While helping New England Conservatory’s Music-in-Education students to prepare and propose Guided Internships, I have begun to realize the extent of complexity —but also, opportunity— involved in teacher education and the creation of teaching artists programs that serve schools and other learning communities. As MIE Program Coordinator, I am faced with the challenge of ensuring that student-proposed Guided Internships be productive experiences for both the interns involved (usually as teaching artists) and for the host organization (i.e, a community program or school) they are conducting their internship at.

Students who propose internship ideas come with a wide variety of prior teaching experiences, and the goals/expectations they set for their internships vary just as much. Most students, even freshmen, have some cursory teaching experience from high school; for example, being a mentor for younger high school peers. Others have already taught college-level courses, led summer programs, or consider themselves lifelong teachers. The MIE Guided Internship Program is designed, however, as a set of individualized/independent projects, and it is usually the approach to pre-planning and documenting the internship (and not the actual teaching component) that poses the most challenges. It is during these phases (internship pre-planning and documentation) that Guided Interns receive hefty doses of mentorship from MIE faculty and MIE Research Center staff.

To what extent can a research center, like the MIE Research Center, play in the planning of guided internships?

Respected educational policy researcher and teacher education advocate Gail Burnaford, of Florida Atlantic University (and formerly, Northwestern University), suggests that by taking a stance in “teacher action research,” teachers can reach new levels of understanding student learning, as well as reform their own understandings of personal learning processes. [Note: Incidentally, I’ve found Burnaford’s article to be very useful, and refer to it often, throughout my own work.] Burnaford writes,

Professional development [Guided Internships] that assumes an action research stance . . . means taking small slices of music, small slices of classroom episodes or video vignettes, and with teachers and artists, asking, ‘What’s going on here? What is happening? What do we see?’ The process involves interviewing children and young people about the experience . . . Developing research questions that are valuable to both teachers and artists can promote dialogue and enrich the actual teaching that occurs when artists visit classrooms.

One of the initial steps we encourage students to take, when planning their Guided Internships, is the formulation of overarching inquiry or research questions. Even questions that seem simple at first (i.e., “What’s going on here? What do we see?”) may actually require quite a bit of planning to answer thoughtfully. Because the answers to these questions, and the questions themselves, are at the forefront of determining what kinds of artifacts are collected for the intern’s portfolio, it is important for interns to be very thorough as they plan the collection of said documentation.

Burnaford outlines some of the more common approaches to documentation:

The methods of teacher action research provide a number of ways to do this: collecting field notes, looking at video, doing a lot of listening to recordings—not of performances, but of student thinking, of children talking with each other about their art. These reflective methods (Wolf & Pistone, 1991) are intended to improve children’s performance and achievement; they are valuable as tools to contribute to evaluation of arts initiatives; they are also effective approaches to professional development for adults in schools.

Some interns, but not all, are able to see the immediate value of having these various artifact types in their internship portfolios, and are able to structure them into their lessons; for example, through class assignments, private lessons, conversations with mentor teachers or school/community center administrators, personal reflections, and MIE seminar work. For other interns (such as those less familiar with the portfolio process, or with less teaching experience), I direct them to the following passage from Burnaford’s article:

Gardner’s four roles for students who are engaged in the arts (Gardner, 1973) are useful frameworks for professional development of teaching artists, music teachers, and classroom teachers. The four roles, composer, audience member, critic, and performer give artists and teachers a frame or empty outline to use in order to ask the inquiry questions, ‘Why is the child doing this? What is she learning? What is he expressing? What did I as the teacher or artist do to help? What can I be doing next?’ . . . Teacher learning is the way in to student learning; teachers need to experience all four of those roles too.

I find Burnaford’s reminder (that Gardner’s four roles are also applicable to professional artists and educators) to be a refreshing and welcoming statement germane to the emergent workforce of artist-teacher-scholars: that the personae that result from the triangulation of Artistry, Teaching, and Scholarship truly incorporate all four of Gardner’s roles.

-Randy

Quotations used in this post are from “Crossing Boundaries: The Role of Higher Education in Professional Development with Arts Partnerships,” written by Gail Burnaford for the Journal for Learning Through Music (Summer 2003). Guided interns of all experience levels can benefit from readings found in the Journal for Music-in-Education and its previous incarnation, the Journal for Learning Through Music. Both journals are available for free, online at the MIE National Consortium’s website, www.music-in-education.org

Randy Wong is Program Coordinator for the Center for Music-in-Education and Information Architect for the Music-in-Education National Consortium.

From the Journal for Music-in-Education:

This first section of the Journal for Music-in-Education tells the stories of several musical artists at different points in their careers: a promising young composer, a celebrated concert pianist, an extensively recorded improvisation artist, and a recent conservatory graduate embarking on a career in world music.

These portraits are not intended to foreground the impressive trajectory of their musical accomplishments, but rather to draw out a clearer understanding of how a life in music can be defined by the deep yearning to learn, teach, serve, and connect with others. These portraits show—in the words of the artists themselves and in commentary from their mentors and peers—that musical endeavors take on greater depth through a broad range of social encounters, role modeling, reflective thinking, and community involvement, all of which are becoming better understood as essential to the successful education of the performing artist in society today.

Thus, the enterprise of learning music for the highly trained artist, as represented in these chapters, takes on a particular significance as a “transformative”model for public school education. Time-lapse documentation of Julia Carey’s childhood notations presents an intriguing mosaic of how children’s understanding of music evolves over time. Yet her simultaneously expanding interests in academic excellence and role modeling through community engagement provide the larger picture of a musician preparing herself for rich and mutually satisfying connections to people and thus for meaningful contributions to society itself. Lorin Hollander’s precocious sense of music’s interdisciplinary association with physics,literature,and psychology and his depiction of personal transformation through mentorship can help educators appreciate the potential contributions of musical understanding to young children’s cognitive, aesthetic, and social-emotional wellness and to the solution of systemic social problems, such as the disillusionment ofour youth,cultural intolerance, or violence in our schools and among nations.

The divergent roles musicians play in society is also emphasized in the reflections by Michael Cain and Randy Wong. Both provide extensive detail of their experiences sidestepping their early classical training and choosing to “take delight”in exploring other forms of musical genre and culture. Here again, the evolving models of musicians and music in education are seen from the perspective of how engagement in ensemble improvisation and world music outside the conventions of classical traditions can support our youth, who yearn to connect contemporary modes and media of self-expression to our changing society,as Mr.Cainputs it,“around the world and around the block.”

• Download JMIE 2007, Part I. Yearning to Connect: The Enterprise of Music and Learning [2 MB, .pdf]

The MIE Guided Internship Program at New England Conservatory is more than a resume-furthering, experience-garnering entry point into teaching. Through the MIE Research Center’s process for planning and evaluating student-initiated Guided Internships, Conservatory students find opportunities to explore the merits of action research, curriculum planning, data collection, and administrative responsibility.

In her article, “Crossing Boundaries: The Role of Higher Education in Professional Development with Arts Partnerships,” MIENC Site Director and educator Dr. Gail Burnaford writes:

We have found that Gardner’s four roles for students who are engaged in the arts (Gardner, 1973) are useful frameworks for professional development of teaching artists, music teachers, and classrooms teachers. The four roles, composer, audience member, critic, and performer give artists and teachers a frame or empty outline to use in order to ask the inquiry questions, “Why is the child doing this? What is she learning? What is he expressing? What did I as the teacher or artist do to help? What can I be doing next?” (Burnaford, 2003)

I would like to suggest that what Burnaford is describing is at the heart of MIE Guided Internships: that at any given point in time, Conservatory students conducting internships can pause from their work, and choose one of Gardner’s perspectives from which to analyze their work. That it’s in the synthesis of these types of roles, such as in the Artist-Teacher-Scholar model, from which the MIE Guided Internship takes form.

In my work (as MIE Program Coordinator) with current MIE students and recent alumni, I find myself explaining the merits of the Guided Internship Program from this very perspective. Even after students have completed their Internships, they can find ways of understanding their experience from x different role or persona, despite having focused their documentation (most often a process-portfolio) from the perspective of y. (This take-away is yet another reason why we, as MIE Faculty & Staff, are explicit about the importance of rich documentation in student work).

Burnaford goes on to write:

Teacher learning is the way in to student learning; teachers need to experience all four of those roles too. In a professional development context, teachers need to compose; teachers need to practice those roles — even music teachers, because they haven’t done that in the professiona setting all of the time.

Again, I wholeheartedly agree with Gail; and in fact, our MIE Guided Internship Program helps to support the point she is making. Larry Scripp sometimes refers to the Artist-Teacher-Scholar framework as being an entry-point into entrepreneurship, and the proof of this is in the Guided Internships that our students initiate. Some of our students’ more ambitious projects have included: Teaching Solfege via hip-hop beats; coaching (and arranging for) quartets of violin/viola/2 cellos; exploring connections between poetry and rhythms with kindergartens; and a whole host of students conducting various research projects in the MIE Research Center.

–Randy