Sunday, 21 August 2011

Music

Our Thoughts on Music

Enhancing students' experiences in music composition through music notation software. [Pan-hang B. Tang, Deakin University.] post by Tucker

I read this article this week about the benefits of using music notation software to compose music in schools. It advocates using it in several ways, including as an experimental device which I thought was interesting. I had always thought that first student's should learn to read and writie music and then use such software, but thinking about it further has made me realize that working the other way around (explore and learn how to read and write music by 'seeing' it unfold on the screen while also hearing the music) is just as valid and could perhaps even provide a stronger learning experience in the long run.

Reference:

Tang, P.B. (2006). Enhancing students' experiences in music composition through music notation software. Australian Online Journal of Arts Education, Vol. 2, 3, 1-16. ISSN: 1833-1505

Comments by Alysha Downham:
Hi Eleanor, I agree that it could provide a stronger learning experience for students.  I think the software would be so engaging and students could have so much fun! I know that I would which is what I base a lot of the arts on.  Is that wrong? mmm...


Tuckers Tunes
I think I've FINALLY uploaded some of my own tunes! I put up three that I recorded with my band, Dreamboat. It's always so strange listening back to yourself on a recording - a very different sound than what you experience when 'doing' it. This is something to be aware of when working with children too - sometimes they are not happy listening back to their own sounds as others hear them.


This site posterous.com was a very easy site to navigate and has various privacy settings that would make it a great site for use with students.


Money Making Time Machine - I wish it was!

Here is a piece hot off the press that came out of the workshop I facilitated today with a group of adults with acquired brain injury. 



1 comments:


Mary Ann and Maureen said...
Just had to pop in here again, laydeez - top stuff, Eleanor. This was absolutely amazing to listen to and thanks for making it happen. Boyo, am I loving this Blog... and learning so much too. Thanks for this effort and commitment to it, Eleanor and Alysha.
15 August 2011 05:16
*****Behaviour Management Tucker Style (check out this video taken with my students on my last prac- the Samoan clap dance.)
There are heaps of these types of clapping games on Youtube. They take a bit of practice but well worth it!


Week 3 Reading - Sinclair Chapter 8
Posted by Alysha Downham
I think it is very true what Sinclair (2009) mentions in Education in the Arts about play within music. She questions why there is such a big focus on play and exploration in other areas of learning, but music lessons are so often teacher centred.

This made me think of my own musical history and whether I ‘played’ with music. While I don’t have a huge musical history, I do remember how much I loved the keyboard. I used to play it often at home and attempt to compose my own music. While I admit that I had/have no musical talent, I still remember how much I loved it. However, I can’t remember ever loving music classes like that. From what I can remember music in primary school, it was just as Sinclair describes it – teacher-centred and whole group. I wonder if I would have enjoyed music more if I were able to explore more on my own terms.

I’m not sure that things have changed much since I was at school either. In each of my three placements I sat in on each music lesson (which was always taken with a specialist teacher) and I never experienced children simply playing with music. Any music made by the students was always as instructed by the teacher and would generally involve the whole class. In each lesson there always seemed to be at least one group singing session with the teacher on the piano. I always thought it was interesting watching the teacher get so involved in the song and children were not interested at all. Maybe if the teacher actually played something that the students liked listening to then they would be more enthralled.


Sinclair, C., Jeanneret, N. & O’Toole, J. (2009). Education in the Arts: teaching and learning in the contemporary curriculum. South Melbourne, Vic: Oxford University Press

Tucker responds:
Yes Alysha - It is a common scenario isn't it - the one where the teacher is the one playing all the music. I do understand how this situation occurs  - with a large group, 'free play' music making can become very hard to manage.
It was interesting for me to read the article as I have always come from the 'free-up and discover' music school, rather than the "whole-group, teacher-centred" style as described in Sinclair (2009), however, I am becoming increasingly aware of the necessity for both styles of teaching for successful, rounded music education.
Class size can be a huge issue with everyone wanting to make music at the same time (there is only so much space in one classroom for sounds!), yet why not have combined art workstations? One group could be exploring some sounds/instruments; the next could be working on some visual representation of what they are hearing; another group could be exploring the sounds that are coming from the music group through movement or puppetry; and those who may need a moment to work alone could be writing stories - all simultaneously in the same classroom!
The point you make about how students might participate more if the music was something they might listen to, is an important one. My eight-year-old son is extremely musical yet will only happily participate at school if  the music moves him. I have always been an advocate of using 'hip' music with children (provided the lyrics are suitable), yet I can also see the benefits of drawing on the more traditional children's folk songs and games, as employed by the 'Kodaly' and 'Orff-Schulwerk' methods, to teach understanding of pitch, rhythm and musical notation. Therefore, I think we best serve our students if we aim to provide a wide scope of musical experiences including: varied listening (live and recorded) and associated activities; a mix of experimental and structured music making (for process and at times, performance) as well as short, regular sessions building music literacy skills.


Sinclair, C., Jeanneret, N. & O’Toole, J. (2009). Education in the Arts: teaching and learning in the contemporary curriculum. South Melbourne, Vic: Oxford University Press

Bobby McFerrin
In this video, Bobby McFerrin demonstrates the power of the pentatonic scale. This performance was given at the World Science Festival as part of a presentation titled Notes and Neurons: in search of the common chorus (Gerald Lynch Theatre, John Jay College, NYC, June 12th 2009).
I have shown this to all sorts of people, all ages - it always seems to resonate. I wonder why?



Beardyman - Beatboxer
I'm certainly no expert when it comes to music. But, have a look at this video on youtube, the musician's name is Beardyman. I just think that he is so talanted. Not only is his music really good (not that everybody likes that kind of music) but he is making all the music with his mouth. I'm not sure how exactly I could incorporate into a lesson. Have a listen and let me know what you think.
http://www.youtube.com/watch?v=VQqTsMKa7ow&feature=relmfu




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