Rose & The Countryman Article Response
Repositioning ‘The Elements’: How Students Talk about Music
What I found interesting was how the effect of intellectual developments in music and the structure of disciplines set forth a rational approach to music education for students. In other words, knowing something is different than doing something. The fact that music is considered emotional and intuitive is intriguing that the curriculum is organized in a static and transmittable way. In addition, I also found that the phenomena habituation to be quite remarkable. The neurological attention to musical patterning reveals that as listeners, we find comfort in the alignment of patterns while also catching our attention to changes and differences.
From my own knowledge, none of my assumptions were challenged. However, I did find it interesting how students with a passion for listening to contemporary genres intensely, band jamming or mixing electronically did not feel as though they belonged in a sanctioned environment. I feel as though these forms of musical interactions should be commended. In my situation, these pass times have done nothing but put me farther into an accredited environment. I believe that grasping more of what it means to hear, perform and understand music comes with your own self-reflection and inquiries.
What I found surprising was that the process of setting forth an academic approach to the subject of music is ironic to its natural relation in a students life. I find that learning the ins and outs of a subject can only further your understanding, enlightening your everyday life. Another thing I found surprising was how much of an impact music has on your psychology. For example, how certain music can trigger different colours and images.
I found it frustrating that social norms in music education have not always lined up with the goals of the musician. However, there is a discrepancy with the music taught in class and the music heard in “the real world.” It is a bother that teaching candidates struggle with alternative pedagogy that builds on student knowledge. Music is always changing and if the ways of teaching do not, one will simply not apply it to their own beliefs.
I suppose the teachers of music must make changes in order for newer generations to understand the elements of music. The complexity of the relationships built through the mystery of their experiences is imperative. As the world advances visually, we adapt to higher definitions. As does the world advancing aurally, we must confine to new sounds.
Bibliography:
Rose, L. S., & Countryman, J. (2013, December). Repositioning 'the elements': How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45-64.
Retrieved from http://act.maydaygroup.org/articles/RoseCountryman12_3.pdf
Repositioning ‘The Elements’: How Students Talk about Music
What I found interesting was how the effect of intellectual developments in music and the structure of disciplines set forth a rational approach to music education for students. In other words, knowing something is different than doing something. The fact that music is considered emotional and intuitive is intriguing that the curriculum is organized in a static and transmittable way. In addition, I also found that the phenomena habituation to be quite remarkable. The neurological attention to musical patterning reveals that as listeners, we find comfort in the alignment of patterns while also catching our attention to changes and differences.
From my own knowledge, none of my assumptions were challenged. However, I did find it interesting how students with a passion for listening to contemporary genres intensely, band jamming or mixing electronically did not feel as though they belonged in a sanctioned environment. I feel as though these forms of musical interactions should be commended. In my situation, these pass times have done nothing but put me farther into an accredited environment. I believe that grasping more of what it means to hear, perform and understand music comes with your own self-reflection and inquiries.
What I found surprising was that the process of setting forth an academic approach to the subject of music is ironic to its natural relation in a students life. I find that learning the ins and outs of a subject can only further your understanding, enlightening your everyday life. Another thing I found surprising was how much of an impact music has on your psychology. For example, how certain music can trigger different colours and images.
I found it frustrating that social norms in music education have not always lined up with the goals of the musician. However, there is a discrepancy with the music taught in class and the music heard in “the real world.” It is a bother that teaching candidates struggle with alternative pedagogy that builds on student knowledge. Music is always changing and if the ways of teaching do not, one will simply not apply it to their own beliefs.
I suppose the teachers of music must make changes in order for newer generations to understand the elements of music. The complexity of the relationships built through the mystery of their experiences is imperative. As the world advances visually, we adapt to higher definitions. As does the world advancing aurally, we must confine to new sounds.
Bibliography:
Rose, L. S., & Countryman, J. (2013, December). Repositioning 'the elements': How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45-64.
Retrieved from http://act.maydaygroup.org/articles/RoseCountryman12_3.pdf
Dr. Kruse’s Workshop Writeup (Saturday September 28 2019)
Saturday was a very interesting experience that allowed a majority of teachers and students to explore their creativity with an instrument that they were not comfortable with. The professor had a very non-formal approach to the workshop. However, kept the message clear on what was expected for the activity. Also, he was very laid back and enthusiastic to people learning the ukulele. After learning the basic chords, we were tasks to create our song using the instrument. I found this very inspiring. Although I was not capable of learning the instrument very well. I paired up unexpectedly with others who had experience playing stringed instruments. I used my songwriting skills mainly over the instrumentation of this activity and came up with ideas for our song. We decided that the speech from Greta Thunberg was a recent and impactful topic that could be a good idea for a song about climate change. I had written down the words “mass extinction” a few nights before after watching her video for song creation. I brought this up to my peers and we decided to use that for the name of our song. This workshop allowed me to collaborate with other musicians making more connections for future projects. It also showed me the power of spontaneous artistic creation and that a great song can be made in all sorts of shapes and forms.
Here is the song below.
"Mass Extinction"
glaciers falling oceans rising
fires burning a new horizon
voices crying animals dying
emotions down the times are changing
thunberg creepin up from the side
the time has come to have some pride
strangers stalling phones a callin
people brawling people balling
see the world from up above
people please hear the love
on the verge of mass extinction
motivate a generation
glaciers falling oceans rising
fires burning a new horizon
voices crying animals dying
emotions down the times are changing
change of times needs open minds
action now reaction wow
distractions plow it’s happens now
time to turn it all around
see the world from up above
people please hear the love
on the verge of mass extinction
motivate a generation
on the verge of mass extinction
Saturday was a very interesting experience that allowed a majority of teachers and students to explore their creativity with an instrument that they were not comfortable with. The professor had a very non-formal approach to the workshop. However, kept the message clear on what was expected for the activity. Also, he was very laid back and enthusiastic to people learning the ukulele. After learning the basic chords, we were tasks to create our song using the instrument. I found this very inspiring. Although I was not capable of learning the instrument very well. I paired up unexpectedly with others who had experience playing stringed instruments. I used my songwriting skills mainly over the instrumentation of this activity and came up with ideas for our song. We decided that the speech from Greta Thunberg was a recent and impactful topic that could be a good idea for a song about climate change. I had written down the words “mass extinction” a few nights before after watching her video for song creation. I brought this up to my peers and we decided to use that for the name of our song. This workshop allowed me to collaborate with other musicians making more connections for future projects. It also showed me the power of spontaneous artistic creation and that a great song can be made in all sorts of shapes and forms.
Here is the song below.
"Mass Extinction"
glaciers falling oceans rising
fires burning a new horizon
voices crying animals dying
emotions down the times are changing
thunberg creepin up from the side
the time has come to have some pride
strangers stalling phones a callin
people brawling people balling
see the world from up above
people please hear the love
on the verge of mass extinction
motivate a generation
glaciers falling oceans rising
fires burning a new horizon
voices crying animals dying
emotions down the times are changing
change of times needs open minds
action now reaction wow
distractions plow it’s happens now
time to turn it all around
see the world from up above
people please hear the love
on the verge of mass extinction
motivate a generation
on the verge of mass extinction
Adult Music Learning on Formal, Nonformal and Informal Contexts
Article by Kari K. Veblen
I believe informal learning is acquiring knowledge through your own experience. For example this can be acquired through trial and error and improvisation. In my own experience I have learned a lot about making music by simply trying something new in a production. The reason behind the decision however is unplanned and instantaneous.
Bringing informal learning into my own teaching context would definitely be letting students collaborate a song creation on their own time with no instruction. Then showing me the results of their creations upon returning to the formal setting. This would give the class a way of reflecting their personal lives and influences on why they chose to make music in that way.
I believe nonformal learning is acquiring knowledge through a setting that is unrelated to the classroom. This can be acquired through activities that are abstract and less theory orientated. For example, having the teachers and students meet in a public place not related to education, like a park or a coffee shop. Then expanding on the topic through a planned activity led by the instructor.
Bringing non formal learning into my own teaching context would definitely be an out of class activity that would involve a first person experience with music. Most likely to see a performance in a live setting with a reflection activity afterwards.
I believe formal learning is acquiring knowledge through a formal school system. This would be acquired by doing fundamental theory training and musicality. More so, the goal would be to give the students tools to be able to later on explore music in their desired manner. For example a lecture in an institution is exactly the form of teaching that gives students fundamental knowledge that can be later applied to their musical aspirations.
Bringing formal learning into my own teaching context would definitely be a more defined classroom situation where theory and other basics would be addressed.
Article by Kari K. Veblen
I believe informal learning is acquiring knowledge through your own experience. For example this can be acquired through trial and error and improvisation. In my own experience I have learned a lot about making music by simply trying something new in a production. The reason behind the decision however is unplanned and instantaneous.
Bringing informal learning into my own teaching context would definitely be letting students collaborate a song creation on their own time with no instruction. Then showing me the results of their creations upon returning to the formal setting. This would give the class a way of reflecting their personal lives and influences on why they chose to make music in that way.
I believe nonformal learning is acquiring knowledge through a setting that is unrelated to the classroom. This can be acquired through activities that are abstract and less theory orientated. For example, having the teachers and students meet in a public place not related to education, like a park or a coffee shop. Then expanding on the topic through a planned activity led by the instructor.
Bringing non formal learning into my own teaching context would definitely be an out of class activity that would involve a first person experience with music. Most likely to see a performance in a live setting with a reflection activity afterwards.
I believe formal learning is acquiring knowledge through a formal school system. This would be acquired by doing fundamental theory training and musicality. More so, the goal would be to give the students tools to be able to later on explore music in their desired manner. For example a lecture in an institution is exactly the form of teaching that gives students fundamental knowledge that can be later applied to their musical aspirations.
Bringing formal learning into my own teaching context would definitely be a more defined classroom situation where theory and other basics would be addressed.
Popular Music and Modern Band Principles Response
Arts and Humanities in Higher Education Article Response
Isolation in Studio Music Teaching: The Secret Garden
I find it interesting how a concealed and soundproofed studio can add a huge effect on the quality of the sound being created and the interaction of teaching and learning. I also find it remarkable how noticeable the intimacy of the setting changes once concealed in those studios. Finally, I found it interesting that the accountability of the teacher to the institution was regarded in an isolated situation and that the focus of studio interaction was not the only focus for the collaboration of the teacher and the student.
My assumptions weren’t necessarily challenged. However, if an apprentice is in a studio setting with a master and feels that they are solely imitating that teacher. Then certainly there is a flaw with that master's pedagogy. The practices within and outside a studio must vary. If not, there will be discrepancies in the outcome of the learner. Such as imitation and reproductions that will not invoke new sound.
I found it surprising that studio teaching is considered the only example of apprenticeship in which ‘secrecy of the craft’ persists. In my learning as a music producer, I have noticed this loss of information from sources. A lot of the ‘tricks of the trade’ I use to this day are in-fact little alterations I learned from other mixers. However, I do believe there are other secrets in the music industry not only related to studio teaching.
I found it frustrating that commercialism uses certain music such as classical to suggest a dimension of hierarchy and elitism. I do not believe social status should be defined by a genre of music regardless of its historical background. I also found it frustrating that the majority of institutions focus on studio teacher pedagogy and look at teaching as a fall back if one does not succeed in a performance-focused career. It would be better to include all aspects of musical interaction, allowing the individual to chose where they belong based on their goals and ambitions.
I would like to say to the author. If learning is something done throughout someone's life, less focus on pedagogy but more focus on studio collaboration may be something to consider. Keeping in mind most people learn in different ways from each other. Finally, why is it that we abide but these stagnant forms of teaching and learning when the music industry continues to move forward?
Bibliography:
Bennett, D. and Burwell, K. and Carey, G. 2017. Isolation in studio music teaching: The secret garden. Arts and Humanities in Higher Education.
Retrieved from https://espace.curtin.edu.au/bitstream/handle/20.500.11937/65151/262505.pdf?sequence=2&isAllowed=y
Convergence Article Response
What is the music educators' role when students engage in participatory culture?
The role of music educators when students engage in participatory culture is to properly engage in themselves. Selfishness is selflessness and if the educator does not participate themselves, they will not be able to teach the culture. Another role of the educator should be to push for more creativity of one's own creation and not the remixes of others. What is musicianship? Is it how skillful a master is with an instrument, the heart and soul of a busker on the side of a road? Or maybe a young child playing their first note? Anyhow, the individual in the position of education should socially engage in the networking, collaborating and interacting with the culture at hand to properly reflected on the musicianship of the context.
How might ensembles and music classrooms be modified restructured to allow for new and emerging contemporary musical practices?
Ensembles and music classrooms should be modified at the same time as technologies advance. New contemporary musical practices cannot abide by the settings of a classical foundation. For example, an exercise that could allow a larger amount of selection for musical creation would be to let the students cover, arrange and remix at will. A basic outline with multiple options to allow one to advance on their aspired music could be a format of this exercise. In my own experience I have learned a lot by exploring with others. Music is art and for it to continue to adapt around the subjects of today. An alteration of practical approaches could change the outcome of the students participation.
Bibliography:
Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99 (4), 29-36.
What is the music educators' role when students engage in participatory culture?
The role of music educators when students engage in participatory culture is to properly engage in themselves. Selfishness is selflessness and if the educator does not participate themselves, they will not be able to teach the culture. Another role of the educator should be to push for more creativity of one's own creation and not the remixes of others. What is musicianship? Is it how skillful a master is with an instrument, the heart and soul of a busker on the side of a road? Or maybe a young child playing their first note? Anyhow, the individual in the position of education should socially engage in the networking, collaborating and interacting with the culture at hand to properly reflected on the musicianship of the context.
How might ensembles and music classrooms be modified restructured to allow for new and emerging contemporary musical practices?
Ensembles and music classrooms should be modified at the same time as technologies advance. New contemporary musical practices cannot abide by the settings of a classical foundation. For example, an exercise that could allow a larger amount of selection for musical creation would be to let the students cover, arrange and remix at will. A basic outline with multiple options to allow one to advance on their aspired music could be a format of this exercise. In my own experience I have learned a lot by exploring with others. Music is art and for it to continue to adapt around the subjects of today. An alteration of practical approaches could change the outcome of the students participation.
Bibliography:
Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99 (4), 29-36.