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Hvad hører du? eller Hvad sker der i musikken? Hvad hører du, der får dig til at sige det? Hvad kan du ellers høre?

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Hvad hører du? eller Hvad sker der i musikken? Hvad hører du, der får dig til at sige det? Hvad kan du ellers høre?

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MST Music thinking strategies - lyt og fortæl

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MST Music thinking strategies - lyt og fortæl

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Hjemmeside med lytteeksempler, videoer, intro mm

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Drawing on the empirically-based Visual Thinking Strategies model, Critical Thinking in Music is a constructivist, inquiry-based approach to developing musical reasoning and understanding unique to APS. Developed by Dr. Adriana Van Rensburg, Critical Thinking in Music is used at the elementary, middle, and high school levels. Originally called "Music Thinking Strategies" because it parallels Visual Thinking Strategies, the Professional Learning videos below demonstrate how and why to use it in your classroom.Critical Thinking in Music/Music Thinking Strategies is an APS program and not affiliated with Visual Understanding in Education (Visual Thinking Strategies) headquartered in New York City. See workshop video below downloadable resources.

Click to download audio files for CTM lessons or scroll to bottom of page to play audio clips from this web page.

Please down the CTM Pre/Post Assessment Form and Rubric. Use the first audio clip above ("ctm_01.mp3") for both the Pre and Post Test.

Follow the directions below to deliver the CTM curriculum 8-10 times during your music class (K-5 general music, MS band, MS chorus, MS orchestra). Play two audio clips per lesson. Each lesson (discussing two clips -first one, then the other) should take 15-20 minutes. The CTM Assessment is given at the 3rd, 5th, and 6th Grades.

Teacher: "You will hear a 40 second piece of music. Quietly listen to the music."
Teacher then facilitates a discussion using the following questions (Use EXACT wording):

"What's going on in this music?"
"What do you hear that makes you say that?"
"What more can I find?"

Let the student OWN their responses to the music - do not reveal what you think about the music. You are developing Habits of Mind, ELA skills, and Critical Thinking, not transmitting information in CTM lessons.

Teacher behaviors: Paraphrase. Link. Replay (music).

Features of selected music

Music is "unknown" to the listeners.

No lyrics, only instrumental

Has sufficient complexity

40 second segments

Diverse styles: Renaissance, Medieval, Baroque, Contemporary, etc.

Diverse genres: solo, chamber, symphonic, jazz combo, etc.

Guidelines for presenting CTM in class

Play a 40 second segment. You may play it twice to start off.

Say: "What is going on in this music?"

Listen to oral responses, paraphrase the response (do not echo), move on to the next response, etc.

Some statements will require evidence. Say: "What do you hear that makes you say that?"

After every 4-5 responses, paraphrase and summarize, "link" the thoughts that have been presented.

Play the same 40 second segment of music again.

Say: "What more can you find?"

Same procedure as above.

Music may be played several times.

Play the 40 second clip in its entirety at each listening. Do not stop/start/fast forward/rewind, etc. Students must build an "aural image" of the whole.

Session can last 10-15 minutes.

Do not make qualitative responses e.g. good job, great, yes that's right, etc.

General guidelines

Use only the 20 music clips provided on www.igniteart.weebly.com which are also on the CD that you have been provided.

Do not use any visual imagery with the music.

Teacher and students have to listen quietly and attentively to the 40 second clip. No talking, giving directions, alerting students to musical features, etc.

Remember: During facilitation teachers paraphrase, not echo, student responses. Only use "What do you hear that makes you say that?" when a statement needs evidence. Link connecting thoughts. The facilitator does not introduce any new ideas, concepts, features, etc. All ideas are generated by students.

Present CTM at least once a week for 10-15 minutes of your lesson.

CTM is oral. Only the pre and post assessment require written student responses for the purposes of assessment.

Click to play audio file.

01 History Of Music 6g.mp3

02 _19C Perc Sound Effect.mp3

03 History Of Music 12b.mp3

04 History Of Music 10h.mp3

07 History Of Music 7r.mp3

08 History Of Music 7e.mp3

09 History Of Music 7h.mp3

10 History Of Music 7f.mp3

11 History Of Music 6p.mp3

12 History Of Music 6o.mp3

13 History Of Music 6b.mp3

14 History Of Music 5v.mp3

15 History Of Music 5s.mp3

16 Prokofiev_ Toccata In D Minor, Op. 11.mp3

17 History Of Music 5q.mp3

18 History Of Music 12e.mp3

19 Slit Drums_Log Drums.mp3

20 History Of Music 12c.mp3

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Drawing on the empirically-based Visual Thinking Strategies model, Critical Thinking in Music is a constructivist, inquiry-based approach to developing musical reasoning and understanding unique to APS. Developed by Dr. Adriana Van Rensburg, Critical Thinking in Music is used at the elementary, middle, and high school levels.

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Hjemmesiden ovenfor bruger kun klassiske eksempler, men jeg tænker at man også kunne finde jazz, new age, elektonisk, verdensmusik og andet instrumentalmusik

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Hjemmesiden ovenfor bruger kun klassiske eksempler, men jeg tænker at man også kunne finde jazz, new age, elektonisk, verdensmusik og andet instrumentalmusik

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About Partners VTS Webinars Image Bank Research Outputs Project Results Educators' Perspectives Translated Questions Contact Links

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"Det er en utrolig demokratisk metode, fordi den lægger op til, at alle kan deltage uanset forudsætninger" - Peter Juul, kunstformidler

Kompositionen og symbolerne nærmest vælter ud af lærredet. 'Primavera' er et skoleeksempel på det gyldne snit og komplementærfarver. Billedet af det unge par i solnedgangen hænger på kunstmuseet Kunsten i Aalborg. Det er et af de værker, som Peter Juul ofte viser for skoleelever, når de besøger museet. Han er kunstformidler og leder af Kreativitarium, der er museets formidlingsenhed for børn. "Der er utroligt meget at tale om her, lige fra farver og sumboler til forgrund, mellemgrund og baggrund. Alt det, som eleverne typisk skal igennem i en billedanalyse", siger Peter Juul. Men når han viser billedet for skoleelever, undgår han bevidst at fortælle om det gyldne snit og de mange lag af betydning, som billedet indeholder. På kunstmuseet Kunsten er det nemlig langt vigtigere at lade børnene sanse selv og komme med deres egne bud på, hvad de ser. "Hvis jeg serverer det hele for dem, lukker jeg for børnenes sanser. For mig er kunst åbent. Derfor tager jeg også alt det, børnene siger, alvorligt og bruger det aktivt i formidlingssituationen. Det er ikke mig som formidler, der har svaret. Det er noget, vi finder frem til sammen," siger Peter Juul. Metoden, som han og de andre kunstformidlere på Kunsten arbejder med, hedder VTS-metoden. VTS står for Visual Thinking Strategies og går ud på at støtte børns evne til at kommunikere og reflektere ved at observere kunst i en gruppesammenhæng. "Det er en utroligt demokratisk metode, fordi den lægger op til, at alle kan deltage uanset forudsætninger. Der findes ingen rigtige eller forkerte svar. Det giver et trygt rum, som gør, at eleverne i højere grad tør åbne munden," siger Peter Juul.

'Hvad foregår der her?'

VTS-metoden er udviklet af den amerikanske psykolog Abigail Housen i samarbejde med Philip Yenawine, tidligere leder af undervisningsafdelingen på Museum of Modern Art (MoMA) i New York. Metoden praktiseres i dag på en lang række museer og skoler i USA og er nu også ved at vinde frem på museer og skoler i Danmark. "Som udgangspunkt går metoden ud på, at man går fuldstændig åbent til et værk. Man nævner ikke noget om, hvad værket hedder, eller hvem der har lavet det. Man placerer sig blot foran værket sammen med børnene og stiller dem spørgsmålet: 'Hvad foregår der her?'," fortæller Peter Juul. Børnene kan svare hvad som helst, lige fra 'Jeg kan se noget rødt' eller 'Jeg kan se en mand ved et bord'. Uanset hvad de siger, er dialogen og analysen i gang, når det første åbne spørgsmål er stillet. "Opgaven som formidler er at kunne lytte aktivt og nysgerrigt. Hvis et barn siger, at han ser en mand, sørger jeg for at pege på det, barnet nævner på billedet, og spørger, om det er det, barnet mener. Både for at bekræfte, at vi taler om det samme, og for at sikre mig, at resten af klassen er med," forklarer Peter Juul. Herefter stiller han spørgsmål nummer to: 'Hvad kan du se, der får dig til at sige det?'. "Det kan være, at det er helt vildt åbenlyst, men spørgsmålet er med til, at eleverne bliver tvunget til at sætte ord på det, de ser. På den måde træner de deres observationsevne og øver sig i at argumentere," siger Peter Juul. Samtidig får børnene øvet sig i at lytte til hindenden og sætte sig ind i andres tanker og måder at anskue verden på. "De andre elever ser måske noget helt andet, og så får vi en snak om det. Hvis man er en god formidler, lader man samtalen køre uden at stille andre spørgsmål end 'Hvad foregår der her?' og 'Hvad får dig til at sige det?'", siger Peter Juul. Det er kun, hvis samtalen går i stå, at man som formidler stiller VTS-metodens tredje spørgsmål: 'Hvad kan vi ellers finde i billedet?'.

Svaret ligger hos beskueren

På Kunsten kommer både elever fra indskolingen og udskolingen. Og mange af lærerne oplever, at de børn, der normalt ikke siger så meget, siger mere, når de er på museet. "Vi får meget positiv feedback fra lærerne. De kan se, hvor meget eleverne byder ind, og hvordan metoden er med til at støtte eleverne i at kommunikere og lytte til hinanden," siger Peter Juul.

Én af de lærere, der er vant til at komme på Kunsten med sine elever, er Karina Jørgensen. Hun har undervist i dansk og billedkunst i 20 år og har netop færdiggjort et efteruddannelseskursus på Kunsten, hvor hun har snuset til VTS-metoden. "Som dansklærer kan jeg ikke lade være med at tænke metoden ind i andre kontekster. Det er spændende, hvordan man kan bruge metoden til at tale om billeder, men jeg kan i høj grad også bruge det i min danskundervisning," siger Karina Jørgensen, der til daglig underviser på Vesterkærets Skole i Aalborg. Når hun underviser sine 2. klasseselever i dansk, oplever hun, at metoden er med til at øve eleverne i at sætte ord på deres egne tanker. Samtidig øver eleverne sig i at sætte sig ind i de andre elevers tankegang og får dermed trænet deres empatiske evner. "Det, der gør metoden god i mine øjne, er, at elevens egen mening kommer i spil. Svaret ligger ikke inde i teksten eller i billedet, men hos beskueren eller læseren. På den måde er det en meget inkluderende metode," siger Karina Jørgensen.

Mere tankegang end metode

På efteruddannelsen har hun øvet sig i at bruge VTS-metodens tre spørgsmål i forhold til at tale om billeder. Og det har hun i baghovedet, når hun introducerer de yngste elever til tekster i danskundervisningen. "Elevernes kommunikationsevner er jo et vigtigt element i de læringsmål, vi har i dansk. På den måde egner VTS-metoden sig godt til danskundervisningen. Jeg bruger ikke nødvendigvis spørgsmålene stringent, men jeg har intentionen med mig i baghovedet," siger Karina Jørgensen. Metoden gør, at hun er blevet mere opmærksom på at lade eleverne komme til orde i undervisningen og træde et skrift tilbage selv. "For mig er det mere en tankegang end en metode. Det handler om, at vi som lærere er åbne og nysgerrige overfor, at der er mange forskellige tolkninger af en tekst, fremfor at vi fortæller eleverne, at der er rigtige og forkerte svar," siger Karina Jørgensen. Hun peger på, at metoden egner sig til mange fag i skolen: "Det handler ikke så meget om facit. Det handler om, at vi som lærere anerkender, at der er forskellige måder at komme til facit på, og at vi sørger for, at der er rum til samtalen."

"Det handler om, at vi som lærere er åbne og nysgerrige overfor, at der er mange forskellige tolkninger af en tekst" - Karina Jørgensen, dansklærer

Nysgerrighed skal drive samtalen

I sit arbejde med eleverne ser Peter Juul sig selv som facilitator frem for den klassiske formidler, der videregiver svar og viden. Men det er ikke ensbetydende med, at han bare er mikrofonholder. For ham handler det om at forholde sig åbent og nysgerrigt til det, børnene siger, og samtidig forsøge at oversætte det med nogle analysebegreber. "Hvis et barn siger, at det kan se mange røde farve, kan jeg for eksempel finde på at oversætte det ved at sige, at der er mange varme farver. På den måde kan jeg som formidler liste nogle begreber eller perspektiveringer ind og være med til at udvide samtalen," siger Peter Juul. Oversættelsen kan også bestå i at pege på, at to elever har forskellige oplevelser af et billede. "Her er det vigtigt, at man ikke går ind og bedømmer, hvad der er rigtigt eller forkert, men at man i stedet før eleverne opmærksomme på, at man godt kan se med forskellige øjne," siger han. Er det en vigtig pointe, at man ikke skal bedømme, hvad der er rigtigt eller forkert? "Ja, for det giver børnene mod på at åbne mere op. Det kan godt være, at jeg har en stor viden om det her værk, men pointen er, at børnene kommer på banen. Og selvom det ikke er så struktureret i forhold til en almindelig analysegennemgang, lykkes det som regel alligevel at få analyseret billedet og komme omkring de centrale tematikker," fortæller Peter Juul.

Blå bog: Peter Juul

Kunstformidler på Kunsten Museum of Modern Art Aalborg og leder af Kreativitarium. Han er også forfatter til frilæsningsbogen Kunst i Alineas Fagklub.

HVAD GÅR VTS-METODEN UD PÅ?

Visual Thinking Strategies er en kunstformidlingsmetode, som handler om at støtte børn og unge i at udvikle refleksion, kritisk tænkning og kommunikationsevner ved at lade dem observere kunst i en gruppesammenhæng.

Metoden er udviklet af psykolog Abigail Housen og Philip Yenawine, tidligere leder af undervisningsafdelingen på Museum of Modern Art (MoMA) i New York.

Metoden tager udgangspunkt i observationer. Ved at lade børn ytre sig og begrunde, hvad de observerer i et kunstværk, opmuntrer man den verbale kommunikation og evnen til at reflektere.

VTS-METODENS TRE SPØRGSMÅL

Som udgangspunkt må du som formidler kun stille nedenstående tre spørgsmål til eleverne. I Danmark bliver metoden dog brugt mindre stringent end i USA. Det vigtigste er, at man som formidler forholder sig åben og aktivt lyttende.

Hvad foregår der i kunstværket?

Hvad er det, du ser, der får dig til at sige det?

Hvad kan vi ellers finde?

På Kunsten i Aalborg skal eleverne gå åbent til værkerne. I stedet for faste analyseredskaber skal de svare på det simple spørgsmål: "Hvad foregår der i billedet?" Man lukker børnenes sanser, hvis man serverer det hele for dem, forklarer kunstformidler Peter Juul. Harald Slott-Møllers Primavera (1901) er et godt eksempel på et billede, hvor man nemt kan lave kompositionsanalyse. Men med VTS-metoden handler det om at slippe analyseredskaberne og i stedet lade elevernes nysgerrighed styre. Gengivet med tilladelse fra Kunsten Museum of Modern Art Aalborg.
Skrevet af Signe Bjerre, forlaget Alinea, 202 1

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Man behøver ikke være ekspert i symbolanalyse og farvekomposition for at arbejde med kunst i dansktimerne. En ny metode, hvor børn skal bruge sanser og nysgerrighed til at opleve værkerne, er ved at blive udbredt - både i skoler og på kunstmuseer. En metoder, der også kan bruges på tekster i danskundervisningen, og som styrker elevernes kommunikationsevner.

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At overskride teori-praksis grøften på museer

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At overskride teori-praksis grøften på museer

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When I am talking about Visible Thinking people often assume that I mean Visual Thinking, otherwise know as Visual Thinking Strategies (VTS). I thought here might be a good place to explain the differences and similarities between the two methods. So, deep breath, here we go...

Visual Thinking Strategies

Visual Thinking Strategies has been developed over the past 30 years by psychologist Abigail Housen and museum educator Philip Yenawine. It focuses on looking and discussing works of art mediated by a discussion facilitator. This method is based around one thinking routine of three carefully constructed open-ended questions which are strictly and rigorously adhered to:

1. What's going on in this picture?

2. What do you see that makes you say that?

3. What else can you find?

The first question ('What's going on in this picture?') aims to open up the discussion and invites a variety of comments ranging from colours, information and shapes to feelings. This first question probes directly for meaning, rather than prompting for a list of observations. Many other strategies - such as, for example, Edmund Feldman's 'Formal Analysis', Terry Barrett's 'Critical Response' Method, and many of the Visible Thinking routines - emphasise the importance of making observations before jumping into interpreting the object or art work. To my mind, time spent observing is valuable in order to avoid hasty judgements or interpretations.

As the discussion develops, the facilitator asks the second VTS question 'What do you see that makes you say that?' which asks the students to provide evidence to back up their interpretations. The final question 'What more can you/we find?' has the goal of making the discussion more rounded.

VTS is a very specific and thorough method and spells out exactly what is to be shown, at what age and in what order. Facilitators are taught to point to what the students are talking about in the art and to paraphrase every comment made. Facilitators are also required to remain neutral throughout and not to add any contextual or factual information.

VTS was something of an inspiration for the team at Project Zero who spent a year evaluating VTS at the Museum of Modern Art (MoMA) in New York. This was their first exposure to a thinking routine and Shari Tishman and David Perkins have since named VTS as one of three projects that were formative in shaping and helping to develop Visible Thinking. 'What makes you say that?' is listed as one of the core thinking routines although its delivery differs somewhat from the structure imposed by the VTS method.

Visible Thinking

Therefore, when we talk about the difference between VTS and Visible Thinking, the basic point to remember is that VTS is the original thinking routine and the method uses only this one routine based on 3 simple questions. Visible Thinking, on the other hand, has developed more than 41 thinking routines (there are more than 100 thinking routines in total if you add other thinking routines from other Project Zero projects. You can get a list of the full 100+ below) which can be used according to the type of thinking that you wish to elicit. There are routines for introducing and exploring, for synthesising and organising and for digger deeper into ideas. For those getting started with Visible Thinking, See-Think-Wonder is a wonderful routine that focuses on careful observations, thoughtful interpretations and stimulates curiosity:

Whilst VTS was developed in a museum context, Visible Thinking became what it is today through classroom practice and development. Both have crossed over into other environments, VTS has developed the VTS School Program and Visible Thinking has been used in many museum educational programmes.

On a personal level, Visible Thinking gives me the freedom to choose the type of routine that is suitable for a type of museum or educational programme or an exhibition or an object itself. I can choose a routine that will develop the skills of observation and interpretation with, say, an African rod puppet named Sigi. Similarly, I can choose a routine that asks students to step inside the character of the woman depicted in Khosrow Hassanzadeh's silkscreen painting in front of them which helps them to explore different viewpoints and perspectives. I can use thinking routines individually, in a group discussion or as a written assignment. I can also modify and create thinking routines that are specific to a museum or museum programme. Importantly, I can choose where to add contextual information (in the Wonder part of See-Think-Wonder for example) and I know how to add just enough information to answer the questions driven by the student's curiosity. This in-built flexibility is one of the key reasons that working with Visible Thinking is so rewarding.

Using both of these methods is not just a strategy; it is about embracing a new way of thinking and learning. It leads to fundamental changes in the way educators behave and the way programmes work in the museum and the way audiences engage with artworks and objects.

The Ultimate Thinking Routine List

I've been working on an ultimate list of ALL 100+ thinking routines as a handy instant reference guide for educators, guides and creatives. Get inspired!

If you'd like to receive a copy, then click on the button below.

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Visual Thinking Strategies and Visible Thinking

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When I am talking about Visible Thinking people often assume that I mean Visual Thinking, otherwise know as Visual Thinking Strategies (VTS). I thought here might be a good place to explain the differences and similarities between the two methods. So, deep breath, here we go...

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how do people perceive art?

In 1989 Philip Yenawine, at the time Director of Education of the Museum of Modern Art (MoMA) in New York, USA, was asked by the Board of Directors to study how effective the MoMa's educational programme was. What they knew, was that there was a great need among visitors for information and guidance and the feedback on the MoMA's guided gallery tours was consistently very positive. What was unknown up till that point however, was what visitors actually took in from the information that was given to them by the talented and engaged MoMA staff. In other words, what did they learn? Did the gallery talks help visitors to get a better understanding of the art?

To answer this question, Yenawine set up a study in collaboration with Cognitive Psychologist Abigail Housen, who had developed a theory of Aesthetic Development based on doing decades of research on how people perceive visual art. The method behind this research was to record people while they talked about a visual artwork in a stream-of-consciousness way, the so-called Aesthetic Development Interview (ADI), which was then transcribed and analysed. Housen's research revealed that viewers understand works of art in predictable patterns, which she defined as 5 stages of Aesthetic Development in this way:

Stage 1: Accountive VIEWERS

Accountive viewers are storytellers. Using their senses, memories, and personal associations, they make concrete observations about a work of art that are woven into a narrative. Here, judgments are based on what is known and what is liked. Emotions colour viewers' comments, as they seem to enter the work of art and become part of its unfolding narrative.

Stage 2: constructive VIEWERS

Constructive viewers set about building a framework for looking at works of art, using the most logical and accessible tools: their own perceptions, their knowledge of the natural world, and the values of their social, moral and conventional world. If the work does not look the way it is supposed to, if craft, skill, technique, hard work, utility, and function are not evident, or if the subject seems inappropriate, then these viewers judge the work to be weird, lacking, or of no value. Their sense of what is realistic is the standard often applied to determine value. As emotions begin to go underground, these viewers begin to distance themselves from the work of art.

Stage 3: classifying VIEWERS

Classifying viewers adopt the analytical and critical stance of the art historian. They want to identify the work as to place, school, style, time and provenance. They decode the work using their library of facts and figures which they are ready and eager to expand. This viewer believes that properly categorized, the work of art's meaning and message can be explained and rationalized.

Stage 4: Interpretive VIEWERS

Interpretive viewers seek a personal encounter with a work of art. Exploring the work, letting its meaning slowly unfold, they appreciate subtleties of line and shape and color. Now critical skills are put in the service of feelings and intuitions as these viewers let underlying meanings of the work what it symbolizes emerge. Each new encounter with a work of art presents a chance for new comparisons, insights, and experiences. Knowing that the work of art's identity and value are subject to reinterpretation, these viewers see their own processes subject to chance and change.

Stage 5: re-creative VIEWERS

Re-creative viewers, having a long history of viewing and reflecting about works of art, now willingly suspend disbelief. A familiar painting is like an old friend who is known intimately, yet full of surprise, deserving attention on a daily level but also existing on an elevated plane. As in all important friendships, time is a key ingredient, allowing Stage 5 viewers to know the ecology of a work - its time, its history, its questions, its travels, its intricacies. Drawing on their own history with one work in particular, and with viewing in general, these viewers combine personal contemplation with views that broadly encompass universal concerns. Here, memory infuses the landscape of the painting, intricately combining the personal and the universal.
The MoMA Gallery Talks Study The MoMA gallery talk study set out to explore whether gallery talks led to a greater understanding of art and how this might be related to the visitors' Stage of Aesthetic Development. To this purpose, Yenawine and Housen recruited a group of 22 adults and first conducted an Aesthetic Development Interview with them to determine their Stage of Aesthetic Development. The participants then took part in a gallery talk on abstract and expressionist art, delivered by an experienced and engaging MoMA guide. Afterwards, participants were asked to recall what they remembered from the gallery talk. What emerged was that what people reported back was coloured and filtered by their Stage of Aesthetic Development. Beginner viewers (stage I & II) would frame the galley talk in their personal world view, norms & values and everything that fell outside this construct would be dismissed. What these outcomes showed, was that beginner viewers couldn't accommodate factual information yet in the analytical way stage III viewers and upwards could. Gallery talks with early stage viewers did not lead to a greater understanding of art that was not familiar or liked. Given Housen's earlier findings that most museum visitors are beginner viewers, the study's outcomes made Yenawine realise that the museum's much appreciated gallery talks were actually not the most helpful educational tool to the bulk of visitors. What these visitors needed more was a guiding framework that would assist them with looking at and making sense of art, which led Yenawine and Housen to develop the Visual Thinking Strategies (VTS) method.
How does vTS work?

The Thinking Eye works with Visual Thinking Strategies (VTS) as a method to both study and develop visual thinking skills. Facilitated VTS discussions about visual works of art or complex imagery ideally take place in a group and are always structured by the same basic 3 questions:
What's going on in this ...(picture/sculpture/installation/situation/etc)? What do you see that makes you say that? What more can we find?
The role of the facilitator is not to provide information that satisfies these questions, but to guide people through a process of curious exploration, critical reflection and collective meaning making. The consistency in discussion technique provides a structural thinking strategy that people can internalise over time so that they become able to independently and critically guide their visual meaning making. VTS discussions are most effective when the facilitator tailors the visual artworks to the specific interests and developmental level of the audience. As described by Housen's 5 stages of Aesthetic Development, early stage visual thinkers tend to make little distinction between personal perceptions and what they consider to be objective truths. Observations will be communicated matter of factly, without any critical reflection or additional explanation as it is assumed the perception is objectively true. In this process of actively constructing an understanding of what is being observed, learning is aided by skillful guidance of the facilitator and alternative views of group members.

An extensive body of research, conducted over the past decades has demonstrated that VTS is a highly effective teaching tool to develop observation, critical & creative thinking as well as communication skills. VTS has shown to be of great value to not only museums but the entire spectrum of public education, because of its ability to adapt to the developmental level and personal interest of the specific audience. An added benefit is that VTS discussions can be successfully led by facilitators without any formal art training. In addition to leading museums, the VTS method is now internationally used in primary & higher education, professional development programmes, medical schools -including Harvard- as well in rehabilitation programmes for people with acquired brain trauma.

LEARN MORE ABOUT VTS

The Thinking Eye offers tailored VTS training for individuals and teams, for more information on the services we offer see here or feel free to get in touch.

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In 1989 Philip Yenawine, at the time Director of Education of the Museum of Modern Art (MoMA) in New York, USA, was asked by the Board of Directors to study how effective the MoMa's educational programme was.

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Visual Thinking Strategies (VTS): Critical Thinking and Inclusive Discussion

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VTS is an education nonprofit providing schools and museums with curriculum, professional development, and training in critical thinking skills.

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Permission to Wonder Erasmus projekt 2017-20

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Permission to Wonder Erasmus projekt 2017-20

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Kontakt VTSdanmark på info@vtsdanmark.dk hvis du som privatperson eller arbejdsplads ønsker at høre mere om mulighederne for workshops i, oplæg om eller kunstsamtaler udfra VTS.

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Permission to wonder video 1 - Start fra 1:00 

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Permission to wonder video 1 - Start fra 1:00 

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#1 Online Symposium - Permission to Wonder

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Hvordan og hvad gør man med musik og lytning? 

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Hvordan og hvad gør man med musik og lytning? 

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Musical Thinking Strategies eller Critical Music Listening

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#2 Online Symposium - Permission to Wonder

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The Visual Thinking Curriculum (VTC) is a school-based program developed by the Museum of Modern Art (MoMA) that aims to help student learn how to think by talking about art. The program has been developed and refined over the last decade, and is currently used in many New York schools. It has also been adapted to international contexts. In an effort to better understand the cognitive and social benefits the VTC does, or potentially can, provide students, researchers at Project Zero began a year-long investigation of the VTC in October of 1998. The goal of the work was to create a comprehensive picture of the VTC's present and potential strengths, as well as its weaknesses. Over the course of the year, both qualitative and quantitative research methods were used. The qualitative research included individual teacher and staff interviews, classroom observations, student and teacher questionnaires, and group student interviews. The quantitative research consisted of a student performance assessment based on a standard control group/treatment group experimental design. Read the full report here.

Highlights of the major research findings are:

The VTC tends to contribute to a modest but statistically significant increase in the quality of students' evidential reasoning when they are forming interpretations about the meaning of a work of art. This gain also appears to transfer to forming interpretations about the meaning of a non-art image in the domain of science.

The VTC tends to contribute to a modest but significant increase in students' awareness of the subjective, or conditional, nature of interpretation. Like the gains in evidential reasoning, this is a gain in the context of interpreting the meaning of a work of art, and also in the context of interpreting the meaning of a non-art image in the domain of science.

In the area of evidential reasoning, the gains that students receive as a result of the VTC do not appear limited to students of high ability or low ability. Most students experience at least modest gains, and the gains do not appear to favor students of a particular ability level. However, the level of teachers' understanding of the VTC methodology has a strong influence on the degree to which students benefit from the curriculum.

VTC teachers whose students have the highest overall gains tend to push individual students to make detailed observations about works of art and to justify their interpretations with perceptual evidence in the image. At the same time, they encourage a culture of conversation in the class by soliciting comments from many students and encouraging students to respond to one another directly and to reason collaboratively.

Teachers whose students have the lowest gains tend to encourage students to list observations of details in works of art, and tend to discourage students from thinking broadly about the meaning of an image and from exploring disagreements about, or citing evidence for, their individual interpretations.

Students tend to experience the VTC as challenging and engaging, and they appear to intuitively understand what the VTC questions are getting at. In particular, students seem to understand that the VTC methodology has cognitive value in "figuring things out" and understanding meaning.

Students find it easy to imagine transferring the VTC questions to many contexts, inside and outside of school, and in fact report that they do so. Almost all of the connections they mention seem appropriate.

Based on these findings, MoMA began a substantial revision of the VTC in collaboration with Project Zero in 2000. The revised VTC was published by MoMA.

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MoMA's Visual Thinking Curriculum Project

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The Visual Thinking Curriculum (VTC) is a school-based program developed by the Museum of Modern Art (MoMA) that aims to help student learn how to think by talking about art. The program has been developed and refined over the last decade, and is currently used in many New York schools.

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#3 Online Symposium - Permission to Wonder

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Kort beskrivelse

Hvad sker der i hjernen, når vi lytter til og udøver musik? Hvordan påvirkes mennesket af musik, både fysiologisk, følelsesmæssigt og sprogligt? med udgangspunkt i sin forskning og i sin karriere som jazzmusiker fortæller Peter Vuust om, hvordan hjernen bearbejder musik og om forskellen på musikeres og ikke-musikeres hjerner.

Lang beskrivelse

Hvad sker der i hjernen, når vi lytter til og udøver musik? Og hvordan påvirkes mennesket af musik, både fysisk, følelsesmæssigt og sprogligt? Peter Vuust fortæller, med udgangspunkt i sin forskning og i sin karriere som jazzmusiker, om hvordan hjernen bearbejder musik og om forskellen på musikeres og ikke-musikeres hjerner.

Bl.a. kan hjerneforskningen sige en del om musik som biologisk fænomen. Undersøgelser er kommet til det overraskende resultat, at musik udløser reaktioner i hjernens belønningssystem. Den menneskelige hjernes belønningssystem gør at vi oplever nydelse, når vi foretager os noget, der er godt for vores overlevelse, f.eks. at spise eller have sex. Musik påvirker hjernen på samme måde, selv om musik ikke har en åbenlys værdi for vores overlevelse.

Nye skanningsmetoders indtog i forskningen har også gjort det relevant at spørge om, hvorvidt mennesket har et særligt gen for musik, og om visse mennesker er mere genetisk disponerede for musikalske udfoldelser end andre, både med hensyn til interesse for musik og musikudøvelse.

Her er henholdsvis absolut gehør og tonedøvhed (amusi) to spændende fænomener, som giver nogle fingerpeg om, hvorvidt musikalitet - eller det modsatte - er indlejret i hjernen fra fødslen.

Undersøgelser af mennesker med amusi tyder på, at generne afgør, om man lider af denne mangel på musikalske evner. Det samme gælder absolut gehør. Studier viser særligt udviklede hjernestrukturer hos mennesker med absolut gehør. Men samtidig kan man kun udvikle absolut gehør, hvis man modtager musikundervisning allerede fra 6-års alderen.

Ud over hjernens grundlæggende strukturer har også psykologiske faktorer en stor indflydelse på musikforbrug og musikudøvelse. F.eks. har Peter Vuust og hans forskerkolleger påvist, at der er store forskelle i personlighedstype mellem klassiske og rytmiske konservatoriestuderende. Rytmiske musikere er typisk mere udadvendte (sensations-søgende) end klassiske. En test af danske konservatoriestuderende viser, at rytmiske musikere ligger markant over befolkningens gennemsnitscore, mens klassiske musikere ligger lige under.

Foredraget kommer også ind på aktuelle teorier om musiks evolutionære opståen, forskellen mellem musik og sprog og om hvorvidt musikalsk træning har en afsmittende effekt på børns indlæringsevner generelt.

Til slut trækker Peter Vuust nogle perspektiver for fremtidens forskning i musik og hjerne, bl.a. nye, forskningsbaserede øvestrategier, musik som præstationsfremmer og øget brug af musik i sundhedsvæsenet.

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Hvad sker der i hjernen, når vi lytter til og udøver musik? Hvordan påvirkes mennesket af musik, både fysiologisk, følelsesmæssigt og sprogligt? med udgangspunkt i sin forskning og i sin karriere som jazzmusiker fortæller Peter Vuust om, hvordan hjernen bearbejder musik og om forskellen på musikeres og ikke-musikeres hjerner.

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Below you will find traning videos and downloadable resources for implementing Visual Thinking Strategies (VTS) in your classroom. We encourage you to visit the official Visual Thinking Strategies web site at http://www.vtshome.org/

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Below you will find traning videos and downloadable resources for implementing Visual Thinking Strategies (VTS) in your classroom. We encourage you to visit the official Visual Thinking Strategies web site at http://www.vtshome.org/