Music Education First year
Reading for today: Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99(4), 29-36.
-What was of interest to you?
-What surprised you?
-What frustrated you?
-What would you like to say to the author and why?
In Tobias' article, the author discusses how music educators and the music education system should start advancing forward and integrating technology and recognizing contemporary music for students to study. I find this interesting because when I did my student interviews each person I talked with mentioned how contemporary/pop music should be incorporated but shockingly no one mentioned technology. I think that this is because music education taught in a western culture is so delayed in time in the way that it is taught that thinking about adding new technology is still a topic that isn't discussed. That is my personal opinion. There is nothing wrong with discussing it either, I think that it's very progressive to start thinking ahead. I definitely do support the notion that as a music education community we need to start thinking forward but not forgetting about our music history. To me it's frustrating how, as a music student, we still learn about the baroque/classical era as it is something present. I wonder too what is "our" music. It seems that in our past, music was never studied as ridged as strict as it seems be now. It also seems that some older musicians (young and old) are afraid that progressing forward is going to lead towards forgetting about traditional music. When I did my interview with my teacher, I felt that she saw her method of teaching was going to be replaced or corrected and seen as "outdated" and I felt she was worried about that because she felt very strongly about her methods. I support her ideas of teaching but I also feel that I need to move forward as I become a teacher and simply adapt traditional teaching methods. I think the main issue between moving forward with the music education system and progressing along with the millennial generation is that so many adults are afraid of their teaching ways as being forgotten. I would like to tell the author, when he/she did mention what convergence is that: "I agree with adapting and I like how you mention what convergence really is. I think so many teachers are afraid of their teaching style and methods being replaced, where in reality it's a system of us millennial's having the knowledge and experience of being taught in such ways that encourages us to be progressive. I think as a result of progressiveness by incorporating technology and adding contemporary music we can expand and reach out to more students and further build a musician community. Without their ways of teaching, new/future music educators would not be capable of thinking ahead and be passionate about expanding the community. I think the major reason why we are moving forward is not to replace the traditional system and methods but just more inclusive to other types of people. Honestly, I have to say that the music community is significantly smaller than other faculties in Ontario (at least) when comparing us musicians to science, or even other art forms (design). In the past however, we students always are reminded how important music was in history and how it was studied and in one article I read for history, how music was even mandatory. Now it is an elective. I went to high school, and at least in my high school music was not taken seriously or at the same level as it is discussed it was in history as it is now. I think Tobias is right because in my university, some of the traditional ways of music teaching is still strongly reinforced and the I ask why? The answer I receive is "because it still works today" and I reflect and think, does is really still work today because I can go and ask any person around my age and the message I receive from them is that our methods are very traditional and old. It was a common practice to be a musician but now it takes a special type of person. I am more afraid of music programs in high school becoming replaced entirely. In my high school, our program was loosely funded. Most music students and the teacher had to independently put money into our program. A band trip that was very advertised while I was in grade 8, not even grade 9 became almost impossible when I was in grade 11. In grade 12 not even possible because we had no support or funding by the school. However other faculties would take luxurious trips. I was very disappointed because I know for a fact my school was very resourceful. Music however, was not a priority. I think in order to service students and teach music and have it seen as important we need to move forward from history. I think it's a great step how UWO music education system emphasizes this issue for the intro course, because it is no secret that a good music program is becoming more uncommon in schools and almost rare. We need to fix this issue because although some teachers think adding contemporary music and technology disservices students, I strongly agree that not teaching music at all is a bigger disservice. Music is innate, and it's very specific to us as humans, and not knowing how to explore it (at an extreme level/worst case possible) is far worse than adding more tools (technology) and sharing the focus between contemporary and traditional music to study."
-What was of interest to you?
-What surprised you?
-What frustrated you?
-What would you like to say to the author and why?
In Tobias' article, the author discusses how music educators and the music education system should start advancing forward and integrating technology and recognizing contemporary music for students to study. I find this interesting because when I did my student interviews each person I talked with mentioned how contemporary/pop music should be incorporated but shockingly no one mentioned technology. I think that this is because music education taught in a western culture is so delayed in time in the way that it is taught that thinking about adding new technology is still a topic that isn't discussed. That is my personal opinion. There is nothing wrong with discussing it either, I think that it's very progressive to start thinking ahead. I definitely do support the notion that as a music education community we need to start thinking forward but not forgetting about our music history. To me it's frustrating how, as a music student, we still learn about the baroque/classical era as it is something present. I wonder too what is "our" music. It seems that in our past, music was never studied as ridged as strict as it seems be now. It also seems that some older musicians (young and old) are afraid that progressing forward is going to lead towards forgetting about traditional music. When I did my interview with my teacher, I felt that she saw her method of teaching was going to be replaced or corrected and seen as "outdated" and I felt she was worried about that because she felt very strongly about her methods. I support her ideas of teaching but I also feel that I need to move forward as I become a teacher and simply adapt traditional teaching methods. I think the main issue between moving forward with the music education system and progressing along with the millennial generation is that so many adults are afraid of their teaching ways as being forgotten. I would like to tell the author, when he/she did mention what convergence is that: "I agree with adapting and I like how you mention what convergence really is. I think so many teachers are afraid of their teaching style and methods being replaced, where in reality it's a system of us millennial's having the knowledge and experience of being taught in such ways that encourages us to be progressive. I think as a result of progressiveness by incorporating technology and adding contemporary music we can expand and reach out to more students and further build a musician community. Without their ways of teaching, new/future music educators would not be capable of thinking ahead and be passionate about expanding the community. I think the major reason why we are moving forward is not to replace the traditional system and methods but just more inclusive to other types of people. Honestly, I have to say that the music community is significantly smaller than other faculties in Ontario (at least) when comparing us musicians to science, or even other art forms (design). In the past however, we students always are reminded how important music was in history and how it was studied and in one article I read for history, how music was even mandatory. Now it is an elective. I went to high school, and at least in my high school music was not taken seriously or at the same level as it is discussed it was in history as it is now. I think Tobias is right because in my university, some of the traditional ways of music teaching is still strongly reinforced and the I ask why? The answer I receive is "because it still works today" and I reflect and think, does is really still work today because I can go and ask any person around my age and the message I receive from them is that our methods are very traditional and old. It was a common practice to be a musician but now it takes a special type of person. I am more afraid of music programs in high school becoming replaced entirely. In my high school, our program was loosely funded. Most music students and the teacher had to independently put money into our program. A band trip that was very advertised while I was in grade 8, not even grade 9 became almost impossible when I was in grade 11. In grade 12 not even possible because we had no support or funding by the school. However other faculties would take luxurious trips. I was very disappointed because I know for a fact my school was very resourceful. Music however, was not a priority. I think in order to service students and teach music and have it seen as important we need to move forward from history. I think it's a great step how UWO music education system emphasizes this issue for the intro course, because it is no secret that a good music program is becoming more uncommon in schools and almost rare. We need to fix this issue because although some teachers think adding contemporary music and technology disservices students, I strongly agree that not teaching music at all is a bigger disservice. Music is innate, and it's very specific to us as humans, and not knowing how to explore it (at an extreme level/worst case possible) is far worse than adding more tools (technology) and sharing the focus between contemporary and traditional music to study."
Hourigan, R. M. (2009). The invisible student: Understanding social identity construction within performing ensembles. Music Educators Journal, 34-38.
February 4
I strongly feel like that invisible student while I was growing up. And I just labelled myself as socially awkward however I can socialize quite well. I learned to just accept the fact that there was something about me that bothered people and I learned to just focus on school. However that had repercussions because when I was stressed and overwhelmed I had no peers to go to and my grades would always begin to fall. So this article is very useful for identifying other students who may be in my position when I become a music teacher.
When the author discussed the reasons for ice breakers, I finally learned why we do those activities in class and when they work I find that there actually is less cliques and I feel safer in the classroom. I feel that everyone sees themselves equal to another and less of a social hierarchy amongst the students. I was surprised by the big sister /brother approach. I never thought it would be a good idea, but looking back at my high school experience, if we had that opportunity maybe more students would feel more welcomed to the music program. Because I remember being introduced by my friend who I saw as an older brother, and he invited me into the music program, but when I was in my senior year we didn’t do that to many of the grade nines. Perhaps maybe when I teach music I can use that as an activity when I become more familiar with the students to keep the program inviting. I noticed that maybe that’s why western’s music program is so supportive because we have many Sophs, and peer guides as well as FOSMC and other student support organizations. And all this support is from the students as a whole and the older students teach the younger and newer students the culture, and then we keep passing it on. Perhaps that’s why I haven’t felt as isolated because of all the student help. My question is why wasn’t that support and experience encouraged in my high school, and I wonder if most high schools have this issue? Perhaps that is one factor to why not as many students continue in music. Perhaps the teachers need to encourage the students to be leaders, and role models. The older students could make everything seem less intimidating. I also found it interesting that because of Jason’s negative associations with the ensemble it affected the way he valued himself in the community, as a bad musician. For Susan, who has a positive association, it did not influence her self worth negatively. I did not know that association could also influence how we as individuals feel about ourselves. I did know that having a positive association with a situation, will likely increase the chance of the individual going back to that situation. I think that’s very interesting to think about when it comes to the developing child as well.
Do I have an invisible student? The author asked. I use to work as an ECE in a kindergarten class. I had zero tolerance of any form of exclusion. I found it interesting that in my class, the students who has a disorder or disability were not excluded and were always looked after by the students and I had no issue with those students. The group of kids were always educated and informed, however the students I saw struggling were the “loud” students, and they weren’t loud but they appeared very social and confident. At first. But as I got to know those students more I learned that they admitted to feeling “sad about themselves” or in other words insecure. I really respected how the author stated that Jason is not an invisible student because of his mental health issues. You don’t need to have a disability to be an invisible student. The teacher mentor would always suggest that I should not be giving these “other” students attention, because they just “act out” for “attention”. I found it ironic at the end of the year as I followed my own judgement based on my education at Mohawk college, that those students started to act out less and less. When I felt they were confident and formed some sort of social identity, I would tell them “if you see other kids that you think are similar to you when you felt sad, you should go treat them the way you want to be treated” and they did. It went very well, I found myself having more time at the end of the year than I did in the beginning. And that became my “easy” approach to younger children and dealing with social conflict. I was oblivious that this could also be done with older students as well.
My question for the author would be, as a music teacher, what if you started to teach at a school where there are already cliques formed and this negative thinking is strongly engrained in the student’s behavioural patterns, how could I revert it and set my standard of my expectations without abruptly intervening with their culture?
Response:
February 4
I strongly feel like that invisible student while I was growing up. And I just labelled myself as socially awkward however I can socialize quite well. I learned to just accept the fact that there was something about me that bothered people and I learned to just focus on school. However that had repercussions because when I was stressed and overwhelmed I had no peers to go to and my grades would always begin to fall. So this article is very useful for identifying other students who may be in my position when I become a music teacher.
When the author discussed the reasons for ice breakers, I finally learned why we do those activities in class and when they work I find that there actually is less cliques and I feel safer in the classroom. I feel that everyone sees themselves equal to another and less of a social hierarchy amongst the students. I was surprised by the big sister /brother approach. I never thought it would be a good idea, but looking back at my high school experience, if we had that opportunity maybe more students would feel more welcomed to the music program. Because I remember being introduced by my friend who I saw as an older brother, and he invited me into the music program, but when I was in my senior year we didn’t do that to many of the grade nines. Perhaps maybe when I teach music I can use that as an activity when I become more familiar with the students to keep the program inviting. I noticed that maybe that’s why western’s music program is so supportive because we have many Sophs, and peer guides as well as FOSMC and other student support organizations. And all this support is from the students as a whole and the older students teach the younger and newer students the culture, and then we keep passing it on. Perhaps that’s why I haven’t felt as isolated because of all the student help. My question is why wasn’t that support and experience encouraged in my high school, and I wonder if most high schools have this issue? Perhaps that is one factor to why not as many students continue in music. Perhaps the teachers need to encourage the students to be leaders, and role models. The older students could make everything seem less intimidating. I also found it interesting that because of Jason’s negative associations with the ensemble it affected the way he valued himself in the community, as a bad musician. For Susan, who has a positive association, it did not influence her self worth negatively. I did not know that association could also influence how we as individuals feel about ourselves. I did know that having a positive association with a situation, will likely increase the chance of the individual going back to that situation. I think that’s very interesting to think about when it comes to the developing child as well.
Do I have an invisible student? The author asked. I use to work as an ECE in a kindergarten class. I had zero tolerance of any form of exclusion. I found it interesting that in my class, the students who has a disorder or disability were not excluded and were always looked after by the students and I had no issue with those students. The group of kids were always educated and informed, however the students I saw struggling were the “loud” students, and they weren’t loud but they appeared very social and confident. At first. But as I got to know those students more I learned that they admitted to feeling “sad about themselves” or in other words insecure. I really respected how the author stated that Jason is not an invisible student because of his mental health issues. You don’t need to have a disability to be an invisible student. The teacher mentor would always suggest that I should not be giving these “other” students attention, because they just “act out” for “attention”. I found it ironic at the end of the year as I followed my own judgement based on my education at Mohawk college, that those students started to act out less and less. When I felt they were confident and formed some sort of social identity, I would tell them “if you see other kids that you think are similar to you when you felt sad, you should go treat them the way you want to be treated” and they did. It went very well, I found myself having more time at the end of the year than I did in the beginning. And that became my “easy” approach to younger children and dealing with social conflict. I was oblivious that this could also be done with older students as well.
My question for the author would be, as a music teacher, what if you started to teach at a school where there are already cliques formed and this negative thinking is strongly engrained in the student’s behavioural patterns, how could I revert it and set my standard of my expectations without abruptly intervening with their culture?
Response:
Unmasking the Hidden Curriculum in Canadian Music Education
Wasiak, E. (2017) Unmasking the Hidden Curriculum in Canadian Music Education, Canadian Music Educator, pp. 19-27.
January 28
The hidden curriculum is indirectly taught in schools through the natural socializations process that happens and is linked to issues that revolve around social justice. Social justice can be easily approached through music as a way of communication and self expression. I found it interesting how the author addressed how social justice and music reinforce each other because I agree that using music to address social justice is an option but I don’t think that you always need music to address social justice and you can make drama sketches, or simple speeches. I didn’t understand the author and would have liked many more examples of his/her statement to understand their opinion. I agree that it is a teacher's duty to be social justice educators because of how justice and injustice is relevant in our Canadian culture because of our politics and pluralism and multiculturalism. She addresses that the curriculum decides what is considered "good" music and I agree that teaching music shouldn't declare what music is good or bad to learn. I believe this because the statement alone is subjective and is based on ones own personal opinion. I think "good" music is what one finds interesting and by a student exploring their interests , that may manifest their curiosity and passion for music itself. I am concerned about the authors presumptuous attitude and extreme bias (in my opinion that's what I felt) against classical music. I really appreciated learning more about classical music as it deepened my understanding of history and how we have evolved as a socially and prospered from our history. I think that also understanding the harmony in classical music, helps myself as a student really appreciate popular music and social injustices written in popular music. I believe that music educators should develop a way to teach the harmonic models used by composers and what contexts they were used and relate it to how it appears in popular music that we are exposed to in the current society. When I was in high school, I had a very motivational music teacher who used music as a way to explore social injustice and how we as musicians have the advantage of using music to express our opinions and we cannot forget that. Music is our greatest tool for communication that is why it is imperative to practice and refine our abilities to better articulate our intentions. When Mr. Alfano retired we got a new music teacher who had a power struggle with the class as we did not like his methods of teaching music, they were too traditional and controlling of us students. Students would question the teacher and it was seen as a wrongful thing, I understand to a point, but it was to the point that every student questioned him and he ignored our questions and we lost many students. In my finale year there were only 6 grade twelves including myself. This experience really drove me away from teaching music at a high school level. After reading this article I clearly understand what actions deterred students away from music and now I feel more curious to be a high school teacher or elementary teacher for music.
Wasiak, E. (2017) Unmasking the Hidden Curriculum in Canadian Music Education, Canadian Music Educator, pp. 19-27.
January 28
The hidden curriculum is indirectly taught in schools through the natural socializations process that happens and is linked to issues that revolve around social justice. Social justice can be easily approached through music as a way of communication and self expression. I found it interesting how the author addressed how social justice and music reinforce each other because I agree that using music to address social justice is an option but I don’t think that you always need music to address social justice and you can make drama sketches, or simple speeches. I didn’t understand the author and would have liked many more examples of his/her statement to understand their opinion. I agree that it is a teacher's duty to be social justice educators because of how justice and injustice is relevant in our Canadian culture because of our politics and pluralism and multiculturalism. She addresses that the curriculum decides what is considered "good" music and I agree that teaching music shouldn't declare what music is good or bad to learn. I believe this because the statement alone is subjective and is based on ones own personal opinion. I think "good" music is what one finds interesting and by a student exploring their interests , that may manifest their curiosity and passion for music itself. I am concerned about the authors presumptuous attitude and extreme bias (in my opinion that's what I felt) against classical music. I really appreciated learning more about classical music as it deepened my understanding of history and how we have evolved as a socially and prospered from our history. I think that also understanding the harmony in classical music, helps myself as a student really appreciate popular music and social injustices written in popular music. I believe that music educators should develop a way to teach the harmonic models used by composers and what contexts they were used and relate it to how it appears in popular music that we are exposed to in the current society. When I was in high school, I had a very motivational music teacher who used music as a way to explore social injustice and how we as musicians have the advantage of using music to express our opinions and we cannot forget that. Music is our greatest tool for communication that is why it is imperative to practice and refine our abilities to better articulate our intentions. When Mr. Alfano retired we got a new music teacher who had a power struggle with the class as we did not like his methods of teaching music, they were too traditional and controlling of us students. Students would question the teacher and it was seen as a wrongful thing, I understand to a point, but it was to the point that every student questioned him and he ignored our questions and we lost many students. In my finale year there were only 6 grade twelves including myself. This experience really drove me away from teaching music at a high school level. After reading this article I clearly understand what actions deterred students away from music and now I feel more curious to be a high school teacher or elementary teacher for music.
Fumbling towards vulnerability: Moving out of the familiar for the sake of music education’s sake.
Dawe, L. The Canadian Music Educator. Edmonton. 2016. Volume 57, Issue 2. Pages 22-24
January 21
The author opens the article discussing how growing up she felt the need to always please her instructors when she played music. I believe that this can be the starting point of performance of anxiety. The traditional methods that encourage this cycle of thinking (the importance of your instructors opinion, or teacher’s opinion in general) encourages kids to learn to accept this behaviour of feeling vulnerable while music making. The author talks about how there is not enough creativity in the music classrooms and there is not enough balance between tradition methods and constructivist methods (creative and autonomy development) for the students. I believe the constructivist methods are helpful in all ways, as it can help the music educators embrace the feeling of letting go of control when teaching and also help the student feel confident and think more independently as a musician. I think that this idea of creativity being incorporated into the music pedagogy could also benefit solo performers, as they will develop the habit of playing for themselves and not be under the stress and worry of their instructors opinion and judgement, therefor being confident with their own decisions and less stressed on stage. I also believe everything develops with practice especially behaviour and attitudes. The author discussed how she saw learning music as black and white and never questioned the grey area, because she was never aware of a grey area. During an audition she said the first time she felt vulnerable is when they instructor asked for a improvised solo and she choked and that moment made the most impact to her attitude of learning music. She practiced and played for hours a day but was unable to play music that came naturally from her own body. I think as a musician that skill to improvise when asked, is a skill that is assumed all musicians can do, and I understand why. As musicians who pride ourselves with music making, we should be able to make music that is natural to our body, and the idea of a musician who can’t create music should indicate a problem with how we have been taught music early in schools. The author said she wished she had opportunities to improvise in class, and I fully support that. In my music program, I would attend Jazz Day on Friday’s and the students who showed up with the instructor were given one page, and the drummer would create a swing beat and we would all be encourage to just start playing on the drummers rhythm. We were given the key of the price and the teacher would tell us when they is switching, even the teacher himself would take out his saxophone and play with us. We would all be encouraged to solo, and if we hadn’t Solo from last session (the week before) he would says: “you gotta at least solo for 8 bars” and he would always break out into a moral lesson and say, “being able to spontaneously produce music will always be expected of you as a musician, your taught techniques but how well do you really do you’re the technique and your instrument if you can’t reproduce what you’ve learned” I agree with the author I think incorporating creativity and constructive methods and find the balance between the traditional methods and this will be beneficial for the students becoming music educators and solo performers as well.
Dawe, L. The Canadian Music Educator. Edmonton. 2016. Volume 57, Issue 2. Pages 22-24
January 21
The author opens the article discussing how growing up she felt the need to always please her instructors when she played music. I believe that this can be the starting point of performance of anxiety. The traditional methods that encourage this cycle of thinking (the importance of your instructors opinion, or teacher’s opinion in general) encourages kids to learn to accept this behaviour of feeling vulnerable while music making. The author talks about how there is not enough creativity in the music classrooms and there is not enough balance between tradition methods and constructivist methods (creative and autonomy development) for the students. I believe the constructivist methods are helpful in all ways, as it can help the music educators embrace the feeling of letting go of control when teaching and also help the student feel confident and think more independently as a musician. I think that this idea of creativity being incorporated into the music pedagogy could also benefit solo performers, as they will develop the habit of playing for themselves and not be under the stress and worry of their instructors opinion and judgement, therefor being confident with their own decisions and less stressed on stage. I also believe everything develops with practice especially behaviour and attitudes. The author discussed how she saw learning music as black and white and never questioned the grey area, because she was never aware of a grey area. During an audition she said the first time she felt vulnerable is when they instructor asked for a improvised solo and she choked and that moment made the most impact to her attitude of learning music. She practiced and played for hours a day but was unable to play music that came naturally from her own body. I think as a musician that skill to improvise when asked, is a skill that is assumed all musicians can do, and I understand why. As musicians who pride ourselves with music making, we should be able to make music that is natural to our body, and the idea of a musician who can’t create music should indicate a problem with how we have been taught music early in schools. The author said she wished she had opportunities to improvise in class, and I fully support that. In my music program, I would attend Jazz Day on Friday’s and the students who showed up with the instructor were given one page, and the drummer would create a swing beat and we would all be encourage to just start playing on the drummers rhythm. We were given the key of the price and the teacher would tell us when they is switching, even the teacher himself would take out his saxophone and play with us. We would all be encouraged to solo, and if we hadn’t Solo from last session (the week before) he would says: “you gotta at least solo for 8 bars” and he would always break out into a moral lesson and say, “being able to spontaneously produce music will always be expected of you as a musician, your taught techniques but how well do you really do you’re the technique and your instrument if you can’t reproduce what you’ve learned” I agree with the author I think incorporating creativity and constructive methods and find the balance between the traditional methods and this will be beneficial for the students becoming music educators and solo performers as well.
Response: Eric
Thank you for your thoughtful response. I think you’ve got a really interesting take on this article and the need for social awareness in all areas of education, not just music. I was surprised to see your impression that the author is biased against western classical music. I saw his position instead as recognizing many music curricula as Eurocentric, exclusive of other kinds of music, and therefore sending unspoken messages to students who may not value western classical music because it is not part of their culture. That doesn’t necessarily take anything away from classical music, but rather speaks to the importance of valuing other types of musics in addition. Can we value western classical music and still find ways to be more inclusive?
Answer: I see what you mean Eric, after reading the article in that new perspective. I now understand his point to support music of other cultures. I think it would be also interesting to use music from other cultures to become more informed about world history rather than just western history. It might even make other students question the meaning behind another cultures music. As music is a great way of self expression, using the meanings behind the music to show the students a different perspective and give knowledge of how other cultures in the world are being affected by social injustice/Justice. I also agree that because we live in such a multicultural country we should just encourage students to express themselves through another cultures music, and perhaps let other students know that they can express themselves through their own music.
Thank you for your thoughtful response. I think you’ve got a really interesting take on this article and the need for social awareness in all areas of education, not just music. I was surprised to see your impression that the author is biased against western classical music. I saw his position instead as recognizing many music curricula as Eurocentric, exclusive of other kinds of music, and therefore sending unspoken messages to students who may not value western classical music because it is not part of their culture. That doesn’t necessarily take anything away from classical music, but rather speaks to the importance of valuing other types of musics in addition. Can we value western classical music and still find ways to be more inclusive?
Answer: I see what you mean Eric, after reading the article in that new perspective. I now understand his point to support music of other cultures. I think it would be also interesting to use music from other cultures to become more informed about world history rather than just western history. It might even make other students question the meaning behind another cultures music. As music is a great way of self expression, using the meanings behind the music to show the students a different perspective and give knowledge of how other cultures in the world are being affected by social injustice/Justice. I also agree that because we live in such a multicultural country we should just encourage students to express themselves through another cultures music, and perhaps let other students know that they can express themselves through their own music.
Response:
Thank you for your thoughtful response. You’ve related the article to your personal experience to make it relevant. You’ve also raised an interesting point about constructivism and autonomy, which may not necessarily always operate together. How do teachers’ decisions and practices help navigate that balance?
Thank you for your thoughtful response. You’ve related the article to your personal experience to make it relevant. You’ve also raised an interesting point about constructivism and autonomy, which may not necessarily always operate together. How do teachers’ decisions and practices help navigate that balance?
Re-positioning "the Elements": How students talk about music
By: Leslie Stewart Rose
Article Review: Alyxia Bonnett
January 14
The article discusses incorporating more popular music into the curriculum for students, and adding it to be a part of their normal curricular. It emphasizes how the traditional classical music is not allowing students to be creative enough and is too restricting. It brings up how music teachers must face adversary for wanting to encourage their students to play music popular in our culture. I agree with the fact that popular music should be encouraged if that is what the students want, but not so much as to say, in concert band competitions they should be allowed to play popular Disney, or other form of popular music songs. I enjoy having to play from traditional music, because I think it's informing to know what was traditionally played in our history. I find that classical music itself is an informing way to become more educated of our history as humans and how we have evolved from Bach to Mahler. I also believe that that traditional repertoire was made with the intentions for it to be played by a larger ensemble, where our popular music was not intentionally arranged to be played by a large ensemble. I have played popular songs in my high-school band before and I did not enjoy it as much, because I found that I never could become close to the music and it had a different feeling that I didn’t enjoy while playing. I really enjoy traditional music because I think there is more of a challenge to interpret what the composer had wanted, at least in my experience. Also I found learning the pieces to be aggravating since everyone knows the song from the media, in my experience the students wouldn't count the music properly sometimes and make mistakes they thought to be the actual correct way. I don’t think there is anything wrong however incorporating the popular music into our curriculum if the students ask for it, however I think it is wrong entirely ignoring our traditional music. I think our traditional music is our foundations for musicians. A lot of popular music uses the same concepts derived from classical music and many motives or ideas played in popular music were originally played in the past and are simply built onto. I think traditional music, because in history it was subject that was studied, it's important to be able to understand how music sounded I the past and be able to make connections and relations to music being played presently. I think students that don't enjoy classical music can still expand their knowledge by playing traditional music and learning about it to become an overall great musician.
By: Leslie Stewart Rose
Article Review: Alyxia Bonnett
January 14
The article discusses incorporating more popular music into the curriculum for students, and adding it to be a part of their normal curricular. It emphasizes how the traditional classical music is not allowing students to be creative enough and is too restricting. It brings up how music teachers must face adversary for wanting to encourage their students to play music popular in our culture. I agree with the fact that popular music should be encouraged if that is what the students want, but not so much as to say, in concert band competitions they should be allowed to play popular Disney, or other form of popular music songs. I enjoy having to play from traditional music, because I think it's informing to know what was traditionally played in our history. I find that classical music itself is an informing way to become more educated of our history as humans and how we have evolved from Bach to Mahler. I also believe that that traditional repertoire was made with the intentions for it to be played by a larger ensemble, where our popular music was not intentionally arranged to be played by a large ensemble. I have played popular songs in my high-school band before and I did not enjoy it as much, because I found that I never could become close to the music and it had a different feeling that I didn’t enjoy while playing. I really enjoy traditional music because I think there is more of a challenge to interpret what the composer had wanted, at least in my experience. Also I found learning the pieces to be aggravating since everyone knows the song from the media, in my experience the students wouldn't count the music properly sometimes and make mistakes they thought to be the actual correct way. I don’t think there is anything wrong however incorporating the popular music into our curriculum if the students ask for it, however I think it is wrong entirely ignoring our traditional music. I think our traditional music is our foundations for musicians. A lot of popular music uses the same concepts derived from classical music and many motives or ideas played in popular music were originally played in the past and are simply built onto. I think traditional music, because in history it was subject that was studied, it's important to be able to understand how music sounded I the past and be able to make connections and relations to music being played presently. I think students that don't enjoy classical music can still expand their knowledge by playing traditional music and learning about it to become an overall great musician.
Response:
Thank you for your thoughtful response. You’ve made some interesting points about popular music not always being suited for large ensembles. However, consider the other side of that argument: why then, are we clinging to large ensembles? I am sure you would point to your enjoyment of traditional and classical music performed in those ensembles and the meaningful, musical experiences you had as a member of them. Yet, what about the other 94% of students who choose not to continue participating in music in school? What meaningful, musical experiences should we offer for them?
Thank you for your thoughtful response. You’ve made some interesting points about popular music not always being suited for large ensembles. However, consider the other side of that argument: why then, are we clinging to large ensembles? I am sure you would point to your enjoyment of traditional and classical music performed in those ensembles and the meaningful, musical experiences you had as a member of them. Yet, what about the other 94% of students who choose not to continue participating in music in school? What meaningful, musical experiences should we offer for them?