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meghankelly492

Music That Represents Culture: Selecting Music with Integrity: EBSCOhost - 0 views

  • The term authenticity has been applied to music in various ways. It might be used to describe a piece of music (recorded, notated, performed); the process by which the music is taught and learned ( through recordings, live models, notation); or the manner in which it is performed (venue, dress, behaviors).
  • In other words, authenticity lies within the perceptions of the individual.
  • Anthony Palmer, who teaches music education at Boston University, has said that music with "absolute authenticity" is performed (a) by and for members of the culture; (b) in a typical setting, as determined by the members of the culture; (c) with instruments specified by the creator(s) of the music; and (d) in its original language.[ 8] Inarguably, and as Palmer recognizes, attaining this level of authenticity is impossible in a school music program (unless we consider "school music" residing within a unique culture of its own). In school, music is separated from its primary source many times over. Music is passed from its primary source (composer, grandmother) to an intermediary (arranger, performer, notation, recording) and channeled through a publisher or presenter to the teacher and finally to students. To confound matters, there are variants of melodies, lyrics, dances, games, and performance styles.
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  • Ethnomusicologist Bruno Nettl explains that "societies differ, however, in their attitude toward musical stability; to some it is important that a song remain stable and unchanged, while in others individual singers are encouraged to have their personal versions."
  • but he believes educators must determine at what point that musical experience is no longer acceptable as representative of that culture.
  • Having clear visions of educational goals and the broad curriculum is vital to making these determinations.
  • Bennett Reimer states, "Those inner workings are themselves the project of cultural systems, so they must be revealed in their contexts, historical, cultural, and political, in order to be grasped appropriately; that is, 'knowing about' becomes an essential ingredient of artistry and of listening."[ 15] For example, children might not fully understand the meaning of "Take Me Out to the Ball Game" unless they understand what baseball is or realize that the song is traditionally sung at baseball games.
  • text in an unfamiliar language should include a translation so students understand the meaning of the words.
  • However, a culturally valid work is not necessarily bias free; and conversely, bias-free music is not necessarily culturally valid.
  • Selecting the best music to represent a culture in an unbiased manner is a process of discovery. You will first need to educate yourself before you can educate others.
meghankelly492

Deep Listening to the Musical World: EBSCOhost - 0 views

  • Deep-listening experiences, wrapped in a pedagogy of music listening, take students far beyond the surface of their barely noticeable surround-sound environment and into the nature of music and its workings.
  • Attentive-listening experiences occur when teachers point out specified points of focus, put questions or challenges to the listeners, or merge graphics or visuals with the sound experience itself. Graphs or maps of particular musical features can be helpful, since visual cues may enhance listening. Teachers can provide diagrams of the contours of the melody or depict rhythmic components of a piece through iconic symbols-staff notation, splotches of color, or geometric shapes, for example. Instruments, real or illustrated, can focus student attention on their entrance or continuing presence in the music.
  • Engaged listening invites listeners to enter into the groove or the flow of the music, pick a part to contribute, and consequently feel more involved in the music. A phenomenon of "participatory consciousness"[ 5] unfolds as engaged listeners find their place in the music, find something in the music to hang on to (a melody, a pulse, an ostinato, a groove), and select a contribution to make back to the music. In this way, they connect with the music, joining the recorded musicians and their live participant-colleagues in a musical team.
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  • The process of enactive listening is a pathway to the performance of music. The goal of this third level of a listening pedagogy is to continue ear training with a strong musicianship program by allowing the listening act to guide musicians to stylistically appropriate performance.[ 6] Not only can students learn the music of oral cultures aurally, but they can also effectively learn the nutated music of literate cultures by listening. In attempting to perform a musical selection, students gain from opportunities to hear a recording that allows them to concentrate on timbrai qualities, the dynamic How of a piece, its melodic and rhythmic components, and the interplay of its parts. Notation alone, whether from composed or transcribed works, can never fully depict all the musical nuances of a piece, and so listening is a helpful guide to performance.
  • Enactive listening takes time. It can be frustrating for those who have learned to use and value notation as an important means for music's transmission.
  • Young musicians can learn songs for solo or unison voices — as well as multipart songs and selections for percussion ensembles, strings groups, and gatherings of wind players — by ear.
meghankelly492

"Can't We Just Change the Words?": EBSCOhost - 0 views

  • The idea of wanting to be true to the music of a culture, to the people of that culture, and to one's students in teaching is at the heart of the discussion of authenticity.
  • However, teaching music without attention to its cultural context is a problem in several respects: it risks misrepresenting the musical practice being studied, it fails to take advantage of the potential benefits of culturally infused music teaching, and it promotes a conception of music as isolated sonic events rather than meaningful human practices.2 Discussion about this struggle to balance accurate performance practice with accessibility has focused on the concept of authenticity
  • The definitions of authenticity represented in the music education literature fall into four models: the continuum model; the twofold historical/personal model; the threefold reproduction, reality, and relevance model; and the moving-beyond-authenticity model.
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  • how does each author use authenticity as a strategy for making or justifying decisions in music education?
  • authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
  • since the original loses some of its essential qualities in a simplification.5
  • His view of historical authenticity calls for knowing the intentions of the composer, the performance practice of the time, using period instruments, and being musically creative within the boundaries of the composer's intentions
  • Peter Kivy's twofold model of authenticity. Focusing on historical authenticity in performance, Kivy explores two main aspects of authenticity: historical (attention to the intent, sound, and practice of the original) and personal (interpretation and expression of the performer).
  • Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
  • Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
  • Another example is found in the work of music educator and researcher Kay Edwards, who also reached the conclusion that attention to authenticity increases student response to learning. In her qualitative study of the response of children to a unit on Native American music, she found that the group using instruments of the Navajo, Hopi, Apache, and Yaqui peoples generated more journal responses overall (her criterion measure) and more responses about instrument playing than the groups with the inauthentic (traditional music room) instruments.
  • Using indigenous instruments, original languages, and involving culture bearers in instruction benefits student involvement and interest as well as helps them develop musical skills. Connecting the story of a piece of music to students' own experiences and encouraging students to create new music in the style of music being studied help facilitate meaningful experiences for students.
  • "World music pedagogy concerns itself with how music is taught/transmitted and received/learned within cultures, and how best the processes that are included in significant ways within these cultures can be preserved or at least partially retained in classrooms and rehearsal halls.
Martin Burrett

Physical Mathematics by @iwilsonysj - 2 views

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    "I often sit on a Thursday evening about 2000hrs and watch the ukedchat hashtag. This week it was about physical education. Although this is not one of my strong subjects in teaching (or even in real life) I was interested in the first question which asked how physical education could be related to literacy and/or mathematics. Just like a GSCE multiple choice essay question I chose to answer how it could be related to mathematics. You can see the full tweet chat conversation here - but I thought I would expand my response in this week's waffle."
Martin Burrett

Tech For Learning - 2 views

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    "Despite the vast array of options when it comes to EdTech, walking around exhibitions you can't help but notice that the technology is converging, and that one black screen looks like all the other black screens, the 'solutions' are solving the same things and the high prices, alas, are also ubiquitous. But what impact is this having on learning? Few educators truly use the full capabilities of the tech available to them, due to a lack of time, training, or ideas for how it can be deployed, and some teachers can allow the technology to take precedence over pedagogy and learning."
Martin Burrett

Book: Vocabulary Ninja: Mastering Vocabulary by @MrJenningsA via @BloomsburyEd - 7 views

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    "Building a rich vocabulary, across the curriculum, is one of the main aims for most teachers. Not only does a rich vocabulary help to create strong writing skills, but also can help with improving access to all areas of the curriculum. In his book, Andrew Jennings explains why vocabulary should be a focus in your classroom, providing resources and inspiration to help optimise vocabulary learning. Resources include a focus on SPaG facts, key vocab words that support various popular primary topics, an etymology section to inspire pupils, and looking at various grammatical features that can help build a repertoire of rich vocabulary. Throughout, the book provides other resources that can be copied for classroom use, or be used to take home to help build vocabulary skills away from the school setting."
Martin Burrett

Plagiarism checker @Urkund creates fast analytical check for educators - 13 views

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    "Towards the end of the academic year, it is time for many students to hand in their long-awaited assignments, signalling the end of another semester of inspiring teaching and learning. For their teachers, being faced with a collection of essays can seem overwhelming and being able to check the originality and authenticity of each one could take a considerable amount of time."
Martin Burrett

First News Education: Connecting News and Learning - 3 views

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    "Make the news an essential foundation for learning  Created every week by our experienced education team, our award-winning tools for KS2 and KS3 enable you to develop pupils' essential reading skills through growing their understanding of the world outside the classroom."
Martin Burrett

Three ways you are underperforming as a teacher - 19 views

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    "There are just so many distractions in the life of a teacher. Planning, marking, assessments, eating, family-life, and so on. Yet, being aware of the tendencies that creep into life that distract away from the priorities takes courage in being able to step back and look at what possible makes you, or your students, underperform within your role."
Martin Burrett

Nova Elements - 10 views

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    "A great chemistry app for PC, Mac and iPad which lets you explore the molecular composition of everyday objects."
Martin Burrett

Teleprompt Me - 17 views

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    "A useful online teleprompt tool for presenting scripts for your pupils' drama productions and presentations, which listens using your device's microphone to move automatically."
Martin Burrett

Spotlight Stories - 11 views

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    "A stunning collection of immersive VR stories which can be viewed via a mobile phone or VR headset. Turn the device to view the scene as the stories unfold."
Martin Burrett

@ReachRobotics Launches Coding Education App - ReachEDU - 4 views

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    "Functioning with the quadruped MekaMon robot, Reach EDU will utlise MekaMon's sophisticated locomotion and personality to entertain, inspire and educate students from across the academic spectrum by bringing creative learning and advanced robotics together. Operating alongside the existing MekaMon gaming app, Reach EDU will launch with six guided missions to support the KS2 Computer Science curriculum with plans to formally expand into KS3 and 4 in the next academic year."
Nigel Coutts

Learning And Teaching for Understanding - A day of learning with PZ Sydney Network - Th... - 3 views

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    Today I had the pleasure of joining over three-hundred educators for a day of learning and sharing. That this was a Sunday and that the event was organised as a free event for educators by educators speaks volumes of the quality and care that educators bring to their role. 
Martin Burrett

Triventy - 13 views

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    "Create polls and quizzes for your pupils to answer using their devices. Invite pupils to contribute to quiz questions and collect detailed data for assessment and feedback."
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