Though I am not innately talented musically, I feel as though I have always appreciated and loved music. For me, music holds energy that has the ability to affect my mood. It was interesting learning about a musical ‘hook’ and relating this to teaching. Educators can only really be effective once they have hooked their audience. A good lesson plan is reliant upon the initial hook that acts as the bait to draw in the attention of the students. Then it is our hope that the rhythm of what we are explaining will develop momentum and that the students will become engaged and contribute actively to their own learning. Good songs generally have a consistent rhythm that allows listens to find comfort in the beat and caught up in the motion of the melody. Teachers also rely heavily on repetition when trying to reinforce central ideas for students.
Aaron Copland mentioned that, “one of the main concerns in the making of music, either as a creator or as interpreter, is the question of how it will sound.” Often teachers struggle with communicating effective lessons that provide ample opportunities for their students to engage on multiple levels. We struggle to teach higher order thinking skills. It is our hope that we can convey clearly what the curriculum is demanding but at the same time, avoid spoon feeding students so that they can also learn to interpret and synthesize and look critically at the material and find ways of applying it to their world on a larger scale.
Copland commented in, Music and Imagination, that “one of the quickest ways to recognize talent in the youthful composer is to note the natural effectiveness as sound of even the most casual combination of tone colors. It is a sign of inborn musicality.” This made me think of those teachers who despite their lack of actual teaching experience, seem to have what is commonly referred to as the ‘gift of the gab.’ They are able to speak naturally and eloquently in a passionate way that somehow draws in the student and makes the lesson they are about to learn feel more like a treat than a chore.
Furthermore, Copland stated that, “yes composers struggle with their instruments- and not infrequently with their instrumentalists. Yet despite restrictions imposed by necessity, they do not view this entirely as a hardship. In fact, in certain circumstances the discipline enforced by the limitations of an instrument or a performer acts as a spur to the composer’s imagination.” I believe that this is often true for many teachers who struggle with various time constraints and curriculum demands as well as administrative guidelines; all of which call for innovative and creative solutions. Sometimes sufficient pressure activates the process of thinking outside of the box.
Saturday, March 27, 2010
Sunday, March 21, 2010
"If music be the food of love, play on!" ~William Shakespeare
I really enjoyed listening to On Point this week with Tom Ashbrook and his guest Robert Kapilow. Despite having very little musical background, it was fascinatinating to hear the way that Robert Kapilow was able to examine a piece of music and the experience it created for the listener. After listening to the Grammy Award winning songs listed this week, I found myself noticing for the first time the subtle variations created by the artists and their effect on me. I see now that it is the design aspect of the song that really adds to my experience.
Kapilow analysed the iconic song, "America the Beautiful" and through his analysis, listeners were able to then come to understand that the combination of each technique is greater than the sum of it's parts. The idea that “repetition creates a sense of belonging greater than us” was also discussed. I'd agree that there is a security and comfort in that lies within the same pattern. Ashbrook felt that Kapilow had an uncanny ability to "make connections between rhythm and the gymnastics of notes that turn them into templates for fundamental emotions or spiritual compass readings." I'd have to agree. Kapilow was able to articulate and identify these processes clearly.
As a teacher, I have seen the way that patterns and rhythm effect my students. While teaching behavior students, it is imperative that my classroom expectations and routines be clear. Through these patterns, my students do feel comfort and security. They are able to function better when the routines are in place and the expectations are clearly visable.
Music is such a powerful tool. We all share the same experiences and despite differences in time and place, Kapilow is right when he says we express these experiences through the universal language of our time; music. I enjoyed looking at similarities in music. For example the exploration of what beneath the surface phrases of Beethovan's 5th is the same? The idea of paring down the music and looking at the surface, but finding the core similarities, appealed to me. I think as teachers, we need to remember that each student is unique, but underneath everything, they are still kids; young and impressionable.
I also loved Kapilow's observation about the creator of valcrow. He felt that this man was open and looking for it and therefore able to visualize the possibility of such a creation. Kapilow went on to say that music therefore, is a lesson in how to pay attention. This idea translates to my teaching in numerous ways. For one, I feel that most times tachers focus on contrasting ideas instead of having students become aware of the similarities between ideas and people and the common fabric holding each of us together, despite our differences. I couldn't agree more with Kapilow who quoted Stravinsky saying that,“all of composition essentially comes down to a balance of unity and variety.”
Kapilow analysed the iconic song, "America the Beautiful" and through his analysis, listeners were able to then come to understand that the combination of each technique is greater than the sum of it's parts. The idea that “repetition creates a sense of belonging greater than us” was also discussed. I'd agree that there is a security and comfort in that lies within the same pattern. Ashbrook felt that Kapilow had an uncanny ability to "make connections between rhythm and the gymnastics of notes that turn them into templates for fundamental emotions or spiritual compass readings." I'd have to agree. Kapilow was able to articulate and identify these processes clearly.
As a teacher, I have seen the way that patterns and rhythm effect my students. While teaching behavior students, it is imperative that my classroom expectations and routines be clear. Through these patterns, my students do feel comfort and security. They are able to function better when the routines are in place and the expectations are clearly visable.
Music is such a powerful tool. We all share the same experiences and despite differences in time and place, Kapilow is right when he says we express these experiences through the universal language of our time; music. I enjoyed looking at similarities in music. For example the exploration of what beneath the surface phrases of Beethovan's 5th is the same? The idea of paring down the music and looking at the surface, but finding the core similarities, appealed to me. I think as teachers, we need to remember that each student is unique, but underneath everything, they are still kids; young and impressionable.
I also loved Kapilow's observation about the creator of valcrow. He felt that this man was open and looking for it and therefore able to visualize the possibility of such a creation. Kapilow went on to say that music therefore, is a lesson in how to pay attention. This idea translates to my teaching in numerous ways. For one, I feel that most times tachers focus on contrasting ideas instead of having students become aware of the similarities between ideas and people and the common fabric holding each of us together, despite our differences. I couldn't agree more with Kapilow who quoted Stravinsky saying that,“all of composition essentially comes down to a balance of unity and variety.”
Sunday, March 7, 2010
Aesthetic Modes of Knowing
Eisner’s article this week was fascinating to read. It was interesting to begin looking further at knowledge within the aesthetic mode; two distinct types of knowledge. First was knowledge of the world toward which the aesthetic qualities of form point and secondly, knowledge of the aesthetic in its own right, for no other purpose than to simply undergo an experience. Through Tuchman’s writing, we were able to see the many forms that professional writers employ; whether it was the use of rhythm, figurative language, literary devices, or diction and syntax. I agree that we have a deep- seated need for stimulation and to give order to our world. It was clear when the analogy was given that humans seek to put things in order and create harmony, as seen in science where theory is the result of our desire to create a world that we can understand (Eisner, 1985, p.29). Through this week's reading and discussion, I have now come to recognize that for these reasons, aesthetics play an important role in all disciplines.
For example,in photography, forms are created through the use of lighting, framing and various methods of composition in an effort to create a photo that tells a story. Similarly, television and film makers strive to tell their own stories and evoke emotion through a combination or lighting, motion pictures and sound. The use of color, camera angles and sound effects all contribute to the experience being created. As Eisner stated, “we seek to use our capacities to activate our sensory systems, to vary our experiences.”
In architecture and interior design, again we saw the elements of light and space working together to create design. In Susanka’s introduction to Home by Design, she said, “Light is the great animator of space” (Susanka, 2004, p. 9). She described the best way to use space and lighting to personalize our homes. We were given the opportunity to examine the experience and feeling that certain designs and lighting choices evoked. In “From House to Home,” Susanka discussed the basic principles defining this elusive quality of a home.
Eisner highlighted an excellent point when he stated that educators needed to figure out how these aesthetic values could be purposely introduced to students. I too wondered how this notion would relate to curriculum design and teaching. How, as an English teacher could I help my students to experience the aesthetic aspects of language? Eisner raised a key question when he asked, what kind of work would students be given if we gave the aesthetic aspects of writing and reading a significant priority in the teaching of English? I had never given this idea much thought. But now I see that, in assessing prior knowledge that teachers sometimes forget to teach students some of the things that we ourselves innately do. For example, as Eisner suggested, teaching students that it is necessary to hear the melodies of language in order to use language in useful and informative ways as Barbara Tuchman obviously did.
Curriculum design would certainly change if teachers focused on the role of aesthetics in ecah particular field of study. I completely agree with Eisner that education has become fragmented and as a result, students find it difficult to see how each piece fits together as part of a whole. Our focus is on the short term and perhaps by taking the time to appeal to their need for stimulation, we can find ways of using our limited time to create more compelling, hands-on experiences that will be internalized by our students on a deeper level and later applied in a cross-curricular fashion.
For example,in photography, forms are created through the use of lighting, framing and various methods of composition in an effort to create a photo that tells a story. Similarly, television and film makers strive to tell their own stories and evoke emotion through a combination or lighting, motion pictures and sound. The use of color, camera angles and sound effects all contribute to the experience being created. As Eisner stated, “we seek to use our capacities to activate our sensory systems, to vary our experiences.”
In architecture and interior design, again we saw the elements of light and space working together to create design. In Susanka’s introduction to Home by Design, she said, “Light is the great animator of space” (Susanka, 2004, p. 9). She described the best way to use space and lighting to personalize our homes. We were given the opportunity to examine the experience and feeling that certain designs and lighting choices evoked. In “From House to Home,” Susanka discussed the basic principles defining this elusive quality of a home.
Eisner highlighted an excellent point when he stated that educators needed to figure out how these aesthetic values could be purposely introduced to students. I too wondered how this notion would relate to curriculum design and teaching. How, as an English teacher could I help my students to experience the aesthetic aspects of language? Eisner raised a key question when he asked, what kind of work would students be given if we gave the aesthetic aspects of writing and reading a significant priority in the teaching of English? I had never given this idea much thought. But now I see that, in assessing prior knowledge that teachers sometimes forget to teach students some of the things that we ourselves innately do. For example, as Eisner suggested, teaching students that it is necessary to hear the melodies of language in order to use language in useful and informative ways as Barbara Tuchman obviously did.
Curriculum design would certainly change if teachers focused on the role of aesthetics in ecah particular field of study. I completely agree with Eisner that education has become fragmented and as a result, students find it difficult to see how each piece fits together as part of a whole. Our focus is on the short term and perhaps by taking the time to appeal to their need for stimulation, we can find ways of using our limited time to create more compelling, hands-on experiences that will be internalized by our students on a deeper level and later applied in a cross-curricular fashion.
Monday, March 1, 2010
Module 3-Week 2
This has definitely been the week of opposites; moving quickly from perfect health to suffering with the Norwalk virus to peeking at two very differnt retail stores, to analyzing the compelling nature of various television show sets.
I enjoyed Susanka's readings about how architecture and design effect our experiences. I found this to be true as I observed both Tim Horton's and Starbucks from a customer's perspective. Each left me with a very different feeling and overall experience. The effect of lighting and the placement of furniture greatly changed the way I experienced both locations. I found that harsh florescent light made me feel like I was in a more sterile room and almost motivated me to grab and go as opposed to when the lighting was more intimate and I was tempted to linger. Susan was right; spaces definitely have a feeling. I can see how my students are effected by the spaces within our school. Those that are left blank have an almost institutional feel that drive students out the door as quickly as possible. Whereas classrooms that have wall decorations and a lot of natural light and unique seating plans, motivate both students and teachers to interact with one another. The energy seems to flow in a totally different way within these settings. It's important to remember the emelments that draw us to either Starbucks and Tim Horton's, since both sell coffee. When seeling education, I will take a closer look at my packaging and delivery methods to help create a more compelling experience for my students.
I enjoyed Susanka's readings about how architecture and design effect our experiences. I found this to be true as I observed both Tim Horton's and Starbucks from a customer's perspective. Each left me with a very different feeling and overall experience. The effect of lighting and the placement of furniture greatly changed the way I experienced both locations. I found that harsh florescent light made me feel like I was in a more sterile room and almost motivated me to grab and go as opposed to when the lighting was more intimate and I was tempted to linger. Susan was right; spaces definitely have a feeling. I can see how my students are effected by the spaces within our school. Those that are left blank have an almost institutional feel that drive students out the door as quickly as possible. Whereas classrooms that have wall decorations and a lot of natural light and unique seating plans, motivate both students and teachers to interact with one another. The energy seems to flow in a totally different way within these settings. It's important to remember the emelments that draw us to either Starbucks and Tim Horton's, since both sell coffee. When seeling education, I will take a closer look at my packaging and delivery methods to help create a more compelling experience for my students.
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