n contrast to others who are not as prone to divulge their feelings about their creative process
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Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experie... - 7 views
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"Variation in style may have historical explanation but [End Page 94] no philosophical justification, for philosophy cannot discriminate between style and style."3
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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.
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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
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Such involvement may deepen their understanding of musical relationships and how one articulates feelings through sounds beyond rudimentary improvisational and creative activities currently available
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raw philosophical implications for music composition in schools from recognized composers' voices about their individual composing realities
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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.
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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.
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I need . . . to become involved, to come into a state where I do something without knowing why I do i
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This is a complex problem and difficult to explain: all that one can say is that the unconscious plays an incalculable rol
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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
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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
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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
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Extra-musical images may also provide the composer with ideas and material and contribute to musical creativity.
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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."
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as, as these examples show, dreams can also solve certain problems of the creative process.
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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.
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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.
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Therefore, it is not surprising that influences from the musical world in which the composer lives play an important role in the creative process
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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.
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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.
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Nothing I found was based on the "masterpiece," on the closed cycle, on passive contemplation or narrowly aesthetic pleasure.61
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Furthermore, for some composers the musical influence can emerge from the development of computer technology.
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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.
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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.
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After all, the creative process is an elusive cultural activity with no recipes for making it happen.
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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
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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.
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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.
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After all, the quality of mystery is a common theme in nearly every composer's accoun
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Failing this, musical creativity remains a predictable academic exercise
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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
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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.
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Music teachers, therefore, wishing student composers to express and exercise all their ideas, should grant them ample time to work on their compositions,
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n sum, music knowledge or techniques and the activation of the student composers' desire for discovery and innovation should evolve together through balanced stimulation.
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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
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By doing this, I strongly believe that musical creativity in general and composing in particular run the risk of becoming a predictable academic exercise
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which merely demands problem-solving skills on the part of the student composers (or alleged "critical thinkers").
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. 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.
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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
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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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Deep Listening to the Musical World: EBSCOhost - 1 views
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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.
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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.
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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.
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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.
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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.
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"Can't We Just Change the Words?": EBSCOhost - 1 views
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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.
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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
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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?
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authenticity enhances an aesthetic experience; for others, authentic musical encounters enhance student motivation
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since the original loses some of its essential qualities in a simplification.5
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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
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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).
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Swanwick writes: "'Authentic' musical experience occurs when individuals make and take music as meaningful or relevant for them"
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Swanwick's emphasis on the importance of personal relevance yields different choices for a music teacher than Palmer's position does.
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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.
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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.
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"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.
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Healing the wounds by @MrsGrant_BATL - 1 views
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"With the EU Referendum creating a divide Britain, many of us have been left wondering how we as educators can help heal the wounds. I was pondering this exact dilemma and came to a conclusion - Through the classroom. This week, I have been on an English as an Additional Language placement as a student in a school with a high concentration of pupils that are Black minority ethnic and/or have English as an additional language. It was a school-rich in all languages, that celebrates six religious days as well as observing all nearly all social action justice days. The children were welcoming and accepting of everyone that didn't look or sound quite like them. "
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This 1 sentence summarizes the entire Millennial generation | Ladders - 9 views
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This one sentence summarizes the entire Millennial generation:“I want to be the one who comes up with the idea, not the person who executes on it.”That’s the problemThe world doesn’t need more ideas. Ideas are easy. Ideas are as abundant as air itself.What the world needs is more hands on deck, more doers, more builders — more people who know the value of patience, and who can take something that sounds great in theory and work to bring it to life.Because let me tell you: The way an idea starts is never the way the idea ends.
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A step back in time is a great leap forward for multi-sensory learning - 7 views
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"Imagine lying on the floor of a Tudor hall and gazing up at the expressions of art all around you, listening to the sound of melodies Henry VIII would have heard, or breathing in the scent of seasonal herbs that have graced a kitchen garden for three hundred years. These wonderful experiences would be a treat to the senses for any of us, but for our students who are working towards or at Entry Level 1, multi-sensory learning is an essential part of engaging with the world around them."
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AudioTool - 20 views
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"Creating music tracks used to be time consuming and expensive. But with sites like this, anyone can make their own synthesised tracks using virtual mixing desk. Click on launch to start the app. Choose your equipment or use the default desk to get you going. You can listen and even remix tracks from other members on the site."
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Keezy - 9 views
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"Two child-friendly music Apple apps. A sound sampler which record sounds and play them back to make interesting 'music', the other is drum machine. Supply your own earplugs!"
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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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shared by Martin Burrett on 11 Oct 18
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Classroom Screen - 48 views
ukedchat.com/...classroom-screen
classroom sound indicator classroom sound level classroom volume indicator classroom volume level clock date display exit poll exit polls IWB widgets pair work poll polls pupil interactions QR code QR codes random name chooser random name picker sound lev
shared by Martin Burrett on 11 Oct 18
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"A superb online whiteboard suite of tools, including a random name picker, classroom sound level indicator, display a QR code, drawing and text tools, traffic lights, timers, clocks and dates, and even a fab exit poll tool. You can even change the background, including your own images to display extra resource information, or use your computer camera to show live video like a visualiser."
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FAQ - Diigo help - 44 views
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effectively utilize the vast array of information that resides on the internet and who are capable of processing the information collaboratively
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superior to traditional classroom teaching alone
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skills
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Is there a way to disallow students from joining other groups. My students are young and I would rather have them just interacting with me and each other. -
Toni, you should set them up in the teacher console without a full profile.
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finding,
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organizing
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synthesizing
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presenting information
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facilitate online conversations within the context of the materials themselves.
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Teacher can setup separate accounts - one is for their professional / personal usage, and one to be used for instruction with their students. That way, there is less concern of mingling these.
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The more I work with this tool the more I love it. This tells you how to set up student accounts even if your students don't have email. -
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BBC Sound Effects - 37 views
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"Browse and download 16,000 sound effects from the BBC, licensed for educational use."
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How Chatbots and Text Analytics Will Replace Surveys in Education by @Hubert_AI - 12 views
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"Surveys fill a multitude of purposes within education and give students, teachers, and parents a chance to share their opinions in a familiar way that have been around since the 1920s. The collected information is, among other things, meant to form a framework from which teachers improvement is built upon. Improvements are then implemented and the cycle begins again. In theory, this sounds like a good and reasonable way of working. In reality: Not so much."
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Free Sound Clips | SoundBible.com - 98 views
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A great site for finding sound clips for to play and download. http://ictmagic.wikispaces.com/Music%2C+sound+%26+Podcasts
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TouchCast - 28 views
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"This is a truly amazing iPad app which replaces a whole TV crew and studio. Capture your video and audio use like adjusting the sound levels, an in-build teleprompter and green screen effects to make spectacular footage. Edit your video directly in the app and add images, websites and Twitter feed as cutaways sections of the screen."
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Have Smartphones Destroyed a Generation? - The Atlantic - 13 views
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ne day last summer, around noon, I called Athena, a 13-year-old who lives in Houston, Texas. She answered her phone-she's had an iPhone since she was 11-sounding as if she'd just woken up. We chatted about her favorite songs and TV shows, and I asked her what she likes to do with her friends. "We go to the mall," she said. "Do your parents drop you off?," I asked, recalling my own middle-school days, in the 1980s, when I'd enjoy a few parent-free hours shopping with my friends. "No-I go with my family," she replied. "We'll go with my mom and brothers and walk a little behind them. I just have to tell my mom where we're going. I have to check in every hour or every 30 minutes."
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Contemplating the consequences of Constructivism - The Learner's Way - 21 views
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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.
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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.
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self-guided learning or self-initiated learning
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what is significant
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independent practice
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the research on what produces effective learning supports this
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This desire is evident when we expect our learners to be scientists, historians, geographers, researchers and problem solvers/finders.
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We teach the skills of inquiry, problem solving and experimentation and then provide opportunities for independent practice.
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Can you imagine anything a better explanation of "knowledge transfer"?
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we have previously instructed them in
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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
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Does not sounds like the classroom is empty? Classmates? Who cares about them?
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It is not always the case that learning is best served when the process begins with direct instruction.
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Schools provide a rich environment within which such learning may occur
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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.
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best model can be to begin with an independent exploration of new content even when this produces failure
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schools maximise their impact on the learning that occurs
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constructivism urges teachers to ensure that the learner is at least as involved in the process as their teachers are
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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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SSD - 13 views
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Data suggest that phonological awareness is closely associated with productive phonological ability especially in regard to pseudoword, sentence-word and word-phoneme segmentation tasks that are independent of mental age and educational experiences
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These are truly awesome!!!! Eventhough I'm not a Language Implementor, that doesn't mean I can't use things like this to aid in my students learning.
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atypical production of speech sounds characterized by substitutions, omissions, additions or distortions that may interfere with intelligibility
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Pink Trombone - 52 views
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Interesting voice simulator where you adjust the shape of the virtual mouth and voicebox to investigate how these work to produce sound.