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Andrea I. Morris (she/hers): All right, thank you so much for joining us at T cow, we are very excited to present on a recent force development that we undertook i'm presenting today.

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Andrea I. Morris (she/hers): or myself Andrea I Morris and Valerie hartman, sadly, our colleague, the Director of the art of free time library Kathleen dealer and he was not able to join us, because she is a yet another conference.

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Andrea I. Morris (she/hers): So I am the outreach and instruction librarian at the author free time library at peabody and Valerie is the senior instructional designer on the learning innovation team at.

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Andrea I. Morris (she/hers): peabody and we're really excited to share what we think is a unique collaboration between our instructional design team and information literacy instruction Program.

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Andrea I. Morris (she/hers): We have a lot of fun working together we're hoping to have a lot of fun today, and we also hope that we will give you some good information and maybe even some ideas for collaboration at your own institutions.

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Andrea I. Morris (she/hers): So here's a quick roadmap to our presentation today we're just going to give you an overview and context of the course.

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Andrea I. Morris (she/hers): How the curriculum alignment sort of played out the instructional design considerations that we followed the pandemic's impact on our work, of course, and then how this work is translating across the Institute and how we've assessed it and some next steps for this project.

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Andrea I. Morris (she/hers): So, in terms of the context of the course we're going to tell you a story about how we went from teaching a class called music bibliography to developing a new.

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Andrea I. Morris (she/hers): course named foundations of music research when Kathleen and I arrived at the body in the fall of 2017 there's a music bibliography course required of all master of music students and as information professionals, this might seem kind of odd because we're used to information.

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Andrea I. Morris (she/hers): Science training and bibliography courses in that course work, but in music, it makes a lot of sense because before the Internet.

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Andrea I. Morris (she/hers): musicians and music scholars went to a lot of effort compiling organizing providing access to scattered music information in disparate and.

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Andrea I. Morris (she/hers): almost exclusively analog collections so, even though we still use heavily our paper scores, and we studied manuscripts as music scholars and teachers this indexing was critically important to the core methodological approaches in musicology one of our sub fields.

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Andrea I. Morris (she/hers): So, in general, the case can be made that library and chip and traditional musicology research have a lot in common.

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Andrea I. Morris (she/hers): The very existence of thematic catalogs and bio bibliography fees which are referenced works that provide index lists to works by subject period or composer.

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Andrea I. Morris (she/hers): demonstrates that, clearly, but the research world has changed with the Internet and it's necessary to ask whether a positive skills based approach to navigating information environments really meets the needs of masters level music students.

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Andrea I. Morris (she/hers): And we tried to figure out how to write help them write grants start ensembles and understand programming for the communities around them.

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Andrea I. Morris (she/hers): Just by way of introduction to our student population.

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Andrea I. Morris (she/hers): We have a huge amount of varied experiences and diversity at the ground in the graduate student body at peabody and it provides some really interesting challenges and thinking about how to develop this course to serve them.

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Andrea I. Morris (she/hers): 40% of our students are multilingual and some of our international students are experiencing their first degree abroad in the US.

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Andrea I. Morris (she/hers): Some of our students come from programs that infinite emphasize performance, much more than academics and others come from programs with very strong undergraduate information literacy programs and are already ready to grow their research skills.

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Andrea I. Morris (she/hers): Of course, we all know that students have very inflated impressions of what their self efficacy is and what their research our research skills are so that was something we're just constantly bumping up against.

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Andrea I. Morris (she/hers): Inevitably, in the old format, we had many students who are super bored sitting through just presentation after presentation, some of them thought the content was to elementary others have didn't see it's direct relevance to the performance skills they were building in their degree programs.

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Andrea I. Morris (she/hers): and honestly it's hard to fault them with that old format.

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Andrea I. Morris (she/hers): Most musicians don't see subscription library resources as essential to the daily work, but as information professionals who each have a subject areas specialty all of us know that any creative or intellectual work we do.

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Andrea I. Morris (she/hers): can only stand the benefit from learning about collections and expanding our research opportunities there in.

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Andrea I. Morris (she/hers): Especially in 2022 and our information ecosystem rife with misinformation and in a society that's consistently defunding.

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Andrea I. Morris (she/hers): Art and educational organizations, our students need to know how to navigate the information world outside the library's physical and digital walls.

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Andrea I. Morris (she/hers): Bus our goal with this redevelopment was to examine what skills graduate students really needed, and to introduce critical approaches to interacting with the information world, while also helping them bolster basic research skills in the context of their musical training.

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Andrea I. Morris (she/hers): So it should be clear by now that this project was motivated largely by the deficits of the existing required research course called bibliography.

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Andrea I. Morris (she/hers): Earlier we said that the course wasn't really meeting student needs but that's a pretty big understatement and it's really generous way, to put it when bibliography is one of the most hated courses.

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Andrea I. Morris (she/hers): Ever across graduate level music curricula everywhere absolutely everywhere it's hard to impress upon non music scholars like how much this course is universally hated and yet universally extend.

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Andrea I. Morris (she/hers): Because I already had my mls When I entered peabody as a dual degree in candidate Kathleen and I shared more conversation about bibliography than the average faculty student pairing.

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Andrea I. Morris (she/hers): We both wondered why the existing course still involves thematic catalogs and slides that citation conventions.

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Andrea I. Morris (she/hers): When the average conservatory student runs into the library for a professor mandated score and crams a few good looking titles from Google scholar into any academic bibliography at the last minute, but only if their practice and rehearsal schedule allows for it.

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Andrea I. Morris (she/hers): So when Kathleen and I both arrived and fall of 2017 peabody was also running a fledgling version of its breakthrough curriculum, which was lunch, to give 21st century artists, the business acumen to survive in the real world.

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Andrea I. Morris (she/hers): topics that persist and remain a boon to our graduates include grant research and proposal writing.

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Andrea I. Morris (she/hers): Creating personal websites and promotional materials resume review and accommodating pitch of Community based performance projects.

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Andrea I. Morris (she/hers): Fundamentally, this curriculum encourages students, not only to be excellent artists, but citizen artists, with a strong awareness of the world and communities around them.

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Andrea I. Morris (she/hers): The disconnect between this precepts of the traditional conservatory and our administration's attempts to modernize it we're especially clear in these two parts of the graduate level curriculum.

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Andrea I. Morris (she/hers): So the requirements for masters of music at peabody have been consistent, for decades, and this is largely what we were working within.

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Andrea I. Morris (she/hers): Any remedial work that students have to do is meant to bring incoming graduate students to roughly the level of musicianship and academic skill as peabody undergraduates who would then graduate the Institute.

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Andrea I. Morris (she/hers): Major areas study is a really funny way to refer to this unique phenomena and music programs that is private instruction so say you're a cello performance major.

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Andrea I. Morris (she/hers): You would take private one on one lessons with your student Professor studio Professor who's usually a professional musician and performs for their living and they cover standard repertoire and build advanced technique on your instrument, the cello.

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Andrea I. Morris (she/hers): ensembles are essentially lab sessions in which students leverage their skills and group configurations like orchestra.

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Andrea I. Morris (she/hers): and seminars constitute a bulk of the academic work at peabody including bibliography and the breakthrough curriculum.

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Andrea I. Morris (she/hers): So this was implemented in 2015 as part of the institute's now 10 Year Strategic Plan.

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Andrea I. Morris (she/hers): breakthrough encourages conservative conservatory graduates to build entrepreneurial skills, along with their musicianship and a scaffold through undergraduate and graduate degree programs in three parts.

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Andrea I. Morris (she/hers): So if you've probably guess exploring arts careers encourages students to think creatively about how their careers might look outside of performance.

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Andrea I. Morris (she/hers): began interviewing skills learn about and practice professional networking and generate action plans for their career development.

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Andrea I. Morris (she/hers): Building a brand and portfolio is another semester long class that gives students business skills like filing for taxes is freelancers.

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Andrea I. Morris (she/hers): and gives them the opportunity to build their promotional materials, including websites and social media presences.

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Andrea I. Morris (she/hers): And finally pitching your creative idea is where the rubber really meets the road students design artistic projects external to peabody and learn skills and audience research programming collaboration and professional arts presenting.

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Andrea I. Morris (she/hers): Ultimately, through authentic assessment they pitch their idea as a written grant proposal and present it to a professional panel of faculty and community leaders.

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Andrea I. Morris (she/hers): it's worth pointing out that, in general, there's very little shared research work at the degree level in any of our curricular areas.

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Andrea I. Morris (she/hers): And, and that sort of begs several questions about learning outcomes and information literacy skills for performing artists.

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Andrea I. Morris (she/hers): aren't they supposed to be natural collaborators and leaders independent thinkers swashbuckling through the music industry.

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Andrea I. Morris (she/hers): So here I pulled from a previous presentation, I did with Anna grow Schmidt to highlight some of the direct connections to the ACR framework for information literacy.

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Andrea I. Morris (she/hers): For music performers and this table essentially illustrates what musicians really need to understand, to make it.

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Andrea I. Morris (she/hers): Where and how does authority impact their performance lives, what kind of information do musicians value.

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Andrea I. Morris (she/hers): How do they create information in performance, how is that information communicated between performers Hopefully these questions model how music students might think about the value of information differently.

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Andrea I. Morris (she/hers): Indeed, they may not even understand that they're already valuing this information differently or that they're already both a creator and consumer of information.

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Andrea I. Morris (she/hers): Nevertheless, their interactions with information cements the why of this course of element and it's integration into the emergent breakthrough curriculum.

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Andrea I. Morris (she/hers): And the next slides I will introduce you to the what have a redesigned course which is more inclusively titled foundations of music research.

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Andrea I. Morris (she/hers): You will get a preview of instructor component lessons and the attempts were made to help our students think explicitly about the unique ways they value information as performers and what research means for them as they're building sustainable careers as citizen artists.

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Andrea I. Morris (she/hers): So here, it is the arc of foundations of music research.

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Andrea I. Morris (she/hers): Because our wise we're all about building connections between information literacy and music, we wanted to make things as obvious as possible by structuring the course around the four movements of a traditional classical symphony.

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Andrea I. Morris (she/hers): The course is scaffold by the level of sophistication each movement asked learners to develop as they consider their relationship to and use of information.

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Andrea I. Morris (she/hers): Movement one defines the ways musicians consume information, it introduces our library refines her builds research skills and helps students explore the structures of information that they may have taken for granted, up to this point in their education.

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Andrea I. Morris (she/hers): And movement to students learn some of the basics involved in creating information themselves, they develop research workflows organize a personal library of sources and learn about the rights of creators.

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Andrea I. Morris (she/hers): And movement three students expand the research as a creator to include primary and archival sources.

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Andrea I. Morris (she/hers): They develop advanced search strategies and critique existing systems of information and institutions, they also acquire strategies for D colonizing their music research should they choose to adopt them.

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Andrea I. Morris (she/hers): And movement for students learn about the amazing ways, composers, performers and music scholars integrate research into their creative output, they also explore a copyright as creators and lean into their roles as researchers creators and citizen artists.

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Andrea I. Morris (she/hers): From there we brought the four movements into discrete topics that require culminating research process products for assessment.

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Andrea I. Morris (she/hers): By design each research products corresponds to rightly see the kind of research, our students will have to engage with as professional musicians so just program notes and podcasts.

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Andrea I. Morris (she/hers): Valerie will now go into the specific and theoretical house of instructional design and blended learning that support our curricular alignment with breakthrough.

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Valerie Hartman (she/hers): Thanks Adrian.

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Valerie Hartman (she/hers): Now let's discuss how to go about doing this, I then Andrew mentioned at the start i'm an instructional designer i'm going to share the course design process for all delivery methods, whether face to face or online or a blend of the two.

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Valerie Hartman (she/hers): foundations for music research is predominantly an online course with several live zoom sessions throughout the Semester.

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Valerie Hartman (she/hers): However, any design issue or instructional problem is exacerbated in the online space that's the big reason why we focus more on the course architecture and learning objectives, in addition to the technology in an online space to mitigate to mitigate and circumvent those issues.

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Valerie Hartman (she/hers): So solid course design and facilitation can ensure that you answer yes to these questions do your students know what is expected for each assignment and do it well.

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Valerie Hartman (she/hers): Do they consider the learning activities in your course relevant to their goals not busy work do they demonstrate that the workload is manageable and challenging.

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Valerie Hartman (she/hers): Do your students ask questions to make connections, do they engage with the content can they apply their knowledge in new situations and do your students feel that your explicit actions, help to minimize bias.

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Valerie Hartman (she/hers): To achieve guess to those questions in all of our course design processes, we employ a backward course design.

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Valerie Hartman (she/hers): humans and their brains are goal oriented, and we can improve our learning environment by integrating how our brains work into our course design.

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Valerie Hartman (she/hers): There are three components of course design Where are you going when you identify those desired results.

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Valerie Hartman (she/hers): How do you know when you get there when you determine the assessment evidence that will demonstrate mastery and what path, are you going to take where you plan the learning experiences and activities and your instructional.

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Valerie Hartman (she/hers): Activities think of a course design like a GPS you there's lots of ways to get to any destination, the fastest way the shortest way, do you avoid freeways or toll roads.

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Valerie Hartman (she/hers): Both the GPS and this backwards course design near how our brains work we learn for foundations and music research, we wanted to tie the course activities more explicitly to real world skills and the breakthrough curriculum rather than academic research skills.

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Valerie Hartman (she/hers): So the backward design process starts with the end in mind and aligns every aspect of the course to those goals, it keeps the students on track and the Faculty effort focused on what matters, the most.

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Valerie Hartman (she/hers): So that first step identify desired results.

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Valerie Hartman (she/hers): You want to clearly articulate the final results of the course by asking yourself what do I want my students to be able to think and do by the end of this course.

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Valerie Hartman (she/hers): You know, in the ideal world, how will my students be different, by the end of the course the answer to these questions are your course goals.

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Valerie Hartman (she/hers): Sadly, there is a hierarchy of content.

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Valerie Hartman (she/hers): as hard as it may be, everything is not essential you want to help your students by creating a clear path to the primary learning.

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Valerie Hartman (she/hers): You must identify what they must know and have enduring understanding, not everything you've collected in 20 years as an expert in the field but.

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Valerie Hartman (she/hers): Clearly what's most aligned with the course objectives and what they must know we all have limited resources, both our development time and the student activity time must focus on the important results.

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Valerie Hartman (she/hers): We try to separate that must know from the importance or need to know from the Nice to the nice to know might move into optional materials or be trimmed from the course all together.

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Valerie Hartman (she/hers): This is particularly important in the blended course we elected to add value to the foundations of music research course with three or four synchronous sessions and focus our high fidelity development cycles on enduring understanding it with interactive E learning lessons.

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Valerie Hartman (she/hers): So the second step of the backward course design process is to determine your assessment evidence.

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Valerie Hartman (she/hers): You want to encourage to develop assessments as authentic as possible or true to have a learner will use the information after they leave your course.

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Valerie Hartman (she/hers): Both the breakthrough curriculum and the foundations of music research course provide opportunities for non traditional research output.

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Valerie Hartman (she/hers): A traditional research paper might cater to an audience of one the Professor sometimes to if the student shares it with their mom.

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Valerie Hartman (she/hers): Rather, our students work in a variety of modalities to create projects that are relevant to their performance lives and mimic the work they'll do as advocates and educators, for the performing arts.

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Valerie Hartman (she/hers): Foundations had three primary major assessments when it first launched when the report design course first launched it program notes.

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Valerie Hartman (she/hers): The students began contributing to musical knowledge creation by curating a concert program with a writing accompanying program notes with context on the music in the Program.

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Valerie Hartman (she/hers): Here we emphasize both a program theme, something that exists, beyond the music itself and relates to the real world and a curation of less canonical works.

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Valerie Hartman (she/hers): The second major assessment was publishing utopia, it was a project that proposed solutions to existing challenges and the academic and musical publishing industries.

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Valerie Hartman (she/hers): We have students, submit a range of projects for manifestos on the rights of musicians to original compositions representing their Utopian vision as creators.

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Valerie Hartman (she/hers): Finally, students synthesize course concepts by producing an original podcast about an issue in their field as a final project requiring advanced research.

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Valerie Hartman (she/hers): Here we really got to look into how students think and feel about their musical lives and saw them take their refined research skills to the next level by applying them to personal passions.

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Valerie Hartman (she/hers): Most important, the culminating podcast expands the notion of what a stage is for our performers, not only a space for virtuosity but for Community engagement.

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Valerie Hartman (she/hers): I pay body we advocate strongly for student centered learning activities, rather than instructor led lectures or passive learning options.

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Valerie Hartman (she/hers): This can include composition performance group projects discussions with with peers and instructor dances or interdisciplinary collaboration video and other multimedia projects music analysis.

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Valerie Hartman (she/hers): Student presentation and teach back of core concepts and the development of websites or blogs.

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Valerie Hartman (she/hers): foundations and music research featured weekly discussions or Wikipedia activity curated readings and multimedia selections and a few zoom sessions, as I mentioned earlier.

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Valerie Hartman (she/hers): The weekly discussions provided formative opportunities to work with the content discuss complex ideas with peers and increased accountability instructor can monitor the progress progress and steer course conversations.

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Valerie Hartman (she/hers): The Wikipedia activity encourages students to take ownership of their field by contributing to the quality of articles about musical topics and people.

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Valerie Hartman (she/hers): Several zoom sessions throughout the course allow connections and discussion with extra emphasis on threshold concepts to ensure mastery at each stage of the cumulative course as well as provide Q amp a session for major assessments.

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Valerie Hartman (she/hers): guiding their backward course design or a few additional frameworks, whether in line or or whether online or in person.

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Valerie Hartman (she/hers): Universal design for learning can help improve and optimize teaching and learning for all learners based on specific insights into how humans learn.

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Valerie Hartman (she/hers): These guidelines offer a framework for making design decisions that ultimately provide student voice and choice in the learning environment.

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Valerie Hartman (she/hers): The effective network covers the why of learning for building purposeful motivated learners that stimulates interest and motivation for the learner.

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Valerie Hartman (she/hers): The recognition networks covers the what of learning with multiple means of representation via text you know video and audio you develop resourceful knowledgeable learners presenting information and content in different ways.

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Valerie Hartman (she/hers): The strategic networks cover the how of learning, but the action of expression expression.

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Valerie Hartman (she/hers): For strategic goal directed learners differentiate the ways that students can express what they know our brains are variable our students are variable this variability is predictable.

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Valerie Hartman (she/hers): by engaging in different levels of engagement, representation and exit action and expression were providing more opportunities for student mastery.

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Valerie Hartman (she/hers): Another framework is the arcs model of motivational design this informs all of our needs analysis and the attention to detail throughout the course the student is always at the forefront during the course design.

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Valerie Hartman (she/hers): Making course design decisions requires a working knowledge of how our brains learn based on neuroscience and what motivates our learners.

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Valerie Hartman (she/hers): john keller's work with the arcs model of motivation helps us increase learner attention, making explicit the relevance address issues with learners under an overconfidence with materials Andrea earlier mentioned the self efficacy mismatch.

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Valerie Hartman (she/hers): between what students perception of how what they know and their actual subject to proceed with information literacy we provide practice opportunities to help calibrate those expectations and improve mastery and satisfaction with learning.

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Valerie Hartman (she/hers): So together backwards course design targets students mastery of learning objectives with lean alignment of goals learning activities and assessments based on how our brains work, how we learn later Andrea will share the changes and student outcomes after the course redesign.

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Andrea I. Morris (she/hers): So i'm playing both myself and Kathleen de laurentiis in this presentation.

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Andrea I. Morris (she/hers): And, and one of the things that Kathleen was able to observe was a really significant impact that the code pandemic had on both, of course, development and our students.

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Andrea I. Morris (she/hers): So while we were actively deploying all of these wonderful instructional design principles and developing the asynchronous E learning components, the foundations of music research, the coven 19 pandemic shut everything down.

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Andrea I. Morris (she/hers): Many of our international students returned to their home country us and we're in zoom university at all hours of the day and night.

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Andrea I. Morris (she/hers): The way that this impacted the dynamic of our synchronous versus virtual sessions was actually quite surprising students who had been reluctant to speak in their second language in a physical classroom with as many as 30 peers suddenly blossomed in small groups zoom discussions.

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Andrea I. Morris (she/hers): In one on one meeting students also opened up more we talked about public health conditions where they were and compare challenges everyone faced, particularly our East Asian students.

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Andrea I. Morris (she/hers): We even unpacked assumptions about where people were living and what was happening around the world.

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Andrea I. Morris (she/hers): Here I would be remiss, not to mention that Kathleen picked up K drama heart hobby and i'm reading from her script she wrote hobby in this part of the script because she isn't here, I can tell you that this hobby continues and is really more of an addiction.

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Andrea I. Morris (she/hers): While she was hoping it would provide some good distraction and generate conversations with students she understood her Korean students in class for outwardly excited by faculty acknowledgement of their cultural background.

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Andrea I. Morris (she/hers): What we didn't expect was how the pandemic and zoom university experience humanized faculty for a lot of students and built trust in our learning Community Community during a difficult time.

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Andrea I. Morris (she/hers): students were more willing to be vulnerable with instructors during this time and we observe patterns and student experiences and how those experiences differed from their undergraduate research work.

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Andrea I. Morris (she/hers): There was also much more interest in social justice topics from our international students who are getting their first degree in the US.

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Andrea I. Morris (she/hers): While issues of race and racism related bias and information and IT systems, usually resonates with our US students students from the global South and East Asia developed a new interest in thinking about gender disparities.

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Andrea I. Morris (she/hers): Socio economic status and identities impact on making accessing and using information.

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Andrea I. Morris (she/hers): This helped us think more about how to structure, a class that invited students to think less about how to use a library card catalog and more about how to understand the way information systems actually work.

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Andrea I. Morris (she/hers): On top of employing best practices, best practices and leveraging our collective expertise across information literacy and learning innovation.

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Andrea I. Morris (she/hers): We accidentally on purpose created library instruction modules that we have now rolled out in multiple online and traditional courses.

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Andrea I. Morris (she/hers): This is big for us in a number of ways, but primarily because there is no undergraduate information literacy instruction program at peabody institute until I started in my full time position in 2019.

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Andrea I. Morris (she/hers): Well, most undergraduate music programs require students to develop knowledge and skills across subject areas.

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Andrea I. Morris (she/hers): Almost all of our students non musical education as humanists is self contained within many departments on the peabody campus.

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Andrea I. Morris (she/hers): We have wonderful faculty so they still get an incredible education, but while students can take classes at the jg homewood campus it's common for all of the required liberal arts curriculum to take place at peabody.

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Andrea I. Morris (she/hers): This is admittedly weird to anyone who hasn't encountered it before and it explains the lack of formal information literacy instruction for beauty undergrads previously.

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Valerie Hartman (she/hers): I love that Andrea said accidentally on purpose but part of the magic of working with an instructional designer is to get maximum usage out of the learning objects, we create.

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Valerie Hartman (she/hers): And the library was one of our first stakeholders to take advantage of that opportunity so several of the 16 or so E learning modules built for the foundations of music research course.

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Valerie Hartman (she/hers): offer basic skills appropriate for both graduate and undergraduate students specifically.

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Valerie Hartman (she/hers): These five modules have been used in undergraduate humanities and jazz studies courses graduate musicology seminars and the breakthrough curriculum courses basically any course that includes research in its course objectives, these.

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Valerie Hartman (she/hers): modules interactive modules can be added to the course without any additional.

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Valerie Hartman (she/hers): Development time or drain on library or learning innovation staff.

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Valerie Hartman (she/hers): So i'd like to explore a couple of the E learning modules that are used throughout the peabody campus these E learning modules save instructional time by offering basic information literacy instruction usually accomplished in a one shot session by a librarian.

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Valerie Hartman (she/hers): i'm going to add two links to the chat you're welcome to join a law.

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yeah we got excuse me.

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Valerie Hartman (she/hers): And let's start with introducing the library.

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Valerie Hartman (she/hers): This is an interactive session module it is responsive in for various devices we're going to demonstrate it on full screen, of course.

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Valerie Hartman (she/hers): This is not the Arthur freed him library, we do not stack books like this everywhere just feel like the need to disclose that.

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Valerie Hartman (she/hers): But this is a basic introduction so we're going to take a look at scholarly sources and what we're doing here is first introducing the concept of scholarly versus popular.

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Valerie Hartman (she/hers): sources so there's a little content orienting and then we have six different elements that might help a student distinguish between scholarly and popularly sources, first, the author.

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Valerie Hartman (she/hers): You can compare an author in a scholarly texts arthur's credentials are given usually with a scholar with subject expertise in a popular source, the author may not be named might be a professional writer or journalist who publishes on a wide variety of topics and lacks subject expertise.

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Valerie Hartman (she/hers): audience scholarly is going to include researchers scholars and students popular as the audience is the general public.

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Valerie Hartman (she/hers): citation the present and scholarly not so much in popular sources review scholarly sources are peer reviewed by scholars, in the same or similar field popular not reviewed or by non specialized editors.

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Valerie Hartman (she/hers): there's differences in the publishers as well academic or scholarly presses versus a known or for a mass market.

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Valerie Hartman (she/hers): As well as the format books and scholarly journal articles versus magazines websites and newspapers.

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Valerie Hartman (she/hers): So there's more information available on the peer review process at one of the Johns Hopkins libraries.

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Valerie Hartman (she/hers): And little bit more context that we can just scroll quickly through one thing that we also wanted to emphasize was the findings on a scholarly source can be very focused on a particular field.

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Valerie Hartman (she/hers): And we introduce a few examples, so here a historian may focus specifically on the United States women's history in the 19th century.

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Valerie Hartman (she/hers): or a chemical engineering Professor may focus specifically on nano materials or P body and you're more likely to find a musicologist focusing specifically on 20th century popular music.

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Valerie Hartman (she/hers): All right, we provide a little bit of guidance on reading those scholarly sources and identifying the scholarly sources here, there are different.

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Valerie Hartman (she/hers): categories are pockets of information, the title in a scholarly sources not eye catching like a newspaper headline the titles tend to be very descriptive of the argument.

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Valerie Hartman (she/hers): So we won't move through all of these, but basically provides an overview of each of the components you're likely to see in a scholarly journal.

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Valerie Hartman (she/hers): So what we wanted to do was step back and recognize what does a journal article look like what does a scholarly article look like, so this feature is an interactive labeled graphic It shows an overview of.

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Valerie Hartman (she/hers): The main pieces of a scholarly article with markers depicting each of the sections that have already been introduced.

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Valerie Hartman (she/hers): But here the learner can see it in context, so the title and it says, you can tell that this article will be focused on ideas of militancy power and identity, it will focus on the radical women's suffrage group notice the silent sentinels.

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Valerie Hartman (she/hers): And while most of the text you won't likely be able to read the the title is clear militancy power and identity, the silence sentinels as women fighting for political voice.

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Valerie Hartman (she/hers): there's a marker for the author, who it is sometimes scholarly articles are co written by several scholars, in fact, in the sciences we're collaborative research is essential.

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Valerie Hartman (she/hers): I mean it's common for many scholars to be listed in that case the first author listed as notice the lead author and typically the most senior or respected of the authors, so this provides additional context into what.

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Valerie Hartman (she/hers): That information needs and how to evaluate a source of scholarly or not.

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Valerie Hartman (she/hers): an abstract is included listing the the argument and the roadmap, of how that argument is made.

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Valerie Hartman (she/hers): We have an author bio where you can determine the expertise of the author here we're walking through both the context as well as the the detailed example that's on display now, so the scholarly conversation with the other, the evidence in citations and the the notes.

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Valerie Hartman (she/hers): and read, do you want to add anything before I move on.

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Andrea I. Morris (she/hers): I think you did beautifully and I have comments on your presentation and the next slide so.

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Valerie Hartman (she/hers): Okay, you got it.

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Valerie Hartman (she/hers): All right, for those students who were fascinated with the article as they produced it we won't didn't want to hold it back so they have full access if they are suddenly interested in this topic and want to review that.

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Valerie Hartman (she/hers): So the key part we've introduced this content we've given them something to work with for the student that is familiar with the workings of scholarly libraries.

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Valerie Hartman (she/hers): They may go through very quickly, it may feel too simple.

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Valerie Hartman (she/hers): But they won't spend a lot of time on it for the students that it's new they can pour through at their own pace, they can review back and forth, they can quiz themselves with the accordions they have full freedom to explore in a safe environment.

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Valerie Hartman (she/hers): Now we want them to practice the skills of identifying those sources so we posed the question, what is this source and what I use this source.

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Valerie Hartman (she/hers): And that's exactly what we want them to do have a source evaluated, based on the title author abstract place of publication and evidence to determine if it's scholarly and then determine would they use it would it be appropriate for their research goals.

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Valerie Hartman (she/hers): You want to be smart as your research, you know, to make sure that your sources meet the source requirements and that they are substantive and reliable so we've walked them through how.

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Valerie Hartman (she/hers): How to do that and the kind of exercise we want them to do next we actually have them practice that skill again safe environment.

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Valerie Hartman (she/hers): But we want them to.

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Valerie Hartman (she/hers): What we want them to be able to check their confidence their self advocacy can they achieve this skill.

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Valerie Hartman (she/hers): So here we have the source of an article entitled where is she finding the women in electronic music culture, what is it all images can be enlarged, so we can get a closer look at it, I see some journal notations in the citation I see an abstract.

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Valerie Hartman (she/hers): There we go click is it a scholarly source or not i'm going to say scholarly submit.

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Valerie Hartman (she/hers): I got the answer correct it highlights the box, I chose this is a scholarly source, but should you use it and the full citation is provided so that is a different question.

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Valerie Hartman (she/hers): So the next question is this source appropriate same source to use in a research project on gender and representation among composers of electronic music click on that image again.

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Valerie Hartman (she/hers): i'm going to say yes.

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Valerie Hartman (she/hers): who got it right, this article was published in the journal, it has an abstract if you page through the source you'd find copious citations of evidence.

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Valerie Hartman (she/hers): There isn't a biography of the author, so you might want to do some lateral reading, to make sure he's a trusted expert and the article is linked for any other types of review.

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Valerie Hartman (she/hers): We won't walk through every example a walk through one more here we have a article entitled sisters with transistors put women back into music history, what is it going to take a look at that well, I mean it's got a picture a nice type face i'm going to call that scholarly.

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Valerie Hartman (she/hers): shows me what I select It shows that is incorrect identifies the correct answer and the.

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Valerie Hartman (she/hers): Detailed feedback says, this is a non scholarly source, but should you use it just because it's non scholarly doesn't mean it's not can't be a make contributions to your research.

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Valerie Hartman (she/hers): So we move again same article is this so source appropriate to use an a research project on gender and representation among composers of electronic music hmm.

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Valerie Hartman (she/hers): Well, I don't know let's say you know because it's not scholarly right incorrect, yes, is the correct answer as indicated, with the checkmark.

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Valerie Hartman (she/hers): X is the one I chose or the nose when I chose with the X us with caution, it is a review posted in the online technology magazine wired they publish articles in all areas about intersection of technology and culture, so it might be an acceptable source for your research all right.

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Valerie Hartman (she/hers): i'd like to switch gears to reading your sources anything Andrew before we move on.

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Andrea I. Morris (she/hers): I think we're good okay.

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Valerie Hartman (she/hers): All right, alright so reading your sources.

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Valerie Hartman (she/hers): we're going to move directly into checking research progress.

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Valerie Hartman (she/hers): We both missing want to stress that it is an iterative process and that your goal is to build an archive of possible sources to help you answer your research questions.

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Valerie Hartman (she/hers): and on a practical level, we want to guide them through how to accomplish this many of our students are new to academic libraries, so this kind of scaffolding is important to make sure all of our students can be successful.

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Valerie Hartman (she/hers): We also want to move them out of the perhaps high school or younger reading levels where they had to read at a much deeper level.

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Valerie Hartman (she/hers): First, we want them to save, save interesting sources as pdfs build an archive of possible sources and keep a list of the sources that you find.

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Valerie Hartman (she/hers): skim read the abstract sense getting your sources to get high level understanding and then sorting sorting the categories that are meaningful for your topic and think about the big ideas that you'll need.

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Valerie Hartman (she/hers): So we're walking through how to accomplish that with a resource that they can refer to over and over in the lecture they have one shot in this resource, they can.

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Valerie Hartman (she/hers): go through it at their own pace on their own schedule, as many times as they need or as quickly as they need, they can refer to it, they can change the size of it.

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Valerie Hartman (she/hers): They have full control over the experience, the reason I chose this to demonstrate is because we wanted to break down those research pitfalls.

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Valerie Hartman (she/hers): That can occur during the research process, so we identified some problems and offered some solutions to addressing them.

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Valerie Hartman (she/hers): If you keep searching with some keywords but you can't find anything, then we have some solutions, maybe, change your keywords consider sauce synonyms and think about the sources that you've already found what terms, did they use try some of those consider.

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Valerie Hartman (she/hers): Research question focused on a specific topic, but sources don't fit the question.

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Valerie Hartman (she/hers): The solution, maybe don't get caught sticking to a research question that doesn't fit anymore instead allow yourself to rethink and revise your research question to fit the new information you're finding so we've tried to anticipate some of the areas where students get overwhelmed.

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Valerie Hartman (she/hers): Right, right from the beginning, and then we want to help them avoid bad research or things that aren't going to help them build solid arguments.

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Valerie Hartman (she/hers): We want them to examine their sources.

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Valerie Hartman (she/hers): distinguish between bias point of view and argument and work hard to understand authors arguments.

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Valerie Hartman (she/hers): Use the the crap test.

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Valerie Hartman (she/hers): Regarding the currency relevance authority accuracy and purpose and, of course.

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Valerie Hartman (she/hers): We want you know all of our 21st century artists to check their biases our brains are hard wired for bias that takes work and critical thinking to interrupt those biases, this is a theme through much of our curriculum.

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Valerie Hartman (she/hers): All right, that's what i've got into anything to add.

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Andrea I. Morris (she/hers): I think you did a beautiful job and as we're sort of returning to our presentation slides, I would like to point out that we've sort of made a Meta point about what we're doing with this course, and the way that we've structured this.

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Andrea I. Morris (she/hers): Presentation so when we're thinking about next steps for this class information literacy at peabody all sorts of things.

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Andrea I. Morris (she/hers): we've we've worked with Valerie to deploy information literacy modules across the curriculum and we're really eager to build more subjects specific modules.

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Andrea I. Morris (she/hers): And Valerie also just beautifully demonstrated the value of these modules as a compliment to library information literacy instruction.

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Andrea I. Morris (she/hers): notice that even isn't a non library and she has become very familiar with the standard information literacy and research skills topics, but they are a compliment to actual instruction.

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Andrea I. Morris (she/hers): These modules expand our instructional reaching deliver information in multiple ways via multiple parties.

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Andrea I. Morris (she/hers): This way students will probably see me in person in their classes and sure they'll probably hear 14% of my blah blah blah library sessions, like all undergrads, but these modules now reinforced information literacy instruction already happening on the ground.

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Andrea I. Morris (she/hers): In terms of foundations of music research, the timing of this conference is fortuitous Kathleen and I have now run the online course twice and taught at once, each.

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Andrea I. Morris (she/hers): And we met with Valerie and the learning innovation team to go over of course evaluations as well well as our perspectives as faculty members.

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Andrea I. Morris (she/hers): A particularly useful assessment tool throughout the course was the metrics on blackboard that allowed us to see how much time each student had spent in the E learning modules rewrote.

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Andrea I. Morris (she/hers): It made student outreach for those silent on discussion boards and simply absent from workshops much more efficient and effective.

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Andrea I. Morris (she/hers): And, as a result, we had a low number of withdrawals and completes and failing grades.

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Andrea I. Morris (she/hers): This may not seem like a big deal, but again, let me impress upon everyone who hasn't pursued a graduate degree in music the stigma associated with this kind of class and the accompanying non existence of students who refuse to engage with it.

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Andrea I. Morris (she/hers): Now that we've moved to canvas we've had the unique opportunity to export the course we built over six months, out of blackboard and into sand boxes.

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Andrea I. Morris (she/hers): As the foundations of music research instructor on deck i'll be the next to teach the course this fall.

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Andrea I. Morris (she/hers): i've taken this as an opportunity to load the modules of the course piece by piece to review them and their internal logic.

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Andrea I. Morris (she/hers): Well, this might appeal to all of us as people who organize things for a living it's also been a much needed opportunity to regroup with Kathleen and Edit some of our assessments.

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Andrea I. Morris (she/hers): For example, we've eliminated one mid semester project and broken down the two larger projects.

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Andrea I. Morris (she/hers): And assignment, where the students research and write program notes for self curated concert at the beginning of the course and the culminating assignment where students generate a final product of their choice, such as a podcast original composition, with an annotated bibliography.

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Andrea I. Morris (she/hers): Those have now become three scaffold parts for each project to more obviously model, the research process which we showed again in the E learning modules.

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Andrea I. Morris (she/hers): This also cuts down on the length of the assignment instructions and eliminates visual clutter, which was a lot of what we received in terms of feedback after the first iterations of the course especially for.

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Andrea I. Morris (she/hers): Our international students who are speaking English as their second language, sometimes third or fourth.

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Andrea I. Morris (she/hers): Finally, we have successfully decrease some of the grievance surrounding this course.

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Andrea I. Morris (she/hers): students have the option to take a very difficult pre assessment to pass out of it.

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Andrea I. Morris (she/hers): And due to its hybrid nature it's allowed them more flexibility to breeze through review material and linger on new concepts.

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Andrea I. Morris (she/hers): Of course, or evaluate our evaluations weren't perfect because they never are but they treated more positively than the Chair of our musicology department has recorded and his 15 years at the Institute.

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Andrea I. Morris (she/hers): And that's it please let us know if you have any questions, please feel free to reach out to any of us.

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Andrea I. Morris (she/hers): Like we've pointed out Kathleen is not here today, but we are happy to direct and Kathleen specific questions to her and our contact information is on the slide so thank you so much for attending.

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Valerie Hartman (she/hers): Thank you.

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LuAnn Fisher: Ladies that was great.

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LuAnn Fisher: I I personally don't know very much about music research.

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LuAnn Fisher: That class sounds like it would be a bear so that you know before you redesigned it so that's wonderful um you said you're using canvas now.

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LuAnn Fisher: And what were the original modules designed in.

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LuAnn Fisher: The.

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Valerie Hartman (she/hers): The e learning modules were designed with articulate rise 360 the course was built in the blackboard learning management system, but the primary content was in a standalone you know that transferred into canvas.

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LuAnn Fisher: articulate design 360.

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Valerie Hartman (she/hers): articulate rise.

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LuAnn Fisher: articulate rise, yes, thank you.

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Valerie Hartman (she/hers): It is a rapid E learning authoring tool.

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Valerie Hartman (she/hers): I know that howson uses it in the instructional technology program i'm working on my doctorate in that program as well teaching a course on e learning design and development, and my students all use several E learning offering programs.

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LuAnn Fisher: that's great I created a evaluating.

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LuAnn Fisher: scholarly resources module and soft talk that we put into our moodle so I recognize a lot of the you know backward design type things that you're talking about there, but what you your program your software is far superior.

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Valerie Hartman (she/hers): But it is designed for you know the modern Internet html clean clean lines and for user interactivity loner inactivity so there's you can use that to keep it engaging at the presentation level and also at the practice level.

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that's great Thank you.

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PICs good content.

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Jennifer Wodarczyk: Was there any challenges, going from blackboard to kamba.

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Jennifer Wodarczyk: Just I know that's like a technical I just like.

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Valerie Hartman (she/hers): yeah um.

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Valerie Hartman (she/hers): we've been really engaged with the university wide implementation team for almost two years, and while the actual implementation was altered a bit with the covert pandemic.

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Valerie Hartman (she/hers): You know so far it's been pretty smooth we've we've piloted the course its transition we've had our first full semester this summer in canvas and the entire university switches in fall so feel free to ask me in six weeks, but for right now all looks good.

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Andrea I. Morris (she/hers): As a faculty Member canvas is a lot more up to date, a lot more intuitive I feel like.

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Andrea I. Morris (she/hers): You know the the contact points that you have with the software you learn a couple of things, and then it like unlocks this whole like cascading like.

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Andrea I. Morris (she/hers): set of actions you can take within the software so teaching in it, I mean again asked me in six weeks, but i'm actually teaching real life students but.

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Andrea I. Morris (she/hers): At least setting up my course so far has been quite delightful and really fun, because I, like you know, taking a fine tooth comb to those sorts of things yeah it's great.

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LuAnn Fisher: Really, I think you.

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LuAnn Fisher: Know we'll have links to this presentation available on the website for some time i'm definitely going to be directing a couple of people to this presentation both faculty and someone who's in our.

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LuAnn Fisher: online learning.

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LuAnn Fisher: office I don't remember her exact title and it's a group people and there's different offices in different buildings but.

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LuAnn Fisher: She does a lot of this kind of thing helping faculty.

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LuAnn Fisher: redesign their courses to make it better and putting this backward design into it.

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LuAnn Fisher: And things like that so i'm going to be asking her to take a look at this, because this is fabulous I mean she does a wonderful job with our courses, but I think.

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LuAnn Fisher: she's probably going to see and feel a lot of connection with working in this specific.

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LuAnn Fisher: In a specific discipline, if not music I don't know she's done any music but she's an artist so sure she's worked, you know in specific disciplines like this before, so I definitely recommend it, so thank you so much