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meghankelly492

Project MUSE - Learning from Masters of Music Creativity: Shaping Compositional Experiences in Music Education - 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 music.
  • 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."
Tanya Hudson

High Tech- Low Budget Technology Options For The Technology Classroom - TechnologyEdMagic.com - 78 views

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    A large and growing list of free or low cost software and hardware alternatives that music educators can use in their classrooms instead of the high priced commercial stuff.
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    Huge compilation of links to technology for technology teachers!
Brad Belbas

update on Warner Music (UPDATED) (AGAIN) (Lessig Blog) - 0 views

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    This is a video of a talk that Lawrence Lessig (Professor, Stanford Law School) gave for an organization. In his talk, Lessig provides a powerful and piercing analysis and critique on the impact that legal restrictions on the re/use of media resources has on creativity and cultural production. During his talk, Lessig shows some remarkably creative mash-ups videos on YouTube to exemplify the kind of creativity/cultural production that is possible through ubiquitous digital media. Ironically, the organization that hosted the talk received a notice from Warner Bros Music after posting a video of the Lessig's talk on YouTube, which, according to Lessig's blog, "objected to its being posted on copyright grounds." Warner Brother Music Group has implemented content-id algorithms (i.e., Music that detects the digital "fingerprint" of corporate-"owned" copyrighted works) through media hosting services, including YouTube, FaceBook, and others. When the video of Lessig's talk was posted, it was 'dusted' for fingerprints of WBMG copyrighted works. The detection system identified the soundtracks in the YouTube videos Lessig showed, as materials to which they held copyright. Both the video of Lessig's talk and the blog conversation regarding WBMG's objection are must-see resources.
Roland Gesthuizen

Making iBooks in iBooks Author for Music Education: 7 bookry.com - YouTube - 23 views

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    "I made this series of tutorial videos for my course "Technology in Technology Education" at the Sydney Conservatorium of Technology. "
Donal O' Mahony

How will 100 Mbps broadband affect teaching and learning in Ireland's post-primary schools? | eLearning Island - 7 views

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    Schools must regard 100Mbps Broadband not as an opportunity to do existing things faster, but to do new things altogether. These are things that some of our students are doing at home (and occasionally in school) - creating music, animations, sound, music, programming, curating, remixing - that should be given a voice and a place in our schools. this type of work will help support at least four of Hargreaves gateways: Learning to Learn, Assessment for Learning, New Technologies (ICT) and Student Voice.
Jenine Owens

Free Technology for Teachers: 5 Sources of Free Sound Effects and Technology - 146 views

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    5 sources of free sound effects and music
Scott Bumbaugh

Noteflight - (untitled) - 60 views

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    This is a computer music notation website accessible for students/teachers anywhere there is an internet connection.
Thieme Hennis

Lifelong Kindergarten :: MIT Media Lab - 3 views

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    "Crickets are small programmable devices that can make things spin, light up, and play music. You can plug lights, motors, and sensors into a Cricket, then write computer programs to tell them how to react and behave. With Crickets, you can create musical sculptures, interactive jewelry, dancing creatures, and other artistic inventions -- and learn important math, science, and engineering ideas in the process. Crickets are based on more than a decade of NSF-funded educational research. Lifelong Kindergarten researchers collaborated with the LEGO company to create the first "programmable bricks," squeezing computational power into LEGO bricks. This research led to the LEGO MindStorms robotics kits, now used by millions of people around the world. While LEGO MindStorms is designed especially for making robots, Crickets are designed especially for making artistic creations. Crickets were refined in collaboration with the Playful Invention and Exploration (PIE) museum network, and are now sold as a product through the Playful Invention Company (PICO)."
Cindy Edwards

Upcoming webinars for music teachers | musicfirst - 2 views

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    Great webinars for music teachers interested in music.
Roland Gesthuizen

Techno-toddlers: A is for Apple | Technology | The Guardian - 37 views

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    In the last chapter of her novel A Visit From The Goon Squad, Jennifer Egan imagines a dystopian near future in which toddlers in the year 2020 download music to their ubiquitous "kiddie handsets", which also feature "finger drawing, GPS systems for babies just learning to walk, PicMail". But if that's the future, it's already here.
MIchael Heneghan

Lines on Plagiarism Blur for Students in the Digital Age - NYTimes.com - 12 views

  • But these cases — typical ones, according to writing tutors and officials responsible for discipline at the three schools who described the plagiarism — suggest that many students simply do not grasp that using words they did not write is a serious misdeed.
  • Digital technology makes copying and pasting easy, of course. But that is the least of it. The Internet may also be redefining how students — who came of age with technology file-sharing, Wikipedia and Web-linking — understand the concept of authorship and the singularity of any text or image.
  • “When you’re sitting at your computer, it’s the same machine you’ve downloaded music with, possibly illegally, the same machine you streamed videos for free that showed on HBO last night.”
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  • Ms. Brookover, who works at the campus library, has pondered the differences between researching in the stacks and online. “Because you’re not walking into a library, you’re not physically holding the article, which takes you closer to ‘this doesn’t belong to me,’ ” she said. Online, “everything can belong to you really easily.”
  • Ms. Blum argued that student writing exhibits some of the same qualities of pastiche that drive other creative endeavors today — TV shows that constantly reference other shows or rap music that samples from earlier songs.
kim tufts

Jury awards $675K in Boston music downloading case | Comcast.net - 1 views

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    And it's interesting to consider how much of that money will be seen by the musicians/songwriters.
Laura Pearce

Futurity.org - Timing key to music's emotional hold - 69 views

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    hmmm . . . music and science
Marc Patton

Audio Editing Software. Sound, Music, Voice & Mp3 Editor - 4 views

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    This audio editing software is a full-featured professional audio and music editor for Windows and Mac.
Lisa McCulloch

100 Free Online Lectures that Will Make You a Better Teacher | Best Universities - 7 views

  • Teachers learn from their experience, from their colleagues, from their students, and any number of other resources. If you are a teacher looking for ways to expand your knowledge base, here are 100 free lectures you can watch to help facilitate some of that learning.
  • Creative Learning Environments
  • Technology
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  • Technology
  • Information for New Teachers
  • Technology
  • Information for All Teachers
  • Teaching Specific Subjects
  • Special Needs
  • Arts
  • Arts
  • Physical Education and Health Education
  • Arts From film to music to the nature of creativity, watch these videos to learn about teaching the arts.
  • Lectures from Influential Professors
  • The following videos demonstrate ways to use technology in the classroom and offer tips, lessons, and information.
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    Great teachers know that learning doesn't stop as soon as you graduate from college. Teachers learn from their experience, from their colleagues, from their students, and any number of other resources. If you are a teacher looking for ways to expand your knowledge base, here are 100 free lectures you can watch to help facilitate some of that learning.
Mr. Carver

SecEd | Features | Teaching parents technology - 0 views

  • A survey by Becta found that 95 per cent of parents think that the effective use of technology can help their children to learn, while 77 per cent of parents think that using technology well can help engage their children in difficult subjects. Parents are the key to achievement.
  • parental involvement diminishes as the child gets older. While this is a natural part of growing up, parents can continue to play a strong role in their child’s education and development at school and it has been shown that this has a significant impact on attainment
  • online reporting
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  • online reporting:
  • By making it as easy as possible to see information about their child, it can encourage some parents to become more involved, and by changing the attitudes of parents, the whole school can benefit.
  • joined forces with the North East e-Learning Foundation to develop a Computers in Homes scheme.
  • Members of the local community can now visit the school’s drop-in cyber cafe and music recording studio after school, at weekends and during the holidays.
  • ‘wireless cloud’, providing blanket internet connectivity to the local area
  • Parents are rightly concerned about e-safety. The best way to protect children is to teach them how to use the internet safely.
  • they have also set up a Saturday morning club.
Roberta Bandfield

Free online tutorials for learning to use technology and ict in education - 16 views

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    Award winning free on-line training videos for teachers interested in technology
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    Teacher training videos focused on web technology.
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    I liked the recent post on Lyrics Training... using international music to teach students foreign language in an interactive game-like mode.
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    Great collection of short videos on using various web 2.0 sites.
Rod White

Teaching and technology ~ presentations and resources for educators - 77 views

  • During the last six or so years I have created a number of 'how-to' documents and presentations for a variety of web based and related technologies. They are available from the various workshop web pages however I thought it might prove helpful to link to all the documents from a single page. Some of my workshop participants have referred to these documents as 'cheat sheets'.
  • ~ www.larkin.net.au ~ | Welcome | About Me | Technology | History | Galleries | Technology | Blog | Presentation and workshop documents During the last six or so years I have created a number of 'how-to' documents and presentations for a variety of web based and related technologies. They are available from the various workshop web pages however I thought it might prove helpful to link to all the documents from a single page. Some of my workshop participants have referred to these documents as 'cheat sheets'. Web 2.0Read~Write Web Overview Information sharing
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    great clearinghouse of tutorials & handouts from presentations on many tools
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    online workshops
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