based upon Elliot’s musicianship-centric model,
Curriculum-as-Practicum.35
Elliot’s design of Curriculum-as-Practicum aims to motivate student
learning by simulating real-life musical experiences in as authentic contexts as possible.
Democratic in essence, Elliot implies that current music program discriminate between
cognitive music students and performance music students. “A musical double standard is
taken for granted: one kind of music curriculum for the majority of students, another for
the rest”.36 Therefore, rather than segmented bits of knowledge divided into units to be
verbally taught, reassembled into musical notions, and then situated in musicing, Elliot
proposes that applied practice and reflective thinking will result in contextualized
discovery.
Formulated in four stages, orientation, preparation and planning, teaching and
learning, and evaluation, Elliot’s curricular model assumes a more holistic approach to
music education.37 Rather than isolating music education into parts, Elliot describes the
34
35
36
37
University Press, 1995): 256-258.
interconnectedness of the doer (musicer), the process (musicing), the product (music),
and the context in which the musicing takes place.38 His nontechnical-nonscientific
contextual approach rejects the rigid linear approach of traditional methods. Instead,
Elliot answers the call of Dewey to reconstruct knowledge into “the working power of
intelligence”39 that adds meaning to education.
Echoing Dewey’s sentiments are the three keys to curriculum presented by Daniel
and Laurel Tanner: “(1) the nature and needs of the learner; (2) the kind of society
professed, upheld, and sought (e.g. democratic); and (3) the structure and function of the
curriculum”.40 In support, Jones describes two specific functions of music education: “to
develop [student] musicianship for their personal musical agency,” and “music education
should help students succeed academically in other subjects across the curriculum”.41
Therefore, any successful curriculum approach must not violate its learners or their
societal rights as individuals. Thus, Fremont’s curriculum design must include
opportunities for all students to experience relevant music through a holistic approach of
listening, reflecting, and doing.
C. Pedagogical Approach
The pedagogical approach for the new vocal and general music curriculum of
Fremont is Abraham’s Critical Pedagogy for Music Education, CPME. Derived from
Freirian concepts, critical pedagogy attempts to foster democratic ideals through an
action based conscientious transformation for those involved. Reinventing the wheel is
necessary in current music education because the ineffectiveness of traditional

38
Ibid, 40.
39
40
Ibid, 124.
41
approaches is evident by the current adult population who, in spite of years of music
instruction, are “incapable of and disinterested in doing any of those things”.42
Summarizing Freire’s concepts, Abrahams presents the five key principles of critical
pedagogy: “(1) Education is a conversation between students and teachers; (2) Education
broadens the student’s view of reality; (3) Education is empowering; (4) Education is
transformative; and, (5) Education is political.”43
Critical Pedagogy, first and foremost, views education as a partnership between
teachers and students, rejecting the idea of a one-sided transformation. Schmidt, a strong
supporter of critical pedagogy, suggests that, “The transformation of both teachers and
students needs to occur in order for real learning to take place.”44 Based in this
partnership, students and teachers engage in a curriculum that challenges the traditions
and seeks for continual growth.
An advantage of the critical pedagogy is its ability to be strategically diverse
while accomplishing the goals of both traditional and progressive standards. “Students
explore, listen, describe, analyze and evaluate throughout”.45 Abrahams provides
practical examples such as playing instruments, using hand-signs, physical movement to
music, and cooperative problem solving.46 Abrahams’ broad vision provides flexibility
and increases the likelihood of conscientization, or aha moment, for all learners. Schmidt
recapitulates, “Music education as transformative practice, embraces problem posing, a

42
43
Frank Abrahams, “The Application of Critical Pedagogy to Music Teaching and Learning: A
Literature Review,” Update: Applications of Research in Music Education, 23.2 (2005): 4.
44
(January 2005): 2-3.
45
46
connection of word to world, and a goal that leads to conscientization”.47 Thus, critical
pedagogy values a partnered and personalized educational process that situates learning
in the social and political climate of its teachers and students while incorporating varied
strategies.
IV. Curriculum Content
Targeting independent musicianship, the new curriculum for Fremont will seek to
broaden the ensemble choices, empower student leadership, strengthen cultural ties,
improve cross-curricular connections, involve more technology and promote lifelong
musicing. Aiming to be transformative, the program will value depth over breadth and
context over content. While music is socially determined, student-centered curriculum
will boost individual achievement. Finally, understanding that “through the progressive
development of musicianship, all students can achieve self-growth, constructive
knowledge, enjoyment, and self-esteem in a musical way of life”, leads to the
determination to provide such an experience for all students at Fremont Middle School.
A. Broader Choices for Musicing
The first step to widening the appeal of musicing to all students is to broaden the
choices available. The music ethnography revealed that the students desired a greater
variety of musicing, such as, drumming, dance, musical theatre, show choir, and guitar
lessons. Incorporating more of these options will ensure student interest. Jones insists
that the music and ensembles we choose are determinant in “supporting, sustaining, and
reviving the music eco-system in which our students live”.48 Therefore, general music
47
(January 2005): 7.
48
class will become an exploration in a variety of student-led ensembles such as drum lines,
rock bands, dance groups, and mini-musical dramas. Thus, by diversifying, we not only
appeal to a larger demographic, but prolong student involvement and expose students to a
great variety music skills and concepts.
The music ethnography also revealed the contemporary genre preferences of
students as rock, rap, popular and country. In his study of popular music inclusion, Isbell
concludes that “At the very least, curricular policies that do not include alternatives to the
traditional repertoire may alienate many students”.49 Thus, it is important that new
curriculum include music genres that encourage all students to participate in music
education. Campbell and Herbert support’s Isbell’s conclusion, adding that popular
music “may be among the most powerful tool by which to construct personal or identity
and interpret social experiences”.50 By experiencing ‘their music’ teachers can encourage
students to experience ‘our music’ and thereby expanding their understanding of music as
a diverse human experience that reaches beyond popular culture.
The new curriculum will also seek to empower students through leadership and
creativity. Student-led ensembles will provide a great opportunity for the partnership of
students with students and student with teachers in the problem solving process. Whether
in formal ensembles, such as choir, or informal settings, such as general music, “too
much control is detrimental to a safe atmosphere”.51 According to Abrahams when
teachers partner with their students, “they experience outcomes that are personally
49
Dan Isbell, “Popular Music and the Public School Music Curriculum,” Update: Applications of
Research in Music Education, 26, no. 53 (2007): 4.
50
David G. Herbert and Patricia Shehan Campbell, “Rock Music in American Schools: Positions
and Practices Since the 1960s,” International Journal of Music Education, 36 (2000): 20.
51
Tom Carter, Choral Charisma: Singing With Expression, 2nd ed. (Santa Barbara: Santa Barbara
Music Publishing: 2006): 13.
transformational”.52 In addition, students will have the opportunity to contribute
creatively through writing music, choreographing routines, and developing music-related
dramas. “Rarely are students given the opportunity to compose in small, like-minded
communities”.53 If students are able to combine their personal creativity with school
music it will enable them to experience the multiple dimensions of musicing.
In an effort to provide meaning, the student-led ensembles will work toward a
community performance. By performing in genre appropriate venues, students will
engage in authentic experiences while building musical connection within the
community. Jones agrees that by performing in the community students can a bridge the
gap for more out of school music opportunities. He also suggests that school find
opportunities to bring the community to them.54 Therefore, monthly genre-themed jam
sessions will be open to student and community participation. These sessions will be
specifically chosen to represent various musical cultures in the community. By including
genres such as polka, mariachi bands, Gregorian chant, and Celtic, the German, Irish, and
Mexican heritages are able to be explored and celebrated.
Finally, reflective music practices will be instituted to encourage dialogue and
intelligent music listening. Regeleski adds, “Open concepts constantly evolve and
mature, that is, at least, when they are engaged in reflective action”.55 Students will
provide program notes for their performances as well as object music reviews of two
concerts they attend (which may include the performances of their classmates’
52
53
54
55
Thomas A. Regeleski, “Critical theory as a Foundation for Critical thinking in Music
Education,” Visions of Research in Music Education, special ed., (January 2005): 17.
ensembles). These activities will require students to think critically about the music they
create, participate in, and consume. According to Abrahams, good music critics “place
the music, the performers, and the performance into a context whereupon they make an
educational judgment.56 Thus, through this project, the musical cycle comes full circle.
B. Technology
In an era of i-pods, mp3 players, Garage Band, Sibelius, and computerized music
theory, there is a need to renegotiate for more technology inclusion to prepare students
for the future. Currently, the Fremont music curriculum includes group piano lessons
performed on 30 electronic keyboards, as well as, the twice weekly use of a theory and
ear training program, Music Ace. According to Jones, “School music programs can
provide opportunities for the creative use of technology in the myriad of musicianly roles
that it facilitates”.57 While Fremont is successful in the inclusion of technology, its
creativity of employment needs to be improved.
First, it is important to connect to the technology that students have the most
access to in and outside of school. By reaching students at school and at home, musical
creativity is not limited in time or location. Therefore, finding more ways to incorporate
i-pods, mp3, and the internet will increase student creativity.
One of the ways to incorporate student involvement is through an interactive
website. The website will include several pages designated to specific topics: home,
photos, calendar, share, and a blog. The home page will set the tone of the website
through graphics, announcements, and a small photo collage. The photos page will house
several albums and photos of all music classes so that students may feel equally valued in
56
57
the program. A calendar page will keep a current date book for parents and students.
Students will be able to post videos and recordings (made at school) of their small
ensembles, compositions, or any musical act they would like to share. Finally, the blog
page will allow students to interactively share their thoughts with the teacher and fellow
classmates.
Currently, Fremont has not access to Mac computers or garage band. Since my
next proposal for technology inclusion involves the use of such equipment, measures
such as grant writing, board approval, and facility space will need to be implemented
before these changes can occur.
The ideal technological situation will allow students access to a Mac computer lab
of 30 computers that offers access to garage band. A feature that garage band has are
pre-recorded tracks that can be sequenced, layered, and edited to create a personalized
soundtrack. As a project, general music students would be presented with a soundless
movie clip to which they would add a soundtrack to create mood. Once completed,
students would compare their soundtracks with each other while describing the ability of
music to add meaning through sound.
Through garage band students also have access to software that allows them to
create, record, and edit music or video. With the use of the school’s existing sound
equipment and microphones, student project could include music videos, music
recordings, and multi-track song-writing and instrumental composition. In addition to
providing an outlet for creativity, students can develop useful technical skills that can
contribute to the current and future music in the community. Also, such products could
involve cross-curricular connections by “drawing technology, business, and culture into
one another”.58
C. Cross Curricular Connections
Allsup notes that it was Freire who “called attention to the interdependent nature
of democratic learning environments”.59 Jones concurs saying, “[Cross curricular
instruction] is very feasible and may be the only way we can musically reach all
students”.60 Drawing upon the wisdom of Jones, many of the cross curricular
connections were derived from his article, Moving Forward with Focus.61 Successful
integration requires intentional collaboration on the part of both teachers. Limited on
time, both teachers focused on a one-day integration that could have a lasting impact.
Therefore, after consulting the seventh and eighth grade teachers, the following ideas
were presented (See Chart Below).
CROSS CURRICULAR PROJECT CHART
Cross-curricular Project
Subject Area
Math, Physics, Frequency—After discussing the ratios of intervals in relationship to
Technology sound waves, students will graph a pitch. Through the use of a graphing
calculator and microphone, students will sing or play a pitch as the
calculator graphs the frequency.
Biology Vocal Production—Students will study the biological components of the
voice box (Larynx) and the process of sound production (vocal chords).
After watching a live video of a living human larynx in sound
production, students will experiment with glottal and non-glottal
production.
English— Phrases – After analyzing the sentence structure of a musical text,
Grammar students will compare and contrast the musical phrasing. Then students
will sing the song with the sentence structures followed by the musical
58
59
60
61
Patrick M. Jones, “Moving Forward With Focus,” PMEA News, (Winter 2005): 26, 28.
phrasing. Discussion of why they are the same or different would

follow.
Social Studies Politics and Music – Students will compare and contrast the political
power or ramifications of contemporary music in the time of the
American Revolution with the Civil Rights Movement in America.
Physical Evolution of Dance—Students will watch the YouTube video,
Education, “Evolution of Dance”. Then, the video will be shown in sections
Health according to musical era and dance. Students must then describe why
the musical elements caused the particular style of dance.
Art Matching Eras – In a scrambled pile, students will be presented with
photocopies of six famous works of art and six titles to pieces of music.
The art work and music represent selections will have one representation
from each of the major eras: Renaissance, Baroque, Classical, Romantic,
Twentieth-Century, and Contemporary. After listening to a piece of
music, the students must successful match the title of music to the
artwork of the same era. Students will share and defend their choices to
the class, and then the art and music teachers will reveal the correct
answers and point out similarities in the matches of music and art.
Industrial Piano Construction—After discussing the parts of a piano and the
Techniques method of its construction, students will be coached by the industrial
techniques teacher in a step-by-step process to created a one-key piano.
Since students rotate through general music each seven weeks, it would not be
possible to incorporate all seven. Instead, each seven weeks would be exposed to one of
the cross-curricular projects mentioned above. Jones emphasizes the need to “redouble
our efforts to regain relevance for music education,”62 and it is through the incorporation
of such projects that music educators can teach students that music is a life-wide
experience.
D. Assessment
Traditionally, assessment has served to document student progress in quantified
measurements such as percentages, points, or ranking. Sequenced (1) pre-test; (2)
instruction; (3) post-test, traditional linear methods often judge students based upon a
62
singular product, often produced outside the context of application. Acting as a music
critic, critical pedagogy allows the music teacher to act “as the discriminating musical
connoisseur and places information into a context that is familiar with the student”.63 If,
“the primary aim of assessment in music education is not to determine grades, but to
accurate feedback to students about the quality of their growing musicianship”64, then
assessment must be individualized while in the context the social musicing.
In addition, “Musicianship cannot be assessed adequately by focusing on the
results of a student’s individual thinking at one moment in time”.65 So, by understanding
that musicianship is, in essence, a procedural knowledge, determines that effective
assessment techniques should monitor the process and not just a product. Therefore, a
continuous process of informal and formal contextualized assessments will be employed
to determine the successful completion of musical benchmarks.
Informal evaluations will occur in the context of rehearsals of the large and small
ensembles. By providing cues through thought provoking questioning techniques,
students will be able to offer internal and external feedback. Also, the student-led
feedback will offer further musical challenges to be applied, thereby demonstrating their
“musical thinking-in-action”.66 Formal techniques will employ more project oriented
processes such as, peer review performances, self-reflections, compositions, authentic
live performances, the analysis of professional music, and the completion of a
computerized music theory and ear training course. Also, Elliot insists that an important
63
64
65
Ibid, 264.
66
part of evaluation is “to record the development of each student’s musicianship in a
variety of ways over an extended period of time”.67 Consequently, an import part of the
new assessment process will be the continuous recording of rehearsal and performances.
By doing so, the students will develop a process-folio that is consistent with Elliot’s
Curriculum as Practicum approach. Thus, the new assessment will not only satisfy the
burden of proof for parents and administrators, but will also allow students and teachers
to view the full process of musicianship.
V. Conclusion
In summary, Fremont Middle School’s ideal curriculum exemplifies praxial
teaching philosophies by empowering students through transformative musical
challenges.
By exchanging the traditionalist pedagogy of director-oriented and product-centered
music education for a democratic approach that is student-centered and process-oriented,
Fremont will increase amateur musicing and ignite the lifelong development of
musicianship.
67
Ibid, 283.
VI. Appendices
APPENDIX A – Demographic Charts
Table 1. Population and Ethnic Demographics
Median African
Population Caucasian Hispanic Asian Other
Age American
Fremont 991
Middle 84% 14% 1% 1% 1%
School
Fremont 29,156 37.7 94% 4% 0.6% 0.0% 4%
Nebraska 1,758,800 35.3 84% 8% 4% 0.0% 3%
United 300,544,200
35.3 66% 15% 12% 4% 2%
States
Table 2. Economic Demographics – 2007
Residents
Average Owner Renter Median
with Income
Household Occupied Occupied Family
below the
Size Houses/Units Houses/Units Income
Poverty Level
Fremont 2.4 people 63.4% 36.6% $45,960 9.6%
Nebraska 2.5 people 64.4% 35.6% $47,085 11.2%
United
2.6 people 66.2% 33.8% $50,046 9.2%
States
Table 3. Education Level Demographics

*F.P.S. = Fremont High School Bachelor’s Degree Master’s Degree of
Public Schools Graduates 25 + Higher
Teachers of F.P.S. 100% 34% 66%
Fremont 84% 7% 3%
Nebraska 87% 10% 5%
Table 4. Fremont Middle School Profile 2008-2009
Enrollment ELL % Mobility % Poverty %

School 981 2.34% 11.62% 45.57%
District 4,597 6.04% 14.01% 44.81%
State 292,043 6.31% 11.67% 38.35%
APPENDIX B – Ethnography Charts
Musical Preferences
Genre Percentage
Rock 52%
Rap 41% Genre # of Mentions
Popular 40% Music Reggaeton 5
Country 33% Participation Metal 10
Folk 2% IN SCHOOL Punk
Musical 3
Preferences Listed as OTHER
Classical 13% Screamo 3
Ensemble
Reggae 4% Percentage Hip-hop 2
Auditioned
Latin Pop Choir10% 20% Irish 1
Non-auditioned 13%
Oldies 9% Blues 2
Choir
Alternative 11% Opera 1
Show
GrungeChoir 3% 6% Inspirational 1
Band
Christian 18% 18% Techno 5
Stage Band 2% Japanese 1
Jazz Band 4% Chicano 3
Orchestra 4% R&B 5
Fiddlers 1%
Desired Additional Music Choices
Desired Activity Percentage

Drumming 25%
Dance 35%
Musical
20%
Theater
Guitar Lessons 18%
Voice Lessons 14%
Talent Show 8%
APPENDIX C – Nebraskan and National Music Standards
Nebraska Music Education Standards – GRADES 7 & 8
M1.1. Understand the connections between music and significant, individual

experiences.
M1.2. Identify or create musical works which have a strong personal significance to
an individual.
M1.3. Select or create musical works that relate to the learners' lives and discuss the
relationship.
M2.1. Explain how the creative elements in music become powerful vehicles for
communicating past, present and future messages.
M2.2. Explain the connections between music and significant individual experiences.
M2.3. Identify the expressive musical elements (rhythm, melody, harmony, texture,
tone quality) in live or recorded music.
M2.4. Describe how the expressive musical elements reflect the feelings of characters
in program music.
M3.1. Recognize distinguishing characteristics of musical styles that represent

various cultures and historical periods.
M3.2. Identify by characteristics, classify by style and explain the meaning of the
music in its time and place.
M3.3. Understand how the value of music changes when viewed from different
cultural perspectives.
M4.1. React to a piece of music through moving, illustrating, verbalizing and writing.
M4.2. Establish criteria for analyzing an audience reaction to various types of concert
settings.
M5.1. Develop criteria for making informed critical evaluations of the quality and
effectiveness of a piece of music and apply the criteria to their own performances and
the performances of others.
M5.2. Develop vocabulary which describes the various music elements/events.
M6.1. Recognize characteristics of music from different historical periods and other
cultures.
M6.2. Identify music from our own cultures which might play a similar function to
music from another time/place/culture.
M6.3. Interpret a piece of music through narration or illustration.
M7.1. Recognize and demonstrate how manipulating the basic musical elements may
alter the meaning.
M7.2. Identify music from our own cultures which might play a similar function to
music from a similar time/place/culture.
M8.1. Compose and arrange music within specified guidelines.
M8.2. Develop criteria for selecting music.
M8.3. Demonstrate how the creative elements in music become powerful vehicles for
communicating past, present, and future messages.
National Standards in Music Education
1. Singing, alone and with others, a varied repertoire of music.

2. Performing on instruments, alone and with others, a varied repertoire of music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines outside
the arts.
9. Understanding music in relation to history and culture.
VII. Bibliography
Abrahams, Frank. “The Application of Critical Pedagogy to Music Teaching and

Learning: A Literature Review.” Update: Applications of Research in Music
Education 23, no. 2 (2005): 12-22.
Allsup, Randall E. “Mutual Learning and Democratic Action in Instrumental Music

Education.” Journal of Research in Music Education 51 [Spring 2003]: 24-37.
Campbell, Patricia S. “Embracing the Wide World of Music Cultures.” The American
Music Teacher 49, no. 6 (June/July 2000): 52-53.
Carter, Tom. Choral Charisma: Singing with Expression. 2nd ed., Santa Barbara: Santa
Barbara Music Publishing, Inc., 2006.
City Data “State Demographics: Nebraska” accessed 26 September 2009; available from
http://www.city-data.com/zips/68025.html; Internet.
Dewey, John. Democracy and Education: An Introduction to the Philosophy of

Education. New York: Macmillan, 1916.
Elliot, David J. Music Matters: A New Philosophy of Music Education. New York:
Oxford University Press, 1995.
Fremont Area Chamber of Commerce. “Community Profile Book: Wake Up to Fremont”

accessed 26 September 2009; available from
http://www.fremonttribune.com/communityprofile/home.shtml; Internet.
Fremont Public School District. “Mission Statement” accessed 15 October 2009;

available from http://www.fpsweb.org; Internet.
Friere, Paulo. Pedagogy of the oppressed. New York: Hederan and Hederan, 1970.
Hargreaves, D.J., Marshall, N.A., and North, Adrian C. “Music education in the twenty-
first century: a psychological perspective.” Cambridge University Press (2003):
147-163.
Hebert, David G., and Patricia Shehan Campbell. “Rock Music in American Schools:
Positions and Practices Since the 1960s.” International Journal of Music
Education 36 (2000): 14-22.
Isbell, Dan. “Popular Music and the Public School Music Curriculum.” Update:
Applications of Research in Music Education 26, no. 53 (2007): 54-61.
Jellison, Judith Anne. “Senior Research Acceptance Address: It’s About Time.” Journal
of Research in Music Education 52, no. 3 (Fall 2004): 191-205.
Jones, Patrick M. “Curriculum Design Part 1: Demographics & Ethnography: Part 1 of

a Four-Part Series on Curriculum & Assessment for Music Education.” PMEA
News 71, no. 1 (2006): 26-30.
_____. “Curriculum Design Part 3: Curricular Models, Pedagogical Approaches, and

Content: Part 3 of a four-part series on Curriculum & Assessment for Music
Education.” PMEA News (May 2007): 50-57.
_____. “Curriculum Design Part 4: Curricular Models, Pedagogical Approaches, and

Content: Part 4 of a four-part series on Curriculum & Assessment for Music
Education.” PMEA News (May 2007): 50-57.
_____. “Moving Forward With Focus.” PMEA News (Winter 2005): 22-29.
_____. “Music Education and the Knowledge Economy: Developing Creativity,

Strengthening Communities.” Arts Education Policy Review 106, no. 4
(March/April 2005): 5-12.
_____. “Music Education for Society’s Sake: Music Education in an Era of Global Neo-
Imperial/Neo-Medieval Market-Driven Paradigms and Structures,” Action,
Critism, and Theory for Music Education 6/1:
http://www.maydaygroup.org/ACT/v6n1/Jones6_1.pdf.
Jorgensen, Estelle R. “Four Philosophical Models of the Relation between Theory and
Pracitce.” Philosophy of Music Education Review 13, no. 1 (Spring 2005): 21-36.
Nebraska Department of Education. “Standards for the Arts” accessed November 21,
2009; available from http://www.nde.state.ne.us/Assessment/index.html; Internet.
Regeleski, Thomas A. “Critical Theory as a Foundation for Critical Thinking in Music

Edcuation.” Visions of Research in Music Education, special ed., (January 2005).
Reimer, Bennett. A Philosophy of Music Education: Advancing the Vision, 3rd ed., New
Jersey: Prentice Hall, 2003.
Schmidt, Patrick. “Music Education as transformative Practice: Creating New

Frameworks for Learning Music through a Frerian Perspective.” Visions of
Research in Music Education, special ed., (January 2005).
Tanner, Daniel, and Laurel Tanner. Curriculum Development: Theory into Practice.
4th ed., New Jersey: Prentice Hall, 2007.

A Custom Curriculum For Fremont Middle School's 7th and 8th

Încărcat de

Informații document

Descriere originală:

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

A Custom Curriculum For Fremont Middle School's 7th and 8th

Încărcat de

Drepturi de autor:

Formate disponibile

A Custom Curriculum For

The Music Education Faculty

College of Fine Arts

Of the Requirements for the Degree

Master of Music Education

II. Demographics and Music Ethnography 4

III. A Custom Curriculum for Fremont Middle School 13

IV. Curriculum Content 19

grade students of Fremont Middle School in Fremont, Nebraska. As a product of

demographical and ethnographical research, this unique curriculum vision is designed to

musicianship through active music participation. Jones, an advocate of the progressive

wide musicing is dependent on students developing their independent musicianship”.1

develop their personal artistry through active music participation.2 Therefore, by

experience music as a living art.

the curriculum content applications.

I. Demographics and Music Ethnography

A. Demographics of Fremont Middle School and Community

Located in Fremont, Nebraska, Fremont Public School District, FPS, includes

Fremont Public Schools is to produce creative, adaptable, productive citizens committed

areas. Progressive in ideology Fremont has experimented with two year-round

secondary education completion is an ongoing issue despite the close proximity of

compared with only 44% of teachers state-wide.

Chamber of Commerce’s stated goals is creating an implementation strategy to improve

is an improvement goal that cannot be ignored.

Though it is situated thirty-five miles northeast of the diversely populated city of

modest community. A predominantly white (84%) community, Fremont is not an overly

increasingly diverse community. Also, music education researcher Patricia Campbell

Economically, Fremont’s statistics correspond to the national and state averages

According to the City-data fact finder10, a recent survey revealed a spike in

unemployment shifting from 3% in May of 2008 to 5% in May of 2009. A fact that is

First, due to unemployment increases, tax contributions decline which results in a

instrumental purchase or private voice or instrumental lessons. Consequently, music

habits to do so”.11 Therefore, we must find ways to be creative as directors and

keep students involved in lifelong musicing.

In an effort to provide a clearer understanding of the musical lives and ecology of

collected providing a large sample of data.

functions are “manifested in the management of self-identity, interpersonal relationships,

have a long-term impact if these numbers translate to additional musicing outside of

According to Jones, lasting musical involvement suffers a “breakdown in the middle

in our schools, not just those involved in school music offerings.”17

students”.18 Consequently, a progressive curriculum for Fremont middle school should

School students, the findings revealed a need to appeal to a wider audience.

C. Current Music Program Summary

competes several times a year.

typical school year based upon 40 weeks of instruction…only 46 hours of music

musicing seven weeks of the school year.

D. Application of the Nebraska State Standards for Music

musical interactions. Words such as identify, describe, explain, understand, establish,

“Compose and arrange music” is housed in limiting language, “within specific

guidelines” that could stifle the creativity of the student. 21

In contrast to the Reimer philosophy of aesthetic education, Elliot contends that

require a philosophy that can produce both results.

Part II. A Custom Curriculum for Fremont Middle School

as a transmission of knowledge, rather than a transformation in musicianship.25

Therefore, a sustaining philosophy must be established in progressive and democratic

Philosophy, according to John Dewy, is “the general theory of education”.27 And

collaboration of mutual edification.28 However, a theory’s relevance and effectiveness is

proven through practical application in specific situations. And since, “praxial

philosophies of music education emphasize that music ‘ought to be understood in relation

Fremont’s goals.29 Though fragmented into several approaches such as Elliot’s

activities that encourage critical thinking.

B. Curricular Vision and Design