What’s the Problem? Exploring the Potential of Problem-Based Learning in an Ensemble Setting

Problem-Based Learning

PBL is a creative approach to enhance students’ understanding of a topic and promote higher-order thinking skills. These experiences use authentic contexts that are relevant to real-world problem scenarios and serve as a starting point for the development of knowledge and skills. ¹ As in real life, each PBL experience has multiple solutions and encourages students to use complex problem-solving skills and preexisting knowledge to complete a project. It has three main characteristics: (1) it is organized around a relevant and holistic problem scenario, (2) it engages students as active stakeholders, and (3) it uses teachers as facilitators who coach students’ thinking and inquiry. ²

For more than fifty years, PBL has been successfully used in the education of medical students. An example involves a hypothetical patient who comes into the student’s office complaining of chronic knee stiffness. ³ This simple prompt is built around a relevant and holistic scenario for medical students and puts them in the position of working practitioners, making them stakeholders. From this starting point, the students must consider all factors that relate to this ailment, research any information they do not know, and then offer their diagnoses and suggestions for treatment.

Using scenarios like this as a model, PBL has more recently been applied to other subjects. The University of Delaware in Newark, for example, has been one of the leaders in incorporating PBL into its curricula by using PBL strategies not just in science and math courses but also in music theory courses. ⁴ Associate music theory professor Philip Duker created a PBL scenario focused on analysis titled “A Day in the Life of a Forensic Musicologist” for his theory class. ⁵ The problem scenario begins with the following:

Your group has been hired recently by [the] law firm Ayle and Bebach, which handles music copyright violations. They are making a bid to Robin Thicke’s management to handle an upcoming lawsuit concerning his music. Specifically, they want your group to compare [Robin] Thicke’s song “Blurred Lines” with [Marvin] Gaye’s “Got to Give It Up” and compile evidence that could be used to argue that the pieces are distinct.

The scenario is relevant, relating to actual events that happened within the past few years, and holistic, since the entire issue is presented at once. The student’s role is established in the first sentence. Furthermore, enough information is given to allow students to immediately take ownership of their learning by having them decide what musical knowledge and skills are needed to address the problem. The teacher can then facilitate the activity. Duker also provides his students with additional questions to encourage their thinking and help them reach the learning goals.

PBL scenarios like the examples mentioned have been shown to improve comprehension, retention, social skills, and motivation while inspiring lifelong learning. ⁶ Although musical problem solving has been explored, true PBL experiences have been largely ignored in ensemble music courses. ⁷ The potential of PBL needs to be further explored by ensemble educators. First, a clear understanding of how to develop a PBL experience is necessary before applying it to an ensemble classroom.

Developing a Problem-Based Learning Scenario

Developing a PBL scenario is the first step to creating a successful learning experience for your students. Find a place in your current curriculum that would benefit from students’ working together to investigate and solve a problem. Since we are applying the PBL method to music education, the musical repertoire being studied should be connected to, if not the focus of, the PBL scenario. As you develop a PBL scenario, you should be able to answer at least these five questions:

PBL scenarios can be developed in a backward design approach wherein the learning goals, or desired results, are established first. ⁹ Use the 2014 Music Standards and your current curriculum to help focus your goals for this step. Next, determine how your students will become stakeholders in the problem. Successful PBL scenarios often give students a role that is different from being a student, that appeals to their emotions, and that is relevant to their lives. ¹⁰ Like the example from Duker, look for inspiration in current events within the school community and pop culture to help develop a relevant context for the problem. Furthermore, different roles within the same problem can dramatically change how students approach the experience. Imagine how differently students would handle Duker’s problem scenario if they were placed in the opposite role of arguing for Marvin Gaye’s estate. Ultimately, decide what role will best lead your students to the learning goals. Also consider how your students will first encounter the problem. A creative prompt, video, or dramatization can help bring interest to the PBL activity. The information given to the students should be general enough to allow for multiple solutions but still offer boundaries including a timeline or due date for the final product. A well-crafted problem scenario encourages students to generate multiple ways to identify and solve the problem(s), resulting in the use of higher-order thinking skills like analyzing, evaluating, and creating.

As the facilitator of the PBL experience, you should also understand how students will find the essential issues or reach their learning goals. Visualize how the experience will unfold based on the knowledge and skills your students currently have. This way, if students do not naturally progress toward the issues, you can quickly guide them in the correct direction. Finally, consider how you will assess your students. PBL scenarios almost always have a final product, but assessment can also occur throughout the entire process by using reflections, rubrics, journal prompts, and/or peer assessment. More suggestions for assessment follow.

Developing a Problem Scenario

Developing a PBL experience for an ensemble requires thinking outside of the traditional rehearsal model, where the teacher might conduct and rehearse the ensemble for the entire class period. This may cause some teachers to be hesitant, but it is important to remember that PBL experiences do not have to be used for every piece or during every rehearsal period. I have found, however, that students perform a composition with more success and have a better understanding of the music after participating in a PBL experience focused on that piece. In this example, a successful PBL experience is developed around the piece “Belle qui tiens ma vie” as arranged by Bob Margolis and published by Manhattan Beach Music. ¹¹

The Margolis arrangement of “Belle qui tiens ma vie” is a Grade II piece for concert band based on a Renaissance pavane originally composed by Thoinot Arbeau (TA; a sample performance can be heard at www.youtube.com/watch?v=AMWvm4wtzi4, and a recording of the band arrangement can be found at www.manhattanbeachmusic.com/audio/belle-qui-tiens-ma-vie-ms.mp3). The original French text is a love song. Although relatively simple as to technique, the piece offers potential for musical nuance and expression that can provide challenges even for advanced ensembles. The basic harmony and rhythm of the source material also make it ideal for young musicians, while the text provides an additional layer to the music. When comparing this piece to the National Standards, a variety of learning goals can be reached through the context of a PBL scenario. ¹² For example, “Students will evaluate and refine their own compositions based on group created criteria” is a learning goal that supports the Creating standard. Additionally, Responding standards can be reached with learning goals such as “Students will defend expressive decisions using support from the elements of music, the context of the music, and/or possible text.”

In this example, students have the role of being TA’s good friend. They meet the problem though a short video in which they learn that TA is about to ask the love of his life out on a date. TA planned to have his friends play their instruments while he sang the lyrics to his crush. However, TA forgot the instrument parts and lyrics at home and only has the four-part harmonization of the piece in concert pitch (depending on the learning goals and the knowledge and ability of the students, the music can be transposed). The video creates more drama as the students learn that someone else is also about to ask out TA’s crush.

From this relevant problem scenario, the students must create their own arrangements of the pavane for the instruments in their group and potentially write new lyrics. Any additional creativity, like creating a dance or artwork, can be encouraged. The students will reach the essential issues and learning goals through guidance from the teacher, collaborating with peers, experimenting, researching, and reflecting on their work. A final performance for their peers will show the product of their work, and a variety of assessments such as rubrics, observation forms, and journals will provide evidence of learning. Ideally, students learn and contribute in the ways that work best for each of them while making meaningful connections with music.

The Teacher’s Role

Before implementing a PBL activity it is important to understand the teacher’s role as a facilitator. Typically, a teacher’s involvement decreases as students progress through the experience, but more guidance may be needed for students who are unfamiliar with PBL. However, as they become more experienced with PBL, the ownership that the students develop can be empowering as they start to become self-directed learners. This can be accomplished by guiding students’ learning through questioning and mentoring, which encourages critical and creative thinking. Observe students as they collaborate with their groups, and find opportunities to engage their thinking. For example, when students in a group were playing the chorale-like texture from the “Belle qui tiens ma vie” scenario, a euphonium player continued playing a few notes after the rest of the group had stopped. I said, “Oh, you stopped? I thought that was part of your arrangement!” Just these two sentences inspired the group to change their previously homophonic arrangement to explore different textures to create a unique product. As students become independent and active learners through researching and solving problems with multiple solutions, their ability and motivation to continue learning music throughout life is increased. ¹³

Implementing a Problem-Based Learning Scenario

When implementing a PBL experience, guide students through the six steps shown in Figure 1. ¹⁴ Explain each step to your students so they understand the relative path they should be using to reach the learning goals. A packet of resources and a journal can also be used to help organize and track students’ progress.

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Figure 1

The Steps to a Problem-based Learning Experience

The first step, meeting the problem, involves presenting the students with the scenario you created during the developing stage. Call attention to any prior knowledge they may already have about the topic, and make them aware of any additional materials and resources, like instruments and technology, to be used during this experience. Consider establishing groups that are balanced in terms of abilities, strengths, and personalities. Students can then begin step 2: gathering and sharing facts. Each learner initially understands the problem scenario differently and brings unique experiences, which can affect how the group approaches the problem. A “Know, Need to Know, and Need to Do” (KND) chart is a tool that students can use during this step (see Figure 2). ¹⁵

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Figure 2

The Know, Need to Know, and Need to Do Chart

The “Need to Know” column is especially powerful as it makes the students’ learning highly relevant and personal. At this point, students will also determine what they believe the problem is that they are trying to solve. This will lead them to step 3: hypothesizing. These predictions give students the opportunity to consider possible solutions—or parts of a solution—and what may result from them. Having students create an “If . . . then . . . because . . . ” statement for each hypothesis will help them focus their thinking and allow you to see the direction in which each group is heading. For example, students in the “Belle qui tiens ma vie” scenario might predict that if they pass the melody between different instruments then they would have a more interesting composition because contrast is a characteristic of good music. Teachers should give students ample time and monitor these stages closely to ensure students are directing their investigation toward the desired learning goals.

Once students have completed the first three steps, they are ready to begin step 4: researching, experimenting, and creating. This part of the process is dedicated to students completing their “need to do” column from their KND charts. This is typically when students discover many of the essential issues and reach learning goals. As the facilitator, allow students to experiment and learn from their mistakes, but be ready to guide students if they are off target or become distracted. Collaboration is paramount at this point. Students contribute and communicate in the ways they know best while discovering how other learners approach the same issues. As students reach step 5 and produce potentially successful solutions, they can record why they believe their final product will be successful. A “possible solutions chart,” wherein students can determine pros and cons of parts of their composition or final product, can help organize their thoughts. These charts provide the teacher with some insight into how students are thinking about their problem and can be used to make sure students are progressing toward the learning goals. Once groups agree on a solution, they should consider how to advocate their solution by using their communication skills to create an effective presentation and/or performance of their solution. Finally, step 6 is reached when students share their solutions with the entire class or just the teacher.

Further Considerations

As mentioned, students will need more guidance if they have never participated in a PBL experience. Explaining the process of each step thoroughly will help students feel more confident in their task. Consider putting a time limit on each of the six steps to help students organize their time. Some students will be resistant to the initial lack of structure but will often enjoy the experience more as they progress through the activity. Also consider the physical space you can use. Several groups working in the same area may become too loud and distracting for students to perform at their highest level of productivity.

Ensemble classes are unique. Often students are of various ages and abilities, and class sizes often are larger than most other classes. The perspectives that arise from a diverse ensemble can make a PBL experience even more enriching for the students’ learning. For example, one student participating in the “Belle qui tiens ma vie” PBL scenario was the only guitar player in the class. He added a different dimension to his group’s solution when he pointed out that he could play chords instead of just a single line of music. Encourage students to use the unique resources within their groups and the strengths each student possesses. You may see the benefits of a PBL experience immediately; in my experience, students have said they performed the piece differently, felt more connected to the music, and had a better understanding of the music after having participated in an ensemble PBL experience.

Authentic Assessment and Problem-Based Learning

PBL corresponds well with authentic assessments, which “require students to actively accomplish complex and significant tasks, while bringing to bear prior knowledge, recent learning, and relevant skills to solve realistic or authentic problems.” ¹⁶ Assessment can be ongoing, occurring throughout the entire experience. Having students keep journals to record and organize their experiences can also serve as an ongoing assessment tool while encouraging higher-order thinking. Teachers and students can keep track of their responses to essential questions like those in the 2014 Music Standards. Journals can also be used to record peer assessment, self-evaluations, and responses to reflective questions such as, What new ideas or knowledge did you produce? What questions do you still have? or How can you apply what you did in this PBL experience to events outside of school? Students’ KND charts, “If . . . then . . . because . . . ” statements, possible solution charts, and any additional assignments can also be used as methods of assessment. Assessment can also occur through observation forms on which teachers can track which students still need to meet certain standards and encourage them throughout the experience to meet the expectations. Rubrics like the one in Figure 3 can be particularly effective when assessing the final product.

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Figure 3

Sample Rubric Based on Aforementioned Learning Goals

Furthermore, making students aware of the expectations in advance or including students in developing assessment criteria is recommended. ¹⁷ PBL scenarios developed around real-world experiences allow the teacher to use numerous methods of authentic assessment to gather evidence of students’ learning while deepening their understanding of the topic.

Why Problem-Based Learning, and Why Ensembles?

PBL has strong connections to the influential work of John Dewey’s problem-solving method, Lev Vygotsky’s social constructivism, Jean Piaget’s cognitive disequilibrium, and Gardner’s Multiple Intelligence Theory, as well as the work of many other significant educational psychologists and reformers. ¹⁸ However, the strongest evidence to support PBL strategies may not lie in its theoretical foundation but, rather, in actual practice. Teachers have consistently said that students who learn through PBL experiences can discuss topics in depth, beyond facts; ask thoughtful, higher-order questions; and actively seek learning opportunities that help to answer previous problems. ¹⁹ Research also suggests that PBL, when compared to teacher-centered strategies, is more effective at long-term retention, skill development, and both teacher and student satisfaction. ²⁰

Music education has been criticized in the past for not accepting “contemporary education practices,” ²¹ but we have the awesome responsibility of providing our students with a complete music education in the most effective way possible. PBL is one way to successfully provide this kind of education. Try creating a simple PBL scenario that will take minimal class time and take note of how your students engage with music in active and new ways. See Table 1 for potential starting points.

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Table 1

Simple Problem-based Learning Scenarios

Class	Musical Repertoire	Possible Problem
Chorus	“Shenandoah” (any arrangement)	“You are on a world tour performing in a country where the audience does not understand English. For a successful performance, you must find musical ways to express the meaning of your song. What aspects are most important to convey, and how are you going to convey them?”
General music	Pictures at an Exhibition	“As curators of an art museum, your team is tasked with compiling paintings, sculptures, drawings, or any other form of art that reflects the music of Pictures at an Exhibition. Use the Internet and other sources to find potential pieces of art. A description of how the music and the art are related must be given to the guests of the museum.”
Orchestra	“Russian Sailors’ Dance” (any arrangement)	“Family friends are visiting from Russia, and your group wants to give them a warm welcome and surprise them with a performance of ‘Russian Sailors’ Dance.’ However, you want to make sure the performance is authentic to the music’s Russian roots. How will you discover an authentic Russian style and apply it to your performance?”

With music as the focus, students think critically, collaborate, communicate, create, and make music in authentic contexts. These experiences prepare students to be engaged in music-making and musical problem solving for the rest of their lives.