Group items tagged

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.

Rule #2: Concepts before Facts (95% of the time)

Patterns make concepts useful, patternless concepts tend to have a very limited use, so they aren’t studied that much.

But it needs more time to mature in the back of your head while you do other things. Worse, it utterly fails when put under intense stress or time constraints.

Rule #4: Concept Checklists are Useful

Then create a second-order list under each of the larger bullet points with sub-concepts.

Write out (I suggest on a word document, since it allows multiple levels of bullets) all of the major concepts covered in your course.

Heuristics for Learning Better

A concept checklist is a good way to handle those scary, “I don’t understand anything!” moments that many learners face. It allows you to dissolve the frightening implications of total ignorance into a step-by-step guide that can allow you to slowly conquer any subject.

Tactic #1: The 5-Year Old Method

Tactic #2: Metaphors

I recommend brainstorming for metaphors. Start with open-ended questions like: This idea reminds me of…? This idea is used in real-life situations, such as…? What phenomenon mimics this idea? If I wanted to tell a story about this idea, it would go like…?

Tactic #3: Visceralization

combine smell, feeling and motion into an image, not just a picture.

Tactic #4: Deep Linking

if you know you don’t actually have to deeply learn the material, going deeper into a subject can actually make the original idea easier to understand.

How to Learn Faster and Better