A month ago, I was lucky enough to participate in a Talking Circle put on some excellent teachers from our Aboriginal Education Department. I have been involved in regular talking circles before, but this one felt different. Because of the First Nations focus, this particular circle seem to have more of a spiritual impact on me. It was very moving, so moving for some of the participants that they were brought to tears. Kirk, one of the leaders, said that it was okay to cry, that it happens all the time in the Talking Circles, and that it takes courage to cry.
I definitely agree that it takes courage to cry. Maybe it is why I go to great lengths NOT to cry in public. Just under the surface, I am a big marshmallow, and I am afraid that once I start crying, I will not be able to stop. I lack that courage to cry. In fact, in that particular talking circle, when it was my turn to speak, to honour someone who influenced me, I said something glib. It got a laugh and got me off the hook from really exposing my vulnerable side.
And there was so much that was sitting there inside of me. After that meeting, I was going to meet my mother and my sister at the bank to decide what we were going to do with the rest of my dad's estate. My father's memory rests heavily inside me, and I knew that if I mentioned anything at all about him, I was just going to lose it. But I chose not to go there.
I did, however, admire and respect the people who did choose to show their vulnerable side. I was aware of the trust that has to present for people to take that brave risk. I don't happen to share that kind of bravery.
Can we create the same kind of environment of safety and trust in our classrooms? Today, one of the girls, R, in my class was crying. Another girl, J, came up and told me that R was crying. I asked her why. J didn't know. So I told her to go ask R. J told me that R wished she was back at her old school. I told J to ask R why she wished she was back at her old school. Off went J. She came back and said R wished she was at her old school because she missed her best friend who was there, and she only got to se her once a year, on her birthday. I told J to take R for a walk, and make her feel better. J put her arm around R and they walked up and down the hallway and talked for a bit. Then they read together in the hall, and decided to be friends.
The learning for me in this situation is that I really don't have any answers, I just have to keep my eyes open for opportunities for students to build trust, and then try to act on them.
Friday, February 27, 2015
Saturday, January 03, 2015
Making Mods
I've loved guitars as long as I can remember, even before I started playing in grade 7 because my dad played so there was always a guitar around the house. I didn't want to bore my 6 readers here about my interest in guitars, so I started a new blog http://gooomanjiguitar.blogspot.ca/ .
The thing is while I started the blog as an aside or even an escape from thinking and blogging about education, I keep seeing the parallels in my thinking when I write about things guitar. I've only written a handful of posts on the guitar blog, and a couple of them are about modding, or making modifications to my guitars.
After chewing on those posts, I began to realize that my views on modding guitars are almost the same as my views to "modding" teaching. I tend to buy cheap, imperfect electric guitars, and then change the pickups on them, or swap out the tuners, or change necks on them. Similarly, I tend to get a basic understanding of a teaching method and then change the components as I go. Like my cheap guitars, I am okay with imperfections and uncertainty as long as I can make changes to suit my needs. With guitars, it is about sound and feel; with teaching, it is about learning and feel (or relationships).
I've mentioned on this blog that I can't follow someone else's lesson plan or teacher's guides. I am not inherently a non-conformist. It is more that I am lazy and can't be bothered to read lesson plans, or I have more desire to make things my own than to follow someone else's recipe. I think my explorations with classroom design reflect this attitude. I am tweaking and modding the concept of a learning environment to suit my needs and the needs of my students. All of my mods reflect my desire to maximize learning, enhance self-regulation, and to strengthen the bonds I have with my students. Sound and feel, indeed.
I want my modding philosophy to be reflected not just in my teaching but in my students' learning. To be clear, teaching and learning are always the same thing. I have this great, cosy classroom where students choose appropriate learning spaces for them to work, but sometimes my teaching can only be described as stand and deliver. I have made forays into inquiry-based and project-based learning, and I'd like to continue in that direction where students start with a big idea (instead of the sound and feel of electric guitars, maybe the importance and preservation of Beluga whales), and with my help, chart a course where they take that big idea, investigate or enact a plan (for instance, to share the importance of the whales or implement a way to save them), making changes along the way.
Having gone through the process of my own PBL (with guitars, classroom design, curriculum design, teacher professional development, and home fitness-with varying levels of success), I can probably find a way to help my students with their own inquiries more than I am now. Just like guitars, I just need to make changes that are necessary, doable, and manageable.
The thing is while I started the blog as an aside or even an escape from thinking and blogging about education, I keep seeing the parallels in my thinking when I write about things guitar. I've only written a handful of posts on the guitar blog, and a couple of them are about modding, or making modifications to my guitars.
After chewing on those posts, I began to realize that my views on modding guitars are almost the same as my views to "modding" teaching. I tend to buy cheap, imperfect electric guitars, and then change the pickups on them, or swap out the tuners, or change necks on them. Similarly, I tend to get a basic understanding of a teaching method and then change the components as I go. Like my cheap guitars, I am okay with imperfections and uncertainty as long as I can make changes to suit my needs. With guitars, it is about sound and feel; with teaching, it is about learning and feel (or relationships).
I've mentioned on this blog that I can't follow someone else's lesson plan or teacher's guides. I am not inherently a non-conformist. It is more that I am lazy and can't be bothered to read lesson plans, or I have more desire to make things my own than to follow someone else's recipe. I think my explorations with classroom design reflect this attitude. I am tweaking and modding the concept of a learning environment to suit my needs and the needs of my students. All of my mods reflect my desire to maximize learning, enhance self-regulation, and to strengthen the bonds I have with my students. Sound and feel, indeed.
I want my modding philosophy to be reflected not just in my teaching but in my students' learning. To be clear, teaching and learning are always the same thing. I have this great, cosy classroom where students choose appropriate learning spaces for them to work, but sometimes my teaching can only be described as stand and deliver. I have made forays into inquiry-based and project-based learning, and I'd like to continue in that direction where students start with a big idea (instead of the sound and feel of electric guitars, maybe the importance and preservation of Beluga whales), and with my help, chart a course where they take that big idea, investigate or enact a plan (for instance, to share the importance of the whales or implement a way to save them), making changes along the way.
Having gone through the process of my own PBL (with guitars, classroom design, curriculum design, teacher professional development, and home fitness-with varying levels of success), I can probably find a way to help my students with their own inquiries more than I am now. Just like guitars, I just need to make changes that are necessary, doable, and manageable.
Saturday, December 13, 2014
Competence and Confidence
What is it about teaching that makes teachers so insecure? Is it because everyone (including non-educators) has an opinion of how things should be done? Is it because with a lot of methods we use, sometimes it is hard to see the results directly? Is it because we fear being judged? Is it because we can be very isolated? It is probably a combination of all of these things and many more factors. The bottom line is that there are lot of teachers out there who think they are doing the wrong things.
Over the last few years, I've talked to a lot of teachers and even the most innovative, dynamic ones have a streak of insecurity. When I was doing the Bright Ideas Gallery, showcasing some innovative teaching practices, most of the time I had to convince teachers what they were doing was interesting to other teachers and worth sharing. But in keeping in touch with those teachers now, some of them have abandoned the great things they were doing.
It seems like it is so easy to take the wind out of teachers' sails. One tough class, one challenging parent, one colleague's off-handed remark, or one uninformed news report, and it all crumbles. When this happens, we tend to revert to "foolproof" traditional one-size-fits-all methods that "worked" when we were kids but may not fit education today, and we eschew risk-taking, innovation, and personalization.
I don't like to think of myself as a teacher who needs external validation (if I did, I would have given up on this blog a long time ago, based on the amount of pageviews it gets!), but sometimes, it feels good to get some recognition. Some of my biggest compliments come to mind. One came last year, and one came last week. The one last year was when I was talking to a dad of one of my students. I think it was around December, and he said how he was telling his coworkers at his office about some of the things we were doing in our class, and they were amazed or disbelieving. The one last week was when I was at the mall, and I ran into a colleague of mine who would come in for me from time to time when I was away a few years ago. She introduced me to her husband, and he said, "Oh, you're that guy. My wife used to tell me about all of the cool things she did in your class. I wish I had been in your class." And he told me how he was the squirmy creative kid.
The thing that stands out about these two situations is that the remarks came from people outside of education. I don't tend to talk about my work with non-educators (and barely even with educators) because I don't do a good job of explaining the things we are trying to achieve these days. So for these two people to take an interest, remember, and positively remark without solicitation is very gratifying. They really understood what I am trying to do. Though we can't rely on positive feedback from outside to fuel our confidence, it probably does help. Yes, these kinds of encounters are gratifying in the same way that negative encounters can be destructive, but if we really believe in what we are doing, then we should be able to work through al situations staying true to our vision.
I think the reason why I try so many things in my class, even though I know a lot of my ideas are going to fail, is that I know at least one out of four of my ideas is going to work in a big way for some or all of my students. Someone might say, "That means that three out of four ideas are going to fail. Why not shorten the odds and just stick with the things that work?" And the answer is because that's the part I don't know: which idea is going to work with this class or each individual at this time. What is tried and true last year could be a dismal flop this time. What works for chatty kids might not work for introverted kids. Etc.
So I'm not trying to be innovative just to keep things interesting; I'm trying to be innovative to give all of my students the best possible chance at learning. And the chance of success far outweighs the risk of (my personal) failure.
Over the last few years, I've talked to a lot of teachers and even the most innovative, dynamic ones have a streak of insecurity. When I was doing the Bright Ideas Gallery, showcasing some innovative teaching practices, most of the time I had to convince teachers what they were doing was interesting to other teachers and worth sharing. But in keeping in touch with those teachers now, some of them have abandoned the great things they were doing.
It seems like it is so easy to take the wind out of teachers' sails. One tough class, one challenging parent, one colleague's off-handed remark, or one uninformed news report, and it all crumbles. When this happens, we tend to revert to "foolproof" traditional one-size-fits-all methods that "worked" when we were kids but may not fit education today, and we eschew risk-taking, innovation, and personalization.
I don't like to think of myself as a teacher who needs external validation (if I did, I would have given up on this blog a long time ago, based on the amount of pageviews it gets!), but sometimes, it feels good to get some recognition. Some of my biggest compliments come to mind. One came last year, and one came last week. The one last year was when I was talking to a dad of one of my students. I think it was around December, and he said how he was telling his coworkers at his office about some of the things we were doing in our class, and they were amazed or disbelieving. The one last week was when I was at the mall, and I ran into a colleague of mine who would come in for me from time to time when I was away a few years ago. She introduced me to her husband, and he said, "Oh, you're that guy. My wife used to tell me about all of the cool things she did in your class. I wish I had been in your class." And he told me how he was the squirmy creative kid.
The thing that stands out about these two situations is that the remarks came from people outside of education. I don't tend to talk about my work with non-educators (and barely even with educators) because I don't do a good job of explaining the things we are trying to achieve these days. So for these two people to take an interest, remember, and positively remark without solicitation is very gratifying. They really understood what I am trying to do. Though we can't rely on positive feedback from outside to fuel our confidence, it probably does help. Yes, these kinds of encounters are gratifying in the same way that negative encounters can be destructive, but if we really believe in what we are doing, then we should be able to work through al situations staying true to our vision.
I think the reason why I try so many things in my class, even though I know a lot of my ideas are going to fail, is that I know at least one out of four of my ideas is going to work in a big way for some or all of my students. Someone might say, "That means that three out of four ideas are going to fail. Why not shorten the odds and just stick with the things that work?" And the answer is because that's the part I don't know: which idea is going to work with this class or each individual at this time. What is tried and true last year could be a dismal flop this time. What works for chatty kids might not work for introverted kids. Etc.
So I'm not trying to be innovative just to keep things interesting; I'm trying to be innovative to give all of my students the best possible chance at learning. And the chance of success far outweighs the risk of (my personal) failure.
Sunday, November 23, 2014
Learning from Mistakes
A couple of weeks ago, we had this great entertainer at our school Alex Zerbe, and he did all of these wacky and amazing stunts. During the question period at the end, someone asked him how long it took to learn his tricks, and he said something astonishing. One trick took him eight years to get.
Eight YEARS.
I think of people today and we have such short attention spans. If we can't get something fast (say 8 seconds), we Google it or we give up and move on. To have this young guy say he spent eight years (taking time out for sleep and food) working on a 30 second stunt was more amazing than any of his tricks.
In recent years, I've read Mihaly Csikszentmihalyi's work about Flow and getting in the sweet spot where you don't want to give up, or Malcolm Gladwell's essays about 100,000 hours to master something. I think that these are interesting ideas, but are somewhat incomprehensible to kids because they are a bit abstract (Flow) or unfathomable (100,000 hours at something). But Zerbe put it in perspective when he said about the 8 years, "Failure is temporary."
So many times, kids (and adults) expect themselves to be perfect right out of the gate. But to think that failure is temporary is like the story about Michelangelo. When asked, after he completed the statue of David, how he accomplished such an incredible sculpture, Michelangelo is quoted as saying, "I just removed everything that didn't look like David." Rodin said something similar in that every piece of marble already had the figure within; all he had to do was find out what it was. I like to think that every student is that amazing piece of art, and that education is the process that chips away to define what each being is.
And each of those chips includes mistakes we've made along the way. Mistakes are essential to learning. One summer as a kid, my family spend two weeks at a lake water-skiing. On our way home, I pointed out to my dad that I did not fall once . He then pointed out to me that I didn't get any better throughout the week because I played it so safely. We was right. I didn't want to make any mistakes so I kept the boat slow, and didn't go outside the wake. The next summer, I made all kinds of mistakes. I fell, I skittered over the surface of the water, I konked myself on the head with the back of my ski, I got rope burn, and I had a lot more fun. I pushed myself way more and didn't worry about falling in. I took more risks and found out more about what I was able to do.
I love it when kids get immersed in learning, and don't worry about making mistakes or looking foolish. Imaginative play is the perfect opportunity for learning without ego. Kids go as far as they can and experiment, making up rules as they go and adjusting them along the way.
Similarly, some of my favourite geniuses have that childlike, playful nature to their work and to their life-long learning: Fred Astaire, Richard Feynman, Tommy Emmanuel, the Dalai Lama . All of them don't take themselves too seriously and have this impish smile on their faces as they take on some super-human challenges. They have so much fun, and it's like they are privy to a wonderful secret, and they inspire people like me find out what that secret is.
And make a pile of mistakes along the way.
Eight YEARS.
I think of people today and we have such short attention spans. If we can't get something fast (say 8 seconds), we Google it or we give up and move on. To have this young guy say he spent eight years (taking time out for sleep and food) working on a 30 second stunt was more amazing than any of his tricks.
In recent years, I've read Mihaly Csikszentmihalyi's work about Flow and getting in the sweet spot where you don't want to give up, or Malcolm Gladwell's essays about 100,000 hours to master something. I think that these are interesting ideas, but are somewhat incomprehensible to kids because they are a bit abstract (Flow) or unfathomable (100,000 hours at something). But Zerbe put it in perspective when he said about the 8 years, "Failure is temporary."
So many times, kids (and adults) expect themselves to be perfect right out of the gate. But to think that failure is temporary is like the story about Michelangelo. When asked, after he completed the statue of David, how he accomplished such an incredible sculpture, Michelangelo is quoted as saying, "I just removed everything that didn't look like David." Rodin said something similar in that every piece of marble already had the figure within; all he had to do was find out what it was. I like to think that every student is that amazing piece of art, and that education is the process that chips away to define what each being is.
And each of those chips includes mistakes we've made along the way. Mistakes are essential to learning. One summer as a kid, my family spend two weeks at a lake water-skiing. On our way home, I pointed out to my dad that I did not fall once . He then pointed out to me that I didn't get any better throughout the week because I played it so safely. We was right. I didn't want to make any mistakes so I kept the boat slow, and didn't go outside the wake. The next summer, I made all kinds of mistakes. I fell, I skittered over the surface of the water, I konked myself on the head with the back of my ski, I got rope burn, and I had a lot more fun. I pushed myself way more and didn't worry about falling in. I took more risks and found out more about what I was able to do.
I love it when kids get immersed in learning, and don't worry about making mistakes or looking foolish. Imaginative play is the perfect opportunity for learning without ego. Kids go as far as they can and experiment, making up rules as they go and adjusting them along the way.
Similarly, some of my favourite geniuses have that childlike, playful nature to their work and to their life-long learning: Fred Astaire, Richard Feynman, Tommy Emmanuel, the Dalai Lama . All of them don't take themselves too seriously and have this impish smile on their faces as they take on some super-human challenges. They have so much fun, and it's like they are privy to a wonderful secret, and they inspire people like me find out what that secret is.
And make a pile of mistakes along the way.
Monday, October 13, 2014
Classroom Design Challenge 4: the Music Room
A colleague of mine attended a conference on self regulation, and apparently my name came up in terms of designing classrooms with self-regulation in mind. The next time my friend saw me, she asked me for some advice on how to set up her room to help students with self-regulation. The extra layer of challenge is that she is an elementary music teacher who, luckily, has her own room (as opposed to the poor music teacher at my school who has to roam from room to room to give teachers their preparation spares).
Susan, I haven't seen your new room, but here is some general advice.
Sound
Sound is probably an obvious place to start for a music room. If you are working in a multipurpose room (which a lot of music teachers in our area are), then the floor is probably tiled. Tile is great for clean up, but brutal for amplifying sound. The sound just continues to bounce off every flat hard surface. This can be a problem for kids like me who get exhausted from trying to concentrate and listen to instructions or performances when every other distracting sound is amplified too. Lots of band rooms are carpeted which is great for sound but kind of gross for spit valves. If you are in a tiled room, see if you can cover as much of the floor as you can. Likewise, for the walls if they are hard concrete. Try to cover them with paper, cheap fabric, posters, or draperies to absorb some of the sound waves from crashing around the room. Even old music recording studios put egg cartons on the walls to bring the reverb down in the room.
I also like to have some kind of voice amplification in my classroom, let alone a music room. I used to have a cordless headset, supplied by the school. (It was really important to remember to turn it off when going to the staffroom or bathroom). I don't have the luxury of one of those cordless sets anymore, but I brought in an old keyboard amp I had with a mic that has a really long cord.
Why amplification? For many reasons: I can walk around the room with my voice heard by everyone in every location; in order to get a good volume, I do not have to strain my voice; in order to get a good volume, my tone does not change (sometimes an increase in voice volume turns my voice to an unintended "angry" tone); and with a handheld mic, the physical act of holding a mic is also a visual focus for attention, especially when students are sharing their work in the class (such as an "author's chair" situation).
For music teachers, I do have one caveat. Use the amplification for instruction only, not for demonstrating singing nor singing along with students unless you are in a large auditorium. Most teachers when they sing, project just fine, so amplification is unnecessary; in fact, it is probably overkill. Plus, something happens to the tone of a singing voice when amplified. If the amplification is too trebly, students will copy and sing really nasally. If the amplification is too bassy, students will try to boom like Rick Astley (and NO ONE wants that). The unamplified voice is the truest model for students to follow, I think.
Lighting
Keep the lighting low if you want students to keep calm and focussed. Like kindergarten teachers, you can flick the lights on when you want to get the students' attention, boost their energy level, or if they have something, like sheet music, they need to see themselves. If students are usually on one side, and you the teacher is usually on the other, position the students so their backs are to the windows. The reason for this is it is really hard to see the teacher when he or she is backlit. All of the shadows run across the teacher's face when backlit. And how are you supposed to see what you are doing? Have the room lit enough that you can see all of the students, but dim enough to keep things calm. Overhead or digital projectors also cast off a great deal of light onto a screen that helps to focus students. If you use neither, then you can use a piano lamp or a battery operated booklight to see your notes or music.
Room Arrangement
For room arrangement, sight lines and places to do the kinds of activities you are doing are two key elements. If you do lots of choir, then risers are great because everyone can see you and you can see them. They are also fairly space efficient because they are tiered. Benches are less effective, but are easily moveable and probably more available.
If you teach individual instruments such as Orff, guitar, or recorder, then I like to have some separate spaces for practice. If everyone is practicing in the same room, they will get louder and louder just to they can hear themselves. The louder it gets in the room, the more anxiety or excitement is going to be increased for those who have difficulty with that much stimulation. For some instruments, you can pair students so that they can listen to each other and help, plus only half the class is playing at one time. Move students or the pairs away from one concentrated area and have them dispersed throughout the room.
Another thing I like to do with noisy practice is to have breakout spaces such as the hallway (make sure it is okay with teachers), a courtyard, or outside. Outside practice spaces are great for so many reasons. It feels good to play music outside. It is less inhibiting because the sound just seems to float up and away (not trapped and ping-ponging in the room). And some students who are sensitive to noise seem to relax in the outdoors. Mind you, performing outside is a whole different story.
Use Music
My last bit of advice is to use music to set a tone. For example, put on some calming jazz, classical, or new age music to keep things cool as one class comes in and another one leaves. Put on Flight of the Bumblebee or some crazy Van Halen guitar solo if you want students to do something quickly, like set up the chairs or clean up. I hear music is very powerful, so we might as well use it.
Like all learning spaces, music rooms have to match the activity and the teacher's methodology to be effective.
Susan, I haven't seen your new room, but here is some general advice.
Sound
Sound is probably an obvious place to start for a music room. If you are working in a multipurpose room (which a lot of music teachers in our area are), then the floor is probably tiled. Tile is great for clean up, but brutal for amplifying sound. The sound just continues to bounce off every flat hard surface. This can be a problem for kids like me who get exhausted from trying to concentrate and listen to instructions or performances when every other distracting sound is amplified too. Lots of band rooms are carpeted which is great for sound but kind of gross for spit valves. If you are in a tiled room, see if you can cover as much of the floor as you can. Likewise, for the walls if they are hard concrete. Try to cover them with paper, cheap fabric, posters, or draperies to absorb some of the sound waves from crashing around the room. Even old music recording studios put egg cartons on the walls to bring the reverb down in the room.
I also like to have some kind of voice amplification in my classroom, let alone a music room. I used to have a cordless headset, supplied by the school. (It was really important to remember to turn it off when going to the staffroom or bathroom). I don't have the luxury of one of those cordless sets anymore, but I brought in an old keyboard amp I had with a mic that has a really long cord.
Why amplification? For many reasons: I can walk around the room with my voice heard by everyone in every location; in order to get a good volume, I do not have to strain my voice; in order to get a good volume, my tone does not change (sometimes an increase in voice volume turns my voice to an unintended "angry" tone); and with a handheld mic, the physical act of holding a mic is also a visual focus for attention, especially when students are sharing their work in the class (such as an "author's chair" situation).
For music teachers, I do have one caveat. Use the amplification for instruction only, not for demonstrating singing nor singing along with students unless you are in a large auditorium. Most teachers when they sing, project just fine, so amplification is unnecessary; in fact, it is probably overkill. Plus, something happens to the tone of a singing voice when amplified. If the amplification is too trebly, students will copy and sing really nasally. If the amplification is too bassy, students will try to boom like Rick Astley (and NO ONE wants that). The unamplified voice is the truest model for students to follow, I think.
Lighting
Keep the lighting low if you want students to keep calm and focussed. Like kindergarten teachers, you can flick the lights on when you want to get the students' attention, boost their energy level, or if they have something, like sheet music, they need to see themselves. If students are usually on one side, and you the teacher is usually on the other, position the students so their backs are to the windows. The reason for this is it is really hard to see the teacher when he or she is backlit. All of the shadows run across the teacher's face when backlit. And how are you supposed to see what you are doing? Have the room lit enough that you can see all of the students, but dim enough to keep things calm. Overhead or digital projectors also cast off a great deal of light onto a screen that helps to focus students. If you use neither, then you can use a piano lamp or a battery operated booklight to see your notes or music.
Room Arrangement
For room arrangement, sight lines and places to do the kinds of activities you are doing are two key elements. If you do lots of choir, then risers are great because everyone can see you and you can see them. They are also fairly space efficient because they are tiered. Benches are less effective, but are easily moveable and probably more available.
If you teach individual instruments such as Orff, guitar, or recorder, then I like to have some separate spaces for practice. If everyone is practicing in the same room, they will get louder and louder just to they can hear themselves. The louder it gets in the room, the more anxiety or excitement is going to be increased for those who have difficulty with that much stimulation. For some instruments, you can pair students so that they can listen to each other and help, plus only half the class is playing at one time. Move students or the pairs away from one concentrated area and have them dispersed throughout the room.
Another thing I like to do with noisy practice is to have breakout spaces such as the hallway (make sure it is okay with teachers), a courtyard, or outside. Outside practice spaces are great for so many reasons. It feels good to play music outside. It is less inhibiting because the sound just seems to float up and away (not trapped and ping-ponging in the room). And some students who are sensitive to noise seem to relax in the outdoors. Mind you, performing outside is a whole different story.
Use Music
My last bit of advice is to use music to set a tone. For example, put on some calming jazz, classical, or new age music to keep things cool as one class comes in and another one leaves. Put on Flight of the Bumblebee or some crazy Van Halen guitar solo if you want students to do something quickly, like set up the chairs or clean up. I hear music is very powerful, so we might as well use it.
Like all learning spaces, music rooms have to match the activity and the teacher's methodology to be effective.
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