We found 320 results that contain "classroom observation"
Posted on: #iteachmsu
PEDAGOGICAL DESIGN
Outlined Learning Objectives.
Up until this point, this guide has mostly focused on the instructor listing topics as opposed to objectives. While listing topics has a form of value, the topics may not communicate exactly what you hope students can achieve at the end of the course. For this reason, as much as possible an instructor should consider changing course topics to learning outcomes: concise statements describing the skills or abilities a student should have at the end of a course/unit.
Tips for writing learning objectives:
Begin each objective with the phrase, “After participating in this session, students should be able to…”
This is not how it may be phrased in your syllabus but will hopefully provide an effective brainstorming session on how to transform topics into objectives.
Choose verbs that are indicative of specific, measurable and observable behaviors which match desired level of knowledge or skill:
“Recall…”
“Describe…”
“Evaluate…”
“Create…”
Etc.
Write them as an outcome, not as a task.
Your objective should describe what students should be able to do/know as a result of the course/unit.
For example:
“Write a reflection on ______ .” is a task, not an outcome.
Teaching Methods.
Each instructor has their own approach to teaching. The general version of this approach has most likely already been listed in your syllabus. However, now you should consider how well your approach fits with the methods described in the syllabus itself and your goals as an educator. Here are some examples of teaching methods and why you may choose to use them. Reflect on what your own teaching method is and how it is incorporated throughout your syllabus.
Lecture-based learning:
Common for large groups, introducing a new topic, or delivering a complex lesson. This type of learning can be efficient for covering large amounts of information; however, it may decrease student engagement and encourage passive learning if done frequently.
Discussion-Based Learning:
Common for encouraging critical thinking, covering literature, philosophy or subjects that would benefit from multiple and diverse viewpoints. This type of learning can help promote active participation and deeper levels of understanding but can be time-consuming and run the risk of being dominated by a few participants if not moderated properly.
Inquiry-Based Learning:
Common in science and project-based learning, or areas where exploration is prioritized. This type of learning hopefully fosters curiosity and independent learning, however, relies heavily on student motivation so it requires heavy facilitation and planning.
Problem-Based Learning:
Common in applied fields such as medicine or engineering which rely on problem solving capabilities. This type of learning strongly develops analytical skills and problem solving but can be extremely challenging for students not used to open-ended tasks and is often affiliated with burnout.
Flipped Classroom:
Commonly used to engage students in higher-order thinking during class-time as opposed to presenting information. Ideally this will increase active learning and engagement during class but requires access to technology and relies on student motivation outside of class.
Differentiated Instruction:
Common in mixed-ability classrooms, this teaching method is tailored to different student learning styles, needs, and abilities. It is inclusive and student-centered, which may increase student/teacher relationships, but demands heavy planning and flexibility on the part of the instructor.
Montessori Method:
While more common in early development, this teaching technique encourages students to select activities from a range of options, which can encourage independence and self-motivation; however, it requires access to a lot of material and an extensive amount of planning from instructors.
Assessment Strategies.
Following the guide through each step means you already have some type of description of your assessments provided. Take this time to explain your strategy and reasoning behind those assessments.
Support
Be reflective of how you manage and support students in your class:
What implicit biases are built into your class and syllabus?
What is your stance on ableism?
Are their social/political motivations embedded in the syllabus?
Does your syllabus benefit one student over another?
If students are struggling financially, would that impact their ability to access resources for your class?
If students had a form of neurodivergence, how would that affect their performance in your class?
Do you favor one type of student over another?
What accommodation are you providing for students?
Here are some to consider:
Notes? Recorded Lectures? Audio recordings? Online attendance options?
Physical copies of materials? Electronic ones?
Extended test time? Alternate Test Locations?
Links to additional resources?
Assistive technology? Preferential seating?
Here is the time to demonstrate how you teach, set that clear expectation for students, and flesh out what it means for them to be in the class.
The Syllabus and Course Teaching
Outlined Learning Objectives.
Up until this point, this guide has mostly focused on the instructor listing topics as opposed to objectives. While listing topics has a form of value, the topics may not communicate exactly what you hope students can achieve at the end of the course. For this reason, as much as possible an instructor should consider changing course topics to learning outcomes: concise statements describing the skills or abilities a student should have at the end of a course/unit.
Tips for writing learning objectives:
Begin each objective with the phrase, “After participating in this session, students should be able to…”
This is not how it may be phrased in your syllabus but will hopefully provide an effective brainstorming session on how to transform topics into objectives.
Choose verbs that are indicative of specific, measurable and observable behaviors which match desired level of knowledge or skill:
“Recall…”
“Describe…”
“Evaluate…”
“Create…”
Etc.
Write them as an outcome, not as a task.
Your objective should describe what students should be able to do/know as a result of the course/unit.
For example:
“Write a reflection on ______ .” is a task, not an outcome.
Teaching Methods.
Each instructor has their own approach to teaching. The general version of this approach has most likely already been listed in your syllabus. However, now you should consider how well your approach fits with the methods described in the syllabus itself and your goals as an educator. Here are some examples of teaching methods and why you may choose to use them. Reflect on what your own teaching method is and how it is incorporated throughout your syllabus.
Lecture-based learning:
Common for large groups, introducing a new topic, or delivering a complex lesson. This type of learning can be efficient for covering large amounts of information; however, it may decrease student engagement and encourage passive learning if done frequently.
Discussion-Based Learning:
Common for encouraging critical thinking, covering literature, philosophy or subjects that would benefit from multiple and diverse viewpoints. This type of learning can help promote active participation and deeper levels of understanding but can be time-consuming and run the risk of being dominated by a few participants if not moderated properly.
Inquiry-Based Learning:
Common in science and project-based learning, or areas where exploration is prioritized. This type of learning hopefully fosters curiosity and independent learning, however, relies heavily on student motivation so it requires heavy facilitation and planning.
Problem-Based Learning:
Common in applied fields such as medicine or engineering which rely on problem solving capabilities. This type of learning strongly develops analytical skills and problem solving but can be extremely challenging for students not used to open-ended tasks and is often affiliated with burnout.
Flipped Classroom:
Commonly used to engage students in higher-order thinking during class-time as opposed to presenting information. Ideally this will increase active learning and engagement during class but requires access to technology and relies on student motivation outside of class.
Differentiated Instruction:
Common in mixed-ability classrooms, this teaching method is tailored to different student learning styles, needs, and abilities. It is inclusive and student-centered, which may increase student/teacher relationships, but demands heavy planning and flexibility on the part of the instructor.
Montessori Method:
While more common in early development, this teaching technique encourages students to select activities from a range of options, which can encourage independence and self-motivation; however, it requires access to a lot of material and an extensive amount of planning from instructors.
Assessment Strategies.
Following the guide through each step means you already have some type of description of your assessments provided. Take this time to explain your strategy and reasoning behind those assessments.
Support
Be reflective of how you manage and support students in your class:
What implicit biases are built into your class and syllabus?
What is your stance on ableism?
Are their social/political motivations embedded in the syllabus?
Does your syllabus benefit one student over another?
If students are struggling financially, would that impact their ability to access resources for your class?
If students had a form of neurodivergence, how would that affect their performance in your class?
Do you favor one type of student over another?
What accommodation are you providing for students?
Here are some to consider:
Notes? Recorded Lectures? Audio recordings? Online attendance options?
Physical copies of materials? Electronic ones?
Extended test time? Alternate Test Locations?
Links to additional resources?
Assistive technology? Preferential seating?
Here is the time to demonstrate how you teach, set that clear expectation for students, and flesh out what it means for them to be in the class.
Authored by:
Erik Flinn
Posted on: #iteachmsu
Outlined Learning Objectives.
Up until this point, this guid...
The Syllabus and Course Teaching
Outlined Learning Objectives.
Up until this point, this guid...
Authored by:
PEDAGOGICAL DESIGN
Monday, Apr 21, 2025
Posted on: #iteachmsu Educator Awards
PEDAGOGICAL DESIGN
Other Educator Units 2020 #iteachmsu Educator Award Recipients
The following is a list of the educators receiving the #iteachmsu Educator Award from Units that house educators beyond one college. For more information on these awards, check out the article entitled "#iteachmsu Educator Awards".
The Writing Center
Grace Pregent: Despite being new to MSU, Grace has already made a big difference at MSU. One of my advisees, a first-semester graduate student, worked under her supervision. Not only did he enjoy his work, but he got so much more than just a job and a pay check: he was welcomed into a positive, supportive, and encouraging community led by Grace and was mentored on much more than just how to do his job. Grace nudged him to present his work at a conference and gave him the confidence that he could actually do it. The student was experiencing a challenging phase of his life this semester, which could have easily sent him down into negativity land. But as he explained to me, it was Grace's ubiquitous and endless positivity, that became a bright light in his daily life at MSU, contributing to him successfully and confidently completing a difficult first semester.
Colton Wasitler: Colton has worked for The Writing Center @ MSU for many years with increasing levels of responsibility and commitment over time. He is the coordinator of our home base in Bessey Hall as well as our online satellite. Because of his work training consultants to conduct online sessions, we were well prepared to move our whole center online in this time of crisis. In addition, he worked tirelessly those first few days to get us going online and to make sure every consultant had the guidelines and resources they would need to function in this new environment. I truly appreciate his leadership, his mentorship of other consultants, and his good will and humor during all of it.
Center for Language teaching Advancement (CeLTA)
Elizabeth Ablan: Elizabeth joined our team in Fall 2019. Her primary duty was to assist with the Community Language School's (CLS) programming. She was very quick to understand what her responsibilities entailed and dived right into them. She's a very detailed-oriented person and makes sure that she does every task thoroughly and to the best of her ability. Her passion for language teaching and infectious collaborative spirit is very evident in her interactions with our teachers and volunteers. She often goes out of her way and beyond her duties to inculcate a sense of community in our unit by helping our student workers or anyone else in our unit that might need help. For instance, she initiated a discussion on how to keep our office fridge clean and organized. She took it upon herself to type up a chart explaining what needs to be stored on every shelf in the fridge. When we were planning a book sale of used books, she meticulously sorted all the book donations by language and organized them in our storage space. She has assisted multiple times with re-organizing our office space. She also streamlined the process for our professional development series and was very adept at understanding what protocols to follow with our invited speakers each week. Personally for me, she has been an enormous beam of support in running the Language School and managing all the administrative tasks so efficiently. Elizabeth's contribution to my team is tremendous! I appreciate her positivity, her work ethic and her attitude as a graduate student all while maintaining a full course load. A big 'thank you' for everything that you do!
Center for Statistical Training and Consulting (CSTAT)
Andrew Dennhardt: Andrew is a phenomenal research assistant for the Center for Statistical Training and Consulting (CSTAT). He provides excellent statistical collaboration and consultation services to our clients. Multiple clients have sent me unsolicited emails to tell me how valuable his help was to them in completing their research. They have praised his knowledge, communication skills, responsiveness, commitment, and professionalism. My own observations validate their comments. Andrew has excellent oral and written communication and collaboration skills. He listens carefully to people and thinks about what they say and how to respond. He respects the knowledge, expertise, perspective, and contributions that others bring to the table. Andrew sees the value in having stakeholders with diverse backgrounds coming together to jointly plan how to solve problems. I regularly give him clients who need help with rather complex research design and statistical analysis problems. He proposes feasible methods for rigorously addressing those problems, then helps the clients learn how to implement his suggestions and address other issues that come up along the way (e.g., identifying important constraints or aspects to situations that the client had not yet recognized were relevant). When Andrew hits the boundaries of his own knowledge, he starts searching for new resources and trying to expand those boundaries.
Bailey Scholars Program
Lorelei Blackburn: Lorelei is a BSP faculty fellow this year. She has had a very difficult section of ANR 210, but has done an excellent job stretching herself as the course convener to push the students to take ownership of their learning. You have helped to design a learning environment where students are able to build community and challenge ways of knowing. Bravo to you Lorelei!
The Graduate School
Melissa McDaniels: Melissa McDaniels is the best kind of Spartan educator, one who leaves MSU with a remarkable legacy of impact, touching not only those who were fortunate to work with her or be taught by her, but also those who benefit from her efforts behind the scenes to improve how teaching, learning, and mentoring are done at MSU. MSU Is grateful for her decade of service to teaching and learning! Anyone who has worked with Melissa has felt her impact, whether it has been in one of the workshops she's taught, in the orientations she has led, or in meetings where she advocates always for excellent teaching, learning, and mentoring. She is a skilled teacher and an effective policy maker, whose legacy at MSU will help ensure that future Spartans will benefit from teaching that is supported, valued, and celebrated. She is a national leader in supporting mentoring practices that honor people for their unique experiences, contributions, and aspirations and she leads with her beliefs: That everyone on our campus is capable of doing great things and that our individual uniqueness, put together, makes MSU an extraordinary place to learn, work, and grow. Thank you, Melissa, for your passion and dedication to learning. We are so grateful to have had you for as long as we did!
IT Services
Kevin Holtz: Kevin has provided in person support for some of most challenging teaching methods. He stepped up and configured and created guides for faculty to use classroom equipment in their offices and has provided critical in person support for lab courses.
Technology at MSU - Client Services
When MSU moved to remote teaching on March 11, the idea of "classroom support" changed instantly. Client Services staff helped faculty transition from the physical classroom to the virtual one through things like live lecture capture classrooms, providing streaming infrastructure for important information events, answering ever increasing numbers of service desk support calls and helping triage technical support across not only IT departments but campus as a whole. At every new challenge, they asked "how can we help?" By not only connecting faculty and students to the technology they needed to complete their work, but also supporting them as they learned an entirely new way of doing things.
Andrew Dennhardt, Aaron Algrim, Michael Sweet, Amin Elrashid, Ronald Southwick, Donald Morgan, Thong Hoang, Ronald Pranica, Dale Wegienka, John Hulbert, Linda Barrows, Kirk Bartling, Cindy Taphouse, Jeremy Jestila, Susan Dunn, Stephan Andre, Darius Bradley, Paul Phipps, Paul Sweitzer, Robin Ellsworth, Leo Sell, Sharron Wells, Angela Knauf, Cynthia Wallace, Joseph Murray, Mark Szymczak, Hao Quoc Lu, Dean Olson III, Blake House, Jeffrey Herrmann, William Balluff, Steven Jowett, Otty Turrentine, Jillene Pohl, Adell Flourry Jr., Victor Doe, Morene Dickman, Linda Beck, Wilson Ndovie, Stephen Asman, Shirl Rowley, Kimberly Davis, Laura Stevens, Terry Gillespie Jr., Lauri Stephens, Michael Walters, Stefan Ozminski, James Willson, Brandt Detmers, Timothy Skutt, Christopher Doerr, Robert Sisson II, Jonathan Schulz, Daniel Layne, Angela Kimmel, Charles Spagnuolo Jr, Chase Guzinski, Dustin Bacon, Renata Thompson, Angela Clum, Navidad Cassaday, Kathleen McGlynn, Melanie Phillips, Daniel Wyrembelski, Justin Baker, Aaron Richmond, Theodore Manko, Michael Snyder, Joseph Fromm, Chad Randall, Casey Jo Brassington, Elizabeth Hood, Bradley Williams, Scott Foreman, Jennifer Phillips, Michael Reed, Sean Will, Gordon Kiewiet, Erica Nedziwe, Jeniffer Robinson, Jeremy Gentges, Mark Seyka, Alexander Goff, Christopher Jones, Tonya Govereh, Kelly Wilcox, Michael Warner, Sean Collins, Matthew Evans, Brian Fraley, Erik Williams, John Sfreddo, Jacqueline Wilson, George Harris, Gabriel Cantu, Suporn Teng, Jane Carl, Sue Clark, Whitney Patterson, Paul Short, Thomas Marra, John Scott, David Sheppard, Karen Bailey, Jordan Stine, Gregory Forman, Ethan Begalka, Mohamed Abou Elseoud, Gregory Koerner, Chad Corkwell, Heather Atkinson, Alison Virag-McCann, Ronald Njau, Vinessa Webster, Kathryn Harger, Foster Whipple, Ryan Laorr, Claire Cowan, Bailee Droste, Jake Crandell, Madeline Smith, Benjamen Nienhouse, Lindsay Knuth, Anne Phillips, Joshua Hakes, John Nguyen-Tran, Amy Bransch, Allen Scheck, Mallory Crowner, Kyle Banks, Carlie Richardson, Dominic Colosimo, Jinny Bernotas, Hanna Foreman, Jeffrey Cunningham, Makenzie McDowell, Nicholas Hartman, Gregory Battley, Haley Rathkamp, Elsa Gallegos, Ryan Freemire, Tyler Michael, Rachel Macauley, Denzel Smith, Danie Gorentz, Jami Baker, Justin Walser, Jacob Tenney, Anslee Norris, Ryan Roberts, Wyatt Oistad, Anthony Rogers, Aaron Mundale, Eric Zhang, Jacob Garner, Daimon Emerick, Nickolas Battley, Jaison Balluff, Rachel Rumsey, Stephen Elmer, Kevin Holtz, Thomas Ruffley, David Littleton, Ian Walker, Robert McDonnell, Christopher Sibley, Elijah Corbin, Craig Smith, Madalyn Allen, David Palme, Joshua May, John Goodwin, Andrew Stine, Daniel Grusczynski, Brandon Mcsawby, Jared Utsunomiya, Devin Wilcox, John Senger, Sandros Rivera-Letcher, Brian Mitchell, Andrew Barnikow, Terrance Singleton, Clabe Hunt, Alaina Scheidel, Jacob Kingsley, Trent Keyton, Allem Mekonen, Eun Kyo Chung, Mary Catherine Canavan, Jolene Alto, Jillian Davis, Gabrielle-louise White Italia, Hillary Hemry, Dante Delorenzo, Randy Carnahan, Zoran Tomic-Bobas, Perry Truscon, Margaret Northcutt, Adithya Rao, Caitlin Parton, Lauren Gudritz, Tyler Coleman, Jeremy Balluff, Tyreece Banks, Sue Hurd, Dylan Mccarroll, Noah Luikart, Seth Swartout, Rostyslav Chen, Mary Magnotta, Jessica Knott, Devyn Boettcher, Dylan Hawthorne, Jonathan Miller, William Park, Braeden Berg, Derek Hamp, Joseph Roy, Quinn Sheppard, Alanna Bortle, Isaiah Orsborn, Brant Salinaz & Tabitha Hudson
Anyone can recognize a fellow Spartan for their contributions to MSU's teaching and learning mission or for how they made a lasting impression on your experience. All you have to do is click "Thank an Educator" in the left panel of iteach.msu.edu. From there you'll be directed to a form where you can enter the name, netID, and a short story of the educator you'd like to recognize.
The Writing Center
Grace Pregent: Despite being new to MSU, Grace has already made a big difference at MSU. One of my advisees, a first-semester graduate student, worked under her supervision. Not only did he enjoy his work, but he got so much more than just a job and a pay check: he was welcomed into a positive, supportive, and encouraging community led by Grace and was mentored on much more than just how to do his job. Grace nudged him to present his work at a conference and gave him the confidence that he could actually do it. The student was experiencing a challenging phase of his life this semester, which could have easily sent him down into negativity land. But as he explained to me, it was Grace's ubiquitous and endless positivity, that became a bright light in his daily life at MSU, contributing to him successfully and confidently completing a difficult first semester.
Colton Wasitler: Colton has worked for The Writing Center @ MSU for many years with increasing levels of responsibility and commitment over time. He is the coordinator of our home base in Bessey Hall as well as our online satellite. Because of his work training consultants to conduct online sessions, we were well prepared to move our whole center online in this time of crisis. In addition, he worked tirelessly those first few days to get us going online and to make sure every consultant had the guidelines and resources they would need to function in this new environment. I truly appreciate his leadership, his mentorship of other consultants, and his good will and humor during all of it.
Center for Language teaching Advancement (CeLTA)
Elizabeth Ablan: Elizabeth joined our team in Fall 2019. Her primary duty was to assist with the Community Language School's (CLS) programming. She was very quick to understand what her responsibilities entailed and dived right into them. She's a very detailed-oriented person and makes sure that she does every task thoroughly and to the best of her ability. Her passion for language teaching and infectious collaborative spirit is very evident in her interactions with our teachers and volunteers. She often goes out of her way and beyond her duties to inculcate a sense of community in our unit by helping our student workers or anyone else in our unit that might need help. For instance, she initiated a discussion on how to keep our office fridge clean and organized. She took it upon herself to type up a chart explaining what needs to be stored on every shelf in the fridge. When we were planning a book sale of used books, she meticulously sorted all the book donations by language and organized them in our storage space. She has assisted multiple times with re-organizing our office space. She also streamlined the process for our professional development series and was very adept at understanding what protocols to follow with our invited speakers each week. Personally for me, she has been an enormous beam of support in running the Language School and managing all the administrative tasks so efficiently. Elizabeth's contribution to my team is tremendous! I appreciate her positivity, her work ethic and her attitude as a graduate student all while maintaining a full course load. A big 'thank you' for everything that you do!
Center for Statistical Training and Consulting (CSTAT)
Andrew Dennhardt: Andrew is a phenomenal research assistant for the Center for Statistical Training and Consulting (CSTAT). He provides excellent statistical collaboration and consultation services to our clients. Multiple clients have sent me unsolicited emails to tell me how valuable his help was to them in completing their research. They have praised his knowledge, communication skills, responsiveness, commitment, and professionalism. My own observations validate their comments. Andrew has excellent oral and written communication and collaboration skills. He listens carefully to people and thinks about what they say and how to respond. He respects the knowledge, expertise, perspective, and contributions that others bring to the table. Andrew sees the value in having stakeholders with diverse backgrounds coming together to jointly plan how to solve problems. I regularly give him clients who need help with rather complex research design and statistical analysis problems. He proposes feasible methods for rigorously addressing those problems, then helps the clients learn how to implement his suggestions and address other issues that come up along the way (e.g., identifying important constraints or aspects to situations that the client had not yet recognized were relevant). When Andrew hits the boundaries of his own knowledge, he starts searching for new resources and trying to expand those boundaries.
Bailey Scholars Program
Lorelei Blackburn: Lorelei is a BSP faculty fellow this year. She has had a very difficult section of ANR 210, but has done an excellent job stretching herself as the course convener to push the students to take ownership of their learning. You have helped to design a learning environment where students are able to build community and challenge ways of knowing. Bravo to you Lorelei!
The Graduate School
Melissa McDaniels: Melissa McDaniels is the best kind of Spartan educator, one who leaves MSU with a remarkable legacy of impact, touching not only those who were fortunate to work with her or be taught by her, but also those who benefit from her efforts behind the scenes to improve how teaching, learning, and mentoring are done at MSU. MSU Is grateful for her decade of service to teaching and learning! Anyone who has worked with Melissa has felt her impact, whether it has been in one of the workshops she's taught, in the orientations she has led, or in meetings where she advocates always for excellent teaching, learning, and mentoring. She is a skilled teacher and an effective policy maker, whose legacy at MSU will help ensure that future Spartans will benefit from teaching that is supported, valued, and celebrated. She is a national leader in supporting mentoring practices that honor people for their unique experiences, contributions, and aspirations and she leads with her beliefs: That everyone on our campus is capable of doing great things and that our individual uniqueness, put together, makes MSU an extraordinary place to learn, work, and grow. Thank you, Melissa, for your passion and dedication to learning. We are so grateful to have had you for as long as we did!
IT Services
Kevin Holtz: Kevin has provided in person support for some of most challenging teaching methods. He stepped up and configured and created guides for faculty to use classroom equipment in their offices and has provided critical in person support for lab courses.
Technology at MSU - Client Services
When MSU moved to remote teaching on March 11, the idea of "classroom support" changed instantly. Client Services staff helped faculty transition from the physical classroom to the virtual one through things like live lecture capture classrooms, providing streaming infrastructure for important information events, answering ever increasing numbers of service desk support calls and helping triage technical support across not only IT departments but campus as a whole. At every new challenge, they asked "how can we help?" By not only connecting faculty and students to the technology they needed to complete their work, but also supporting them as they learned an entirely new way of doing things.
Andrew Dennhardt, Aaron Algrim, Michael Sweet, Amin Elrashid, Ronald Southwick, Donald Morgan, Thong Hoang, Ronald Pranica, Dale Wegienka, John Hulbert, Linda Barrows, Kirk Bartling, Cindy Taphouse, Jeremy Jestila, Susan Dunn, Stephan Andre, Darius Bradley, Paul Phipps, Paul Sweitzer, Robin Ellsworth, Leo Sell, Sharron Wells, Angela Knauf, Cynthia Wallace, Joseph Murray, Mark Szymczak, Hao Quoc Lu, Dean Olson III, Blake House, Jeffrey Herrmann, William Balluff, Steven Jowett, Otty Turrentine, Jillene Pohl, Adell Flourry Jr., Victor Doe, Morene Dickman, Linda Beck, Wilson Ndovie, Stephen Asman, Shirl Rowley, Kimberly Davis, Laura Stevens, Terry Gillespie Jr., Lauri Stephens, Michael Walters, Stefan Ozminski, James Willson, Brandt Detmers, Timothy Skutt, Christopher Doerr, Robert Sisson II, Jonathan Schulz, Daniel Layne, Angela Kimmel, Charles Spagnuolo Jr, Chase Guzinski, Dustin Bacon, Renata Thompson, Angela Clum, Navidad Cassaday, Kathleen McGlynn, Melanie Phillips, Daniel Wyrembelski, Justin Baker, Aaron Richmond, Theodore Manko, Michael Snyder, Joseph Fromm, Chad Randall, Casey Jo Brassington, Elizabeth Hood, Bradley Williams, Scott Foreman, Jennifer Phillips, Michael Reed, Sean Will, Gordon Kiewiet, Erica Nedziwe, Jeniffer Robinson, Jeremy Gentges, Mark Seyka, Alexander Goff, Christopher Jones, Tonya Govereh, Kelly Wilcox, Michael Warner, Sean Collins, Matthew Evans, Brian Fraley, Erik Williams, John Sfreddo, Jacqueline Wilson, George Harris, Gabriel Cantu, Suporn Teng, Jane Carl, Sue Clark, Whitney Patterson, Paul Short, Thomas Marra, John Scott, David Sheppard, Karen Bailey, Jordan Stine, Gregory Forman, Ethan Begalka, Mohamed Abou Elseoud, Gregory Koerner, Chad Corkwell, Heather Atkinson, Alison Virag-McCann, Ronald Njau, Vinessa Webster, Kathryn Harger, Foster Whipple, Ryan Laorr, Claire Cowan, Bailee Droste, Jake Crandell, Madeline Smith, Benjamen Nienhouse, Lindsay Knuth, Anne Phillips, Joshua Hakes, John Nguyen-Tran, Amy Bransch, Allen Scheck, Mallory Crowner, Kyle Banks, Carlie Richardson, Dominic Colosimo, Jinny Bernotas, Hanna Foreman, Jeffrey Cunningham, Makenzie McDowell, Nicholas Hartman, Gregory Battley, Haley Rathkamp, Elsa Gallegos, Ryan Freemire, Tyler Michael, Rachel Macauley, Denzel Smith, Danie Gorentz, Jami Baker, Justin Walser, Jacob Tenney, Anslee Norris, Ryan Roberts, Wyatt Oistad, Anthony Rogers, Aaron Mundale, Eric Zhang, Jacob Garner, Daimon Emerick, Nickolas Battley, Jaison Balluff, Rachel Rumsey, Stephen Elmer, Kevin Holtz, Thomas Ruffley, David Littleton, Ian Walker, Robert McDonnell, Christopher Sibley, Elijah Corbin, Craig Smith, Madalyn Allen, David Palme, Joshua May, John Goodwin, Andrew Stine, Daniel Grusczynski, Brandon Mcsawby, Jared Utsunomiya, Devin Wilcox, John Senger, Sandros Rivera-Letcher, Brian Mitchell, Andrew Barnikow, Terrance Singleton, Clabe Hunt, Alaina Scheidel, Jacob Kingsley, Trent Keyton, Allem Mekonen, Eun Kyo Chung, Mary Catherine Canavan, Jolene Alto, Jillian Davis, Gabrielle-louise White Italia, Hillary Hemry, Dante Delorenzo, Randy Carnahan, Zoran Tomic-Bobas, Perry Truscon, Margaret Northcutt, Adithya Rao, Caitlin Parton, Lauren Gudritz, Tyler Coleman, Jeremy Balluff, Tyreece Banks, Sue Hurd, Dylan Mccarroll, Noah Luikart, Seth Swartout, Rostyslav Chen, Mary Magnotta, Jessica Knott, Devyn Boettcher, Dylan Hawthorne, Jonathan Miller, William Park, Braeden Berg, Derek Hamp, Joseph Roy, Quinn Sheppard, Alanna Bortle, Isaiah Orsborn, Brant Salinaz & Tabitha Hudson
Anyone can recognize a fellow Spartan for their contributions to MSU's teaching and learning mission or for how they made a lasting impression on your experience. All you have to do is click "Thank an Educator" in the left panel of iteach.msu.edu. From there you'll be directed to a form where you can enter the name, netID, and a short story of the educator you'd like to recognize.
Posted by:
Makena Neal
Posted on: #iteachmsu Educator Awards
Other Educator Units 2020 #iteachmsu Educator Award Recipients
The following is a list of the educators receiving the #iteachmsu E...
Posted by:
PEDAGOGICAL DESIGN
Monday, Jun 29, 2020
Posted on: #iteachmsu
NAVIGATING CONTEXT
Important Syllabus Statements: Emergencies
Here is a model of an emergency statement to be included in your syllabus:“In the event of an emergency arising within the classroom setting, the professor/instructor will notify the students of actions that may be required to ensure their safety. It is the responsibility of each student to understand the evacuation or “shelter-in-place” guidelines posted in each facility and to act in a safe manner.
If an evacuation is ordered, please ensure that you do it in a safe manner and facilitate those around you that may not otherwise be able to safely leave. You are allowed to maintain cellular devices in a silent mode during this course, in order to receive emergency messages distributed by the university. When a student receives such a notification or observes an emergency situation, they should immediately bring it to the attention of the professor/instructor in a way that least alarms your fellow students." Check out this article for more information on syllabus basics.
Also note:The Michigan State University Police Department is responsible for developing and distributing Timely Warning and Emergency Notification messages. These messages are intended to warn the community about certain crimes and notify it of potentially dangerous situations on or near campus. These messages inform community members about incidents that may pose an ongoing threat and provide information to promote safety and prevent similar crimes. The decision to issue a Timely Warning or Emergency Notification is based on a variety of factors.The Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act (or Clery Act) is intended to provide students and their families, as higher education consumers, with accurate, complete and timely information about safety on campus. One of the mandates of the Act is to provide these Timely Warnings and Emergency Notifications to the campus community. These warnings and notifications can be delivered via three main platforms: voice messages to phones, e-mail and SMS text messaging.Students and families can learn more, and access the ALERT portal at alert.msu.edu. Photo by DDP on Unsplash
If an evacuation is ordered, please ensure that you do it in a safe manner and facilitate those around you that may not otherwise be able to safely leave. You are allowed to maintain cellular devices in a silent mode during this course, in order to receive emergency messages distributed by the university. When a student receives such a notification or observes an emergency situation, they should immediately bring it to the attention of the professor/instructor in a way that least alarms your fellow students." Check out this article for more information on syllabus basics.
Also note:The Michigan State University Police Department is responsible for developing and distributing Timely Warning and Emergency Notification messages. These messages are intended to warn the community about certain crimes and notify it of potentially dangerous situations on or near campus. These messages inform community members about incidents that may pose an ongoing threat and provide information to promote safety and prevent similar crimes. The decision to issue a Timely Warning or Emergency Notification is based on a variety of factors.The Jeanne Clery Disclosure of Campus Security Policy and Campus Crime Statistics Act (or Clery Act) is intended to provide students and their families, as higher education consumers, with accurate, complete and timely information about safety on campus. One of the mandates of the Act is to provide these Timely Warnings and Emergency Notifications to the campus community. These warnings and notifications can be delivered via three main platforms: voice messages to phones, e-mail and SMS text messaging.Students and families can learn more, and access the ALERT portal at alert.msu.edu. Photo by DDP on Unsplash
Authored by:
Patti Stewart
Posted on: #iteachmsu
Important Syllabus Statements: Emergencies
Here is a model of an emergency statement to be included in your sy...
Authored by:
NAVIGATING CONTEXT
Thursday, Aug 19, 2021
Posted on: #iteachmsu
ASSESSING LEARNING
Writing Measurable Outcomes for Students from SOIREE
If you read the article on backward design, you might already have a list of inspiration to develop your learning outcomes for your course. To help you draft refined outcomes for your learners, let's dive into student learning outcomes!
Learning Outcomes
Learning outcomes help students (and us!) to know what students will be able to demonstrate in knowledge, skills, and values upon completing a module or course. Clear outcomes provide the foundation for evaluating the effectiveness of teaching and learning.
There are three essential components of a measurable learning outcome:
Student learning behaviors
Assessment methods
Student performance criteria
Student Learning Behaviors
Focus on student behavior by using specific action verbs that are observable. This should focus on what the student will be able to demonstrate. This is the student-facing side of the objectives so that students know what their goals are for the module or course to self-reflect and track their own progress towards goals. Examples include:
Students will be able to identify and apply Universal Design for Learning (UDL) Guidelines to their current teaching context.
Students will be able to evaluate and create accessible content.
Students will be able to organize a course's structure using backward design.
To help you identify measurable verbs, you can reference this Bloom's Taxonomy Action Verbs resource.
Assessment Methods
Select appropriate assessment methods. You will likely consider multiple assessment methods. You should select the method that allows you to best determine the extent to which the stated learning outcome is achieved. We recommend employing a variety of qualitative and quantitative methods.
Example assessment methods:
Exit slips
Multimedia projects
Quizzes
Lab reports
Presentations
Essay
Tests
Practicum/internship feedback from field instructor or employer
Discussions
Student-produced videos
State, national, and international standardized assessments for licensing, etc.
You will learn more about assessment opportunities and practices on Day 3. For now, you might consider browsing this list from Iowa State University.
Student Performance Criteria
Select and clearly communicate the criteria that students will be evaluated with. Performance criteria express specific and measurable terms that are acceptable in your course. Here are a few examples of criteria for success based on a few standard assessment methods:
Scoring rubric: All students will score an average of 8.5/10. None will score less than 7.0.
Survey: 85% of students surveyed will demonstrate an increase in their understanding of UDL.
Test:75% of all students will score at or above the average across sections of the course. No more than 25% will score lower than one standard deviation from the section average.
Putting it all Together
Once we've identified the three essential components for the learning outcome, we can piece it together for our records and to guide our assessment of teaching and learning taking place in our course. Here is one example of how this might look:
Module objective (what the student sees): Students will be able to organize a course's structure using backward design.
Add in the assessment method: By the end of the SOIREE program, students will produce an organized course map for at least one unit using backward design.
Add in the performance criteria: By the end of the SOIREE program, students will produce an organized course map for at least one unit using backward design and 100% of students will complete all categories for that unit in the template provided.
If you're writing measurable learning outcomes for the first time, it can be tricky to get into the swing of things. Arizona State University has developed an Objectives Builder Tool that can assist you in developing your skills.
SOIREE Team:
Design Lead: Sarah Wellman
Content Leads: Kate Sonka, Stephen Thomas, and Jeremy Van Hof
Content Authors: Jason Archer, Kevin Henley, David Howe, Summer Issawi, Leslie Johnson, Rashad Muhammad, Nick Noel, Candace Robertson, Scott Schopieray, Jessica Sender, Daniel Trego, Valeta Wensloff, and Sue Halick
Learning Outcomes
Learning outcomes help students (and us!) to know what students will be able to demonstrate in knowledge, skills, and values upon completing a module or course. Clear outcomes provide the foundation for evaluating the effectiveness of teaching and learning.
There are three essential components of a measurable learning outcome:
Student learning behaviors
Assessment methods
Student performance criteria
Student Learning Behaviors
Focus on student behavior by using specific action verbs that are observable. This should focus on what the student will be able to demonstrate. This is the student-facing side of the objectives so that students know what their goals are for the module or course to self-reflect and track their own progress towards goals. Examples include:
Students will be able to identify and apply Universal Design for Learning (UDL) Guidelines to their current teaching context.
Students will be able to evaluate and create accessible content.
Students will be able to organize a course's structure using backward design.
To help you identify measurable verbs, you can reference this Bloom's Taxonomy Action Verbs resource.
Assessment Methods
Select appropriate assessment methods. You will likely consider multiple assessment methods. You should select the method that allows you to best determine the extent to which the stated learning outcome is achieved. We recommend employing a variety of qualitative and quantitative methods.
Example assessment methods:
Exit slips
Multimedia projects
Quizzes
Lab reports
Presentations
Essay
Tests
Practicum/internship feedback from field instructor or employer
Discussions
Student-produced videos
State, national, and international standardized assessments for licensing, etc.
You will learn more about assessment opportunities and practices on Day 3. For now, you might consider browsing this list from Iowa State University.
Student Performance Criteria
Select and clearly communicate the criteria that students will be evaluated with. Performance criteria express specific and measurable terms that are acceptable in your course. Here are a few examples of criteria for success based on a few standard assessment methods:
Scoring rubric: All students will score an average of 8.5/10. None will score less than 7.0.
Survey: 85% of students surveyed will demonstrate an increase in their understanding of UDL.
Test:75% of all students will score at or above the average across sections of the course. No more than 25% will score lower than one standard deviation from the section average.
Putting it all Together
Once we've identified the three essential components for the learning outcome, we can piece it together for our records and to guide our assessment of teaching and learning taking place in our course. Here is one example of how this might look:
Module objective (what the student sees): Students will be able to organize a course's structure using backward design.
Add in the assessment method: By the end of the SOIREE program, students will produce an organized course map for at least one unit using backward design.
Add in the performance criteria: By the end of the SOIREE program, students will produce an organized course map for at least one unit using backward design and 100% of students will complete all categories for that unit in the template provided.
If you're writing measurable learning outcomes for the first time, it can be tricky to get into the swing of things. Arizona State University has developed an Objectives Builder Tool that can assist you in developing your skills.
SOIREE Team:
Design Lead: Sarah Wellman
Content Leads: Kate Sonka, Stephen Thomas, and Jeremy Van Hof
Content Authors: Jason Archer, Kevin Henley, David Howe, Summer Issawi, Leslie Johnson, Rashad Muhammad, Nick Noel, Candace Robertson, Scott Schopieray, Jessica Sender, Daniel Trego, Valeta Wensloff, and Sue Halick
Authored by:
SOIREE Team
Posted on: #iteachmsu
Writing Measurable Outcomes for Students from SOIREE
If you read the article on backward design, you might already have ...
Authored by:
ASSESSING LEARNING
Tuesday, Feb 2, 2021
Posted on: Teaching Toolkit Tailgate
PEDAGOGICAL DESIGN
Avoiding Learning Myths
Photo by Kimberly Farmer on Unsplash
The Learning Styles Myth
The Myth: “I’m a visual learner,” Similar to the left vs. right brain, another prevalent neuromyth in education is the belief that students have distinct learning styles–meaning that their ways of learning (i.e., visual, kinesthetic, auditory, etc) require different teaching practices [1].
The Facts: While some students may prefer different types of information delivery, there is no existing research to date to suggest that there is any benefit in teaching them in their preferred learning style [2]. In fact, everybody uses a mix of these styles, and some of us are dominant in one or the other. We may also use one style in a situation and another under different circumstances [1].
The Alternative: There is a variety of ways to engage students with the material they are learning. One of the most popular teaching methods that incorporates both student-centered learning and the multiple representations of information is the Universal Design for Learning (UDL). UDL is a set of principles that helps teachers design flexible learning environments that adapt to the variability of learners.
The Critical Window of Time for Learning Myth
The Myth: “I’m too old to learn this.” This misconception is often linked to the “myth of three,” which postulates that the brain only retains information during a critical period–rendering the first three years of a child’s life decisive for future development and success in life.
The Facts: While critical periods have been observed in animal behavior, scientists have agreed that these are not as delineated in human beings, and instead favor the term “sensitive periods” which can be impacted by many factors [3]. Instead, research in neuroscience shows that different brain systems showcase different types and amount of changes with experience. This is called plasticity–the capacity that the brain has to change through learning [4]. So while some skills can be acquired during optimal times (i.e., grammar rules), it doesn’t mean that exposure and training beyond that could not lead to changes and learning.
The Alternative: Many educators have been enthusiastic about the idea of a “growth mindset” in opposition to a fixed learning pathway. While the idea is popular, there is also growing concern that teachers might not have the resources to use the concept effectively in the classroom. For instance, a recent nationwide survey of K-12 teachers reported that 85% of them wanted more professional development in the area [5].
How to Avoid Neuromyths
Start with skepticism! Look beyond mere claims and dig a little deeper to research the science behind these claims. For instance, research shows that we get seduced by explanations that are accompanied by images of the brain, no matter how random they are. This doesn’t mean being a complete pessimist, but to try to strike a balance between popular facts and scientific research. Is the claim being sold as a cure-all? What does the evidence say? Does it sound too simple? One of the best ways to do so is to be informed and knowledgeable about the brain.
Resources
http://www.oecd.org/education/ceri/34926352.pdf
https://www.psychologicalscience.org/journals/pspi
http://www.oecd.org/education/ceri/neuromyth1.htm
https://www.edcan.ca/
https://www.edweek.org/media/ewrc_mindsetintheclassroom_sept2016.pdf
The Learning Styles Myth
The Myth: “I’m a visual learner,” Similar to the left vs. right brain, another prevalent neuromyth in education is the belief that students have distinct learning styles–meaning that their ways of learning (i.e., visual, kinesthetic, auditory, etc) require different teaching practices [1].
The Facts: While some students may prefer different types of information delivery, there is no existing research to date to suggest that there is any benefit in teaching them in their preferred learning style [2]. In fact, everybody uses a mix of these styles, and some of us are dominant in one or the other. We may also use one style in a situation and another under different circumstances [1].
The Alternative: There is a variety of ways to engage students with the material they are learning. One of the most popular teaching methods that incorporates both student-centered learning and the multiple representations of information is the Universal Design for Learning (UDL). UDL is a set of principles that helps teachers design flexible learning environments that adapt to the variability of learners.
The Critical Window of Time for Learning Myth
The Myth: “I’m too old to learn this.” This misconception is often linked to the “myth of three,” which postulates that the brain only retains information during a critical period–rendering the first three years of a child’s life decisive for future development and success in life.
The Facts: While critical periods have been observed in animal behavior, scientists have agreed that these are not as delineated in human beings, and instead favor the term “sensitive periods” which can be impacted by many factors [3]. Instead, research in neuroscience shows that different brain systems showcase different types and amount of changes with experience. This is called plasticity–the capacity that the brain has to change through learning [4]. So while some skills can be acquired during optimal times (i.e., grammar rules), it doesn’t mean that exposure and training beyond that could not lead to changes and learning.
The Alternative: Many educators have been enthusiastic about the idea of a “growth mindset” in opposition to a fixed learning pathway. While the idea is popular, there is also growing concern that teachers might not have the resources to use the concept effectively in the classroom. For instance, a recent nationwide survey of K-12 teachers reported that 85% of them wanted more professional development in the area [5].
How to Avoid Neuromyths
Start with skepticism! Look beyond mere claims and dig a little deeper to research the science behind these claims. For instance, research shows that we get seduced by explanations that are accompanied by images of the brain, no matter how random they are. This doesn’t mean being a complete pessimist, but to try to strike a balance between popular facts and scientific research. Is the claim being sold as a cure-all? What does the evidence say? Does it sound too simple? One of the best ways to do so is to be informed and knowledgeable about the brain.
Resources
http://www.oecd.org/education/ceri/34926352.pdf
https://www.psychologicalscience.org/journals/pspi
http://www.oecd.org/education/ceri/neuromyth1.htm
https://www.edcan.ca/
https://www.edweek.org/media/ewrc_mindsetintheclassroom_sept2016.pdf
Authored by:
Sarah Gretter
Posted on: Teaching Toolkit Tailgate
Avoiding Learning Myths
Photo by Kimberly Farmer on Unsplash
The Learning Styles Myt...
The Learning Styles Myt...
Authored by:
PEDAGOGICAL DESIGN
Thursday, Jul 30, 2020
Posted on: New Technologies
Flipgrid: Bringing Conversation to Online Learning
If you are looking for ways to bring some life back into your remote or blended instruction, Flipgrid may be the tool for you. At its core it is a video conversation tool, but in practice it is something much more. So let me point out some of the features that I think you will like about Flipgrid.
Free Educational Accounts: That's right! Since MSU is on Office365, all MSU faculty, staff, and students have Outlook accounts; which are recognized as Microsoft accounts. Therefore, you can use MSU email to setup your free flipgrid account
Classroom Structrure: Flipgrid uses the term "Grid" to refer to a community space. For educational purposes, think of the Grid as a representation of your classroom. In each Grid, you can create collection of topics. Think of the "Topics" as your class assignments.
Rich Posting Features: By default, video posts are 1:30, but you can make them longer or shorter. This helps to make every student post an equal length ; and encourages students to organize their thoughts ahead of time. Here are some features related to posting that make it fun:
Abilty to add text and sticky notes to your video posts
Apply different color themes, backgrounds, pixelate faces, etc
Students can also add emojis
Detailed Feedback: Instructor can provide feedback on student videos. Students can provide feedback on other student videos. Rubric can be applied to the prompt. Students can see how many views there videos are getting.
Topic Repository: Lastly, there is a content library filled with discipline specifc content created by educators in the Flipgrid community that instructors can use in their own student Topics (assignments). These can be filtered by Audience, Subject, and Keyword. Each of these Topics contain information about the usage and the engagment scores.
These are just some the cool features that I have come across on flip grid. If you would like a thorough overview of the tool, check out this tutorial by the New EdTech Classroom:
Free Educational Accounts: That's right! Since MSU is on Office365, all MSU faculty, staff, and students have Outlook accounts; which are recognized as Microsoft accounts. Therefore, you can use MSU email to setup your free flipgrid account
Classroom Structrure: Flipgrid uses the term "Grid" to refer to a community space. For educational purposes, think of the Grid as a representation of your classroom. In each Grid, you can create collection of topics. Think of the "Topics" as your class assignments.
Rich Posting Features: By default, video posts are 1:30, but you can make them longer or shorter. This helps to make every student post an equal length ; and encourages students to organize their thoughts ahead of time. Here are some features related to posting that make it fun:
Abilty to add text and sticky notes to your video posts
Apply different color themes, backgrounds, pixelate faces, etc
Students can also add emojis
Detailed Feedback: Instructor can provide feedback on student videos. Students can provide feedback on other student videos. Rubric can be applied to the prompt. Students can see how many views there videos are getting.
Topic Repository: Lastly, there is a content library filled with discipline specifc content created by educators in the Flipgrid community that instructors can use in their own student Topics (assignments). These can be filtered by Audience, Subject, and Keyword. Each of these Topics contain information about the usage and the engagment scores.
These are just some the cool features that I have come across on flip grid. If you would like a thorough overview of the tool, check out this tutorial by the New EdTech Classroom:
Authored by:
Rashad Muhammad
Posted on: New Technologies
Flipgrid: Bringing Conversation to Online Learning
If you are looking for ways to bring some life back into your remot...
Authored by:
Saturday, Jun 13, 2020
Posted on: #iteachmsu
NAVIGATING CONTEXT
Application of Studio Culture in University Schools of Music
A central part of the student experience as a music major in a school or department of music is the studio. Studios are essentially a home-away-from-home for students and is where some of the most fruitful learning and social opportunities can occur. One could equate studios with working in a research lab in the sciences. With this in mind, the culture and atmosphere of studios and how studios interact with others are central to the culture and effectiveness of the larger school or department.
Music students often enter higher education with a fairly high standard of what classroom culture looks like. Ensemble music courses that music students likely took in high school, such as band, choir, and orchestra, foster a high-level classroom culture and community by the nature of the activity. This creates an expectation that music education, at any level and in any situation, will have that same sort of cooperation and community. The ensemble nature of large group instruction fosters a strong sense of shared identity and a culture that defines everything from day-to-day classroom routine to learner outcomes. University music programs (departments, schools, colleges, or conservatories) are structured in order to teach, perform, and experience music in a variety of ways. While the large ensemble (band, choir, orchestra, opera, etc) is a significant part of the school – and perhaps the most visible to the general public – learning also occurs in traditional classrooms and labs where foundational knowledge such as music theory, music history, music technology, music education, and aural skills are taught.
The core of a college or university music program or conservatory, however, is the studio. Each area of performance is organized by a studio and led by an applied teacher. At Michigan State, for example, within the College of Music there are areas of study for composition, conducting, jazz, voice, brass, woodwinds, percussion, strings and piano. Each of these areas consist of studios led by artist-teachers. The woodwind area, for example, consists of studios for flute, oboe, bassoon, clarinet, and saxophone and an applied teacher for each of those studios. For many students, especially graduate students, they elect to come to certain school to specifically study with that applied teacher. While students participate in ensembles, take classroom courses, and are educated through several avenues, the studio teacher is their major professor and advisor, and typically has the most contact time and influence on that student.
Studios in schools of music, however, can sometimes seem isolated from each other. This can occur for several valid reasons and not the fault of any one student or faculty member. Unlike large ensembles, where cooperation and a mutual understanding of each member’s role is an essential aspect to music-making, studios often focus on specific pedagogical goals based around the expertise of the individual teacher. And studios can have very specific ideas of what they want their “sound” or approach to playing to be. This can sometimes lead to issues in understanding the priorities of other studios and creates a divide in the school where philosophical conflicts may arise between teaching goals and strategies. This conflict is not the fault of the teachers, and usually is not caused or perpetuated by faculty. Faculty typically understand this dynamic because they have a vision of what they want their studio to be and each understands that other faculty may have different goals. While it is possible they may disagree with certain choices in other studios, each teacher comes to the job with their own unique set of skills and priorities. As long as students are choosing to come to the school, being successful within the school, and being productive musicians contributing to the field after school – the teacher’s work is often judged as a success.
Sometimes the breakdown occurs with how students perceive the work of other studios. Learning does not occur in a vacuum. While the studio is often the hub of the learning, much of a student’s time is spent in performing ensembles. It is in cooperative spaces like this that the breakdown can come to a head. Teachers have different priorities and students have different goals. When one person’s goal rubs against another’s goal, conflict can arise. Each instrument has inherent attributes that make them unique and different from others – and therefore difficult to compare. Oboist have to learn to make reeds, tubists may also need to learn euphonium, violinists sometimes also learn viola, trombonists may need to learn to read tenor clef, and saxophonists are always stretching their skills with extended performance techniques. Every instrument has its own challenge, and the fundamental knowledge necessary before moving onto the next step of learning varies considerably between all of them. Furthermore, every student focuses their study in order to be competitive for differing jobs following graduation. Students seeking college teaching positions may need to study theory pedagogy in addition to learning to play their instrument well, while other students may focus on obtaining an orchestral playing position – which has very specific skills you need to perfect. These are facts often overlooked in the frustration that occurs when goals do not align in rehearsal. Understanding where students are coming from and the different paths and pacing each needs to take to meet different goals is something that my colleague and fellow DMA student Evan Harger calls “vocational empathy.” These unique and varied paths sometimes create a flawed perception of what really is progress.
Large ensembles are led by conductors who guide the direction, philosophy, and culture of the learning environment. Conductors navigate through the web of individual philosophies of each studio and performer to create an ensemble experience that proves to be a successful composite of a variety of pedagogical approaches. In addition to large ensembles, another significant performance opportunity for students are chamber ensembles. In these small groups, students have more autonomy and sometimes conflict can arise between contrasting ideologies and rehearsal priorities. It is not uncommon in chamber ensembles, where there is little faculty input and the music-making is purely student-led, to have differing approaches to the ensemble experience. Everything from rehearsal strategies and what components of the music needs addressing to ideas about performance practice and interpretation can differ and pose potential conflicts. While these are issues and topics to consider in any ensemble opportunity, even in the professional ranks, academia sometimes creates environments where students develop tunnel vision to their own learning biases and objectives.
In order to create healthier ensemble experiences, understanding and developing positive studio culture allows students to not only feel comfortable and foster deeper learning within their studios but also allows for more meaningful cross-studio learning. By allowing students the opportunity to understand the focus and approaches of other studios, students are able to more easily collaborate with those who might approach the same musical issue from an entirely different angle. This awareness of multiple ways to view the same idea, or even being presented with new ideas entirely, creates an environment where cooperation happens more deeply, naturally, and genuinely. This allows for the development of stronger ensemble skills in rehearsal and contributes to more authentic performances. Additionally, this awareness of why certain studios focus on particular aspects allows for students to be better colleagues in future professional, academic, and business environments. We approach conflict and problem-solving through a lens developed in rehearsal and through conversations in the studios. For future teachers and professors, we have a deeper toolbox of instructional strategies to pick from to use in our own future classrooms and studios. This shared knowledge combats the issue of tunnel-vision-learning that limits our capacity for performance as well as the capacity for understanding, cooperation, and growth.
An awareness of vocational empathy creates an avenue where students can share what they value in their studios and as individual learners in order to better understand the values of others. To be a successful 21st century musician, a wide variety of skills are necessary. But what we focus on, the degree to which one does, and the end goal of that study is something that cannot be compared. Richard Floyd, a noted music educator and State Director of Music Emeritus for Texas, calls this space where students are engaged and seeking to learn in a variety of ways a “happy workshop.” And within this workshop, there are a lot of people doing a lot of different jobs in a lot of different ways that all work together to teach and learn from each other. This healthy culture knocks on the door of Paulo Freire’s view that teaching and learning are interchangeable and that the student and teacher do both.
Through working with the Graduate School as a Leadership Development Fellow, I was able to dig into what defines a successful studio culture and how we can best connect these cultures to foster a positive and productive learning environment within the entire College of Music. This past year served as essentially a fact-finding year: defining, through research and student voice, what a productive studio culture looks like and where conflict can arise and how to work through conflict. Higher education music rarely defines this awareness and implications of how studio culture effects an entire school. By and large, music studios look very similar today as they did twenty-five or even fifty years ago. Generally, many teachers still teach the way they were taught. MSU is fortunate that we have many innovative and progressive educators, but the notion of still teaching as we were taught is all too common in academia.
To define best practices in studio culture and to compare the music field to other fields, I looked for defining qualities in classroom culture in higher education. Some of the most relevant ideas of studio culture came from architecture. The American Institute of Architecture Students In-StudioBlog travels to architecture studios across the country, asking many of the same questions that we are asking in the College of Music.
Describe your studio culture.
Give one tip that helped you succeed in studio.
What motivated you to work hard in studio?
What aspect of your studio experience do you think will help you get a job?
What can professors do to create a helpful and supportive studio culture?
What should a high school student understand about studio at my university?
What can the College do to help improve your studio experience?
What would be your ideal studio care package?
I love my studio because….
Schools of architecture have a fairly well-thought out approach to what culture looks like in their studios. The Princeton University School of Architecture has a detailed “Studio Culture Policy” which aligns well with similar concerns in a music studio. From speaking with students in the College of Music, topics raised in these architecture policies are similar to concerns shared here – and I would venture to say any classroom can benefit from tough conversations about culture and productive, cooperative learning environments. These same conversations can apply to other close learning environments in the arts such as dance studios and theater programs; but they are equally relevant and impactful in scientific research labs.
Through the Graduate School’s Leadership Development Fellowship, we’ve created a forum where music students can share what makes their studio’s unique, what brought them to study at MSU, and also concerns or suggestions they have to improve our College. In an open environment where all can share ideas, we not only create a space where cooperation and understanding are built, but also allow ourselves to deepen our own toolbox that can be used in the professional world and in future classrooms and studios. An initial meeting of this forum quickly veered away from talking about our own studios and personal interests, but to larger questions in the discipline of music: ideas about music and its role in global citizenship, entrepreneurial skills in the performing arts, repertoire selection and variety, and diversity and representation. These are important topics beyond the scope of studio culture, but agreement exists that each studio can make a significant difference in these areas. Studios can be the start of grassroot change in tackling bigger issues in music and music education. When we come together to talk about these significant issues and how each studio confronts them, we are making positive change – not only in our studios and the College of Music – but in music and music-making at large. This year we just barely scratched the surface of the impact that we can have on understanding and developing the culture in our studios. From the initial research and student conversations, it is apparent that these ideas make a meaningful difference on our learning environment in real ways that will have impacts far beyond the walls of the College of Music.
Music students often enter higher education with a fairly high standard of what classroom culture looks like. Ensemble music courses that music students likely took in high school, such as band, choir, and orchestra, foster a high-level classroom culture and community by the nature of the activity. This creates an expectation that music education, at any level and in any situation, will have that same sort of cooperation and community. The ensemble nature of large group instruction fosters a strong sense of shared identity and a culture that defines everything from day-to-day classroom routine to learner outcomes. University music programs (departments, schools, colleges, or conservatories) are structured in order to teach, perform, and experience music in a variety of ways. While the large ensemble (band, choir, orchestra, opera, etc) is a significant part of the school – and perhaps the most visible to the general public – learning also occurs in traditional classrooms and labs where foundational knowledge such as music theory, music history, music technology, music education, and aural skills are taught.
The core of a college or university music program or conservatory, however, is the studio. Each area of performance is organized by a studio and led by an applied teacher. At Michigan State, for example, within the College of Music there are areas of study for composition, conducting, jazz, voice, brass, woodwinds, percussion, strings and piano. Each of these areas consist of studios led by artist-teachers. The woodwind area, for example, consists of studios for flute, oboe, bassoon, clarinet, and saxophone and an applied teacher for each of those studios. For many students, especially graduate students, they elect to come to certain school to specifically study with that applied teacher. While students participate in ensembles, take classroom courses, and are educated through several avenues, the studio teacher is their major professor and advisor, and typically has the most contact time and influence on that student.
Studios in schools of music, however, can sometimes seem isolated from each other. This can occur for several valid reasons and not the fault of any one student or faculty member. Unlike large ensembles, where cooperation and a mutual understanding of each member’s role is an essential aspect to music-making, studios often focus on specific pedagogical goals based around the expertise of the individual teacher. And studios can have very specific ideas of what they want their “sound” or approach to playing to be. This can sometimes lead to issues in understanding the priorities of other studios and creates a divide in the school where philosophical conflicts may arise between teaching goals and strategies. This conflict is not the fault of the teachers, and usually is not caused or perpetuated by faculty. Faculty typically understand this dynamic because they have a vision of what they want their studio to be and each understands that other faculty may have different goals. While it is possible they may disagree with certain choices in other studios, each teacher comes to the job with their own unique set of skills and priorities. As long as students are choosing to come to the school, being successful within the school, and being productive musicians contributing to the field after school – the teacher’s work is often judged as a success.
Sometimes the breakdown occurs with how students perceive the work of other studios. Learning does not occur in a vacuum. While the studio is often the hub of the learning, much of a student’s time is spent in performing ensembles. It is in cooperative spaces like this that the breakdown can come to a head. Teachers have different priorities and students have different goals. When one person’s goal rubs against another’s goal, conflict can arise. Each instrument has inherent attributes that make them unique and different from others – and therefore difficult to compare. Oboist have to learn to make reeds, tubists may also need to learn euphonium, violinists sometimes also learn viola, trombonists may need to learn to read tenor clef, and saxophonists are always stretching their skills with extended performance techniques. Every instrument has its own challenge, and the fundamental knowledge necessary before moving onto the next step of learning varies considerably between all of them. Furthermore, every student focuses their study in order to be competitive for differing jobs following graduation. Students seeking college teaching positions may need to study theory pedagogy in addition to learning to play their instrument well, while other students may focus on obtaining an orchestral playing position – which has very specific skills you need to perfect. These are facts often overlooked in the frustration that occurs when goals do not align in rehearsal. Understanding where students are coming from and the different paths and pacing each needs to take to meet different goals is something that my colleague and fellow DMA student Evan Harger calls “vocational empathy.” These unique and varied paths sometimes create a flawed perception of what really is progress.
Large ensembles are led by conductors who guide the direction, philosophy, and culture of the learning environment. Conductors navigate through the web of individual philosophies of each studio and performer to create an ensemble experience that proves to be a successful composite of a variety of pedagogical approaches. In addition to large ensembles, another significant performance opportunity for students are chamber ensembles. In these small groups, students have more autonomy and sometimes conflict can arise between contrasting ideologies and rehearsal priorities. It is not uncommon in chamber ensembles, where there is little faculty input and the music-making is purely student-led, to have differing approaches to the ensemble experience. Everything from rehearsal strategies and what components of the music needs addressing to ideas about performance practice and interpretation can differ and pose potential conflicts. While these are issues and topics to consider in any ensemble opportunity, even in the professional ranks, academia sometimes creates environments where students develop tunnel vision to their own learning biases and objectives.
In order to create healthier ensemble experiences, understanding and developing positive studio culture allows students to not only feel comfortable and foster deeper learning within their studios but also allows for more meaningful cross-studio learning. By allowing students the opportunity to understand the focus and approaches of other studios, students are able to more easily collaborate with those who might approach the same musical issue from an entirely different angle. This awareness of multiple ways to view the same idea, or even being presented with new ideas entirely, creates an environment where cooperation happens more deeply, naturally, and genuinely. This allows for the development of stronger ensemble skills in rehearsal and contributes to more authentic performances. Additionally, this awareness of why certain studios focus on particular aspects allows for students to be better colleagues in future professional, academic, and business environments. We approach conflict and problem-solving through a lens developed in rehearsal and through conversations in the studios. For future teachers and professors, we have a deeper toolbox of instructional strategies to pick from to use in our own future classrooms and studios. This shared knowledge combats the issue of tunnel-vision-learning that limits our capacity for performance as well as the capacity for understanding, cooperation, and growth.
An awareness of vocational empathy creates an avenue where students can share what they value in their studios and as individual learners in order to better understand the values of others. To be a successful 21st century musician, a wide variety of skills are necessary. But what we focus on, the degree to which one does, and the end goal of that study is something that cannot be compared. Richard Floyd, a noted music educator and State Director of Music Emeritus for Texas, calls this space where students are engaged and seeking to learn in a variety of ways a “happy workshop.” And within this workshop, there are a lot of people doing a lot of different jobs in a lot of different ways that all work together to teach and learn from each other. This healthy culture knocks on the door of Paulo Freire’s view that teaching and learning are interchangeable and that the student and teacher do both.
Through working with the Graduate School as a Leadership Development Fellow, I was able to dig into what defines a successful studio culture and how we can best connect these cultures to foster a positive and productive learning environment within the entire College of Music. This past year served as essentially a fact-finding year: defining, through research and student voice, what a productive studio culture looks like and where conflict can arise and how to work through conflict. Higher education music rarely defines this awareness and implications of how studio culture effects an entire school. By and large, music studios look very similar today as they did twenty-five or even fifty years ago. Generally, many teachers still teach the way they were taught. MSU is fortunate that we have many innovative and progressive educators, but the notion of still teaching as we were taught is all too common in academia.
To define best practices in studio culture and to compare the music field to other fields, I looked for defining qualities in classroom culture in higher education. Some of the most relevant ideas of studio culture came from architecture. The American Institute of Architecture Students In-StudioBlog travels to architecture studios across the country, asking many of the same questions that we are asking in the College of Music.
Describe your studio culture.
Give one tip that helped you succeed in studio.
What motivated you to work hard in studio?
What aspect of your studio experience do you think will help you get a job?
What can professors do to create a helpful and supportive studio culture?
What should a high school student understand about studio at my university?
What can the College do to help improve your studio experience?
What would be your ideal studio care package?
I love my studio because….
Schools of architecture have a fairly well-thought out approach to what culture looks like in their studios. The Princeton University School of Architecture has a detailed “Studio Culture Policy” which aligns well with similar concerns in a music studio. From speaking with students in the College of Music, topics raised in these architecture policies are similar to concerns shared here – and I would venture to say any classroom can benefit from tough conversations about culture and productive, cooperative learning environments. These same conversations can apply to other close learning environments in the arts such as dance studios and theater programs; but they are equally relevant and impactful in scientific research labs.
Through the Graduate School’s Leadership Development Fellowship, we’ve created a forum where music students can share what makes their studio’s unique, what brought them to study at MSU, and also concerns or suggestions they have to improve our College. In an open environment where all can share ideas, we not only create a space where cooperation and understanding are built, but also allow ourselves to deepen our own toolbox that can be used in the professional world and in future classrooms and studios. An initial meeting of this forum quickly veered away from talking about our own studios and personal interests, but to larger questions in the discipline of music: ideas about music and its role in global citizenship, entrepreneurial skills in the performing arts, repertoire selection and variety, and diversity and representation. These are important topics beyond the scope of studio culture, but agreement exists that each studio can make a significant difference in these areas. Studios can be the start of grassroot change in tackling bigger issues in music and music education. When we come together to talk about these significant issues and how each studio confronts them, we are making positive change – not only in our studios and the College of Music – but in music and music-making at large. This year we just barely scratched the surface of the impact that we can have on understanding and developing the culture in our studios. From the initial research and student conversations, it is apparent that these ideas make a meaningful difference on our learning environment in real ways that will have impacts far beyond the walls of the College of Music.
Authored by:
Hunter Kopczynski
Posted on: #iteachmsu
Application of Studio Culture in University Schools of Music
A central part of the student experience as a music major in a scho...
Authored by:
NAVIGATING CONTEXT
Wednesday, May 20, 2020
Posted on: #iteachmsu
PEDAGOGICAL DESIGN
Team Seating Charts for Large Enrollment Courses
Want to create teams in your class but are unsure how to help them find one another in the classroom? Try a seating chart! Seating chart diagrams illustrate the classroom that you are in and have groups of chairs labeled with team numbers.It's difficult, though, to find an image of a bird's eye view of your classroom, so when I started teaching several years ago, I made my own. I went to the classroom before the semester started and recorded how many rows, how many seats in each row on either side of the aisles, and any spacing between rows. I used that information to build a model of the classroom in PowerPoint, using tiny squares to represent each chair. Then, I overlayed larger, numbered squares on top of four tiny squares to represent where student teams would sit in the room. Bam! I had a seating chart diagram in PowerPoint.I created teams on CATME, listed all the team members for each team in the PowerPoint (about 5 teams per slide next to the seating chart), and then shared that PowerPoint on D2L before class. I also presented it during class. Students either came into the room knowing their team number or watched the PowerPoint scroll through the team lists (which were either next to or below the seating chart). It usually took students about 5 to 10 minutes after class began to get settled into their new spots. A few students needed help finding each other but were typically fine coming up to someone already seated and just confirming with them that they were the same team number.I created seating charts for several rooms across campus and am sharing them in the PowerPoint below. You might be lucky and are using one of the rooms that I have used. Otherwise, take the one that most closely represents your classroom and edit the "chairs" as needed by moving, deleting, or copying and pasting the squares to make more chairs and rows. The first few slides in the PowerPoint provide more details on how to edit your seating chart.I hope you find this tool useful in promoting teamwork in your courses!Seating Chart Presentations.pptx (Make sure that you are logged into your MSU account to access it. You will have view-only privileges so download it to your computer or OneDrive.)
Authored by:
Andrea Bierema
Posted on: #iteachmsu
Team Seating Charts for Large Enrollment Courses
Want to create teams in your class but are unsure how to help them ...
Authored by:
PEDAGOGICAL DESIGN
Wednesday, Apr 17, 2024