Repositioning ‘The Elements’: How Students Talk about Music
My thoughts - Jo Landry
Jan 11, 2017
This article presents some very interesting points regarding the teaching of "the elements of music" and music education in general. In regards to the elements of music, some of which being pitch, rhythm, harmony and melody, it states that children tend to be more satisfied listening to music when they understand what is going on within the piece. I would have to agree with this. I think that my musical knowledge gives me additional insight into the pieces I listen to, and I derive pleasure from noticing and appreciating certain elements, such as an interesting rhythmic pattern or a different harmonic progression. While I agree with this, I also agree with the author when she says that enforcing the elements of music at the beginning of musical training is making the subject more academic rather than creative.
Growing up in the public school system, I always looked forward to music class, as it was the one class that didn't seem fact oriented. As children we were given instruments and even though the class was structured in a way that we learned the fundamentals of music, I still felt as though it was the class where I had the most freedom to express myself creatively. Looking back, I see how the way we were taught, sitting all together listening to the teacher explain the different types of notes, and keys, and being tested on the material takes out the creative, emotional part of music, however my love for music that I have now is in no way affected by the way I was taught the fundamentals of music when I was very young.
A new approach to the "elements of music" according to the article includes students themselves talking about what they hear and how they relate to music when they hear it, as this is a fundamental part of music to them. This surprised me, as I had always understood the elements of music to be the factual information I was brought up with, but it makes a lot of sense. This approach allows music in high schools particularly to be more accessible to all students rather than limiting itself to those who are instrumentally talented. I believe neither one of these ways of trying to define and teach "the elements" is perfect, and a blend of both would be ideal. As much as we try and say that teaching rhythm and pitch and harmony and having children absorb facts to create a base of knowledge is too academic and rigid, these are things that are essential to know in order to properly examine music from a technical standpoint and it is also essential to those who want to be performers.
The article talks about engaging students in the conversation about music, by having them listen and discuss their experiences. I think this is a fantastic principle that could be built upon. I like the idea of encouraging students to talk about what they heard, what they liked, didn't like and how they reacted to it, and then introducting the factual evidence that supports what they are saying. For example, a student reacting positively to a recording of swing Jazz could say that they like the "groove" or the "flow" as mentionned in the article. This is a perfect time to teach a class about syncopated rhythms, and demonstrate how they are present in the track previously played. Personally, I find it very interesting when things that I notice in music are explained to me, so that I understand why it is done this way, and I would imagine it would be beneficial to students as well.
Bibliography:
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45–64
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake
My Thoughts - Jo Landry
Jan 16, 2017
I found that this article resonated with me far more than the previous reading. I could see and recall personal examples of specific situations where I have felt the same things the author was describing. For example, the author talks about this feeling of uneasiness and self-consciousness when asked to do something "creative". I have felt this many times. The overwhelming feeling that you need to create something different, but that it must also please the person with authority, and the fear that it won't. There are many factors that go into this, but the one mentioned in the article that I strongly agree with is that many music groups/classes are set up in a way that there is always an underlying sense of judgement. We have gotten to the point where a student who plays a wrong note automatically feels humiliated and judged, and no one dares to try out anything new in fear of making a "mistake" and humiliating themselves in front of the group. This is also how nervousness, and stage anxiety start to flourish. I can vividly remember singing in concerts when I was young, and not being nervous whatsoever, because I knew that I had nothing to lose by singing in front of a group of people that supported me. The older I get, it seems like when I perform, I need to prove to the person of authority that I am good enough, or am singing with "proper" technique, and there is always this underlying sense that they are judging me as I sing and that I may not reach their expectations. It bothers me incredibly that we have let the state of music classrooms get to this state. Music is the one area of school more than others that should promote creativity, risk taking and individualism. It should be a judgement free community that inspires the people within it to share how they feel about music and urges them to explore their creative hunches within the subject. The first step is changing the way classrooms are run in order to value the student as much as the teacher, and to create a safe environment where each individual can be just that; an individual with their own views on music that contributes those thoughts and ideas without fear of any consequences.
Bibliography:
Dawe, L. (2016). Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake, Canadian Music Educator, (57)2, pp.22-24
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------
GUEST SPEAKER - Mark Hopkins
Reaction and Reflection - Jo Landry
Jan 18, 2017
I really enjoyed this lecture. I believe strongly in his idea that music is very similar to the acquisition of language and that this approach to music education is extremely beneficial to the teacher as well as the student. Like he said, speaking and spelling are two different things and neither is dependent on the other. The same thing applies to playing by ear and learning notation. All the while, neither of these things are less important than the other. And while we all as people learn to speak before we learn to spell, why is learning by ear before learning notation viewed so negatively? Why is someone who plays by ear "not as good" as someone who can read music really well? I was put into music lessons at the age of 4, so I learned notation very early on, but even now I would rather look up and listen to performances of pieces I'm learning. I find it more effective to listen and follow along rather than to play out the notes. My father is one of the best guitarists I know and he has played his entire life thus far solely by ear. So if a classically trained musician and someone who plays by ear are both learning more effectively by listening to the music, then shouldn't that be an indicator to schools about the way we should be approaching music instruction? One of the easiest ways to learn a new language is by listening and repeating, and I believe musicians at any level feel the same, and I love the fact that Mark is implementing this into his new curriculum. What he has done is a small step into changing the way music is taught in schools, and here's to hoping it starts a ripple effect.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Guest Reflection - Lesley Dawe
Jo Landry - 01/24/17
The main thing I retained from the Skype call with Lesley was that I saw that she actually uses the approach to teaching "the elements of music" that I suggested in my first annotated bibliography. She said that she doesn't teach the elements in a super structured way such has having a class dedicated to teaching it, but rather she incorporates in naturally into what her class is currently working on. For example she mentioned that while her class was working on various chord progressions on guitar by themselves, she would use that as an opportunity to introduce and talk about harmony with her students. I think this is a fantastic way of still teaching students the core concepts of music while not boring them with a lecture class or making the structure seem too rigid and academic.
Another thing I really enjoyed about what she was saying was that she was not using classical repertoire in her general music classroom. Don't get me wrong I love classical music and I'm in school to develop my operatic voice, but I don't think classical music really resonates with children and teens in schools. However, along with pop music, kids tend to have varied, diverse tastes and I like that Lesley doesn't take that away from them in the classroom. Music should be an area of life that promotes creativity and individualism. In her classroom the kids are able to learn songs that they love and that they connect with. If kids are presented with repertoire that doesn't appeal to them, learning it will start to feel like a chore and a burden rather than a joy and an escape. We say that the way we teach "the elements" is taking all the joy and emotion in music; doesn't restricting repertoire have the same effect as well? I was the only person in my Grade 12 year to go into music, and this makes me wonder if the outcome would've been different had we been given the opportunity to play/sing what we really wanted and loved instead of what was given to us.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The Invisible Student: Understanding Social Identity Construction within Performing Ensembles
My thoughts - Jo Landry
01/24/16
The gap in student interactions in an ensemble affects the invisible student who feels like an outsider, the other students who don't know how to approach the invisible student like the article talked about, but I was surprised to see that the article didn't mention how this affects the quality of the music making that happens in these ensembles. I believe strongly that the relationship between the members of an ensemble affects the quality of the sounds they are producing. I have been singing with the Ontario Youth Choir for two years now and this choir is a perfect example of these effects. This choir brings together 40 singers from all over Ontario every summer and has them rehearse for 10 days together and then put on 3 concerts. The first day I arrived and heard our sound, I was skeptical. I didn't know any of these strangers, and I felt as if there was a great deal of work to do in order to achieve the standard I was hoping for in terms of sound quality. After our first day, we had a night of ice breaker games and get-to-know-you activities. Everyone participated and we all got to know every single chorister we were going to be working with. The next morning the change in sound was extraordinary. It was as if overnight we had learned to listen to each other and be an ensemble as opposed to individual choristers. We loved the people we were singing with and wanted to make each other proud to be in the same ensemble. These simple games were able to turn 40 invisible students into a connected choir. I love that the author of this article suggested activities to break down social barriers in order to help the invisible students connect with the rest of the ensemble, because I have seen this work wonders on ensembles in the past. I also appreciated that the author talked about building lasting connections with the Invisible student. Of course we want to encourage engagement with this student in the classrooms, but their problems are not only limited to music. By building these strong relationships within music class, the invisible student can feel like they have someone to talk to outside of music class as well, which is a huge step. Some of the people I met during my time with the Ontario Youth Choir are some of my best friends today, and it was all thanks to those lasting relationships I built in 10 days with the help of ice breaker games and beautiful music making.
Bibliography
Hourigan, R. M. (2009). The invisible student: Understanding social identity construction within performing ensembles. Music Educators Journal, 34-38.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability.
My Thoughts - Jo Landry
I agree with a big number of points that the author makes in this article. The one that I found most interesting was the idea of stereotyping people with disabilities in the media as the ''tragic villain'' and the ''superhero''. What bothered me was that the more I thought about it, the more movies and tv shows I could call up in my mind where this was the case, and I had never taken a second to think about why this was wrong. (Ex. Me before You, The Soloist (which is one of my favorite movies I will admit), The King's Speech). It must be difficult to be underrepresented in the media in the first place, and then have to deal with being stereotyped as well. This isn't just a problem for people with disabilities, but also happens very frequently to basically anyone who isn't a fit white male for the most part.
There is however one point that the author tries to convey that I don't particularly agree with. While I do think that the author is right in saying that we have a long way to go in terms of making society more inclusive for people with disabilities, I don't think the situation is as bad as he is making it seem. While I am not a disabled person myself, I do have quite a bit of work experience and have witnessed the way people with disabilities are treated and thought about from companies' standpoints. Every job I have ever had has had some sort of preliminary course when first being hired that deals with how people with disabilities should be approached and thought of in the workplace. We are specifically instructed to address anyone with a disability as we would anyone who does not have one (unless their disability requires anyone addressing them to do otherwise) so as to not ''other'' them as the author would say. We are completely aware that people with disabilities are perfectly capable of achieving the same things as their counterparts and are encouraged to treat them accordingly. If all the companies I have worked for thus far has had these measures in place, then I assume most companies have them also, and that's already a huge step in the right direction.
Bibliography
Series, D. Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability. Retrieved from http://organizingchange.org/think-everythings-normal-then-its-time-to-reconsider-and-promote-a-new-narrative-of-disability/
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The power of limits and the pleasure of games: An easy and fun piano duo improvisation.
My thoughts - Jo Landry
03/05/17
I think this game is a fantastic idea, and a fantastic way of introducing several different elements of music into the classroom and teaching them in a way that is fun and interactive. It is also a way of teaching where no previous instruction needs to be given; the students will learn the concepts as they are trying out the exercise. I like this approach to teaching because it leaves little room to misunderstand the concepts. I find there are many times I can recall when the teacher has tried to explain something to me, and until I tried it out for myself, I had lots of trouble understanding the concept they were trying to get across. In this game, the student can try something out, and then have the teacher explain to them what they just accomplished. This way the student feels they already understand the concept, as they have just done it before even knowing what IT is. And after having taught those initial concepts, the teacher can then move on to those variations mentioned in the article and make it a little harder.
This game also helps the student build the essential (in my opinion) skill of improvisation. Being able to think on your feet is an amazing skill not only on music but in all areas of life, and music is such an easy place to practice this skill. I find that I'm lacking in that area, and it is due to the fact that I never had any practice with it growing up. I started playing piano when I was 4 years old, and never had much experience learning things by ear. I started singing in choirs when I was young as well, a field which even though I absolutely love, leaves little room for improvisation. Aside from music, I find that the elementary and high school curriculum are also lacking in activities that inspire creative thought, and so the student goes through most of their early scholarly life never having to think for themselves. I think part of the reason schools are finding that students don't want to participate in speaking in class is because they have nothing to say. They were never encouraged to think on the spot, and when faced with situations where they are asked what they think about something, or to come up with an explanation quickly they have trouble because it is not a skill they have ever practiced.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The Elephant in the Room
My thoughts - Jo Landry
03/11/17
I agree with many of the points that were made in this article. The first being that most people in today's society don't respond to the repertoire and teaching style of music classes in most high schools. Every generation of people is drastically different in what they're interested in, so why have music classrooms remained relatively unchained for the past 100 years? As the article says, this might be one of the things contributing to the fact that less kids are enrolling in high school music, and as a result going on to pursue music past high school. Personally, I stopped taking music courses halfway through grade 10 because I didn't like the way they were structured and had I not had the passion for music and the extracurricular musical life I had I definitely wouldn't have gone into music based on my school music experience. Even though I didn't struggle with my instrument, I found that my band classes really didn't cater to those who did. We even had a seating plan in class based on our abilities, and the students who struggled the most sat at the back of their instrument section. Never in my years of band were they ever catered to, because in the "grand scheme of things" aka in the performances we would have to do the less confident players wouldn't be heard. And just like the author said, when did we get to a point where student-based learning doesn't exist, and the performance is the only thing that matters?
My thoughts - Jo Landry
Jan 11, 2017
This article presents some very interesting points regarding the teaching of "the elements of music" and music education in general. In regards to the elements of music, some of which being pitch, rhythm, harmony and melody, it states that children tend to be more satisfied listening to music when they understand what is going on within the piece. I would have to agree with this. I think that my musical knowledge gives me additional insight into the pieces I listen to, and I derive pleasure from noticing and appreciating certain elements, such as an interesting rhythmic pattern or a different harmonic progression. While I agree with this, I also agree with the author when she says that enforcing the elements of music at the beginning of musical training is making the subject more academic rather than creative.
Growing up in the public school system, I always looked forward to music class, as it was the one class that didn't seem fact oriented. As children we were given instruments and even though the class was structured in a way that we learned the fundamentals of music, I still felt as though it was the class where I had the most freedom to express myself creatively. Looking back, I see how the way we were taught, sitting all together listening to the teacher explain the different types of notes, and keys, and being tested on the material takes out the creative, emotional part of music, however my love for music that I have now is in no way affected by the way I was taught the fundamentals of music when I was very young.
A new approach to the "elements of music" according to the article includes students themselves talking about what they hear and how they relate to music when they hear it, as this is a fundamental part of music to them. This surprised me, as I had always understood the elements of music to be the factual information I was brought up with, but it makes a lot of sense. This approach allows music in high schools particularly to be more accessible to all students rather than limiting itself to those who are instrumentally talented. I believe neither one of these ways of trying to define and teach "the elements" is perfect, and a blend of both would be ideal. As much as we try and say that teaching rhythm and pitch and harmony and having children absorb facts to create a base of knowledge is too academic and rigid, these are things that are essential to know in order to properly examine music from a technical standpoint and it is also essential to those who want to be performers.
The article talks about engaging students in the conversation about music, by having them listen and discuss their experiences. I think this is a fantastic principle that could be built upon. I like the idea of encouraging students to talk about what they heard, what they liked, didn't like and how they reacted to it, and then introducting the factual evidence that supports what they are saying. For example, a student reacting positively to a recording of swing Jazz could say that they like the "groove" or the "flow" as mentionned in the article. This is a perfect time to teach a class about syncopated rhythms, and demonstrate how they are present in the track previously played. Personally, I find it very interesting when things that I notice in music are explained to me, so that I understand why it is done this way, and I would imagine it would be beneficial to students as well.
Bibliography:
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45–64
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake
My Thoughts - Jo Landry
Jan 16, 2017
I found that this article resonated with me far more than the previous reading. I could see and recall personal examples of specific situations where I have felt the same things the author was describing. For example, the author talks about this feeling of uneasiness and self-consciousness when asked to do something "creative". I have felt this many times. The overwhelming feeling that you need to create something different, but that it must also please the person with authority, and the fear that it won't. There are many factors that go into this, but the one mentioned in the article that I strongly agree with is that many music groups/classes are set up in a way that there is always an underlying sense of judgement. We have gotten to the point where a student who plays a wrong note automatically feels humiliated and judged, and no one dares to try out anything new in fear of making a "mistake" and humiliating themselves in front of the group. This is also how nervousness, and stage anxiety start to flourish. I can vividly remember singing in concerts when I was young, and not being nervous whatsoever, because I knew that I had nothing to lose by singing in front of a group of people that supported me. The older I get, it seems like when I perform, I need to prove to the person of authority that I am good enough, or am singing with "proper" technique, and there is always this underlying sense that they are judging me as I sing and that I may not reach their expectations. It bothers me incredibly that we have let the state of music classrooms get to this state. Music is the one area of school more than others that should promote creativity, risk taking and individualism. It should be a judgement free community that inspires the people within it to share how they feel about music and urges them to explore their creative hunches within the subject. The first step is changing the way classrooms are run in order to value the student as much as the teacher, and to create a safe environment where each individual can be just that; an individual with their own views on music that contributes those thoughts and ideas without fear of any consequences.
Bibliography:
Dawe, L. (2016). Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake, Canadian Music Educator, (57)2, pp.22-24
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------
GUEST SPEAKER - Mark Hopkins
Reaction and Reflection - Jo Landry
Jan 18, 2017
I really enjoyed this lecture. I believe strongly in his idea that music is very similar to the acquisition of language and that this approach to music education is extremely beneficial to the teacher as well as the student. Like he said, speaking and spelling are two different things and neither is dependent on the other. The same thing applies to playing by ear and learning notation. All the while, neither of these things are less important than the other. And while we all as people learn to speak before we learn to spell, why is learning by ear before learning notation viewed so negatively? Why is someone who plays by ear "not as good" as someone who can read music really well? I was put into music lessons at the age of 4, so I learned notation very early on, but even now I would rather look up and listen to performances of pieces I'm learning. I find it more effective to listen and follow along rather than to play out the notes. My father is one of the best guitarists I know and he has played his entire life thus far solely by ear. So if a classically trained musician and someone who plays by ear are both learning more effectively by listening to the music, then shouldn't that be an indicator to schools about the way we should be approaching music instruction? One of the easiest ways to learn a new language is by listening and repeating, and I believe musicians at any level feel the same, and I love the fact that Mark is implementing this into his new curriculum. What he has done is a small step into changing the way music is taught in schools, and here's to hoping it starts a ripple effect.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Guest Reflection - Lesley Dawe
Jo Landry - 01/24/17
The main thing I retained from the Skype call with Lesley was that I saw that she actually uses the approach to teaching "the elements of music" that I suggested in my first annotated bibliography. She said that she doesn't teach the elements in a super structured way such has having a class dedicated to teaching it, but rather she incorporates in naturally into what her class is currently working on. For example she mentioned that while her class was working on various chord progressions on guitar by themselves, she would use that as an opportunity to introduce and talk about harmony with her students. I think this is a fantastic way of still teaching students the core concepts of music while not boring them with a lecture class or making the structure seem too rigid and academic.
Another thing I really enjoyed about what she was saying was that she was not using classical repertoire in her general music classroom. Don't get me wrong I love classical music and I'm in school to develop my operatic voice, but I don't think classical music really resonates with children and teens in schools. However, along with pop music, kids tend to have varied, diverse tastes and I like that Lesley doesn't take that away from them in the classroom. Music should be an area of life that promotes creativity and individualism. In her classroom the kids are able to learn songs that they love and that they connect with. If kids are presented with repertoire that doesn't appeal to them, learning it will start to feel like a chore and a burden rather than a joy and an escape. We say that the way we teach "the elements" is taking all the joy and emotion in music; doesn't restricting repertoire have the same effect as well? I was the only person in my Grade 12 year to go into music, and this makes me wonder if the outcome would've been different had we been given the opportunity to play/sing what we really wanted and loved instead of what was given to us.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The Invisible Student: Understanding Social Identity Construction within Performing Ensembles
My thoughts - Jo Landry
01/24/16
The gap in student interactions in an ensemble affects the invisible student who feels like an outsider, the other students who don't know how to approach the invisible student like the article talked about, but I was surprised to see that the article didn't mention how this affects the quality of the music making that happens in these ensembles. I believe strongly that the relationship between the members of an ensemble affects the quality of the sounds they are producing. I have been singing with the Ontario Youth Choir for two years now and this choir is a perfect example of these effects. This choir brings together 40 singers from all over Ontario every summer and has them rehearse for 10 days together and then put on 3 concerts. The first day I arrived and heard our sound, I was skeptical. I didn't know any of these strangers, and I felt as if there was a great deal of work to do in order to achieve the standard I was hoping for in terms of sound quality. After our first day, we had a night of ice breaker games and get-to-know-you activities. Everyone participated and we all got to know every single chorister we were going to be working with. The next morning the change in sound was extraordinary. It was as if overnight we had learned to listen to each other and be an ensemble as opposed to individual choristers. We loved the people we were singing with and wanted to make each other proud to be in the same ensemble. These simple games were able to turn 40 invisible students into a connected choir. I love that the author of this article suggested activities to break down social barriers in order to help the invisible students connect with the rest of the ensemble, because I have seen this work wonders on ensembles in the past. I also appreciated that the author talked about building lasting connections with the Invisible student. Of course we want to encourage engagement with this student in the classrooms, but their problems are not only limited to music. By building these strong relationships within music class, the invisible student can feel like they have someone to talk to outside of music class as well, which is a huge step. Some of the people I met during my time with the Ontario Youth Choir are some of my best friends today, and it was all thanks to those lasting relationships I built in 10 days with the help of ice breaker games and beautiful music making.
Bibliography
Hourigan, R. M. (2009). The invisible student: Understanding social identity construction within performing ensembles. Music Educators Journal, 34-38.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability.
My Thoughts - Jo Landry
I agree with a big number of points that the author makes in this article. The one that I found most interesting was the idea of stereotyping people with disabilities in the media as the ''tragic villain'' and the ''superhero''. What bothered me was that the more I thought about it, the more movies and tv shows I could call up in my mind where this was the case, and I had never taken a second to think about why this was wrong. (Ex. Me before You, The Soloist (which is one of my favorite movies I will admit), The King's Speech). It must be difficult to be underrepresented in the media in the first place, and then have to deal with being stereotyped as well. This isn't just a problem for people with disabilities, but also happens very frequently to basically anyone who isn't a fit white male for the most part.
There is however one point that the author tries to convey that I don't particularly agree with. While I do think that the author is right in saying that we have a long way to go in terms of making society more inclusive for people with disabilities, I don't think the situation is as bad as he is making it seem. While I am not a disabled person myself, I do have quite a bit of work experience and have witnessed the way people with disabilities are treated and thought about from companies' standpoints. Every job I have ever had has had some sort of preliminary course when first being hired that deals with how people with disabilities should be approached and thought of in the workplace. We are specifically instructed to address anyone with a disability as we would anyone who does not have one (unless their disability requires anyone addressing them to do otherwise) so as to not ''other'' them as the author would say. We are completely aware that people with disabilities are perfectly capable of achieving the same things as their counterparts and are encouraged to treat them accordingly. If all the companies I have worked for thus far has had these measures in place, then I assume most companies have them also, and that's already a huge step in the right direction.
Bibliography
Series, D. Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability. Retrieved from http://organizingchange.org/think-everythings-normal-then-its-time-to-reconsider-and-promote-a-new-narrative-of-disability/
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The power of limits and the pleasure of games: An easy and fun piano duo improvisation.
My thoughts - Jo Landry
03/05/17
I think this game is a fantastic idea, and a fantastic way of introducing several different elements of music into the classroom and teaching them in a way that is fun and interactive. It is also a way of teaching where no previous instruction needs to be given; the students will learn the concepts as they are trying out the exercise. I like this approach to teaching because it leaves little room to misunderstand the concepts. I find there are many times I can recall when the teacher has tried to explain something to me, and until I tried it out for myself, I had lots of trouble understanding the concept they were trying to get across. In this game, the student can try something out, and then have the teacher explain to them what they just accomplished. This way the student feels they already understand the concept, as they have just done it before even knowing what IT is. And after having taught those initial concepts, the teacher can then move on to those variations mentioned in the article and make it a little harder.
This game also helps the student build the essential (in my opinion) skill of improvisation. Being able to think on your feet is an amazing skill not only on music but in all areas of life, and music is such an easy place to practice this skill. I find that I'm lacking in that area, and it is due to the fact that I never had any practice with it growing up. I started playing piano when I was 4 years old, and never had much experience learning things by ear. I started singing in choirs when I was young as well, a field which even though I absolutely love, leaves little room for improvisation. Aside from music, I find that the elementary and high school curriculum are also lacking in activities that inspire creative thought, and so the student goes through most of their early scholarly life never having to think for themselves. I think part of the reason schools are finding that students don't want to participate in speaking in class is because they have nothing to say. They were never encouraged to think on the spot, and when faced with situations where they are asked what they think about something, or to come up with an explanation quickly they have trouble because it is not a skill they have ever practiced.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The Elephant in the Room
My thoughts - Jo Landry
03/11/17
I agree with many of the points that were made in this article. The first being that most people in today's society don't respond to the repertoire and teaching style of music classes in most high schools. Every generation of people is drastically different in what they're interested in, so why have music classrooms remained relatively unchained for the past 100 years? As the article says, this might be one of the things contributing to the fact that less kids are enrolling in high school music, and as a result going on to pursue music past high school. Personally, I stopped taking music courses halfway through grade 10 because I didn't like the way they were structured and had I not had the passion for music and the extracurricular musical life I had I definitely wouldn't have gone into music based on my school music experience. Even though I didn't struggle with my instrument, I found that my band classes really didn't cater to those who did. We even had a seating plan in class based on our abilities, and the students who struggled the most sat at the back of their instrument section. Never in my years of band were they ever catered to, because in the "grand scheme of things" aka in the performances we would have to do the less confident players wouldn't be heard. And just like the author said, when did we get to a point where student-based learning doesn't exist, and the performance is the only thing that matters?