A Teacher Action Research Project:
The Incorporation of Culturally Significant Music in a Title 1 Elementary Music Program
Heidi O’Connor-Brook
University of Alaska Southeast
MAT Music K-12
University of Alaska Southeast
MAT Music K-12
Abstract:
In this study, I sought to discover the importance of incorporating culturally significant music in an elementary school music program. Specifically, I studied the impact of teaching local Alaska Native folk music to a diverse group of Juneau Alaska Music Matters (JAMM) participants from two Tile 1 schools in the Juneau School District. Through the process of participatory action research, I discovered results suggesting a connection between cultural integration in JAMM classes, and higher levels of engagement, achievement, and most importantly enjoyment in my students.
Introduction:
As an intern teacher with Juneau Alaska Music Matters (JAMM), I teach violin in classrooms across the Juneau School District. JAMM is a local program that provides free music education to over 500 children across Juneau as a means of empowerment and social change. Based on a program developed in Venezuela which is known as El Sistema, the JAMM program takes place during the school day and/or as an after-school program as part of an intervention for school readiness skills including discipline, leadership, social skills, group work and brain development. Students in Kindergarten and 1st grade participate in 90 minutes per week of violin instruction during the school day. From 2nd-5th grade, JAMM students participate in at least four hours of musical education per week, including violin, cello or bass instruction.
In the spring of 2016, I taught a selection of Alaska Native folk songs to each of my violin classes. In collaboration with the school’s cultural specialist, I taught the a Tlingit folk song, the Hook Song, to all first grade students at Riverbend Elementary School. For my 3rd-5th grade orchestras I taught the Hook Song as well as several traditional Athabascan fiddle tunes including, Eagle Island Blues and Ook Pik Waltz. All of the above songs were passed down to me by ear and in person. I learned the Athabascan fiddle tunes from elder Bill Stevens, in Fairbanks, Alaska. Eagle Island Blues is a classic tune across interior Alaska and the Yukon. It is a lonesome love song written by a Native elder, who lived in a cabin along the Yukon River. I learned the Hook Song from Tlingit musician and educator Ed Littlefield. The Hook Song is about a beautiful halibut hook with cedar bark twine. The song depicts a halibut being caught on a traditional wooden hook.
Background Literature:
A common argument in support of keeping music education in the public school system, is that music has the ability to engage and motivate students in ways that other core subjects cannot. Eisner (2005) elaborates that music develops the mind by giving it opportunities to think in different ways, concluding that, “the arts are places and spaces where one can enrich one’s life.” Extensive research has shown that music education can improve individual attendance rates and keep at-risk students from failing in school.
According to Catterall (2012), “Seventy-one percent of low-SES students with arts-rich experiences attended some sort of college after high school while only 48 percent of the low-arts, low-SES group attended any sort of college.” Research like Catterall’s (2012) confirms the expansive role that music education can play in aligning 21st century skills and academic mindsets through musical activity; leading to student achievement, higher graduation rates, and most importantly, lifelong learning.
JAMM's ability to keep participants interested and engaged, is demonstrated by a correlation between students participating in JAMM and higher SBA scores. A 2014 study based on 3rd grade students at Glacier Valley Elementary with comparable demographics and representation, found that the percentage of JAMM participants with Proficient or Advanced SBA scores was 23% higher in Math, 23% higher in Writing, and 28% higher in Reading, than non-JAMM participants.
Still, I could not help but notice a lack of engagement and/or enjoyment in some students, which led me to wonder if unengaged students were getting the same benefit out of the program as their peers. In response to my observations of unengaged students, I researched the impact of cultural integration and took steps to integrate musical material and visitors from non-Western cultures, specifically from Alaska Native cultures which make up the largest minority group in my classrooms.
Enculturation, which Morrison (2008) explains as the “process by which young people identify with and feel pride in their ethnic heritage and participate in cultural activities,” is a term that surfaced multiple times throughout my research. Zimmerman’s (2005) study on the effects of enculturation among Native American youth showed that enculturation can provide students with a feeling of belonging, in that their ethnicity is valued and nurtured. This is likely to have a beneficial effect on their self-esteem as well as other aspects, including motivation. Zimmerman (2005) found that students with a greater understanding of, and interest in, their cultural heritage felt the responsibility to be “productive members of the community.”
Purpose:
The purpose of this teacher action research is to integrate culturally significant music (Alaska Native folk songs) into the permanent repertoire of the JAMM program, as a means of inclusiveness and equity. Songs were specifically chosen for their cultural relevance -for an example, heard throughout the community at gatherings and performances- and for their ability to develop necessary instrumental skills and techniques. The hope is that students are motivated and empowered to participate in hands-on cultural experiences in and out of the classroom.
Research Question:
Initially, my questions focused on student engagement. I was interested in exploring all ways to motivate unengaged or non-participating students in JAMM violin classes. I noticed that many of my students participated in musical activities, such as Tlingit drumming and dance, with greater enjoyment than in their violin classes. Reflecting that violin class seemed to lack relevance for some of my students, I was interested in the possibility of cultural integration playing a role in student enjoyment and participation. Furthermore, I was interested to explore the impact that the integration of culturally significant music could have on skill acquisition and violin technique. My question became, “How does incorporating culturally significant music affect instrumental technique, skill acquisition and student engagement in JAMM participants?
Context:
The participants were chosen according to my schedule during my student teaching experience as a member of the Juneau Quartet in residence. Thus, the subjects were 1st grade students from Riverbend Elementary School and 3rd-5th grade students from Glacier Valley Elementary School.
Student Demographics:
In this study, I sought to discover the importance of incorporating culturally significant music in an elementary school music program. Specifically, I studied the impact of teaching local Alaska Native folk music to a diverse group of Juneau Alaska Music Matters (JAMM) participants from two Tile 1 schools in the Juneau School District. Through the process of participatory action research, I discovered results suggesting a connection between cultural integration in JAMM classes, and higher levels of engagement, achievement, and most importantly enjoyment in my students.
Introduction:
As an intern teacher with Juneau Alaska Music Matters (JAMM), I teach violin in classrooms across the Juneau School District. JAMM is a local program that provides free music education to over 500 children across Juneau as a means of empowerment and social change. Based on a program developed in Venezuela which is known as El Sistema, the JAMM program takes place during the school day and/or as an after-school program as part of an intervention for school readiness skills including discipline, leadership, social skills, group work and brain development. Students in Kindergarten and 1st grade participate in 90 minutes per week of violin instruction during the school day. From 2nd-5th grade, JAMM students participate in at least four hours of musical education per week, including violin, cello or bass instruction.
In the spring of 2016, I taught a selection of Alaska Native folk songs to each of my violin classes. In collaboration with the school’s cultural specialist, I taught the a Tlingit folk song, the Hook Song, to all first grade students at Riverbend Elementary School. For my 3rd-5th grade orchestras I taught the Hook Song as well as several traditional Athabascan fiddle tunes including, Eagle Island Blues and Ook Pik Waltz. All of the above songs were passed down to me by ear and in person. I learned the Athabascan fiddle tunes from elder Bill Stevens, in Fairbanks, Alaska. Eagle Island Blues is a classic tune across interior Alaska and the Yukon. It is a lonesome love song written by a Native elder, who lived in a cabin along the Yukon River. I learned the Hook Song from Tlingit musician and educator Ed Littlefield. The Hook Song is about a beautiful halibut hook with cedar bark twine. The song depicts a halibut being caught on a traditional wooden hook.
Background Literature:
A common argument in support of keeping music education in the public school system, is that music has the ability to engage and motivate students in ways that other core subjects cannot. Eisner (2005) elaborates that music develops the mind by giving it opportunities to think in different ways, concluding that, “the arts are places and spaces where one can enrich one’s life.” Extensive research has shown that music education can improve individual attendance rates and keep at-risk students from failing in school.
According to Catterall (2012), “Seventy-one percent of low-SES students with arts-rich experiences attended some sort of college after high school while only 48 percent of the low-arts, low-SES group attended any sort of college.” Research like Catterall’s (2012) confirms the expansive role that music education can play in aligning 21st century skills and academic mindsets through musical activity; leading to student achievement, higher graduation rates, and most importantly, lifelong learning.
JAMM's ability to keep participants interested and engaged, is demonstrated by a correlation between students participating in JAMM and higher SBA scores. A 2014 study based on 3rd grade students at Glacier Valley Elementary with comparable demographics and representation, found that the percentage of JAMM participants with Proficient or Advanced SBA scores was 23% higher in Math, 23% higher in Writing, and 28% higher in Reading, than non-JAMM participants.
Still, I could not help but notice a lack of engagement and/or enjoyment in some students, which led me to wonder if unengaged students were getting the same benefit out of the program as their peers. In response to my observations of unengaged students, I researched the impact of cultural integration and took steps to integrate musical material and visitors from non-Western cultures, specifically from Alaska Native cultures which make up the largest minority group in my classrooms.
Enculturation, which Morrison (2008) explains as the “process by which young people identify with and feel pride in their ethnic heritage and participate in cultural activities,” is a term that surfaced multiple times throughout my research. Zimmerman’s (2005) study on the effects of enculturation among Native American youth showed that enculturation can provide students with a feeling of belonging, in that their ethnicity is valued and nurtured. This is likely to have a beneficial effect on their self-esteem as well as other aspects, including motivation. Zimmerman (2005) found that students with a greater understanding of, and interest in, their cultural heritage felt the responsibility to be “productive members of the community.”
Purpose:
The purpose of this teacher action research is to integrate culturally significant music (Alaska Native folk songs) into the permanent repertoire of the JAMM program, as a means of inclusiveness and equity. Songs were specifically chosen for their cultural relevance -for an example, heard throughout the community at gatherings and performances- and for their ability to develop necessary instrumental skills and techniques. The hope is that students are motivated and empowered to participate in hands-on cultural experiences in and out of the classroom.
Research Question:
Initially, my questions focused on student engagement. I was interested in exploring all ways to motivate unengaged or non-participating students in JAMM violin classes. I noticed that many of my students participated in musical activities, such as Tlingit drumming and dance, with greater enjoyment than in their violin classes. Reflecting that violin class seemed to lack relevance for some of my students, I was interested in the possibility of cultural integration playing a role in student enjoyment and participation. Furthermore, I was interested to explore the impact that the integration of culturally significant music could have on skill acquisition and violin technique. My question became, “How does incorporating culturally significant music affect instrumental technique, skill acquisition and student engagement in JAMM participants?
Context:
The participants were chosen according to my schedule during my student teaching experience as a member of the Juneau Quartet in residence. Thus, the subjects were 1st grade students from Riverbend Elementary School and 3rd-5th grade students from Glacier Valley Elementary School.
Student Demographics:
Methodology:
I chose a qualitative approach to this research project as it best suited my open-ended observations and concerns particularly, my questions about student engagement, or rather, lack thereof. Qualitative research is descriptive; thus I made use photographs, video recordings, personal notes, and participant reflections. Furthermore, Denzin and Lincoln (2005) describe qualitative researchers to value the process as well as the outcome. Learning happens as a result of process, the process being the ongoing action research which includes planning, acting, observing, and reflecting. The action of teaching Alaska Native folk songs to Class A, Class B and Class C, was not about the final school performance or the post assessment results, it was about the process of learning and teaching music that held meaning culturally, developmentally, and socially for these JAMM participants.
Most importantly to me, is the fact that quantitative research is about making meaning. Denzin and Lincoln write that, "qualitative researchers study things in their natural settings, attempting to make sense of or interpret phenomena in terms of the meanings people bring to them” (2005). Through my observations, assessments, surveys, and reflections I wanted to know the meaning that learning culturally-based music had on participants in the JAMM program. Did cultural integration impact their experiences in the JAMM program in a positive way? Did the incorporation of relevant music empower and motivate students to more engaged in musical activity in and out of the music room?
Results:
Pre-assessment scores were collected based on video recordings of students performing a week before the unit on Alaska Native folk music began. Post-assessment scores were collected one week after the 5 week unit. The rubric, Figure 1, was used to collect data for pre and post assessment scores in the area of violin specific skills and technique. After each session every student was given an engagement score in the table provided, Figure 2. Video recording of JAMM sessions taken throughout the 5 week unit was analyzed for general observations regarding engagement, enjoyment, and participation. Some of my most valuable observations came from closely analyzing what the children were non-verbally communicating. Finally, I collected a self-reflection from all students.
For Figures and Tables click here to see my full research project.
TABLE 1: Class A: 1st Grade Riverbend Elementary School
TABLE 2: Class B: 3rd Grade Glacier Valley Elementary School
TABLE 3: Class C: 4/5 Grade Glacier Valley Elementary School
Average pre and post assessment scores for Class A, B, C, and Alaska Native Students:
All students in every class showed improvement in their violin technique after the integration Alaska Native folk music. Individuals improved by anywhere between 10%-88%. Alaska Native students, who make up the largest minority at both Riverbend and Glacier Valley Elementary Schools, had the highest average Learning Gain score of 64% compared to average score of all three classes which was 53%.
Student Engagement:
Throughout my project data was collected for each student after every 30 minute class. The students’ engagement was scored on a scale of 1-4 based on the following criteria:
4: Always participating and engaged throughout entire session.
3: Mostly participating and engaged throughout entire session
2: Sometimes participating and engaged throughout entire session
1: Seldom/rarely participating and engaged throughout entire session
Over the period of 5 weeks the levels of average engagement at Riverbend and Glacier Valley ranged from always participating and engaged (4) to sometimes participating and engaged (2), however I found the number specific data to lack validity as it was collected without a frame of reference. Other forms of quantitive data including, anonymous student reflections and my note- taking journal, have provided importance evidence of trends in student engagement after the incorporation of Alaska Native songs.
Student Reflections:
51 of 54 students from Class A, B and C (3 were absent), filled out self reflection forms. My 3rd-5th grade students were also given the opportunity to provide written feedback and comments on their participation in culturally aligned musical activity. Click here for full results.
Student Reflections Continued:
It was a surprise to me how much the children wrote about loving to play fiddle music. They wrote that they “liked”, “really liked”, “really, really liked”, “loved” and “really loved” playing the Hook Song, and Eagle Island Blues. I also noticed several common trends in my students’ written responses.
Below are examples of written responses from my 3rd-5th grade students:
1. Making connections:
-S: “We played music that I heard at Celebration.”
-S: “My grandma likes to hear me play fiddle music.”
-S: “My uncle knows the words to that song too.”
My students were making connections between the music we were playing and other life experiences. They commented on how the music reminded them of anything from dances, to movies, to ceremonies and celebrations. One student even commented that her grandfather sang along with her on one of her songs.
2. Student Empowerment/leadership:
-S: “I am bringing my violin home so that I can be a very very good fiddle player.”
-S: “I am teaching my little sister to sing with me, so that when she gets older she will play the fiddle.”
-S: “My favorite part was when I got to be the leader and when I get to play the drum.”
The activities that my students seemed to enjoy the most often included roles of leadership, such as the opportunity to teach another classmate or getting to lead the class. I noticed that this leadership extended beyond class sessions as students would often stay in the room, teaching and learning from each other long after the class session had finished.
Discussion:
As I reflected on student achievement, their comments and the positive impact that I was observing, it became clear to me that there is a connection between the integration of Alaska Native folk songs and higher levels of engagement and participation in my JAMM classes. Students appeared more energetic, they were visiting at lunch to practice, they were asking more questions and they were bringing their instrument home to practice. Stringer (2007) explains, action research is about “enabling all persons to participate.” The intent is to produce knowledge and actions that are directly useful to a group of people.
In the case of this research, Alaskan Native music is relevant and present throughout the community of Juneau, Alaska. Collaborating with the school’s cultural specialist to teach Alaska Native songs was equitable, and life enhancing because all students -including Alaska Native students whose results demonstrated the highest Average Learning Gain Scores- showed improvement and growth in their instrumental techniques.
Implications for Future Research:
This participatory action research project was specifically designed to function as an internal part of the JAMM program. Looking specifically into the near future of the JAMM program, I would like to see a continuation of this project; it is my hope that JAMM will continue to integrate Alaska Native music as part of their program repertoire. I would also like to proposed a study, on the longitudinal impacts of participation in culturally significant musical activity, that would examine the participants’ engagement in areas including; attendance, grades, test scores, and high school completion. Finally, while this research is very specific to the JAMM program, the promising results suggest that project guidelines and ideas could serve as a model for other public school music education programs.
References:
Catterall, J. S. (2012). The Arts and Achievement in At-Risk Youth: Findings from Four Longitudinal Studies. National Endowment for the Arts. Retrieved April 15, 2016.
Denzin, Norman K. and Lincoln, Yvonne S. (2000, 2ed ed.). Handbook of Qualitative Research. London: Sage.
Eisner, E. W. (2005). Opening a shuttered window: An introduction to a special section on the arts and the intellect. Phi Delta Kappan, 87 (1), 8-10.
Merriam, S. G. (1998). Qualitative research and case study applications in education. San Francisco: Jossey-Bass.
Morrison, S. J., (2008). Enculturation Effects in Music Cognition: The Role of Age and Music Complexity. Journal of Research in Music Education, 56(2), 118-129.
Shahvali, M. (2010). Enriching indigenous knowledge: An alternative paradigm for empowerment. Knowledge Management for Development Journal, 6(3), 194-205.
Wilson S. (2008). Research is ceremony: Indigenous research methods. Halifax: Fernwood Publishing
Wink, J., & Putney, L. (2002). A vision of Vygotsky. Boston: Allyn and Bacon.
Smith, M. (2001). Writing a successful paper. The Trey Research Monthly, 53, 149-150.
Zimmerman, M. A. (2005). Adolescent resilience: A framework for understanding healthy development in the face of risk. Annual Review of Public Health, 26, 399-419Appendix
I chose a qualitative approach to this research project as it best suited my open-ended observations and concerns particularly, my questions about student engagement, or rather, lack thereof. Qualitative research is descriptive; thus I made use photographs, video recordings, personal notes, and participant reflections. Furthermore, Denzin and Lincoln (2005) describe qualitative researchers to value the process as well as the outcome. Learning happens as a result of process, the process being the ongoing action research which includes planning, acting, observing, and reflecting. The action of teaching Alaska Native folk songs to Class A, Class B and Class C, was not about the final school performance or the post assessment results, it was about the process of learning and teaching music that held meaning culturally, developmentally, and socially for these JAMM participants.
Most importantly to me, is the fact that quantitative research is about making meaning. Denzin and Lincoln write that, "qualitative researchers study things in their natural settings, attempting to make sense of or interpret phenomena in terms of the meanings people bring to them” (2005). Through my observations, assessments, surveys, and reflections I wanted to know the meaning that learning culturally-based music had on participants in the JAMM program. Did cultural integration impact their experiences in the JAMM program in a positive way? Did the incorporation of relevant music empower and motivate students to more engaged in musical activity in and out of the music room?
Results:
Pre-assessment scores were collected based on video recordings of students performing a week before the unit on Alaska Native folk music began. Post-assessment scores were collected one week after the 5 week unit. The rubric, Figure 1, was used to collect data for pre and post assessment scores in the area of violin specific skills and technique. After each session every student was given an engagement score in the table provided, Figure 2. Video recording of JAMM sessions taken throughout the 5 week unit was analyzed for general observations regarding engagement, enjoyment, and participation. Some of my most valuable observations came from closely analyzing what the children were non-verbally communicating. Finally, I collected a self-reflection from all students.
For Figures and Tables click here to see my full research project.
TABLE 1: Class A: 1st Grade Riverbend Elementary School
TABLE 2: Class B: 3rd Grade Glacier Valley Elementary School
TABLE 3: Class C: 4/5 Grade Glacier Valley Elementary School
Average pre and post assessment scores for Class A, B, C, and Alaska Native Students:
All students in every class showed improvement in their violin technique after the integration Alaska Native folk music. Individuals improved by anywhere between 10%-88%. Alaska Native students, who make up the largest minority at both Riverbend and Glacier Valley Elementary Schools, had the highest average Learning Gain score of 64% compared to average score of all three classes which was 53%.
Student Engagement:
Throughout my project data was collected for each student after every 30 minute class. The students’ engagement was scored on a scale of 1-4 based on the following criteria:
4: Always participating and engaged throughout entire session.
3: Mostly participating and engaged throughout entire session
2: Sometimes participating and engaged throughout entire session
1: Seldom/rarely participating and engaged throughout entire session
Over the period of 5 weeks the levels of average engagement at Riverbend and Glacier Valley ranged from always participating and engaged (4) to sometimes participating and engaged (2), however I found the number specific data to lack validity as it was collected without a frame of reference. Other forms of quantitive data including, anonymous student reflections and my note- taking journal, have provided importance evidence of trends in student engagement after the incorporation of Alaska Native songs.
Student Reflections:
51 of 54 students from Class A, B and C (3 were absent), filled out self reflection forms. My 3rd-5th grade students were also given the opportunity to provide written feedback and comments on their participation in culturally aligned musical activity. Click here for full results.
Student Reflections Continued:
It was a surprise to me how much the children wrote about loving to play fiddle music. They wrote that they “liked”, “really liked”, “really, really liked”, “loved” and “really loved” playing the Hook Song, and Eagle Island Blues. I also noticed several common trends in my students’ written responses.
Below are examples of written responses from my 3rd-5th grade students:
1. Making connections:
-S: “We played music that I heard at Celebration.”
-S: “My grandma likes to hear me play fiddle music.”
-S: “My uncle knows the words to that song too.”
My students were making connections between the music we were playing and other life experiences. They commented on how the music reminded them of anything from dances, to movies, to ceremonies and celebrations. One student even commented that her grandfather sang along with her on one of her songs.
2. Student Empowerment/leadership:
-S: “I am bringing my violin home so that I can be a very very good fiddle player.”
-S: “I am teaching my little sister to sing with me, so that when she gets older she will play the fiddle.”
-S: “My favorite part was when I got to be the leader and when I get to play the drum.”
The activities that my students seemed to enjoy the most often included roles of leadership, such as the opportunity to teach another classmate or getting to lead the class. I noticed that this leadership extended beyond class sessions as students would often stay in the room, teaching and learning from each other long after the class session had finished.
Discussion:
As I reflected on student achievement, their comments and the positive impact that I was observing, it became clear to me that there is a connection between the integration of Alaska Native folk songs and higher levels of engagement and participation in my JAMM classes. Students appeared more energetic, they were visiting at lunch to practice, they were asking more questions and they were bringing their instrument home to practice. Stringer (2007) explains, action research is about “enabling all persons to participate.” The intent is to produce knowledge and actions that are directly useful to a group of people.
In the case of this research, Alaskan Native music is relevant and present throughout the community of Juneau, Alaska. Collaborating with the school’s cultural specialist to teach Alaska Native songs was equitable, and life enhancing because all students -including Alaska Native students whose results demonstrated the highest Average Learning Gain Scores- showed improvement and growth in their instrumental techniques.
Implications for Future Research:
This participatory action research project was specifically designed to function as an internal part of the JAMM program. Looking specifically into the near future of the JAMM program, I would like to see a continuation of this project; it is my hope that JAMM will continue to integrate Alaska Native music as part of their program repertoire. I would also like to proposed a study, on the longitudinal impacts of participation in culturally significant musical activity, that would examine the participants’ engagement in areas including; attendance, grades, test scores, and high school completion. Finally, while this research is very specific to the JAMM program, the promising results suggest that project guidelines and ideas could serve as a model for other public school music education programs.
References:
Catterall, J. S. (2012). The Arts and Achievement in At-Risk Youth: Findings from Four Longitudinal Studies. National Endowment for the Arts. Retrieved April 15, 2016.
Denzin, Norman K. and Lincoln, Yvonne S. (2000, 2ed ed.). Handbook of Qualitative Research. London: Sage.
Eisner, E. W. (2005). Opening a shuttered window: An introduction to a special section on the arts and the intellect. Phi Delta Kappan, 87 (1), 8-10.
Merriam, S. G. (1998). Qualitative research and case study applications in education. San Francisco: Jossey-Bass.
Morrison, S. J., (2008). Enculturation Effects in Music Cognition: The Role of Age and Music Complexity. Journal of Research in Music Education, 56(2), 118-129.
Shahvali, M. (2010). Enriching indigenous knowledge: An alternative paradigm for empowerment. Knowledge Management for Development Journal, 6(3), 194-205.
Wilson S. (2008). Research is ceremony: Indigenous research methods. Halifax: Fernwood Publishing
Wink, J., & Putney, L. (2002). A vision of Vygotsky. Boston: Allyn and Bacon.
Smith, M. (2001). Writing a successful paper. The Trey Research Monthly, 53, 149-150.
Zimmerman, M. A. (2005). Adolescent resilience: A framework for understanding healthy development in the face of risk. Annual Review of Public Health, 26, 399-419Appendix