Wednesday, December 15, 2010

How many hours should your students (and you) study?

Hi all,

This is a post from Motley Fool, an online investment community. The particular post is by Wendy, a very bright woman (chemist), who saved lots (lived below her means) and, when she lost her job, had enough money to retire to Washington state (Sequim, a lovely place!). She took a job teaching chemistry at the local community college this fall, and I quote below most of her post. This is an issue for us as conductors/students/teachers because it deals with the contemporary student and their expectations of what it takes to learn--in particular, how much study it takes to learn well. For anyone in music, this is a critical skill. Her post:

As some of you may know, I have been teaching chemistry at a local community college. 

The course is college-level freshman chemistry for science majors, with a very fine textbook. (There are 2 lower-level chemistry courses for non-science majors and for preparation.) 

I was told to make my course equivalent to freshman general chemistry at University of Washington (UW), a world-class college. The mandate of the community college is to provide low-cost freshman/sophomore credits, but to qualify students to transfer and get their 4-year degree at UW. They need to be competent enough to take higher-level courses at UW. To make them happy with high grades but without the competence would do them no favors. They would simply fail later.

To prepare the equivalent course, I accessed the UW labs online. We had the equipment for most of them, and we performed the labs. The students actually did well in the lab.

To maintain the same level of quality as UW, I told the students they would have to study at least 10 hours a week (this is standard for chemistry classes) and do the homework problems without referring to the book. 

Although I gave online open-book multiple choice tests like other instructors, the midterm and final were closed-book tests. These were based on homework problems and labs that they did with their own hands and wrote up in reports. They were expected to memorize the names of chemicals, to figure out ionic charges from the periodic table, to determine dilutions, to know how to titrate acids and bases, to balance redox reactions, to calculate enthalpy, etc. The usual freshman chemistry stuff.

In addition to the lectures and labs, I began doing hours of extra, out-of-class lectures to students who requested them. I also started team problem-solving, since they seemed to zone out when I solved the problems on the white board.

Of the original 22 students, 10 dropped out. Of the 12 that stuck it out, 2 got As, 2 got Bs, 3 got Cs and 5 got Ds. The ones who got Ds were unable to write a simple chemical equation, even after they had been intensively drilled in it.

The average grade in my class was 2.0. I'm absolutely sure that my class would have done the same (or worse) in the equivalent class at UW.

The average grade for this same class from 2005-2010 was 3.5. (at least 4 different instructors.) Either I'm teaching badly...or I'm asking for a level of performance that is straight out of the textbook but far more difficult than other instructors. 

I asked the department head to see my teacher evaluation, since I want to improve my teaching performance. One of the questions was telling.

17.Which best describes the number of hours per week you study for this class?
Amount                    #
Less than 1 hour/week   2 18.18%
1-3   hrs/week           1  9.09%
4-6   hrs/week           3 27.27%
7-9   hrs/week           2 18.18%
10 hrs or more per week   3 27.27%


Most of the class hated memorization. They hated closed-book tests - they are used to open-book multiple-choice tests (easy for instructors, because the computer marks the test and records the grades). They are used to being spoon-fed everything they need to know in lectures. They are used to Googling and open books. They didn't believe me when I told them that the only way to get good at solving problems is to solve many problems. 

The grades lined up pretty precisely with the study times.

Today, I found this.

http://education-portal.com/articles/Working_Hard_or_Hardly_...


Working Hard or Hardly Working? Analysis Shows Decline in Studying Among Today's College Students

Jul 08, 2010

Researchers Philip Babcock and Mindy Marks analyzed data from time use surveys given to American college and university students over a 40 year span. They found a significant drop in academic time investment across all types of students, suggesting that a decline in student input may be leading to a larger slump in productivity.

Analyzing data from time use surveys spanning 40 years, Babcock and Marks found a shocking 67% reduction in the number of hours today's college students spend cracking the books each week. That figure even applies to the golden students with perfect SAT scores and flawless GPAs - the researchers found that the drop was broad-based, showing up across all student demographics, choice of major and composition of schools.

Why, if students are performing well, do the hours they spend studying matter?...
 [end quote]

Never mind the sociology babble that follows. 

Study hours matter because learning and proficiency take time. Memorization of new information takes time. Learning how to solve problems takes time. That is even true of superior students with great focus and retentive memories, like me. It's even more true of average students who are constantly distracted by social media, texting, etc., like today's  students.

There were students in my class who simply couldn't learn and retain chemistry, though they did study hard. But half the class didn't even try, if you count the ones who didn't study and the ones who dropped out.

Going back to Jeff's discussion of expectations, it boils down to reality. 

The standard of living depends on productivity. Real productivity, which comes from real work. 

Several students in the class were disappointed. Not too surprising! They are used to succeeding for just being there. 

So, what does that mean for us? If you're a teacher, how much do you demand of your students--not just in any academic classes, but in your choir? If you're a grad student, how much time do you spend studying for your academic classes? As a conductor, how many hours do you put in with score study?

I had a lovely note from one of my choir members this fall:

Also, just wanted to say that, since I've been in the choir for three years now, I've noticed some changes.  I remember my first year the instructor asked us to practice something for the following Monday.  When Monday came, I remember asking the other tenors if they had practiced, and one of them literally laughed at my question.
Although I'm sure we could practice more than we do, there is a huge difference in how much the members take the choir and its director seriously.  Keep in mind that, when I first joined the choir as a sophomore, I was one of the youngest members, and the choir was much older.  Now, the choir is much younger as a whole than it was when I joined, and yet is acting with more maturity and approaching the music with more responsibility.  I think we know that we still have a lot of work to do, but I can really see that you're building the choir's culture up.

I'd be interested in your reactions, especially those of you who belong to this generation.

Wednesday, October 27, 2010

Monteverdi Vespers!

Friday, Oct. 29 I will conduct the Monteverdi 1610 Vespers with the UNT Collegium Singers, members of the Baroque Orchestra and added instrumental guests.

This isn't unique in this 400th anniversary year! There are literally hundreds of performances across the country. But it's such a great and unique masterpiece that it's wonderful it's getting so many performances. I hope they won't slow down too much after this year.

I have a long history with the Vespers, first conducting it in 1976 in Seattle--with sackbuts and cornetti. It wasn't the best of performances, but I learned a lot and did another in 1978 which was very good by the standards of the time. It was done by Seattle Pro Musica as a pre-convention concert for the National AGO (American Guild of Organists) convention. We performed in St. Mark's Cathedral, which at that time had a fabulous space at the front of a very resonant church, including an extension, which made a great place to perform.

I had very good soloists and instrumentalists. Stephen Stubbs, who's gone on to fame with his ensemble, Tragicomedia, and as co-director of the Boston Early Music Festival, played the Vespers for the first time on his first chittarone, just before leaving for Europe.

The next time I did the Vespers was in Edmonton in 2000 with Pro Coro Canada, tenors Paul Elliott and Colin Balzer, the Whole Noyse Consort, and Ray Nurse's Pacific Baroque Orchestra. This was a terrific performance, the first in Edmonton (in Alberta, actually).

The work has such unique instrumentation that the pros who play this work have been getting lots of work this year. The members of the Whole Noyse Consort (with whom I've done both the Vespers and Orfeo) have been traveling the country (and Canada) doing performances this year--I think close to 50.

Some other time I'll talk about the challenges of doing this work--suffice it to say that it's worth it in every way!

Saturday, September 18, 2010

It's official--this will be my last season with Pro Coro Canada

It was truly a tough decision--I've loved my time working with Pro Coro and it's been a huge part of my life these past eleven years--but with my job at UNT I can no longer offer Pro Coro the time and focus they need in an Artistic Director. When I interviewed for the job in 1998 and did an audition concert (I was also a guest conductor in 1996) I told them that if they offered me the job,  Pro Coro would not be a"gig" . . . that I would only take the position of Artistic Director with a long-term view towards what would be best for the development of the choir. And I believe I've done that.

I've focused on whatever is the the current concert, of course, but also constantly think about the health of the choir, of what repertoire will advance the choir's abilities, and helping the choir grow in both the technical and musical/expressive realms. Certainly the choir is able to work faster now and perform better than in the past. We've done some great repertoire and have done both new works--our work with Allan Bevan has been of particular importance, but we've done other marvelous commissions as well--and brought works like Monteverdi's 1610 Vespers to Edmonton (and Alberta) for the first time.

I established the idea that a chorus at this level can and should bring in guest conductors on a regular basis, much as a orchestra does (I'll write a post in greater depth on this later). It offers much to the choir and to the audience in Edmonton--each guest brings their own particular expertise and/or repertoire to us, and it means that the choir is also stimulated by having someone prioritize things differently than I might, and also gives them greater flexibility. The other educational institutions in Edmonton have also benefited, as many of our guests have done masterclasses for their conducting students or worked with their choirs. Pro Coro Canada and Edmonton have been richer for working with Len Ratlaff (several times), Maria Guinand of Venezuela (twice), Anders Eby and Gary Graden of Sweden, Ivars Taurins of the Tafelmusik Baroque Orchestra, and Mark Bailey of the Yale Russian Chorus in an all-Ukrainian concert (Edmonton has the largest population of people of Ukrainian background in North America). And I can't leave out our Associate Conductor, Trent Worthington, who's always done great work with the choir and always offers me his superb and knowledgeable perspective. Thanks, Trent!

I will also greatly miss my many friends in Edmonton: choir members, board members, supporters, and other musical colleagues. And I hope I'll be asked back from time to time as a guest. But I know that no matter what, I've developed friendships which will survive long into the future.

It's a bittersweet time, but made easier by knowing that these transitions of leadership, particularly after a period as long as twelve years, will bring someone new and exciting to Pro Coro, which will be enormously energizing for the choir and organization, and hopefully our audience as well.

Friday, July 16, 2010

Kinda cool!

I recently saw that there was a DVD of Gergiev conducting the Brahms Requiem with the Rotterdamm Philharmonic. Noting the date, I thought, that's probably the performance I prepared, so ordered a copy. It was very cool to see the recording listed a certain person as choirmaster for the Swedish Radio Choir!

Wednesday, June 23, 2010

Summer Reading 4

A terrific book for teachers is Teach Like a Champion: 49 Techniques that Put Students on the Path to College by Doug Lemov.

Lemov, who is managing director of Uncommon Schools (a charter school program), spent a lot of time observing master teachers to see what techniques they use. He's collected 49 techniques and describes them in detail in this book. He also includes a DVD, referenced throughout, which shows examples of teachers using the techniques, incredibly important to understand (and eventually being able to apply) the techniques yourself.

There is a lot about classroom management, an area that is so incredibly challenging for new teachers--and without it, not a lot of learning can take place.

But there's much more as well, ways to drive excellence in your classroom.

Much of this can be fairly easily adapted to the choral situation, but what would be great (and a great doctoral topic) would be to follow through in observing and filming choral master teachers with a view towards these techniques (or new ones) to see how they're applied.

You could also build a great course for soon-to-be student teachers around this book.

Don't think it's only for K-12 (even though that's its stated level) there's much for the college/university teacher or leader of community or church choirs as well. The principles don't change!

Tuesday, June 22, 2010

Repertoire: pre-1983

Here's the last post on repertoire/programs with various ensembles. It includes my time at Mt. Holyoke College (I'll have to fill out the repertoire here sometime), the first years with the Pacific NW Bach Festival, and the seven years with Seattle Pro Musica (which I founded). I started Pro Musica with a chamber choir, then in the second year started a group (instrumental and vocal) devoted to performing Bach cantatas once a month. I was inspired to do this after watching Helmuth Rilling do a Kantate-Fest at the Gedächtniskirche in Stuttgart in the fall of 1971. After working with the instrumentalists of the Bach Ensemble and for choral/orchestral works with the Pro Musica Singers, we also did a chamber orchestra the last three years. This was a terrific experience and I did 71 different programs in the 7 years I conducting that ensemble.

I haven't included 10 years of being a church musician as well, which did include a lot of repertoire--2 years at a small Lutheran Church (I did my first Bach cantata there: Christlag in Todesbanden) and 8 years at University United Methodist Temple.


1980-1983

From 1980-1983 I taught at Mt. Holyoke College in Massachusetts—two of those years I conducted the all-Freshman class Concert Choir, in the middle year took the upperclass Glee Club while Cathy Melhorn was on sabbatical—with these groups I did a wide variety of repertoire for women’s voices, including a concert of premieres by composers from the Northeast chapter of the American Society of University Composers—in addition, I conducted several Bach cantatas on a series at the University Chapel, plus works in combination with men’s choruses from other universities (Columbia, University of Virginia, Wooster Polytechnic), including Haydn’s Nelson Mass, Beethoven’s Choral Fantasy, and Orff’s Carmina Burana)

Pacific NW Bach Festival (Spokane), period instruments

This festival took place in Spokane, WA, run by David Dutton (baroque oboe) and Beverly Biggs (harpsichord)--a combination of local musicians and imports took part in this festival, which I conducted from the very first one through seven years (my touring schedule at PLU, in January, finally meant I had to leave the festival). Concertmasters included Stanley Ritchie, Elizabeth Blumenstock, Daniel Stepner, and others. Janet See, a fabulous baroque flute player who later was John Elliott Gardner's flutist in London, was also part of the festival from the beginning. There were a variety of soloists, but particularly Max Van Egmont, the noted Dutch baritone, from the second year of the festival, and Nancy Zylstra, soprano. Getting to conduct Max in Bach's Ich habe genug was a special memory. The chorus was all local. A great experience each January for seven years.

1983
Cantata #212 Peasant Cantata........... J.S. Bach
Cantata #49 Ich geh’ und suche mit Verlangen
Motet #1 Singet dem Herrn
Cantata #213 Lasst uns sorgen, lasst uns wachen
La Fête du Soleil (scene from the Second Act of Les Indes Galantes)........... Rameau

1982
Cantata #202 Wedding Cantata........... J.S. Bach
Cantata #8 Liebster Gott, wann werd’ ich sterben
Magnificat........... C.P.E. Bach
Opera: Pimpinone, or The Unequal Marriage........... Telemann
Ballet Music from Hippolyte et Aricie........... Rameau

1981
Cantata #152 Tritt auf die Glaubensbahn........... J.S. Bach
Motet #6 Lobet den Herrn, alle Heiden
Missa Brevis in F

1980
Cantata #158 Der Friede sei mit dir........... J.S. Bach
Cantata #32 Liebster Jesu, mein Verlangen
Cantata #208 Hunting Cantata

1979
Cantata #40 Dazu is erschienen der Sohn Gottes........... J.S. Bach
Cantata #80 Ein Feste Burg
Cantata #212 Peasant Cantata
(a very young Thomas Hampson was baritone soloist for these concerts)

1973-1980—Seattle Pro Musica

From 1973-1980 I was Artistic Director/Conductor for the Seattle Pro Musica ensembles: Pro Musica Singers (1973-80), Bach Ensemble (1974-80), and Pro Musica Chamber Orchestra (1977-80). In those seven years I conducted 71 different programs, with repertoire including:

C. P. E.  Bach              Magnificat
J. S.  Bach                   Motets: Jesu, meine FreudeSinget dem Herrn; Lobet den Herrn
                                    Christmas Oratorio
                                    Easter Oratorio
                                    Magnificat
                                    Mass in B Minor
                                    St. John Passion
                                    St. Matthew Passion
                                    41 Cantatas (nos. 1, 8, 11, 12, 16, 20,  26, 32, 33, 39, 40, 41, 43, 46, 66, 70, 75, 76, 78, 80, 82, 93, 95, 105, 106, 112, 127, 129, 143, 146, 147, 148, 149, 158, 172, 182, 196, 199, 208, 212, 213)
Bartok                         Romanian Folk Dances for Chamber Orchestra
Beethoven                  Symphony no.1
Brahms                       Motets, Op. 29
Britten                        Choral Dances from "Gloriana"
                                    Rejoice in the Lamb
                                    Serenade for Tenor, Horn and Strings
                                    Simple Symphony
Byrd                            Mass for Four Voices
Carissimi                    Jepthe
Debussy                     Trois Chansons
Elgar                           Serenade for Strings
Handel                        Dixit Dominus
                                    Messiah
Haydn                         Part-Songs for Four Voices and Piano
                                    Harmoniemesse
                                    Cello Concerto in C Major
Monteverdi                Vespers of 1610
Mozart                        Mass in C Minor
                                    Requiem
                                    Piano Concerto in  D Minor, K. 466
                                    Symphony #29 in A
                                    Symphony #40 in g
Poulenc                       Christmas Motets
                                    Un Soir de Neige
                                    Deux Marches et un Intermede
Purcell                        Come, Ye Sons of Art
Ravel                           Trois Chansons
Rossini                        String Sonatas # 3 and 6
Schubert                     Symphony #5
Sibelius                       Romanza in C, for Strings
Tippett                        Magnificat
Vaughan Williams     Flos Campi (for Viola solo, chorus and chamber orchestra)
Wolf                            Sechs Geistliche Lieder
                                     Italian Serenade (Viola solo and strings)

Monday, June 21, 2010

Repertoire: 1983-1984 to 1989-1990

This keeps going back, in this case to the beginning of my time at Pacific Lutheran University (1983-84), including concerts with the Choir of the West, the Choral Union (which I founded in 1984), some guest conducting, and some of my concerts with the Pacific Northwest Bach Festival (with period instruments). It includes the Britten War Requiem, a number of concerts with the Seattle-based professional Northwest Chamber Orchestra (Handel Dixit Dominus, Bach Mass in B Minor, Britten Cantata Misericordium), and a number of premieres, most notably Peter Schickele's The Twelve Months with pianist Robin McCabe.


1989-1990

October—PLU Choir of the West
Mass in G........... Schubert

November—prepared Choir of the West for Beethoven 9th Symphony with the Tacoma Symphony, Ed Sefarian conducting

November—PLU Choral Union
Piano Concerto in C, K. 467........... Mozart
Mass in C Minor (“The Great”)

March—PLU Choral Union
Missa Brevis in D........... Britten
Rejoice in the Lamb
A nyúl éneke........... Lajos Bardos
Chichester Psalms (organ, percussion, harp version)........... Bernstein


April—PLU Choir of the West tour program (WA, ID, British Columbia)
Agnus Dei........... Morley
All People Clap Your Hands........... Weelkes
Behold, the Hour Cometh........... Tomkins
Gloria........... Lars Edlund
Singet dem Herrn........... J.S. Bach
Due Corali........... Ildebrando Pizzetti
The Godmaking of the Skies and the Earth........... Gregory Youtz (premiere)
2 English Folksongs

June 19, 1990 – Portland Baroque Orchestra (period instruments) – Portland, Oregon
Piano Concerto in A (K. 414)........... Mozart
Exsultate Jubilate
Symphony #29 in A Major

Summer 1990 spent in Sweden, doing research for my dissertation

1988-1989

I was on sabbatical during this academic year, attending the College Conservatory of Music, University of Cincinnati through March, then spending the month of April in Sweden (researching dissertation topic) and May in Germany

1987-1988

November—PLU Choir of the West
Concerto for Piano & Chorus “The Twelve Months”........... Peter Schickele
(commissioned for the Choir of the West, premiered with pianist Robin McCabe)

November—PLU Choral Union
Concerto for Organ, Timpani & Strings........... Poulenc
Four Motets........... Duruflé
Requiem........... Fauré

December—PLU Choirs Christmas concert, including
In terra pax........... Gerald Finzi

April—PLU Choir of the West tour program (WA, OR, then after graduation to England)
Psalm 122........... David Dahl
Psalm 100........... Cindy McTee
Missa Papae Marcelli........... Palestrina
Ave maria........... Franz Biebl
Os Justi........... Bruckner
2 Folksongs from the Americas
Warum toben die Heiden........... Mendelssohn
When David Heard........... Norman Dinerstein
3 Spirituals

May—PLU Choral Union
Creation........... Haydn

1986-1987

November—PLU Choral Union
Overture to Coriolan........... Beethoven
Choral Fantasy
Mass in C

December—PLU Christmas concert, including
Magnificat........... J.S. Bach

January—PLU Choir of the West tour program (WA, OR, CA)
All People Clap Your Hands........... Thomas Weelkes
Tu Pauperum Refugium........... Josquin
In Hora Ultima........... Lassus
Concert Mass........... Robert Suderberg
Deutsches Magnificat........... Schütz
3 Chorlieder from Op. 104........... Brahms
Singet Frisch und Wohlgemuth........... Hugo Distler

March—PLU Choir of the West (part of a Lenten service)
Christus factus est........... Bruckner
Miserere........... Allegri

May—PLU Choirs & Choral Union (I conducted large choir & orchestra, Jerry Kract conducted chamber orchestra and tenor/baritone soloists)
War Requiem........... Britten
1985-1986

November—PLU Choral Union
Harpsichord Concerto in G........... Haydn
Part Songs
Nelson Mass

December—PLU Choirs Christmas concert, including
Officium Pastorum (premiere performance)........... Gregory Youtz

January—PLU Choir of the West tour program (Minneapolis, Boston, NY, Philadelphia, Washington D.C., North Carolina, and Florida)
Richte mich, Gott........... Mendelssohn
Jauchzet dem Herrn
Jephte........... Carissimi
A Latter-Day Athenian Speaks........... John Gardner
Trois Chansons........... Ravel
Insalata Italiana........... Geneé

April—PLU Choir of the West with NW Chamber Orchestra
Dixit Dominus........... Handel
Cantata Misericordium........... Britten

1984-1985

November—PLU Choral Union
Epistle Sonata........... Mozart
Ave verum corpus
Requiem

December—PLU Choirs Christmas concert, including
Gloria........... Poulenc

January—PLU Choir of the West t our program (WA, ID)
Die mit tränen säen........... Schütz
Der Zwölfjährige Jesus im Tempel
Komm, Jesu, Komm........... J.S. Bach
Come Mighty Father........... Handel
Draw the Tear
How Excellent Thy Name
Libera me........... Lajos Bardos
Schaffe in mir, Gott (Op. 29, no. 2)........... Brahms
Trois Chansons........... Debussy

January—Pacific NW Bach Festival (Spokane), period instruments
Cantata 50........... Bach
Magnificat in D (with Christmas interpolations from earlier Magnificat in Eb)

March—PLU Choir of the West, with Robin and Rachelle McCabe, pianists
Liebeslieder Walzer........... Brahms

April—PLU Choir of the West with the NW Chamber Orchestra
Mass in B Minor........... J.S. Bach

May—PLU Choral Union
Israel in Egypt........... Handel

1983-1984

October—prepared PLU Choir of the West for University Symphony Orchestra, Jerry Kracht, conductor, for 500th Anniversary of Martin Luther’s birth
Frau Musica........... Cindy McTee (premiere)
Cantata 80, Ein Feste Burg........... J.S. Bach

December—PLU Christmas concert, including
Cantata 191, Gloria in excelsis Deo........... J.S. Bach

January—Pacific NW Bach Festival (Spokane), period instruments
Cantata #211, Coffee Cantata........... J.S. Bach
Cantata #56, Ich will den Kreutzstab gerne tragen (Max van Egmont, soloist)
St. John Passion

March—PLU Choir of the West tour program (WA, OR, CA)
A Mighty Fortress........... arr. Cindy McTee
Lenten Motets........... Poulenc
Jesu, meine Freude........... J.S. Bach
“Uppsala Magnificat”........... Schütz
Choruses from ‘The Lark’........... Bernstein
Jerusalem........... Parry
Like as the Hart........... Howells
Jubilate Deo........... William Walton
Several Spirituals