Beruflich Dokumente
Kultur Dokumente
Richard Laprise
Abstract:
Can you think of a research-supported strategy that simultaneously encourages critical and
creative thinking; develops knowledge, skills, and affect; promotes meaningful connection with
music; and creates life-long learners? I have found that problem-based learning (PBL) effectively
meets and exceeds these criteria by providing an engaging opportunity for students to use
higher-order thinking skills and create meaningful connections with the music they are studying
through the context of real-life problem scenarios. An authentic problem with multiple solutions
allows students to collaborate and develop into independent learners while actively engaging in
the music they are studying. This strategy, used effectively for over 50 years in other educational
fields, has rarely been used in music education, but the potential that PBL has to positively
impact your students learning is well-worth exploring.
How do we increase opportunities for students to think critically and creatively while
have spent a considerable amount of time and resources trying to help teachers answer this or
similar questions. They offer professional development opportunities and provided multiple
strategies and examples to encourage students to use higher-order thinking skills like analyzing,
evaluating, and creating. However, most of the strategies and examples relate to math and
English classes with subjects like music being ignored, which makes it easy for ensemble
educators to say that the strategies being discussed do not apply to our own classroom. I have
heard colleagues say it, and, truthfully, I have said it before too. Mostly, I was concerned that
trying these strategies that were labeled as working great in math and English classes would
students to think critically and creatively. I also want to use my time efficiently by making sure
my lessons provide a high-quality musical experience for my students. Many strategies fail to
meet these standards in an ensemble setting. However, I have found that problem-based learning
(PBL) effectively meets and exceeds these criteria by providing an engaging opportunity for
students to use higher-order thinking skills and create meaningful connections with the music
topic and promote higher-order thinking skills. These experiences use authentic contexts that are
relevant to real-world problem scenarios and serve as a starting point for the development of
knowledge and skills.1 As in real-life, each PBL experience has multiple solutions and
encourages students to move beyond just problem solving and using pre-existing knowledge to
complete a project. It has three main characteristics: 1) it is organized around a relevant and
holistic problem scenario 2) it engages students as active stakeholders and 3) teachers facilitate
For over 50 years, PBL has been successfully used in the education of medical students
and has since been applied to science and math classrooms as well as music therapy programs.
An example of a medical PBL experience involves a patient who comes into the students office
complaining of chronic knee stiffness.3 This simple prompt is built around a relevant and holistic
scenario for medical students and puts them in a position of a working practitioner, making them
stakeholders. From this starting point, the students must consider all factors that relate to this
ailment, research any information they do not know, and then offer their diagnosis and
The University of Delaware has been one of the leaders at incorporating PBL into their
curriculum by using PBL strategies not just in science and math courses, but also in their music
theory courses.4 Dr. Philip Duker created the PBL scenario titled A Day in the Life of a
Forensic Musicologist for his theory class.5 The problem scenario begins with:
Your group has been hired recently by a [sic] law firm Ayle and Bebach which handles
music copyright violations. They are making a bid to Robin Thickes management to
handle an upcoming lawsuit concerning his music. Specifically they want your group to
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compare Thickes song Blurred Lines with Gayes Got to give it up and compile
evidence that could be used to argue that the pieces are distinct.
The scenario is relevant, relating to actual events that happened within the past few years, and
holistic since the entire issue is presented at once. The students role is established in the first
ownership of their learning and allow the teacher to facilitate the activity. Duker also provides
his students with additional questions to encourage their thinking and help them reach the
learning goals.
PBL scenarios, like the examples mentioned, have been shown to improve
comprehension, retention, social skills, and motivation while inspiring lifelong learning.6 Yet this
research supported method has been largely ignored in ensemble music. The potential of
ensemble classroom.
learning experience for your students. Find a place in your current curriculum that would benefit
from students working together to investigate and solve a problem. Since we are applying the
PBL method to music education, the literature being studied should be connected to, if not the
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focus of, the PBL scenario. As you develop a PBL scenario, you should be able to answer at least
these 5 questions:
determining the learning goals you want your students to reach. Use the 2014 Music Standards
and your current curriculum to help focus your goals for this step. Next, determine how your
students will become stakeholders in the problem. Successful PBL scenarios often give students
a role that is different from being a student, that appeals to their emotions, and that is relevant to
their lives.8 Like the example from Duker, look for inspiration in current events within the school
community and pop culture to help develop a relevant context for the problem. Furthermore,
different roles within the same problem can dramatically change how students approach the
experience. Imagine how differently students would handle Dukers problem scenario if they
were placed in the opposite role of arguing for Marvin Gayes estate. Ultimately, decide what
role will best lead your students to the learning goals. Also consider how your students will meet
the problem. A creative prompt, video, or dramatization can help bring interest and excitement to
the PBL activity. The information given to the students should be general enough to allow for
multiple solutions but still offer boundaries for the issue including a timeline or due date for the
final product. A well-crafted but unclear problem scenario encourages students to generate
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multiple ways to identify and solve the problem(s) resulting in the use of higher-order thinking
As the facilitator of the PBL experience, you should also understand how students will
find the essential issues or reach their learning goals. Visualize how the experience will unfold
based on the knowledge and skills your students currently have. This way, if students do not
naturally progress toward the issues you can quickly guide them in the correct direction. Finally,
you should consider how you will assess your students. PBL scenarios almost always have a
final product, but assessment should also occur throughout the entire process by using
reflections, journal prompts, and/or peer-assessment. More suggestions for assessment will
follow.
outside of the traditional rehearsal model where the teacher might conduct and rehearse the
ensemble for the entire class period. This may cause some teachers to be hesitant, but it is
important to remember that PBL experiences do not have to be used for every piece or during
every rehearsal period. I have, however, found through personal experience that students perform
a composition with more success and have a better understanding of the music after participating
in a PBL experience focused on that piece. In this example, a successful PBL experience is
developed around Belle Qui Tiens Ma Vie arranged by Bob Margolis and published by
Belle Qui Tiens Ma Vie (Belle Qui) is a grade 2 piece for concert band based on a
Renaissance pavane originally composed by Thoinot Arbeau with original text similar to a love
song. Although relatively simple in regards to physical technique, the music offers challenges
even for advanced ensembles. When comparing this piece to the National Standards, a variety of
learning goals can be reached through the context of a PBL scenario.10 For example, common
anchor #3 under evaluate and refine can be reached as students use their knowledge and skills
to work on a composition while evaluating their work using group created criteria. Additionally,
interpret under common anchor #8 can be met when students answer reflective questions and
peer-evaluate other performances to determine how interpretation can affect expressive intent.
In this example, students have the role of being Thoinot Arbeaus good friend. They meet
the problem though a short, but engaging video where they learn that Thoinot Arbeau (TA) is
about to ask the love of his life out on a date. TA planned to have his friends play their
instruments while he sang the lyrics to his crush. However, TA forgot the instrument parts and
lyrics at home and only has the four-part harmonization of the piece in concert pitch (depending
on the learning goals and the knowledge and ability of the students, the music can be
transposed). The video creates more drama as the students learn that someone else is also about
From this relevant problem scenario, the students must create their own arrangements of
the pavane for the instruments in their group with the potential of writing new lyrics. Any
additional creativity, like creating a dance or artwork, should be encouraged. The students will
reach the essential issues and learning goals through guidance from the teacher, collaborating
with peers, experimenting, researching, and reflecting on their work. A final performance for
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their peers will show the product of their work. Ideally, students learn and contribute in the ways
that work best for each of them while making meaningful connections with music.
teachers role as a facilitator, guide, and mentor. Typically, a teachers involvement decreases as
students progress through the experience, but more guidance may be needed for students who are
unfamiliar with problem-based learning. However, as they become more experienced with PBL,
the ownership that the students develop is empowering as they start to become self-directed
learners. This is best accomplished by guiding and facilitating students learning through
questioning and mentoring which encourages critical and creative thinking. Observe students as
they collaborate with their groups and find opportunities to engage their thinking. For example,
when students in a group were playing the chorale-like texture from the Belle Qui scenario, a
euphonium player continued playing a few notes after the rest of the group had stopped. The
author was observing and said Oh, you stopped? I thought that was part of your arrangement!
Just these two sentences inspired the group to change their previously homophonic arrangement
to explore different textures for their solution to make a unique product. As students become
independent and active learners through researching and solving problems with multiple
solutions, their ability and motivation to continue learning music throughout life is increased.11
When implementing a PBL experience, you should guide your students through the 6
steps shown in Figure 1.12 Explain each step to your students so they understand the relative path
they should be using to reach the learning goals. A packet of resources and a notebook or journal
FIGURE 1
The first step, meeting the problem, involves presenting the students with the scenario
you created during the developing stage. Bring attention to any prior knowledge they may
already have on the topic and make them aware of any additional materials and resources, like
instruments and technology, to be used during this experience. Be sure that you have established
groups that are balanced in terms of abilities, strengths, and personalities. Students should then
begin gathering and sharing facts. Each learner initially understands the problem scenario
differently and brings unique experiences, which can affect how the group approaches the
problem. A Know, Need to Know, and Need to Do (KND) chart is a great tool for students to
FIGURE 2
The Need to Know column is especially powerful as it makes the students learning highly
relevant and personal. At this point, students will also determine what they believe the problem
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is that they are trying to solve. This will lead them to the next step, hypothesizing. These
predictions give students the opportunity to mentally consider possible solutionsor parts of a
solutionand what may result from them. Having students create an If... Then... Because
statement for each hypothesis will help them focus their thinking and allow you to see the
direction each group is heading. Teachers should give students ample time and monitor these
stages closely to ensure students are directing their investigation towards the desired essential
Once students have completed the first three steps, they are now ready to begin
researching, experimenting, and creating. This part of the process is dedicated to students
completing their need to do column from their KND charts. This is typically when students
discover many of the essential issues and reach learning goals. As the facilitator, you should
allow students to experiment and learn from their mistakes but be ready to guide students if they
are off-target or become distracted. Collaboration is paramount at this point. Students contribute
and communicate in the ways they know best while discovering how other learners approach the
same issues. As students produce potentially successful solutions they should record them in a
possible solutions log which includes the pros and cons of each solution and the expected
outcome. These logs provide the teacher with some insight into how students are thinking about
their problem and can be used to make sure students are progressing towards the learning goals.
Once groups agree on a solution, they should use their communication skills to create an
effective presentation and/or performance of their solution. Finally, students should share their
As mentioned, students will need more guidance if they have never participated in a PBL
experience. Explaining the process of each step thoroughly will help students feel more confident
in their task. Consider putting a time limit on each of the six steps to help with pacing and to help
students organize their time. They will likely have many questions which the teacher should
answer in a way that does not limit the students potential creativity. Some students will be
resistant to the initial lack of structure but will often enjoy the experience more as they progress
through the activity. You should also consider the physical space you can use. Several groups
working in the same area may become too loud and distracting for students to perform at their
Ensemble classes are unique. Often students are of various ages and abilities with class
sizes that are larger than most other classes. The perspectives that arise from a diverse ensemble
can make a PBL experience even more enriching for the students learning. For example, one
student participating in the Belle Qui PBL scenario was the only guitar player in the class. He
added a different dimension to his groups solution when he pointed out that he could play
chords instead of just a single line of music. Encourage students to use the unique resources
within their groups and the strengths each student possesses. You may see the benefits of a PBL
experience immediately; in my experience, students have said they performed the piece
differently, felt more connected to the music, and had a better understanding of the music after
students to actively accomplish complex and significant tasks, while bringing to bear prior
knowledge, recent learning, and relevant skills to solve realistic or authentic problems.14
Assessment should be ongoing, occurring throughout the entire experience. Having students
keep a notebook or journal to record and organize their experiences can also serve as a strong
assessment tool while still encouraging higher-order thinking. Teachers and students can keep
track of their responses to essential questions like those in the 2014 Music Standards. Journals
questions like: what new ideas or knowledge did you produce? what questions do you still have?
or how can you apply what you did in this PBL experience to events outside of school? Students
KND charts, If...Then...Because statements, possible solution charts, and any additional
assignments can also be used as methods of assessment. Furthermore, journals allow teachers to
see the process of their students learning. Assessment can also occur through observation forms.
Figure 3 is an example of an observation form based on the National Standards that was used for
FIGURE 3
With this observation form, teachers can track which students still need to meet certain standards
and encourage them throughout the experience to meet the expectations. Rubrics can be
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particularly effective when assessing their final product. Furthermore, making students aware of
scenarios developed around real-world experiences allow the teacher to use numerous methods
Problem-based learning has strong connections to the influential work of John Deweys
Gardners Multiple Intelligence Theory, among the work of many other significant educational
psychologist and reformers.16 However, the strongest evidence to support PBL strategies may not
lie in its theoretical foundation but rather in the actual practice itself. Teachers have consistently
said that students who learn through PBL experiences can discuss topics in depth, beyond facts;
ask thoughtful, higher-order questions; and actively seek learning opportunities that help to
answer previous problems.17 Research also suggests that PBL, when compared to
teacher-centered strategies, is more effective at long-term retention, skill development, and both
Music education has been criticized in the past for not accepting contemporary
education practices,19 but we have the awesome responsibility of providing our students with a
complete music education in the most effective way possible. Problem-based learning is one way
to successfully provide this kind of education. Try creating a simple problem-based learning
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scenario that will take minimal class time and take note of how your students engage with music
in active and new ways. With music as the focus, students think critically, collaborate,
communicate, create and make music in authentic contexts. These experiences prepare students
to be engaged in music making, and musical problem-solving, for the rest of their lives.
Notes
2. Linda Torp, and Sara Sage, Problems as Possibilities: Problem-Based Learning for K-12
Education. (Alexandria, VA: Association for Supervision and Curriculum Development,
1998): 14.
3. Robert J. Swartz, Bena Kallick, Rebecca Reagan, Barry K. Beyer, and Arthur L. Costa,
Thinking-Based Learning: Promoting Quality Student Achievement in the21St Century.
(New York, NY: Teachers College Press, 2010): 210.
5. Philip Duker, "PBL Problem: Forensic Musicologist." Google Docs. Accessed March 01,
2017.
https://docs.google.com/document/d/1JZpwmJUV2RWLf4Id7_O0RbbshP_o3kB_sjmCrVv
OX-Q/edit.
6. Lambros, ix.
7. Ibid, 45.
8. Ibid, 25.
9. Bob Margolis, Belle Qui Tiens Ma Vie. (Brooklyn, NY: Manhattan Beach Music, 1982).
10. "2014 Music Standards." National Association for Music Education (NAfME). Accessed
March 07, 2017. http://www.nafme.org/my-classroom/standards/core-music-standards/.
11. Lambros, 7.
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12. Robin Fogarty, Problem-based Learning and Other Curriculum Models for the Multiple
Intelligences Classroom. (Thousand Oaks, CA: Corwin Press, 2001): 3-8.
13. William J. Stepien, Shelagh A. Gallagher, and David Workman, "Problem-Based Learning
for Traditional and Interdisciplinary Classrooms." Journal for the Education of the Gifted
16, no. 4 (1993): 338-57. doi:10.1177/016235329301600402.
14. Joan L. Herman, Pamela M. Aschbacher, and Lynn Winters, A Practical Guide to
Alternative Assessment. (Alexandria, VA: Association for Supervision & Curriculum
Development, 1992): 2.
15. Kay Burke, How to Assess Authentic Learning. (Thousand Oaks, CA: Corwin Press, 2009):
89.
16. Maggi Savin-Baden and Claire Major, Foundations of Problem-based Learning (Berkshire,
UK: McGraw-Hill Education, 2004): 24-34. https://ebookcentral.proquest.com
18. Johannes Strobel, and Angela Van Barneveld, "When is PBL More Effective? A
Meta-synthesis of Meta-analyses Comparing PBL to Conventional Classrooms."
Interdisciplinary Journal of Problem-Based Learning 3, no. 1 (2009). 54.
doi:10.7771/1541-5015.1046.
19. John Kratus, "Music Education at the Tipping Point." Music Educators Journal 94, no. 2
(2007): 42-48. doi:10.1177/002743210709400209. 46.
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