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Andragogy - Wikipedia, the free encyclopedia - 36 views

  • Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term ‘andragogy’ has been used in different times and countries with various connotations
  • Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be responsible for their decisions on education; involvement in the planning and evaluation of their instruction (Self-concept). Adults are most interested in learning subjects having immediate relevance to their work and/or personal lives (Readiness). Adult learning is problem-centered rather than content-oriented (Orientation). Adults respond better to internal versus external motivators (Motivation). The term has been used by some to allow discussion of contrast between self-directed and 'taught' education
    • GoldenLuca Oake
       
      Andragogy - man-leading as in leading man Pedagogy - child-leading as in leading children
    • Robert Parker
       
      I like this term, it reflects much of waht happens in higher education as the springboard for life-long learning
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    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
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    Really not seeing the difference in how children and adults learn here. I have heard the term first about 20 or more years ago. From this definition the principals behind it are no different from those behind what a good learning environment is for all ages. What changes is the content not that the student, regardless of age, leads in their own learning facilitated by a trained practitioner.
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    "Andragogy" is another sexist term, using "andro" = male to stand for all humanity. Why wouldn't it by called "Gynogogy"? Can't we use a different term? Bring the concept up-do-date from 1833?
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    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
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    Andragogy From Wikipedia, the free encyclopedia Andragogy consists of learning strategies focused on adults. It is often interpreted as the process of engaging adult learners with the structure of learning experience. The term 'andragogy' has been used in different times and countries with various connotations. Nowadays there exist mainly three understandings: 1. In many countries there is a growing conception of 'andragogy' as the scholarly approach to the learning of adults. In this connotation andragogy is the science of understanding (= theory) and supporting (= practice) lifelong and lifewide education of adults. 2. Especially in the USA, 'andragogy' in the tradition of Malcolm Knowles, labels a specific theoretical and practical approach, based on a humanistic conception of self-directed and autonomous learners and teachers as facilitators of learning. 3. Widely, an unclear use of andragogy can be found, with its meaning changing (even in the same publication) from 'adult education practice' or 'desirable values' or 'specific teaching methods,' to 'reflections' or 'academic discipline' and/or 'opposite to childish pedagogy', claiming to be 'something better' than just 'Adult Education'. The oldest document using the term "Andragogik": Kapp, Alexander (1833): Platon's Erziehungslehre, als Pädagogik für die Einzelnen und als Staatspädagogik. Leipzig. Originally used by Alexander Kapp (a German educator) in 1833, andragogy was developed into a theory of adult education by the American educator Malcolm Knowles. Knowles asserted that andragogy (Greek: "man-leading") should be distinguished from the more commonly used pedagogy (Greek: "child-leading"). Knowles' theory can be stated with six assumptions related to motivation of adult learning:[1][2] Adults need to know the reason for learning something (Need to Know) Experience (including error) provides the basis for learning activities (Foundation). Adults need to be
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About | The Open Master's Program - 21 views

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    "Learning- even "self-directed learning"- is an inherently social activity. The Open Master's is a global community of small groups for self-directed learners, offering each other the structure, accountability, relationships, and sense of forward direction that are often hard to find outside formal programs and institutions. These groups are using and building on an open source framework of shared practices to help us: Master the art of social, self-directed learning Be more intentional about our learning journeys Take bolder risks in our journeys of becoming Discover and share our unique gifts Ensure that our short-term learning goals feed into our longer-term vision for transformation for ourselves and the world We invite any existing community, organization, or even groups of friends or colleagues to use the Open Master's framework to make their own learning process more intentional.  You can do that simply by: Mapping out a personal plan or curriculum, including a clear statement of purpose and some intentions for your own learning journey, and sharing them on a personal website or blog Bringing the rhythm of semesters back into your life, including regular opportunities for evaluation and reflection Developing deeper relationships with study buddies, mentors, and advisers Starting an Open Master's group with a clear commitment to study together, support each other, and share your work Offering a presentation or organizing a study group on a topic that interests you Maintaining a portfolio of learning projects (including professional work) you've completed and reviewed with peers and mentors We also invite you to link up with the broader global community of Open Master's groups by joining regional or global events to spotlight members, mix with members across groups, and cross-pollinate ideas or strategies that are working in different contexts."
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BalancEdTech - Thinkering Studio - Project Proposal - 36 views

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    20% Time GeniusHour Blue Sky Self-Directed Learning Project proposal form for student's self-directed projects
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The Irascible Professor on "The SAT that isn't (the death of aptitude.)" - 2 views

  • It used to be that the SAT was distinguished from its competitor the ACT by the fact that the former was seen as measuring aptitude and being effectively un-coachable, while the latter was a gauge of achievement in learning.
  • At the risk of sounding pejorative, I'd say that I was expecting the test to be a measure of who I was, while some of my fellow students and their parents treated it more as a test of how they could present themselves to admissions officers.  And while I wouldn't suggest that people tend to think of it in these terms, I believe that the latter perception relies on the academically damaging belief that an individual student's capabilities need not matter to what goals he sets for himself.  That perception leads people to believe that there is something inherently unfair about a test that you can't study for.
  • And if after four years of high school they haven't developed much skill for reasoning, that's okay – they can take preparatory courses to learn how to fake it for an exam, and let that be their stepping stone toward academic accomplishment.  As a society that values the promise of formal education more than the satisfaction of actual learning, we have precipitated the death of aptitude.  We are afraid to acknowledge that it exists, because aptitude, whether the product of inborn talent or effective rearing, makes some people better suited than others for certain goals.
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  • Lori Gottlieb, writing in The Atlantic last year, claimed that child-rearing in the current generation has been excessively focused on preserving self-esteem.  As an illustration of one symptom of this, Gottlieb quoted clinical psychologist Wendy Mogel as saying that parents are actually relieved to be told that their struggling children are learning disabled, so that today "every child is either learning disabled, gifted, or both – there's no curve left, no average."  To claim a learning disability is the only way to set legitimate lower benchmarks for performance.  Kids are never just bad at anything anymore, because that's seen as being more harmful to self-esteem.
  • But my worries about the individual effects of the death of aptitude are dwarfed by my concern for its effect on the institutions of higher learning that those individuals are entering.  College is not a one-directional relationship of dispensing knowledge to young people.  The entire institution gains or loses value on the basis of what its students put into it.  By telling students with low aptitude and low interest that they can, should, and must strive to accomplish the same things as their higher-achieving peers, I fear that we're saturating higher education with people who subtract value from their institutions by committing minimum effort and lowering whatever curve still exists for the measurement of performance.
  • We all seem to agree that standards for college readiness need to improve, but you'll hear virtually no one asserting that when those standards are not met, the student ought to leave off college altogether, or to defer it until they have acquired, by sheer will or by natural intellectual growth, the aptitude to be successful at the proper level.  Indeed, just as common in criticism of education is the sentiment that we must see to it that more children enter and complete college.  But if those children don't have the aptitude to do so, the goal of improving college curriculum contradicts the goal of college-for-all.
  • We can't keep pretending that there is no such thing as aptitude and that every child has equal cause to vie for the topmost positions of intellectual esteem.  It does a disservice to the student and the school in kind.
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    An essay on what the SAT says about society's view of education, accomplishments, aptitude, and self-esteem. 
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The Digital Generation Project | Edutopia - 36 views

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    Students selected from self-produced 2 minute YouTube audition clips. George Lucas Foundation then put professional production into telling their stories.
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    Today's kids are born digital -- born into a media-rich, networked world of infinite possibilities. But their digital lifestyle is about more than just cool gadgets; it's about engagement, self-directed learning, creativity, and empowerment.
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Independence Day: Developing Self-Directed Learning Projects - NYTimes.com - 4 views

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    Great ideas for major change or small changes that can be done to help students take ownership of their learning.
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Contemplating the consequences of Constructivism - The Learner's Way - 21 views

  • learning is a process which occurs within the mind of the individual as they process stimuli arriving from their sensory buffer from their environment (broadly speaking), into working memory and onward into long-term memory. 
    • Rafael Morales_Gamboa
       
      The emphasis does not have to be on the individual, as is common. The social group learns by means of individual, but joined and synchronized, learning.
  • self-guided learning or self-initiated learning
    • Rafael Morales_Gamboa
       
      Not in the case of social constructivism.
  • what is significant
    • Rafael Morales_Gamboa
       
      To others...
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  • independent practice
    • Rafael Morales_Gamboa
       
      and social practice
  • the research on what produces effective learning supports this
    • Rafael Morales_Gamboa
       
      Of course, that depends on what exactly is evaluated.
  • This desire is evident when we expect our learners to be scientists, historians, geographers, researchers and problem solvers/finders.
    • Rafael Morales_Gamboa
       
      As well as critical citizens.
  • We teach the skills of inquiry, problem solving and experimentation and then provide opportunities for independent practice.
    • Rafael Morales_Gamboa
       
      Can you imagine anything a better explanation of "knowledge transfer"?
  • we have previously instructed them in
  • The gradual release of responsibility model of instruction suggests that cognitive work should shift slowly and intentionally from teacher modeling, to joint responsibility between teachers and students, to independent practice and application by the learner
    • Rafael Morales_Gamboa
       
      Does not sounds like the classroom is empty? Classmates? Who cares about them?
  • It is not always the case that learning is best served when the process begins with direct instruction.
  • Schools provide a rich environment within which such learning may occur
    • Rafael Morales_Gamboa
       
      It is not always the case, and I would rather say that is not often the case, if our cultural legacy that depicts the school in literature and films.
  • best model can be to begin with an independent exploration of new content even when this produces failure
  • schools maximise their impact on the learning that occurs
  • constructivism urges teachers to ensure that the learner is at least as involved in the process as their teachers are
    • Rafael Morales_Gamboa
       
      I would call that "teacher-centred constructivism".
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    Constructivism is one of those ideas we throw around in educational circles without stopping to think about what we mean by it. They are the terms that have multiple meanings, are at once highly technical and common usage and are likely to cause debate and disagreements. Constructivism in particular carries a quantity of baggage with it. It is a term that is appropriated by supporters of educational approaches that are in stark contrast to the opposing view; constructivism vs didactic methods or direct instruction. The question is what are the origins of constructivism and does a belief in this as an approach to understanding learning necessitate an abandonment of direct instruction or is this a false dichotomy?
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Motivation and Engagement: Hey Managers - Get Out of the Way - 56 views

  • Unless you’re some kind of mentalist, you’re not going to know what motivates your employees unless you ask them.
  • it’s always important to look at how your talent management practices support employee engagement.
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    "The research Pink references shows that, once basic financial needs are met, autonomy, mastery and purpose - not money - are better motivators of performance. Pink points out that engagement and motivation come from a sense of self-direction - of trust, and of ownership. The message for managers here is that it's time to get out of the way."
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TeachThought: What Are The Ingredients For Self-Directed Learning? - 116 views

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    I want to do this at my school...
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Education Week Teacher: Featured Teaching Channel Videos - 37 views

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    Self directed learning
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Personal Knowledge Mastery - 25 views

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    Personal Knowledge Mastery PKM is a set of processes, individually constructed, to help each of us make sense of our world, work more effectively, and contribute to society. PKM means taking control of your professional development, and staying connected in the network era, whether you are an employee, self-employed, or between jobs. Personal - according to one's abilities, interests & motivation. (not directed by external forces) Knowledge - understanding information and experience in order to act upon it. (know what, know who, know how) Mastery - the journey from apprentice to disciplined sense-maker and knowledge catalyst. (masters do not need to be managed)
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iPad as an Interactive White Board for $5 or $10 « Moving at the Speed of Cre... - 5 views

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    School leaders around the United States continue to spend HUGE amounts of money on interactive whiteboards for classrooms, despite the fact that these devices universally FAIL to empower students to become more independent, self-directed and engaged learners in the way mobile learning devices (like laptops, tablets or other personal digital learning tools) can. Please do not misunderstand me: It definitely IS a big deal for a teacher and his/her students to have access to an LCD projector connected to a computer in the classroom if previously, the "normal" technology in the room was an overhead projector.
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L3D Philosophy - 36 views

  • uture is not out there to be "discovered": It has to be invented and designed.
  • Learning is a process of knowledge construction, not of knowledge recording or absorption. Learning is knowledge-dependent; people use their existing knowledge to construct new knowledge. Learning is highly tuned to the situation in which it takes place. Learning needs to account for distributed cognition requiring knowledge in the head to combined with knowledge in the world. Learning is affected as much by motivational issues as by cognitive issues.
  • previous notions of a divided lifetime-education followed by work-are no longer tenable.
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  • Professional activity has become so knowledge-intensive and fluid in content that learning has become an integral and inseparable part of "adult" work activities.
  • require educational tools and environments whose primary aim is to help cultivate the desire to learn and create, and not to simply communicate subject matter divorced from meaningful and personalized activity.
  • current uses of technology in education: it is used as an add-on to existing practices rather than a catalyst for fundamentally rethinking what education should be about in the next century
  • information technologies have been used to mechanize old ways of doing business‹rather than fundamentally rethinking the underlying work processes and promoting new ways to create artifacts and knowledge.
  • important challenge is that the ?ld basic skillsº such as reading, writing, and arithmetic, once acquired, were relevant for the duration of a human life; modern ?asic skillsº (tied to rapidly changing technologies) will change over time.
  • We need computational environments to support "new" frameworks for education such as lifelong learning, integration of working and learning, learning on demand, authentic problems, self-directed learning, information contextualized to the task at hand, (intrinsic) motivation, collaborative learning, and organizational learning.
  • Instructionist approaches are not changed by the fact that information is disseminated by an intelligent tutoring system.
  • Lifelong learning is a continuous engagement in acquiring and applying knowledge and skills in the context of authentic, self-directed problems.
  • ubstantial empirical evidence that the chief impediments to learning are not cognitive. It is not that students cannot learn; it is that they are not well motivated to learn.
  • Most of what any individual "knows" today is not in her or his head, but is out in the world (e.g., in other human heads or embedded in media).
  • technology should provide ways to "say the 'right' thing at the 'right' time in the 'right' way
  • challenge of whether we can create learning environments in which learners work hard, not because they have to, but because they want to. We need to alter the perception that serious learning has to be unpleasant rather than personally meaningful, empowering, engaging, and even fun.
  • making information relevant to the task at hand, providing challenges matched to current skills, creating communities (among peers, over the net), and providing access to real practitioners and experts.
  • What "basic skills" are required in a world in which occupational knowledge and skills become obsolete in years rather than decades?
  • reduce the gap between school and workplace learning
  • How can schools (which currently rely on closed-book exams, the solving of given problems, and so forth) be changed so that learners are prepared to function in environments requiring collaboration, creativity, problem framing, and distributed cognition?
  • problem solving in the real world includes problem framing calls into question the practice of asking students to solve mostly given problems.
  • teachers should see themselves not as truth-tellers and oracles, but as coaches, facilitators, learners, and mentors engaging with learners
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Educational Leadership:Teaching for the 21st Century:21st Century Skills: The Challenge... - 119 views

  • the skills students need in the 21st century are not new.
  • Critical thinking and problem solving, for example, have been components of human progress throughout history
  • What's actually new is the extent to which changes in our economy and the world mean that collective and individual success depends on having such skills
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  • Many reform efforts, from reducing class size to improving reading instruction, have devolved into fads or been implemented with weak fidelity to their core intent. The 21st century skills movement faces the same risk.
  • some of the rhetoric we have heard surrounding this movement suggests that with so much new knowledge being created, content no longer matters; that ways of knowing information are now much more important than information itself. Such notions contradict what we know about teaching and learning and raise concerns that the 21st century skills movement will end up being a weak intervention for the very students—low-income students and students of color—who most need powerful schools as a matter of social equity.
  • First, educators and policymakers must ensure that the instructional program is complete and that content is not shortchanged for an ephemeral pursuit of skills
  • Second, states, school districts, and schools need to revamp how they think about human capital in education—in particular how teachers are trained
  • inally, we need new assessments that can accurately measure richer learning and more complex tasks
  • Skills and knowledge are not separate, however, but intertwined.
  • In some cases, knowledge helps us recognize the underlying structure of a problem.
  • At other times, we know that we have a particular thinking skill, but domain knowledge is necessary if we are to use it.
  • if skills are independent of content, we could reasonably conclude that we can develop these skills through the use of any content. For example, if students can learn how to think critically about science in the context of any scientific material, a teacher should select content that will engage students (for instance, the chemistry of candy), even if that content is not central to the field. But all content is not equally important to mathematics, or to science, or to literature. To think critically, students need the knowledge that is central to the domain.
  • The importance of content in the development of thinking creates several challenges
  • first is the temptation to emphasize advanced, conceptual thinking too early in training
  • Another curricular challenge is that we don't yet know how to teach self-direction, collaboration, creativity, and innovation the way we know how to teach long division.
  • But experience is not the same thing as practice. Experience means only that you use a skill; practice means that you try to improve by noticing what you are doing wrong and formulating strategies to do better. Practice also requires feedback, usually from someone more skilled than you are.
  • We must plan to teach skills in the context of particular content knowledge and to treat both as equally important.
  • education leaders must be realistic about which skills are teachable. If we deem that such skills as collaboration and self-direction are essential, we should launch a concerted effort to study how they can be taught effectively rather than blithely assume that mandating their teaching will result in students learning them.
  • teachers don't use them.
  • Even when class sizes are reduced, teachers do not change their teaching strategies or use these student-centered method
  • these methods pose classroom management problems for teachers.
  • These methods also demand that teachers be knowledgeable about a broad range of topics and are prepared to make in-the-moment decisions as the lesson plan progresses.
  • constant juggling act
  • greater collaboration among teachers.
  • But where will schools find the release time for such collaboration?
  • professional development is a massive undertaking.
  • Unfortunately, there is a widespread belief that teachers already know how to do this if only we could unleash them from today's stifling standards and accountability metrics. This notion romanticizes student-centered methods, underestimates the challenge of implementing such methods, and ignores the lack of capacity in the field today.
  • The first challenge is the cost.
  • measures that encourage greater creativity, show how students arrived at answers, and even allow for collaboration.
  • When students first encounter new ideas, their knowledge is shallow and their understanding is bound to specific examples. They need exposure to varied examples before their understanding of a concept becomes more abstract and they can successfully apply that understanding to novel situations.
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Sound of Text - 24 views

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    "Listen or download audio of 100 characters of text in many different languages. Perfect for language students engaged in self-directed study."
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Curiosity as the edge of knowledge phenomenon that drives learning - The Learner's Way - 12 views

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    We are driven by curiosity. It is an innately human quality that has driven us to explore, ask questions, investigate, wonder why and search for a deeper understanding. In a very fundamental way curiosity is the driver of all self-directed learning. It is our desire to find out more, unlock new knowledge and answer our questions (big ones and little ones) that compels us to learn. Sir Ken Robinson famously and provocatively asked "Do Schools Kill Creativity?". The same question might be asked about curiosity.
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Inside the School Silicon Valley Thinks Will Save Education | WIRED - 9 views

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    "AUTHOR: ISSIE LAPOWSKY. ISSIE LAPOWSKY DATE OF PUBLICATION: 05.04.15. 05.04.15 TIME OF PUBLICATION: 7:00 AM. 7:00 AM INSIDE THE SCHOOL SILICON VALLEY THINKS WILL SAVE EDUCATION Click to Open Overlay Gallery Students in the youngest class at the Fort Mason AltSchool help their teacher, Jennifer Aguilar, compile a list of what they know and what they want to know about butterflies. CHRISTIE HEMM KLOK/WIRED SO YOU'RE A parent, thinking about sending your 7-year-old to this rogue startup of a school you heard about from your friend's neighbor's sister. It's prospective parent information day, and you make the trek to San Francisco's South of Market neighborhood. You walk up to the second floor of the school, file into a glass-walled conference room overlooking a classroom, and take a seat alongside dozens of other parents who, like you, feel that public schools-with their endless bubble-filled tests, 38-kid classrooms, and antiquated approach to learning-just aren't cutting it. At the same time, you're thinking: this school is kind of weird. On one side of the glass is a cheery little scene, with two teachers leading two different middle school lessons on opposite ends of the room. But on the other side is something altogether unusual: an airy and open office with vaulted ceilings, sunlight streaming onto low-slung couches, and rows of hoodie-wearing employees typing away on their computers while munching on free snacks from the kitchen. And while you can't quite be sure, you think that might be a robot on wheels roaming about. Then there's the guy who's standing at the front of the conference room, the school's founder. Dressed in the San Francisco standard issue t-shirt and jeans, he's unlike any school administrator you've ever met. But the more he talks about how this school uses technology to enhance and individualize education, the more you start to like what he has to say. And so, if you are truly fed up with the school stat
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Knowmad Society - 22 views

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    very good book and initiative
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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views

  • n contrast to others who are not as prone to divulge their feelings about their creative process
  • "Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
  • The testimonies of the composers concerned bear on questions about (a) the role of the conscious and the unconscious in music creativity, (b) how the compositional process gets started, and (c) how the compositional process moves forward
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  • It is hoped that the themes that emerge by setting twentieth and twenty-first century professional composers' accounts of certain compositional experiences or phases of their creative processes against one another will provide a philosophical framework for teaching composition.
  • Furthermore, the knowledge of how professional composers compose offers the potential of finding the missing link in music education; that is, the writing of music by students within the school curriculum
  • Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
  • raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
  • It is hoped that the direct access to these composers' thoughts about the subjective experience of composing Western art music in the second half of the twentieth and the beginning of the twenty-first century may also promote the image of a fragmented culture whose ghettoization in music education is a serious impediment to the development of a comprehensive aesthetic education.
  • n other words, there is a striking unanimity among composers that the role of the unconscious is vital in order to start and/or to complete a work to their own satisfaction.
  • I need . . . to become involved, to come into a state where I do something without knowing why I do i
  • This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
  • Nonetheless, these self-observations about the complementary roles of the unconscious and conscious aspects of musical creativity do not cover the wide range of claims in psychological research on creativity
  • I strongly believe that, if we cannot explain this process, then we must acknowledge it as a mystery.25 Mysteries are not solved by encouraging us not to declare them to be mysteries
  • When Ligeti was commissioned to write a companion piece for Brahms' Horn Trio, he declared, "When the sound of an instrument or a group of instruments or the human voice finds an echo in me, in the musical idea within me, then I can sit down and compose. [O]therwise I canno
  • Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
  • ome composers need to have something for it to react against.38 Xenakis, however, asserted that "all truly creative people escape this foolish side of work, the exaltation of sentiments. They are to be discarded like the fat surrounding meat before it is cooked."
  • as, as these examples show, dreams can also solve certain problems of the creative process.
  • In other words, to compose does not mean to merely carry out an initial idea. The composer reserves the right to change his or her mind after the conception of an idea.
  • n sum, self-imposed restrictions or "boundary conditions"55 seem to provide composers with a kind of pretext to choose from an otherwise chaotic multitude of compositional possibilities that, however, gradually disappears and gets absorbed into the process of composition which is characterized by the composers' aesthetic perceptions and choices.
  • Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
  • Thereby the past is seen as being comprised by a static system of rules and techniques that needs to be innovated and emancipated during the composers' search for their own musical identity.
  • I strongly suggest that we play down basics like who influenced whom, and instead study the way the influence is transformed; in other words: how the artist made it his own.
  • Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
  • Furthermore, for some composers the musical influence can emerge from the development of computer technology.
  • In sum, the compositional process proceeds in a kind of personal and social tension. In many cases, composers are faced with the tensive conflict between staying with tradition and breaking new ground at each step in the process. Thus, one might conclude that the creative process springs from a systematic viewpoint determined by a number of choices in which certain beliefs, ideas, and influences—by no means isolated from the rest of the composer's life—play a dominant role in the search for new possibilities of expression.
  • If a general educational approach is to emerge from the alloy of composers' experiences of their music creativity, it rests on the realization that the creative process involves a diversity of idiosyncratic conscious and unconscious traits.
  • After all, the creative process is an elusive cultural activity with no recipes for making it happen.
  • n this light, the common thread of composers' idiosyncratic concerns and practices that captures the overall aura of their music creativity pertains to (a) the intangibility of the unconscious throughout the compositional process,68 (b) the development of musical individuality,69 and (c) the desire to transgress existing rules and codes, due to their personal and social conflict between tradition and innovation.70
  • In turn, by making student composers in different classroom settings grasp the essence of influential professional composers' creative concerns, even if they do not intend to become professional composers, we can help them immerse in learning experiences that respect the mysteries of their intuitions, liberate their own practices of critical thinking in music, and dare to create innovative music that expresses against-the-prevailing-grain musical beliefs and ideas.
  • Therefore, it is critical that the music teacher be seen as the facilitator of students' compositional processes helping students explore and continuously discover their own creative personalities and, thus, empowering their personal involvement with music. Any creative work needs individual attention and encouragement for each vision and personal experience are different.
  • After all, the quality of mystery is a common theme in nearly every composer's accoun
  • Failing this, musical creativity remains a predictable academic exercise
  • Music teachers need to possess the generosity to refuse to deny student composers the freedom to reflect their own insights back to them and, in turn, influence the teachers' musical reality
  • Indeed, it is important that music teachers try to establish students gradually as original, independent personalities who try to internalize sounds and, thus, unite themselves with their environment in a continuous creative process.
  • Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
  • n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
  • While music creativity has been a component of music education research for decades, some of the themes arising from professional composers' experiences of their creativity, such as the significance of the unconscious, the apprehension towards discovering ones' own musical language, or the personal and social tension between tradition and innovation, among others, have not been adequately recognized in the literature of music education
  • By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
  • which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
  • . On the other hand, only few music educators appear to draw their composer students' attention to the importance of the personal and social conflict between staying within a tradition or code, even if it is the Western popular music tradition, and breaking new ground at each step in the creative process and, possibly, shaping new traditions or codes.
  • Culture is a precious human undertaking, and the host of musics, arts, languages, religions, myths, and rituals that comprise it need to be carefully transmitted to the young and transformed in the process."85
  • Nevertheless, further research is needed in which women's voices can be heard that may offer an emancipatory perspective for the instruction of composition in education which will "challenge the political domination of men."
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