Information Technology Reference
In-Depth Information
the orchestra is playing. The metaphor is applied in a more orthodox way to
computer science where “service orchestration” (Peltz, 2003) refers to the definition
of some workflow or architecture that will automatically connect different systems
(namely web services). Applied to the educational context, the proper meaning of
“orchestrating” would correspond to instructional design and not to the real time
management of class activities.
Nevertheless, metaphors don't have to be perfect to be inspiring. The key dif-
ference between music orchestration and classroom orchestrations is that, when
orchestrating a classroom, the score has often to be modified on the fly. Could we
imagine that orchestra players read their score on a computer display (rather than
on paper) and that this score changes dynamically, depending for instance on the
audience's emotional state? Good teachers perform “reflection in action,” i.e. they
are able to change the score as they are playing it. A good learning environment
should let good teachers modify the score as often as necessary. The words dynamic
orchestration could convey the combination of design/planning and real-time adap-
tation. However, “dynamic” does not mean free improvization but a certain degree
of freedom around the instructional plan.
Is that stretching the model of orchestration too far? Metaphors are not correct
or incorrect; the question is whether they are useful or not. In HCI, designers have
used metaphors such as the desktop, the cockpit, the window, etc.. Instructional
designers also developed metaphors such as “frames” (Merrill, Li, & Jones, 1992)
or, “anchored” instruction (Bransford, Sherwood, Hasselbring, Kinzer, & Williams,
1990). A metaphor is “useful” if it helps the designer/teacher to take decisions,
namely because it provides a global structure to articulate multiple local decisions. A
metaphor creates an educational flavour that local design principles do not convey.
We analyse now why “orchestration” does convey flavours that a concept such as
“classroom management” would not convey. We try to operationalize these flavours
by extracting a certain number of design factors.
Teacher-Centrism
Orchestra players religiously follow the movements of the conductor. This quasi-
mimesis is an exaggeration of the message it should convey but it stresses the
importance of the teacher's role. In the last decades, many colleagues have redefined
the role of teachers as facilitators (Carey, 1994) along the common place slogan
“from a sage on the stage to a guide on the side.” Orchestration has a different
flavour: teachers are not on the side, they are the conductors, they are driving the
whole activity. They are managing in real time the activities that occur at multiple
planes. They share their passion for the content. Their body language conveys their
interpretation (speed, intensity, etc.) to the musicians.
Factor 1. Leadership . Teachers act as the drivers of the whole scenario and
lead the collective (i.e. class-wide) activities.
Search WWH ::




Custom Search