Jul 2014 - star.moe.edu.sg

STAR-POST (MUSIC)
I S S U E 2 0 14 / 0 6 J U LY
THINK ING IN SINGING
ENGAGING WITH
SONGS
PAGE 3
CLUSTER WORKSHOPS
BY STAR CHAMPS (PRI)
CLUSTER WORKSHOPS
BY STAR CHAMPS (SEC)
Understanding
Assessment for Learning
& the Nurturing of 21CC
through Authentic MusicMaking
Assessment for Learning
in the Music Classroom
PAGE 6
PAGE 8
UPCOMING
PROGRAMMES
PAGE 10
1
THINKING
IN
SINGING
Rebecca Chew
Academy Principal
STAR
Singing is one of the most fundamental modes that we can use in our
music making classroom that allows every child to experiment, express
and discover. Indeed, our own assumptions of an ideal sound based
on our socio-cultural contexts come into play when we teach singing in
our classrooms. Singing is not limited to a choral sound that we often
associate with good practice. A deep awareness and keen understanding
of what affects the child’s singing development, may well reveal our
own mental models that we hold of ourselves, the inhibitions of what
constituted singing when we were very young.
I had the privilege of being in ensemble singing since I was 4 years old under
the leadership of the late Mrs Earnest Lau. Already at that early age, she
had ingrained in me the stanzaic structures which became a familiar access
for me to remember form and lyrics easily. Much later, when these early
notions of ensemble singing were entrenched as habits of learning, these
thinking routines became conduits into more complex musical knowledge
when I studied at the Royal Academy of Music. I had to re-learn again a deconstruction of my ideal sounds when I began to explore the diverse
contexts in which the human voice could be used – be it through the big
symphonic choirs, the small early music ensembles, school campfires,
large community events, and even karaoke. Singing opened pathways of
powerful performances of understanding, which led to a more complex
knowledge of an artistic and creative process over time.
But why teach singing in our classrooms?
IDENTITY: As a young officer, I was privileged to have a conversation
with the Tapiola Children’s Choir founder, the late Erkki Pohjola, who
had visited our MOE schools and conducted a festival choir comprising
our secondary school and junior college students. I had wondered how
the Finnish sound, which everybody had been raving about, could be so
transformative to impact and influence the whole world movement for
singing. He shared that it was the classroom where they had started in the
1960s where access was given to all children for singing and instrumental
2
study. More significantly, he impressed upon me
that just like Béla Bartók did with the Hungarian
movement, it was up to the teachers of these
classrooms to source for their own music, to
commission their national composers, and awaken
the spirit of identity, pride and rootedness in
singing one’s own music in the classrooms.
RELATIONSHIPS:
Much later when I witnessed
the Estonian Singing Festival with 30,000
people singing their heritage songs in the open
stadium, did my heart ache for the day when
we had this transformation to be ignited in our
Singapore classrooms. I then began to work
with Iskandar Ismail to re-arrange songs for
the school community such as Ikan Kekek and
initiated the annual commissions of new choral
work by Singapore composers, where our singing
communities could identify with and make musical
experiences authentic. The abiding belief was to
present our own heritage songs with equal respect
and establish standards of musical excellence for
our singers. The late Leong Yoon Pin allowed me to
present his then newly self-published choral works
when I was nominated for the UNESCO prize for
bridging Culture and Peace in recognition for the
work in youth and children choirs.
CHOICES: The challenge for us as music educators
would be to bring singing not just to niche excellent
choirs but use it as a transformative classroom
practice. Today’s intentionality of classroom
singing still begets the compelling purpose for
all music teachers to apply pedagogy with the
same inclination for singing excellence to deliver
quality learning outcomes. These outcomes are
evidenced by performances of understanding,
using such approaches like the Kodály and Orff
methods, that require us to explore deeply about
purposeful music-making. The intent is then to
create identity, build relationships and provide
adequate choices for the best music learning
outcomes. Leadership in these instructional music
contexts lies in the hands of the music teacher.
Once a choice is made to open access for the child,
the habitual thinking routines will reinforce musical
understanding of how singing is approached. The
child sings about life, the human experience. The
teacher-leader needs to lift the lid that caps growth
and capacity for the child to sing his/her heart out.
Singing provides one of the most transparent ways
to showing the child’s heart. The choice lies therein
with the teacher to sing with the child. Intentional
purpose in designing singing classrooms can only
be made alive when we look at the meaningful
pedagogy for integrating concepts with larger
understanding goals. I encourage you to start
designing this musicking experience that explores
and extends the child’s musical world. Singing
unlocks the child’s spontaneity in making sense of
the world around. Singing is made possible only
by the teacher igniting every music lesson with
sound principles of teaching for understanding.
3
ENGAGING
WITH SONGS
Suriati Suradi
Master Teacher (Music)
STAR
Have you ever wondered how singing in the music classroom
was like in the 1960 s?
It began with the teachers being sent by MOE to schools (as part
of the Itinerant Music Teachers’ scheme) to teach national songs in
the four official languages to the children. Singing the songs that
can be found from set songbooks, Let Us Sing (Books 1 and 2 by
Aisha Akbar) and later in the 1970s, Sing and Enjoy, MOE’s first music
textbook. The singing component in these music textbooks was ever
present; it became a major component in schools’ music curriculum
and co-curricular activities, and also for its role in building national
cohesion.
The set textbooks went through many changes over the years and
have shifted from being a mere songbook to a more structured
music book. Singing and its activities have led to the learning of
musical concepts. With such importance placed on the role of
singing, there is no question of its value in music education and
the development of the whole child. We engage our motor skills
used in speech when we sing. We deepen our knowledge in music
through singing; learning about our own and other world cultures.
We express our deepest emotions when we are engaged in singing
activities. All this will likely enhance the well-being of the children
we teach.
How then can we provide all the children we teach with a
wonderful singing experience? How can we enthuse our
children to sing and ensure that they enjoy singing as adults?
Is it about how we teach a song?
To begin, selecting the song in terms of its appropriate
i
pitch range
ii
length and complexity of the song (as according to age
appropriateness) and
iii
words or theme of the song (appeal to the children’s
interest) would be helpful.
4
Apart from teaching by rote, solfege and rhythmspeech, teachers can use singing games to engage the
students in singing. Choral pieces can also be used to
provide a variety in the repertoire for singing in the
classroom. Students can sing parts from the book.
Teachers can encourage students to sing solo or in
groups, accompanied or unaccompanied, or in unison
or parts. Dramatization of storybooks and poetry
are great material to get the students excited about.
Most importantly, all these methods would best be
taught through role-modelling by the teacher(s). The
children can emulate these good examples of good
and enjoyable singing. Importantly, singing should be a
happy experience with the children feeling comfortable
and successful!
In tandem with the new GMP syllabus implementation
from 2015, STAR is embarking on ‘Engaging with
Songs’, a pilot project which aims to bring school
communities together through singing, beginning with
the transformation of teaching practice in the music
classrooms. As the title encapsulates, this project
endeavours to engage children musically through
singing, by deepening teachers’ professional and
pedagogical understanding in eclectic pedagogies
that are contextualised in our music classrooms.
Equally significant in this project, is the notion of
songs. Good songs are precious resources. They open
windows to the rich musical cultures in Singapore and
around the world. They embody stories and values that
nurture the whole child. Songs are often the first and
personal encounters students have of cultures beyond
their own. These songs thus create powerful personal
connections, which are seeds in engendering crosscultural understanding and appreciation.
5
Therefore, we believe that children must be given
opportunities to sing, especially in the music classroom.
When children improve their singing skills and know it,
they will feel the satisfaction. An encouraging environment
will set the positive tone for learning. With guidance and
examples led by teachers, the singing culture that we seek
to nurture is one that the children will want to be part
of! Zoltan Kodaly (1929), a well-known Hungarian music
educator, said:
“Teach music and singing in school in such a
way that it is not a torture but a joy for the pupil,
instil a thirst for finer music in him, a thirst which
will last for a lifetime […] this experience cannot
be left to chance; it is the duty of the school to
provide it.”
Projec t ‘Engaging with Songs’ thus endeavours
to raise the qualit y of music teaching and learning
through singing, with choice of qualit y songs, to
bring about a Student-centred and Values-driven
education.
*For further information on the Engaging with Songs
programme, please feel free to contact Ms Sheryl Sim or Mdm
Suriati Suradi at 66641497 or 66641498 respectively.
References:
Jeanneret, N. & Degraffenreid, G.M. (2012). Music Education in the
Generalist Classroom. In Mcpherson, G.E. & Welch, G.F. (Eds.), The
Oxford Handbook of Music Education: Vol. 1. (Chapt. 3.6, pp.399-416).
New York: Oxford University Press.
Ilari, B., Chen-Hafteck, L. and Crawford, L. (2013). Singing and cultural
understanding: A music education perspective. In International Journal
of Music Education, Vol. 31(2), pp. 202-216.
Pascale, L. (2003). Recognizing the Value of Two Aesthetics of Singing:
A Strategy for Creating All-Inclusive Singing School Communities. In The Phenomenon of Singing, [S.l.], Jul, v. 4, pp. 125-129.
Available at: <http://journals.library.mun.ca/ojs/index.php/singing/
article/view/570>. Date accessed: 10 Jul. 2014
6
STAR
CHAMPIONS
CLUSTER
WORKSHOPS
From June to August 2014, Primar y and Secondar y music
teachers will benefit from at tending pedagogical workshops
that have been designed and carried out by our STAR
Champions. Through these workshops, we aim to deepen
our understanding of Assessment-for-Learning and how we
can nur ture 21st centur y competencies through authentic
music-making in our music classrooms. The workshops are
also a good oppor tunit y for us music teachers to net work
and to learn from each other. Hope to see all of you there!
PRIMARY WORKSHOPS:
CLUSTER
North Zone
CLUSTER/NAMES OF STAR CHAMPIONS
CLUSTER/NAMES OF STAR CHAMPIONS
N1 Brenda Ng (Rivervale Pri)
Quah Hui Ling (Xinmin Pri)
S1 Katherine Faroek (Ang Mo Kio Pri)
Amanda Loh (Xinghua Pri)
N2 Liew Siim Wii (Xishan Pri)
Cindy Heng (Northland Pri)
CLUSTER
S1, S5, S7
N3 Loi Wei Ling (Edgefield Pri)
Jessica Chaw (Edgefield Pri)
S5 Angela Chia (St Andrew's Junior)
Loh Lin Li (Anglo-Chinese Junior)
S7 Sharon Ng (Guangyang Pri)
Rebekah Sim (Catholic High Pri)
N4 Stephanie Chua (Nan Chiau Pri)
WORKSHOP
DETAILS
9 July 2014
(Full Day)
Rosyth Pri
CLUSTER
S2, S3,S4,
S6
WORKSHOP
DETAILS
6 August 2014
(Full Day)
Queenstown Pri
N5 Tan Siok Cheng (Innova Pri)
Koon Wai Hang (Admiralty Pri)
N6 Wang Junxian (Yishun Pri)
Gracia Lim (Anderson Pri)
N7 Lydia Tee (Si Ling Pri)
Ameerah Sharainee Zain (Si Ling Pri)
WORKSHOP
DETAILS
10 July 2014
(Full Day)
Guangyang Pri
CLUSTER/NAMES OF STAR CHAMPIONS
CLUSTER/NAMES OF STAR CHAMPIONS
S2 Teresa Marie Lee
(Fairfield Methodist Pri)
Leong Sek Kee (Queenstown Pri)
E1 Eileen Bay (Poi Ching Sch)
Melody Kwek (Punggol View Pri)
CLUSTER
E1, E3, E5
S3 Jillianne Chew (Anglo-Chinese Pri)
Stephanie Soh (CHIJ Pri Toa Payoh)
S4 Goh Wan Yu (River Valley Pri)
S6 Emily Chew
(CHIJ Our Lady of the Nativity)
Millie Choo (Cedar Pri)
WORKSHOP
DETAILS
4 August 2014
(Full Day)
Punggol View Pri
E3 Bridgette Teh (Chongzheng Pri)
Ng Kay Gek (Griffiths Pri)
E5 Leu Yifang (Haig Girls’ Sch)
Rachel Tan (Geylang Methodist Pri)
7
PRIMARY WORKSHOPS:
CLUSTER/NAMES OF STAR CHAMPIONS
CLUSTER
E2, E4,
E6, E7
WORKSHOP
DETAILS
23 July 2014
(Full Day)
Opera Estate Pri
E2 Murugesu s/o Samarasan (East View Pri)
Sarah Wong (Junyuan Pri)
E4 Michelle Kim d/o Sivarajasingham (Damai Pri)
Catherine Lim (St Anthony’s Canossian Pri)
E6 Marianne Woo (White Sands Pri)
Tabitha Chew (Park View Pri)
Trina Pook (White Sands Pri)
E7 Ray Aziz (Opera Estate Pri)
Melissa Chow (Ngee Ann Pri)
CLUSTER/NAMES OF STAR CHAMPIONS
CLUSTER
W1, W2,
W4, W5
WORKSHOP
DETAILS
18 July 2014
(Full Day)
Bukit View Pri
W1 Tan Seng Thye (Yuhua Pri)
Tan Kim Keat (Clementi Pri)
W2 Chang Mei Cheng (Yew Tee Pri)
Charmaine Sng (De La Salle Sch)
W4 Josephine Chan (Bukit View Pri)
Sharon Tan (Keming Pri)
Dawn Chan (Dazhong Pri)
W5 Mavis Tan (Nanyang Pri)
Loo Teng Kiat (Zhenghua Pri)
CLUSTER/NAMES OF STAR CHAMPIONS
CLUSTER
W3, W7, W8
WORKSHOP
DETAILS
23 July 2014
(Full Day)
Opera Estate Pri
W3 Irene Chan (West Grove Pri)
Adela Josephine (Juying Pri)
W7 Lee Chiak Ling (Shuqun Pri)
Lee Ai Ling (Shuqun Pri)
W8 Soh Fang Ying (Bukit Panjang Pri)
Neda Lee (Corporation Pri)
8
SECONDARY WORKSHOPS:
WORKSHOP DETAILS
CLUSTER
N1, N5, N6,
N7
CLUSTER/NAMES OF STAR CHAMPIONS
N1 Jeanette Teoh (CHIJ St Joseph’s Convent)
16 July 2014
2:30pm - 5:30pm
Woodlands Sec
N5 Bridget Ooi (Woodlands Sec)
N6 Chong Xiu Min (Orchid Park Sec)
N7 Anita Mansor-Long (Fuchun Sec)
WORKSHOP DETAILS
CLUSTER
N2, N3, N4
1 July 2014
2:30pm - 5:30pm
Punggol Sec
WORKSHOP DETAILS
CLUSTER
S1, S3, S7
CLUSTER/NAMES OF STAR CHAMPIONS
N2 Ho Yam Chiew (Sembawang Sec)
N3 Sim Kok Heng (Edgefield Sec)
N4 Eunice Chua (Monfort Sec)
Cindy Chia (Punggol Sec)
CLUSTER/NAMES OF STAR CHAMPIONS
S1 Tang Suyun (Mayflower Sec)
3 July 2014
2:30pm - 5:30pm
Bishan Park Sec
S3 Betty Chen (First Toa Payoh Sec)
S7 Adeline Tan Li Jen Bishan Park Sec)
9
SECONDARY WORKSHOPS:
WORKSHOP DETAILS
CLUSTER
S2, S4, S5,
S6
CLUSTER/NAMES OF STAR CHAMPIONS
S2 Eugene Lim (Henderson Sec)
9 July 2014
2:30pm - 5:30pm
St Margaret’s Sec
S4 Tan Teing Im (Queenstown Sec)
S5 Poon Chong Cheah (Bendemeer Sec)
S6 Tham Chuan Chuan (St Margaret's Sec)
WORKSHOP DETAILS
CLUSTER
East Zone
(Group 1)
15 July 2014
2:30pm - 5:30pm
St Anthony’s
Canossian Sec
(Group 2)
18 July 2014
2:30pm - 5:30pm
Pasir Ris Secondary
WORKSHOP DETAILS
CLUSTER
W1, W2,
W5, W7
23 July 2014
2:30pm - 5:30pm
Bukit Panjang
Government High
WORKSHOP DETAILS
CLUSTER
W3, W4,
W6, W8
CLUSTER/NAMES OF STAR CHAMPIONS
E1 Joyce Lim (Pasir Ris Crest Sec)
E2 Angel Huang (Bedok View Sec)
E3 Clara Sng (East Spring Sec)
E4 Teh Jane Khim (St Anthony's Canossian Sec)
E5 Feng Yingyi (Broadrick Sec)
E6 Leong Su Juen (Pasir Ris Sec)
E7 Sim Kim Seng (CHIJ Katong Convent)
CLUSTER/NAMES OF STAR CHAMPIONS
W1 Serene Ng (Shuqun Sec)
W2 Chong Hui’en (Hillgrove Sec)
W5 Ana Marie Palma (Bukit Panjang Government High)
W7 Clara Teo (Fuhua Sec)
CLUSTER/NAMES OF STAR CHAMPIONS
W3 Cindy Goh (Pioneer Sec)
July 2014
2:30pm - 5:30pm
Regent Sec
W4 Liau Yanya (Hua Yi Sec)
W6 Chia Hui'En (Fajar Sec)
W8 Rebecca Ng (Regent Sec)
10
UPCOMING
PROGRAMMES
PEDAGOGY
IMPLEMENTATION
Programmes to develop
music teacher-leaders in their
pedagogical understanding and
to cascade their learning to other
teachers in the fraternity.
SUPPORTING
PROGRAMMES
Programmes to provide new
areas of learning and broaden
perspectives.
TITLE OF PROGR AMMES
DETAIL S
PARTICIPANTS
Cluster Workshops
Please see pages:
6, 7, 8, 9
Primary Music Teachers
& Allied Educators
led by STAR Champions
(Primary)
Secondary Music
Teachers & Allied
Educators
Cluster PD Sessions
led by STAR Champions
(Secondary)
Engaging with Songs
(Pilot)
Workshops from July to
November 2014
Music teachers from pilot
schools
TITLE OF PROGR AMMES
DETAIL S
PARTICIPANTS
Percussion Workshop
18 Aug, 15, 22, 29 Sep,
6 Oct 2014
3 – 5pm
CS1, 2 & 3 Music Primary
& Secondary teachers,
and Allied Educators
TRAISI Course code: 23003
Class performance on
10 Oct 2014 (PM)
Ukulele & Guitar Playing
TRAISI Course code: 21932
12, 19, 26 Aug, 2, 30
Sep, 7 Oct 2014
3 – 5pm
CS1, 2 & 3 Music Primary
& Secondary teachers,
and Allied Educators
Class performance on
10 Oct 2014 (PM)
Teaching Music as an
O-Level Exam Subject
TRAISI Course code: 20411
COMMUNITIES OF
PRACTICE (COP)
Programmes that are premised
on collaboration and sharing to
collectively improve music skills
and/or teaching practices.
SSS
13 Aug – 5 Nov 2014
Every Wed except 24
Sep
3:30pm – 5:30pm
O-Level Music Teachers
NIE, Music IT Lab;
Rm 3-02-09
NAME OF COP
DATE
Teachers’ Choir
4:00pm – 6:00pm, Tuesdays
STAR Blk K Lvl 3 Recital Studio
Please email [email protected] if you
are interested to sign up!
*We welcome all teachers and Allied Educators to participate in the CoPs.
Please contact our Programme Executive Ms Tan Bee Ngoh
([email protected]) and let her know your area of interest.
web: http://www.star.moe.edu.sg
email: [email protected]
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