Rhonda Fuelberth: Universal Design for Learning
Summary
TLDRRhonda Fuelberth discusses universal design for learning (UDL) in music education, emphasizing its origin in architecture and its goal to create inclusive environments. UDL principles aim to provide multiple learning options, benefiting all students through flexible presentation, expression, and engagement methods. The application of UDL in classrooms involves digital tools like Noteflight, promoting accessibility and motivation in learning. The talk encourages educators to consider UDL in their teaching practices to reach a broader range of learners.
Takeaways
- đ The speaker, Rhonda Fuelberth, is an associate professor of music education at the University of Nebraska Lincoln, focusing on universal design for learning (UDL).
- đ« UDL aims to create a classroom environment where equity is the norm, students are treated as individuals, and everyone has access to high-quality music and arts instruction.
- đ UDL originated in architecture, promoting inclusive environments that accommodate the potential abilities of all people, regardless of age or disability.
- đ The application of UDL in education involves proactive principles and strategies to create inclusive classrooms and accessible course materials.
- đ UDL asserts that increasing learning options benefits all students, representing a shift from individual accommodations to inclusive teaching for the entire class.
- đ§ UDL is based on the science of neural networks, focusing on recognition, strategic, and affective networks to enhance learning.
- đ UDL includes three core principles: multiple methods of presentation, expression, and engagement, each with accompanying guidelines and strategies.
- đŒ Principle 1 emphasizes varying modes of presentation, including the use of digital materials and multisensory activities to support recognition learning.
- đ€ Principle 2 focuses on providing multiple methods of expression, allowing students to demonstrate their understanding through various musical activities and continuous assessment.
- đĄ Principle 3 aims to ensure meaningful engagement by offering choices in content, challenge levels, rewards, and learning context to motivate students.
- đ Digital tools like Noteflight are highlighted for their ability to manipulate musical materials, support color-coded notation, and provide real-time interaction for students.
- đ The conclusion suggests that embracing UDL reduces the need for additional accommodations, as it inherently considers diverse learner needs and promotes problem-solving strategies for inclusive education.
Q & A
What is the speaker's professional background?
-The speaker, Rhonda Fuelberth, is an associative professor of music education at Glenn Korff School of Music, University of Nebraska Lincoln.
What is the main topic of discussion in the script?
-The main topic is universal design for learning (UDL) and its implications for music education classrooms.
What does Franklin Covey suggest in 'The Seven Habits of Highly Effective People' regarding planning?
-Franklin Covey suggests beginning with the end in mind, which means planning with the desired outcome in view.
What is the goal of an ideal classroom according to the speaker?
-The goal is to create a classroom where equity is common, students are treated as people not labels, all students have access to high-quality music and arts instruction, and everyone feels valued and recognized for their strengths.
What is the origin of universal design?
-Universal design originated from the architectural world, influenced by the civil rights and disabilities rights movements in the 1960s, 1970s, and 1980s.
How does universal design aim to make everyday tasks more accessible?
-Universal design aims to make everyday tasks more accessible by creating an inclusive environment that considers the potential ability of all people through the design of products and environments that everyone can use, regardless of age, physical condition, or degree of disability.
What is the core assertion of universal design for learning in education?
-The core assertion is that when instructors increase the number of learning options available to students, everyone benefits, representing a paradigm shift in accessibility in education.
What are the three principles of Universal Design for Learning (UDL)?
-The three principles of UDL are: 1) Provide multiple, flexible methods of presentation to support recognition learning, 2) Provide multiple, flexible methods of expression and apprenticeship to support strategic learning, and 3) Provide multiple, flexible options for engagement to support affective learning.
How can digital materials enhance the application of UDL in music education?
-Digital materials can enhance UDL by allowing for multilevel and multisensory activities, manipulation of musical materials in real time, and the use of color-coded notation to aid in the interpretation and learning of music.
What is the significance of pre-teaching in the context of UDL?
-Pre-teaching is significant because it provides students with exposure to musical materials before they encounter them in the classroom, which can make the difference between having a meaningful experience and not.
How does the use of Noteflight as a digital tool support UDL in music education?
-Noteflight supports UDL by allowing students to interact with musical materials, manipulate them in real time, isolate specific musical lines, adjust tempo without changing pitch, and use color-coded notation to reinforce learning.
What is the speaker's final advice for educators considering the application of UDL?
-The speaker advises educators to consider how UDL can be used in their daily experiences as college students and to envision how it can help them reach more learners more of the time.
Outlines
đ Introduction to Universal Design for Learning in Music Education
Rhonda Fuelberth, an associate professor of music education at the Glenn Korff School of Music, introduces the concept of universal design for learning (UDL) and its importance in creating inclusive music education classrooms. She emphasizes the need to start with an end goal in mind, envisioning a classroom where all students are treated equitably and have access to high-quality music education. UDL originated from architecture, aiming to make environments accessible to everyone regardless of physical abilities. The principles of UDL, established by the Cast Organization and based on neural networks, include providing multiple methods of presentation, expression, and engagement to accommodate diverse learning needs. This approach shifts the focus from individual accommodations to creating a more accessible learning environment for all students.
đŒ Applying UDL Principles in Music Education
The video script delves into the application of UDL's three principles in music education. Principle 1 focuses on supporting recognition learning through multiple and flexible presentation methods, such as using digital materials and varied repetition to enhance learning opportunities. Principle 2 addresses strategic learning by offering various methods of expression, including singing, playing, moving, and composing, along with continuous and low-stakes assessments for feedback. Principle 3 emphasizes affective learning, aiming to motivate students by providing meaningful experiences, choices in content, and adjustable levels of challenge. The script also highlights the use of digital tools like Noteflight for manipulating musical materials and the importance of color-coded notation for reinforcing pitch recognition.
đ§ Conclusion and Encouragement for Implementing UDL
In conclusion, the script suggests that embracing universal design for learning can minimize the need for additional accommodations, as it inherently considers the diverse needs of students. It encourages educators to think about their role in implementing UDL in their teaching practices and to consider how UDL can help reach a broader range of learners. The video ends with an invitation for viewers to contact the speaker with any questions, emphasizing the importance of ongoing dialogue and problem-solving in the pursuit of inclusive education.
Mindmap
Keywords
đĄUniversal Design for Learning (UDL)
đĄEquity
đĄInclusive Classroom
đĄArchitectural World
đĄAccessibility
đĄLearner Variability
đĄCast Organization
đĄRecognition Networks
đĄStrategic Networks
đĄAffective Networks
đĄNoteflight
Highlights
Introduction to universal design for learning and its importance in music education classrooms.
The concept of beginning with the end in mind, inspired by Franklin Covey's 'Seven Habits of Highly Effective People'.
Imagining a classroom where equity is common, and students are treated without labels.
Access to high-quality, engaging music and arts instruction for all students as a key principle.
Recognizing students' strengths and fostering a partnership between teachers, students, and peers.
Origins of universal design in architecture, linked to civil rights and disabilities rights movements.
Examples of universal design in everyday life, such as automatic doors and curb cutouts.
The goal of universal design to create inclusive environments for all people, regardless of ability.
Application of universal design to education, focusing on proactive principles for inclusive classrooms.
The paradigm shift in accessibility from individual accommodations to inclusive classroom strategies.
The inevitability of learner variability and its central role in universal design for learning.
Establishment of universal design for learning by the Cast Organization, based on the science of neural networks.
Three core principles of universal design for learning: recognition, strategic, and affective learning.
Providing multiple methods of presentation to support recognition learning.
Using digital materials and varied repetition for pre-teaching musical concepts.
Offering multiple methods of expression and self-peer evaluation to support strategic learning.
Encouraging affective learning through multiple options for engagement and motivation.
Utilizing digital tools like Noteflight for manipulating and reinforcing musical materials.
The potential of universal design for learning to reduce the need for additional accommodations.
Encouraging educators to consider the role of universal design in their daily experiences and future practice.
Transcripts
Hi my name is Rhonda Fuelberth and I'm an associative professor of music education here at Glenn Korff School of Music at The University of Nebraska Lincoln.
Today we're going to talk about universal design for learning and its implications
for music education classrooms. Franklin Covey
speaks to use in the Seven Habits of Highly Effective People about beginning with the end
in mind, and because of that we're going to be thinking about a classroom.
So I want you to imagine a classroom where equity is common place, where students
are treated as people and not as labels. Where all students have access
to high quality engaging music and arts instruction
Where all students feel valued. Where are students strengths are recognized.
and where teachers, students and peers are partners in creating
and problem solving. Universal design came to us from the
architectural world. Beginning with civil rights movement
in the 60's and the disabilities rights movement in 70's, 80's and 90's.
We have found a way to give access to more buildings and more structures
than ever before. Think about things that you use in your everyday life
whether you are carrying an instrument and push a button to
move you and all of your instruments and bags through the door. That is an example of
universal design in architecture. Or using curb cutouts
at every intersection, or pulling along a suitcase as you navigate an airport,
or pushing a baby in a stroller. All of these are examples
of way we make everyday tasks and activities more accessible.
In Architecture Without Barriers Johns Ceralest tells us the focus of universal design is not on providing special,
segregated facilities, ramps or lifts for physically
disabled person to enter and use the built environment, but rather
seeking to provide an inclusive environment that considers the
potential ability of all people through the creation of products
and environment that everyone can use regardless of age
, physic and degree of disability.
As we think about this universal design and make application to education
thinking about structures that anticipate individuals that anticipate individuals with various needs
and we accommodate those needs at the outset.
When we apply that to education we think about proactive principles
and strategies, techniques for creating inclusive classrooms
and accessible course materials.
At its core is the assertion that when instructors increase the number of learning options
available to students everyone benefits. This
represents a paradigm shift in the way that we think about
accessibility in education. In our previous model
in terms of accessibility, we ask what does the student provide?
Or have that makes course work accessible?
We moved from thinking about accommodations or adaptations
or modification to what we might do for
an entire classroom to make learning more accessible for everyone
This makes us shift from our focus on one student who make need
a particular of variances in our instructional technique.
To small groups or even to the entire class.
One thing is constant and this is
the most important thing to remember. We will always have learner variability
Universal design for learning was established
by the Cast Organization, and it has been
with us for quite sometime. Its based on the science
of neural networks. We have recognition networks
that "what" of learning, how we gather facts or organize
what we see or hear or read.
Two strategic networks, the "how" of learning. Planning or preforming
tasks, how we organize or express our ideas.
And affective networks or the "why" of learning.
How learners get engaged and how we can keep them engaged in the learning
process. Universal design for learning includes a
set of three principles. A set of guidelines to accompany
those principles and strategies to help us carry out those guidelines.
Principle 1: To support recognition learning,
we provide multiple, flexible methods of presentation.
Principle 2: To support strategic learning, we provide multiple,
flexible methods of expression and apprenticeship. In other words
we vary the ways that students can show us what they know.
In Principle 3: To support affective learning, we provide
multiple, flexible options for engagement. This is the most
motivation principle and concerns how students are encouraged
to continue learning. Principle 1
:is to vary in modes of presentation, how we're presenting material
to students. We think about materials that are student
centered in this approach. Everything that is spoken should be
reinforced in print, and everything that is in print should be
also be spoken. The idea of repetition
and redundancy is very importance, and not use repetition but
varied repetition to allow for multiple opportunities
to learn. Pre-teaching is very important, providing
recording or exposure to musical materials before
they're encounter in the classroom can be the difference between a student having meaningful
experience and not having a meaningful experience in the music classroom.
Use of digital materials is very
important. In fact it is a central component of universal design
for learning, and we always want to encourage
activities that are multilevel and multisensory.
Principle 2, methods of expression, this principle
has to do with students showing us what they know
We want to give students options for demonstrating their understanding of musical
concepts. We want to provide plenty of opportunities for students
to sing, to play, to move, to improvise,
and to compose. Also in this principle
we have a lot of self and peer evaluation. Opportunities for students
to examine their own musical learning
Continuous assessment is also important. Continuous and
low stakes assessments. Students have many opportunities
for feedback from the teachers, from peers and
their own feedback is essential in this principle.
Graphic organizers can be a way for students to show what they know
in a different format than is customarily found in music
classrooms. Principle 3, meaningful experience
, we want every student to have a meaningful experience
in music classrooms. Whether this is offering choices
of content and materials, offering adjustable levels
of challenge, offering choices in terms of rewards,
or offering choices in the learning context. We're trying to
see if we can help students be motivated in their learning.
We'll focus for a moment on principle 1
to support recognition learning multiple, flexible methods of presentation
I'll give you a few examples of how this might be played out in
a classroom. Both of these using digital materials
In the solfedge activity we see a line on
the slide that represents the melodic contour of
a warm up that we might typically find in a choral rehearsal.
First we'll ask students to shape that contour and we'll go
a little further and imagine that they're carrying or holding a paintbrush in
their hand. Might vary even the size or the
way that that paintbrush works, but we will see that melodic contour
followed. (singing)
On the next slide we'll see the solfege syllables
graphically represented so that they demonstrate how low or high
the pitch is. I'll also reinforce that with some
hand signs. (singing)
On the next slide we see a combination of those representations
and then we reinforce that with a picture image of those
hand signs. So students can go ahead and practice
and we can manipulate those materials.
Noteflight is another one of those digital tools that can help us manipulate musical materials
students can interact with Noteflight with a free account
they can access a teachers examples and can manipulate
these materials in real time
the added benefit is the use of color coded notation. We'll include a few
examples here, and you can see that every pitch is represented
by a particular color. Sometimes a musical staff can be very
complicated to negotiate and interpret and so
always having that color reinforcement of sat doe
and so always coming back to those anchors
pitches can be very helpful for students. They can
manipulate these musical materials to isolate one particular
musical line, they can also slow the tempo without
altering pitch and you can even have a video recording
timed on the bottom of the screen, so you can help
reinforce those ideas of pitch and hand sines solfedge.
In conclusion if universal design for
learning becomes a process, very few additional accommodations or
modifications will need to be made. When we have a student come
to us with a greater set of needs we can problem solve and think about
strategies that will allow for meaningful access to musical materials
in the classroom. Think about moving into this
profession. You're now a student and thinking about your role
as educator. How do you see examples of universal design
being used in your day to day experience as a college student?
How would you envision universal design allowing you
to breach more learners more of the time? Thanks for watching
today, please contact me if you have any questions.
5.0 / 5 (0 votes)