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Posts tagged ‘speech’

Internationalising the curriculum

This post is a transcript of my speech at the Westminster Higher Education Forum Keynote Seminar:  Innovation in curriculum design – internationalisation, employability and inclusivity, December 7, 2016

(5 min read)

My Lord, ladies and gentlemen, respected colleagues,

Twenty years ago as a student at university I experienced two types of curriculum: one stemming from a traditional textbook and a sage-on-the-stage, and the other based on praxis which was completely bespoke and co-developed. Perhaps I was lucky that this was not an uncommon feature of studying music performance.

Then in 1999 the Boyer Commission produced an Academic Bill of Rights. Its preamble states that a college or university should provide ‘maximal opportunities for intellectual and creative development’ of its students (p.12). The first right is that students should have ‘opportunities to learn through enquiry rather than simple transmission of knowledge’ (p.12). These are both essential.

Since that Bill of Rights, enquiry that crosses intellectual and physical borders has become an everyday reality at our fingertips, and Internationalising the curriculum is one way to expand our student’s experience, encourage and develop connection, and prepare our future graduates to successfully meet the demands of a continually developing workforce.

I will outline how I do this in my own practice as Teaching Fellow at the University of Chichester, and present various methods and tools that can be embedded within your own curriculum, no matter what the discipline.

Definitions of employability have expanded from the outdated view that simply developing the required skills or knowledge is enough, to now include an array of wider, and less discipline-specific qualities: from organisational and management skills to self-beliefs.

The ‘USEM’ model of employability: (Knight and York, 2004) includes

  • Understanding
  • Skills
  • Efficacy beliefs
  • Metacognition

And it reinforces the importance of enabling student experience and engagement with applied processes. It reframes knowledge as understanding and recognises an element of deeper learning. Metacognitive processes underpin many aspects of strategic and self-regulated learning, and without efficacy beliefs these could not be combined into successful self-management, academic achievement, or eventually into effective employee performance. (see Brigstock, 2009; CES, 2009; Pegg, Waldock, Hendy-Isaac, & Lawton 2012)

The Institute of the Future, a California think-tank, recently published an article containing this infographic about emerging ‘new’ types of jobs, born out of our on-demand economy. These resonated with me, as in music, graduates seldom have a singular fixed professional destination.

I use internationalisation in a way that amplifies individual creative development and intellectual enquiry, addressing:

  • Gaps between institutional life and the working world
  • How students transfer their knowledge…into something relevant to their professional lives
  • How to develop employability and entrepreneurial thinking

These are derived from benchmarking goals in the Polifonia Handbook: Combining a research orientation with professional relevance, published in 2014.

I embed teaching methods within the curriculum that foster international interaction between and across disciplines, such as using technology to connect to other learners and teachers. I believe it is essential to engage with students, peers, industry partners, and the wider community across the globe. Specifically in my teaching I use:

  • screen-shot-2016-12-06-at-09-07-41Public outreach and engage students via Twitter,

    because it is a platform well populated by professionals, and allows students to engage either as themselves or with a pseudonym of their choice.

Connecting Classes began with Jonathan Worth and his use of the hashtag as an educational tool for his photography class #Phonar. With this methodology, short videos or audio are shared online and people are invited to use a specific tag for discussions. Students Tweet their notes, comments, and questions, and often draw other professionals into large-scale group discussions. This provides students with a rich resource for further research.

  • I also use webinars and hangouts featuring student-led discussion with international practitioners.

An excellent example of this practice established for the educational community is Virtually Connecting, which brings keynote speakers from international conferences into contact with other teachers and students across the world through live, online hangouts. Maha Bali co-founded Virtually Connecting. She lives in Egypt and recognised the need to connect and the practical limitations of travel and cost that affect educators and learners.

Virtually Connecting sessions include people ‘on-site’ as well as a virtual room full of guests- teachers, students, people from across the world. This real-time interaction and engagement with professionals across disciplines is invaluable for all involved.

  • And finally an example of a change to the curriculum itself is my International Experience Module.

This development was driven by students. They wanted to go beyond technological connections, and formalise these interactions, making them face-to-face. Students led the first iteration of these trans-continental experiences, and that trip served as a proof of concept and model for the module that now runs as part of the undergraduate Music with Instrumental or Vocal Teaching Degree.

Students are responsible for the details from planning the logistics of travel to the content of what happens with partners when abroad. Moving away from a textbook based curriculum, they now have to consider, plan for, and anticipate aspects of inclusivity, communication, and cultural sensitivities they might encounter in practical settings. My current group includes a blind student, others with dietary allergies, and of course, musicians from different stylistic backgrounds. There is a host of planning and management skills on top of the musical preparation required, and the students relish it.

Stepping outside the classroom provides immersion and means that:

  1. Students have ownership of their learning and actions
  2. Learning is integrated into life, where theoretical knowledge is applied and tested through experience
  3. Students actively reflect and practice real-time accountability as they learn.

Although when my students travel with me to America, English is a common language, there are distinct cultural differences when traveling to any other country, and effective relationships and communication take forethought and sometimes situations required careful navigation. Embracing differences of those beyond your ‘home’ community can facilitate promotion and reflection on civic agency, another important quality for us and our students to develop.

Not every programme can be expected to include a full international experience module, but there are certainly elements of both cross-discipline and cross-cultural communication that can be embedded into any curriculum, whether through a project like Connecting Classes, using hashtags on Twitter, or through other bespoke online projects.

Connection, communication, and learning all encompass far more than theoretical subject-knowledge. Within music, sound, and playing the instrument is a small part of teaching and professional interaction. Music requires confidence – self-efficacy beliefs, communication, everyday organisation, management, and interpersonal skills. By building and applying transferable skills alongside the discipline-specific skills, students are more prepared to step out and carve a niche in their future professional world. What better way to do that than as an active participant in various international fora? It does mean that we the teachers need to do significant networking, learning, and groundwork in order to fully participate and keep abreast of the changing landscape. It is worth the effort.

The world is a constantly developing place and even those we perceive as most distant to us are actually closer neighbours than we know.

screen-shot-2016-12-06-at-09-15-39

Twinkle twinkle little bat #MUS654

Speech, the melodic qualities therein, and a favourite nursery rhyme. Sounds like a #MUS654 task to me! This is my effort at listening to a nursery rhyme – one of my favourite versions of Twinkle twinkle, having an go at notating the speech, and playing it on the cello. I thought about reading one myself, but I knew that I would read it in an affected way just because I knew what the task was about. The idea is to listen for the melodic qualities in speech and to see if you can come close to replicating them on your instrument. It is all part of this week’s #MUS654 topic of What makes a melody?

Most English speakers have a surprisingly limited melodic range in their speaking voices compared to speakers of other languages. For this exercise I choose one of my favourite parts of the animated Alice in Wonderland, where the doormouse recites ‘Twinkle twinkle’ with a twist at the un-birthday party. Listen from 10 seconds to hear just the right bit:

and then I sat down at the piano, and copied the voice… and it was a bit messy:img_7191

 

You can see it was tricky to decide what notes it used. I had someone else listen and they agreed it started on B, but then said – it sounds like it’s in C.

and then I played it:

When played on the cello, it is completely removed from the original. Beside the ambiguity between the lovely cartoon mouse and my ‘interpretation’ of the notes, there is the great difference in the tonal quality. I have not spent a long time getting the articulation right – but I wonder what is possible? There are composers who do use voice as a basis for their compositions and they transform the vocal spoken lines into purely instrumental playing. Take Steve Reich’s Different Trains for example. There are great examples of using speech – listen to 3 min 20 where the recorded voice says ‘the great train from New York’ and the cello mimics this, and then later there is the line ‘going to Chicago’ that is played by the viola. There are more… see what you can hear:

 

Have you had a go at any of the tasks in this week’s session? Do! 🙂

Featured image by Cea + CC BY

Westminster Higher Education Forum 24 June 2015

Today I had the absolute pleasure of speaking at the Westminster Higher Education Forum Keynote Seminar event on ‘Technology in Higher Education ‐ best practice, skills and the student offer’, which was held in a lovely room in Whitehall, London. The morning was scheduled in two halves, each with keynotes followed by a panel of speakers and then questions. There was a very wide representation of the HE sector both on the platform and in the audience. The first session was hosted by Baroness Morgan of Huyton and the second session, where I spoke, was hosted by Lord Holmes of Richmond. He began the discussion by complimenting the delegates –  that there were so many doctors in the academic audience and he had never begun a PhD…. but somehow I am sure that there were no other Paralympic Gold Medal winners in the room (let alone someone who had won Gold 9 times). He chaired knowledgeably and with grace.

My topic was:

Supporting students and enhancing skills ‐ using online sources, social media and other technologies to assist learning

and I had 5 minutes to cover it.

Here’s what I said:

My Lord, ladies and gentlemen, I am an advocate of technology in learning at the University of Chichester – from creating videos with Panopto, files on Moodle, to the material that I self-host as an Open Sourced Learning supplement to an undergraduate module about creating a curriculum, designed to connect students and engage them with their skills across a range of media and technologies.

Today’s learners do not need encouragement to engage with technology, it is every bit a part of the fabric of their lives, just like tea and toast. Universities provide VLEs or LMS- which could be Moodle, Blackboard, or any number of platforms. Academics sometimes refer to these as different to the World-Wide-Wilderness of the internet. The internal ‘walled gardens’ are intended to be a safe environment for students to interact and develop their learning.

So why are some students reticent to engage with an internal system and seemingly more ready to use something like Facebook, which has a wholly different purpose?

The underlying issues are not always obvious. With an internal platform, (hopefully) the institution is aware of the controls, of who can see files or posts, and as a result of this, where data posted might end up.

Wider social media sites are commercial enterprises and often we, the users, are the product. This does not mean that external sites cannot be used effectively to forward learning, but it does mean that people- students and educators- need to be aware.

I for one am not aware of all the repercussions and ramifications of the way my data is used when I post online. Finding out those details is difficult, and even more challenging is understanding the fine print. If you think you know what you ‘let out’ for the world, go to the website www.takethislollipop.com and see what it reveals. An unrestricted advocacy of using anything out there is at the very least misinformed and at worst can be honestly dangerous.

Data, security, and the morality of informed consent aside, why might students favour various platforms and how can we encourage engagement?

To answer this, I will draw upon my experiences over the last few months…

Where I worked with 5 students on a collaborative project separate from their coursework. To do this we formed a closed group on Slack, which is a team management tool for business. When we began, these students did not stand out as early adopters of online learning or new technologies- in fact, one had actively avoided the internet, but, with a purpose, they became driven to accomplish goals and learned to use technology to their advantage – Tweeting, posting blogs, even exploring Kickstarter. The various avenues helped them develop, reflect on, and take forward the skills learned in their Instrumental / Vocal Teaching Music degree, for example Pete gave online Skype sessions, Victoria made instructional videos, and Jess mentored an American high school student Omar, who wanted to learn to be a songwriter. The music profession is changing, the way young learners experience music is changing, and teachers need to move forward too. In those three months we collected over 4 hrs of audio, 50GB of video, and over 50K words of planning, and correspondence, not to mention the associated links, files, recorded Skype calls, and the deliverable of an accepted abstract to present about their collaboration and use of technology at the Researching, Advancing & Inspiring Student Engagement conference this September.

Beside the physical engagement and digital literacy, they have gained confidence and experience that extends beyond the walls of any classroom. This became vital when we made the online collaborations face-to-face with a visit to the people we had been working with, north of Los Angeles. A high point was recording Omar’s first original song, with vocals, guitar, and strings.

Has technology played a big role in this? Most definitely yes.

Facilitation, openness, and integration beyond the formal learning space has enabled the learning processes and the transition from learner to practitioner to unfold organically.

Going back to my earlier question of internal vs. external and engagement:

Having the capability to shape the learning landscape of the platform – to make it their own – impacted my students greatly. In my experience, a key ingredient to participation and engagement with technology in learning is having a genuine sense of collaboration – at all stages. This includes being a co-creator, co-author, and co-learner – and then the platform, along with all those who use it – both teachers and students, will come alive.

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Photos taken by Roz Hall