Friday, May 7, 2010
RJA #15: Reflection
ENG 1020 has taught me many things about english and the writting process. It has also allowed me to form an opinion on how colleges should be teaching music undergraduate students. I think the most prominante tool I have taken from this class is the ability to form my knowledge into something that others can read, understand and colaborate with. It is not hard to have an opinion or idea about something but it is hard to share it will a large group of others. Getting your words right and structuring your writting in a way that can be understood and discussed is not an easy task but is very important. This class furthered my knowlede on how to organize and illustrate, through words, what I want to say and what I want the words to mean. That kind of knowledge can be taken to basicly any job situation The study of my topic also helped me discover some things about colleges and my opinion on teaching music. This will help me greatly in my future endeavors of taching by allowing me to grow with my opinions of teaching. I had a pretty good time with this class.
Monday, May 3, 2010
RJA #14b: Application Project References
Gill, N. S. (n.d.). Oral Tradition - What Is an Oral Tradition?. About.com. Retrieved (2010, May 4) from http://ancienthistory.about.com/od/homer/f/OralTradition.htm
Tabla. (n.d.). Retrieved from http://www.taalim.com/about_tabla.htm
African drums. (n.d.). Retrieved from http://www.african-drumming.co.uk/
Fernstrom, M. (1997, March 02). Music notation: an issue of purpose and use in traditional music. Retrieved from http://www.ul.ie/~idc/library/papersreports/MikaelFernstrom/music01/music01.html
Schimpf, Dr. Peter. Personal interview, 11 Apr. 2010.
Tabla. (n.d.). Retrieved from http://www.taalim.com/about_tabla.htm
African drums. (n.d.). Retrieved from http://www.african-drumming.co.uk/
Fernstrom, M. (1997, March 02). Music notation: an issue of purpose and use in traditional music. Retrieved from http://www.ul.ie/~idc/library/papersreports/MikaelFernstrom/music01/music01.html
Schimpf, Dr. Peter. Personal interview, 11 Apr. 2010.
RJA #14a: Application Project Progress Report
1) What the project is:
I plan on writting four journal entries from the point of view of a new music undergrad student that is entering a program that has adopted a new requirment that all undergrad students in the music degree program must learn a oral traditional instrument. The entries will be a year apart and will show how the program is progressing the student. The students attitude will get better and better by the end of the entries. This will demonstrate the value of having music undergrad students learn oral traditional music.
2) Accomplished:
I have found all of my sources and there are three differnt types. I have a brief outline of how my journal entries will unfold and prove the point. I have set the time line for the journal entries.
3) Still need to do:
I need to figure out what information will be included in each journal entry. I still need to develop a slight character that is writting the entries such as their voice and what instruments they play and so on. I need to write the rough draft as a whole.
I plan on writting four journal entries from the point of view of a new music undergrad student that is entering a program that has adopted a new requirment that all undergrad students in the music degree program must learn a oral traditional instrument. The entries will be a year apart and will show how the program is progressing the student. The students attitude will get better and better by the end of the entries. This will demonstrate the value of having music undergrad students learn oral traditional music.
2) Accomplished:
I have found all of my sources and there are three differnt types. I have a brief outline of how my journal entries will unfold and prove the point. I have set the time line for the journal entries.
3) Still need to do:
I need to figure out what information will be included in each journal entry. I still need to develop a slight character that is writting the entries such as their voice and what instruments they play and so on. I need to write the rough draft as a whole.
Tuesday, April 27, 2010
RJA #13c: Application Project Example
Online Journal of David Byrne:
http://journal.davidbyrne.com/
This entry has the organization that I will be using. The date and a title at the top to give a brief description of what the entry will be talking about. The entry comes right after in a variety of lengths just like someone would expect a personal journal to be. The content of Byrne's journal does have some music related topics but is very different from the content I will be putting in my project. The entries are organized in order of the date which is how I will organize m project as well. It will demonstrate the change in mentality of the the student over the period of his schooling.
http://journal.davidbyrne.com/
This entry has the organization that I will be using. The date and a title at the top to give a brief description of what the entry will be talking about. The entry comes right after in a variety of lengths just like someone would expect a personal journal to be. The content of Byrne's journal does have some music related topics but is very different from the content I will be putting in my project. The entries are organized in order of the date which is how I will organize m project as well. It will demonstrate the change in mentality of the the student over the period of his schooling.
RJA #13b: Application Project Plan
For my application project I plan on writing a few journal entries in from the point of view of a college student just entering his music undergraduate program. The college is making some changes to the requirements to graduate by adding more emphasis on oral traditional music. The first entry will be more or less expressing his concern for the schools program and how it is unfair to him. He will feel that it is unnecessary to learn oral traditional music and all that requirement does is make it harder to get a degree. In the second entry, it will be year later and his attitude will have slightly shifted and but he will still not be happy with having to learn oral traditional music. I will then do three more entries, two for the beginning of each year and one for when he receives his diploma. At the end he will express his gratitude for learning more about oral traditional music and how it has helped him become a better and a more in demand musician.
Essentially my project will follow a college student through his music undergrad program in a college that has adopted my suggestion for requiring students to not only learn notated western methods but also oral traditional methods. Five entries total, one for the beginning of each year and one at his graduation.
Essentially my project will follow a college student through his music undergrad program in a college that has adopted my suggestion for requiring students to not only learn notated western methods but also oral traditional methods. Five entries total, one for the beginning of each year and one at his graduation.
RJA #13a: Word Cloud
Thursday, April 15, 2010
RJA #12a: Annotated Bibliography, Part 3
Jones, Catherine, and Russell Jones. "Ear Training." Connexions. Ed. Catherine Jones. N.p., 12 Apr. 2010. Web. 16 Apr. 2010.
This is an online article that describes the uses and foundations of ear training. I will use this source to connect the oral tradition and how it trains your ear and how the notated method of learning music trains the ear. The article talks music about the skills learned from ear training such as tuning, chords, improvisation and intervals. These are mostly important in all music but the differences of how they are taught work the brain differently. The article is written by someone whom has a B.A. in music so it is not the most credible but it is accurate.
Campbell, Patricia S. "Thinking Globally, Acting Locally: Cultural Diversity in Music Education." Artists House Music. N.p., 27 Aug. 2006. Web. 16 Apr. 2010..
This article is primarily about the cultural diversity needed for music education. I am going to use the source to demonstrate how a more diverse musician can work with a greater variety of musicians. Knowing a little about more music can help a musician adapt where as if they only know one type of music very well, they are too limited. The article gives good opinions and facts on how culturally diverse music can be and how it makes a better musician (and even person in general). Also, music should be an eye opener not something that closes you off to new things, and this article agrees with this statement.
McDonald, Heather. "How to make money as a musician." About.com. N.p., 2010. Web. 16 Apr. 2010..
Having a general statement of how a musician can make money is a good for my paper. In general, we go to college to increase our earning potential and this article has some basic outlines. I can use these to show that what musicians are learning in school is maybe a bit too narrow and should be broadened. The information is not extremely detailed but gives good insights into the basics, which is what I need. I can elaborate in the paper on the importance of the information.
Kostka, Stefan, and Dorothy Payne. Tonal Harmony. sixth ed. New York: McGraw-Hill, 2009. Print.
This is a theory book that covers many ranges of theory starting with Bach and ending with modern styles and compositions. Theory is the analysis of the art of notation and therefore is useful in my paper for descriptions on the significance of the notated method of teaching. I can also use this book to demonstrate how oral music does not follow western theory for the most part. It also demonstrates that some oral music did originate from the same place that notated music did.
This is an online article that describes the uses and foundations of ear training. I will use this source to connect the oral tradition and how it trains your ear and how the notated method of learning music trains the ear. The article talks music about the skills learned from ear training such as tuning, chords, improvisation and intervals. These are mostly important in all music but the differences of how they are taught work the brain differently. The article is written by someone whom has a B.A. in music so it is not the most credible but it is accurate.
Campbell, Patricia S. "Thinking Globally, Acting Locally: Cultural Diversity in Music Education." Artists House Music. N.p., 27 Aug. 2006. Web. 16 Apr. 2010.
This article is primarily about the cultural diversity needed for music education. I am going to use the source to demonstrate how a more diverse musician can work with a greater variety of musicians. Knowing a little about more music can help a musician adapt where as if they only know one type of music very well, they are too limited. The article gives good opinions and facts on how culturally diverse music can be and how it makes a better musician (and even person in general). Also, music should be an eye opener not something that closes you off to new things, and this article agrees with this statement.
McDonald, Heather. "How to make money as a musician." About.com. N.p., 2010. Web. 16 Apr. 2010.
Having a general statement of how a musician can make money is a good for my paper. In general, we go to college to increase our earning potential and this article has some basic outlines. I can use these to show that what musicians are learning in school is maybe a bit too narrow and should be broadened. The information is not extremely detailed but gives good insights into the basics, which is what I need. I can elaborate in the paper on the importance of the information.
Kostka, Stefan, and Dorothy Payne. Tonal Harmony. sixth ed. New York: McGraw-Hill, 2009. Print.
This is a theory book that covers many ranges of theory starting with Bach and ending with modern styles and compositions. Theory is the analysis of the art of notation and therefore is useful in my paper for descriptions on the significance of the notated method of teaching. I can also use this book to demonstrate how oral music does not follow western theory for the most part. It also demonstrates that some oral music did originate from the same place that notated music did.
RJA #12b: Field Research Report
I sent an e-mail to my percussion instructor with this attached. I figured that they would have more time to answer and think through their answers if they typed it out. Also, it documents his answers better through him writting it as well. I used him for my feild research because he is a classicly trained percussionist and will have a lot of insight into the notated part of my essay. This kind of first hand information is very helpful and useful in my paper.
Interview Sheet
Thesis: Instrumental music undergraduate students in America should be taught to play with a combination of oral and notated music methods because it will give them a wider knowledge of music allowing them to play a greater variety of music and in a differing selection of ensembles.
Vocabulary:
1 Oral Method
o The oral tradition of non-notated music, learning through memory and repetition, passing on the music orally
2 Notated Method
o Reading written music and learning the styles of notation and what they imply, passed on by notation
1. Give a brief background of your musical training. (Ensembles, instruments, degrees and so on…)
Started with piano in 3rd grade; percussion in 5th grade. Studied with the instrumental music teacher, and also at the local music store. In high school, was leader of the stage band, arranged and wrote music for and conducted the student musical production "Stunts". Bachelor of Music degree @ Oberlin Conservatory; MMusic @ The Juilliard School.
2. How important is it for undergrad students, in any music degree, to be able to read and understand different types of notated music? Elaborate.
It is extremely important. As a teacher, the most difficult student is the one who doesn't read music well and really doesn't want to try. As with any language, it is important to read and well as speak for effective communication (how can you play music by past masters without being able to read their notes?). It is also the only way for students to begin to "teach themselves"...which is what I try to teach my students to do.
3. How important is it for the same students to be able to be a part of and understand music that is passed down through oral tradition? Elaborate.
Oral traditions are also important, although not as important, in my opinion. I have not written down everything that my teachers have taught me, so much of a lesson deals with passing down their thoughts. For a percussionist, oral traditions are often associated with folk music...African musical traditions (the root of all music, especially percussion), Latin percussion, etc. I believe these should be a cornerstone of a college student's training.
4. In your opinion, what are the three main skills that a music undergrad student would take from being taught with the notated method?
Sight-reading (being able to play anything quickly in an ensemble situation, especially recording); analyzing music (being able to identify harmonies, patterns, form...and use that to inform a musical interpretation to present to the audience); ensemble playing (being able to read a percussion score and also play at the same time so you can "lock in" with the other members of the ensemble).
5. In your opinion, what are the three main skills that a music undergrad student would take from being taught with the oral method?
Improvisation (being able to listen and respond with/to other musicians); folk music appreciation (an understanding of many different musical styles); ensemble playing (listening as well as looking to "lock in" with the other members of the ensemble).
6. Would it be beneficial for music undergrad students to be taught in both the oral method and the notated method? If yes, explain why it would. If no, explain your thoughts on that matter.
I believe that both methods have their place. However, for a music school in the United States which is based on the Western music tradition, I strongly believe that the major emphasis should be placed on the notated method. There is too much theory, sight-reading, and history that has to be learned (for the undergrad to become either a good performing musician or a teacher) that can only be learned quickly and effectively with the notated method.
Interview Sheet
Thesis: Instrumental music undergraduate students in America should be taught to play with a combination of oral and notated music methods because it will give them a wider knowledge of music allowing them to play a greater variety of music and in a differing selection of ensembles.
Vocabulary:
1 Oral Method
o The oral tradition of non-notated music, learning through memory and repetition, passing on the music orally
2 Notated Method
o Reading written music and learning the styles of notation and what they imply, passed on by notation
1. Give a brief background of your musical training. (Ensembles, instruments, degrees and so on…)
Started with piano in 3rd grade; percussion in 5th grade. Studied with the instrumental music teacher, and also at the local music store. In high school, was leader of the stage band, arranged and wrote music for and conducted the student musical production "Stunts". Bachelor of Music degree @ Oberlin Conservatory; MMusic @ The Juilliard School.
2. How important is it for undergrad students, in any music degree, to be able to read and understand different types of notated music? Elaborate.
It is extremely important. As a teacher, the most difficult student is the one who doesn't read music well and really doesn't want to try. As with any language, it is important to read and well as speak for effective communication (how can you play music by past masters without being able to read their notes?). It is also the only way for students to begin to "teach themselves"...which is what I try to teach my students to do.
3. How important is it for the same students to be able to be a part of and understand music that is passed down through oral tradition? Elaborate.
Oral traditions are also important, although not as important, in my opinion. I have not written down everything that my teachers have taught me, so much of a lesson deals with passing down their thoughts. For a percussionist, oral traditions are often associated with folk music...African musical traditions (the root of all music, especially percussion), Latin percussion, etc. I believe these should be a cornerstone of a college student's training.
4. In your opinion, what are the three main skills that a music undergrad student would take from being taught with the notated method?
Sight-reading (being able to play anything quickly in an ensemble situation, especially recording); analyzing music (being able to identify harmonies, patterns, form...and use that to inform a musical interpretation to present to the audience); ensemble playing (being able to read a percussion score and also play at the same time so you can "lock in" with the other members of the ensemble).
5. In your opinion, what are the three main skills that a music undergrad student would take from being taught with the oral method?
Improvisation (being able to listen and respond with/to other musicians); folk music appreciation (an understanding of many different musical styles); ensemble playing (listening as well as looking to "lock in" with the other members of the ensemble).
6. Would it be beneficial for music undergrad students to be taught in both the oral method and the notated method? If yes, explain why it would. If no, explain your thoughts on that matter.
I believe that both methods have their place. However, for a music school in the United States which is based on the Western music tradition, I strongly believe that the major emphasis should be placed on the notated method. There is too much theory, sight-reading, and history that has to be learned (for the undergrad to become either a good performing musician or a teacher) that can only be learned quickly and effectively with the notated method.
Monday, April 12, 2010
RJA #11: Annotated Bibliography, Part 2
Cooper, Peter. Personal interview. 10 Apr. 2010.
Mr. Cooper is my percussion instructor whom has been classically trained in percussion performance. I decided to interview him because he will have a lot to say about the notated music method and how it helps the modern musician and undergrad student. He will also be able to give some insight into what a musician is missing when not taught using the oral method. He teaches as well so he can give me information on how he teaches and what kind of blend of oral and notated methods he uses.
Schimpf, Dr. Peter. Personal interview, 11 Apr. 2010.
Dr, Schimpf is my world music professor and has a doctorate in musicology. He has studied a variety of instruments through both the notated and the oral method so he will be a great help in talking about both sides of my topic. What I really get from him is his discussions on the oral tradition and what it can do for typical music undergraduate students. His extensive knowledge and training in many different forms of music is very helpful in proving my point that being more diverse is beneficial.
Wright, Craig. Listening to Music. Fifth ed. N.p.: Clark Baxter, 2008. N. pag. Print.
This book goes into detail about a large variety of music and styles based in the western style of music. I can use this book for descriptions of different types of notated music and how they were/are taught. It has history on the development of western music which will help me describe and demonstrate the notation method and how it came about. It will essentially be a tool for describing and forming the ideas about the notated method in my paper.
Bakan, Michael B. World Music. New York: McGraw-Hill, 2007. N. pag. Print.
This book will be the main source for me to go to when describing and forming my ideas about the oral method. Many what we westerners call ‘world musics’ use the oral traditional method to teach and pass on music. This book has countless examples of music from all around the world and how they play and teach music. When arguing on why college students should know and take lessons in an oral traditional method, this book will allow me to go into greater detail, giving strength to my arguments.
Gann, Kyle. "The Case Against Over-notation: A Defense and a Diatribe ." . N.p., June 2000. Web. 13 Apr. 2010..
This internet article is has many real good points for me to play off of in the way of notated music going too far. The article will back up my idea that notated music is relied on too heavily in today’s ensembles and schools. The author seems creditable due to his writing and composing background that I read up on his linked page. The authors willing to talk about how composition and notation have gone too far even though he is a composer leads me to believe that he has some important and thought out things to say.
Mr. Cooper is my percussion instructor whom has been classically trained in percussion performance. I decided to interview him because he will have a lot to say about the notated music method and how it helps the modern musician and undergrad student. He will also be able to give some insight into what a musician is missing when not taught using the oral method. He teaches as well so he can give me information on how he teaches and what kind of blend of oral and notated methods he uses.
Schimpf, Dr. Peter. Personal interview, 11 Apr. 2010.
Dr, Schimpf is my world music professor and has a doctorate in musicology. He has studied a variety of instruments through both the notated and the oral method so he will be a great help in talking about both sides of my topic. What I really get from him is his discussions on the oral tradition and what it can do for typical music undergraduate students. His extensive knowledge and training in many different forms of music is very helpful in proving my point that being more diverse is beneficial.
Wright, Craig. Listening to Music. Fifth ed. N.p.: Clark Baxter, 2008. N. pag. Print.
This book goes into detail about a large variety of music and styles based in the western style of music. I can use this book for descriptions of different types of notated music and how they were/are taught. It has history on the development of western music which will help me describe and demonstrate the notation method and how it came about. It will essentially be a tool for describing and forming the ideas about the notated method in my paper.
Bakan, Michael B. World Music. New York: McGraw-Hill, 2007. N. pag. Print.
This book will be the main source for me to go to when describing and forming my ideas about the oral method. Many what we westerners call ‘world musics’ use the oral traditional method to teach and pass on music. This book has countless examples of music from all around the world and how they play and teach music. When arguing on why college students should know and take lessons in an oral traditional method, this book will allow me to go into greater detail, giving strength to my arguments.
Gann, Kyle. "The Case Against Over-notation: A Defense and a Diatribe ." . N.p., June 2000. Web. 13 Apr. 2010.
This internet article is has many real good points for me to play off of in the way of notated music going too far. The article will back up my idea that notated music is relied on too heavily in today’s ensembles and schools. The author seems creditable due to his writing and composing background that I read up on his linked page. The authors willing to talk about how composition and notation have gone too far even though he is a composer leads me to believe that he has some important and thought out things to say.
Tuesday, April 6, 2010
RJA #10c: Ideas for the Application Project
I will most likely write an editorial because of my topic being so opinionated. A news article would also be a good choice. I could write about how teachers are changing their methods for teaching in a certain region and how it is effecting the students and music programs in that area.
RJA #10b: Progress Report for Argumentative Paper
Already accomplished:
-picked 6 of my required 12 sources
-wrote and specified my thesis
-formated a structure for the paper
-decided on main topics to present and rebut
-found three people to interview on the topic
-constructed my own thoughts and ideas for the paper
Still need to do:
-write out interview sheets for the 3 people to fill out
-find the remaining sources
-pick specific quotes from the sources
-format my bibliography
-find a good hook for the paper
-organize my information into the written paper
Schedule for completion:
Week of 4/5:
-write interviews and send them
-finalize all sources and write bibliography
-finalize quotes and where they will be used in the paper
-write an introduction to start thoughts
Week of 4/12
-write a approximately 3-4 pages a day
-edit the work from the previous day at the start of the next day
-edit minor details such as spelling, grammar and so on
-have it peer edited
Week of 4/19:
-read over peer edits and consider revisions and changes
-revise where necessary and edit paper
-read of paper requirements once again and make sure everything is present
-picked 6 of my required 12 sources
-wrote and specified my thesis
-formated a structure for the paper
-decided on main topics to present and rebut
-found three people to interview on the topic
-constructed my own thoughts and ideas for the paper
Still need to do:
-write out interview sheets for the 3 people to fill out
-find the remaining sources
-pick specific quotes from the sources
-format my bibliography
-find a good hook for the paper
-organize my information into the written paper
Schedule for completion:
Week of 4/5:
-write interviews and send them
-finalize all sources and write bibliography
-finalize quotes and where they will be used in the paper
-write an introduction to start thoughts
Week of 4/12
-write a approximately 3-4 pages a day
-edit the work from the previous day at the start of the next day
-edit minor details such as spelling, grammar and so on
-have it peer edited
Week of 4/19:
-read over peer edits and consider revisions and changes
-revise where necessary and edit paper
-read of paper requirements once again and make sure everything is present
Sunday, April 4, 2010
RJA#10a: Annotated Bibliography, Part 1
Doyle, Suzannah. "Music Musings No. 1: What is Music?" SuzDoyle.com. 2004. Web. 4 Apr. 2010. http://www.scribd.com/doc/8646472/Music-Factsheet-No-1-Three-Ways-to-learn-music.
This article gives a basic explanation of the notated tradition (or as it calls it the written tradition), the oral tradition (or as it calls it ‘by ear’) and the chord progression method of learning music. The chord progression method is not exactly relevant due to many styles of music not having chords but I could still use this to show how western music is traditional taught. The article is a bit elementary so when going into greater detail, a better source would be needed. The information is good for someone whom has little musical experience and needs the styles broken down a bit more.
"Theme 3: Methods of Teaching." World Music Centre: Worlds of Music. Web. 4 Apr. 2010. http://www.cdime-network.com/wom/0212031452477748#top.
This source talks about how to teach music to an intercultural environment of people. It goes through and describes how the world is changing and how the ways music is taught needs to be re-examined for the sake of teaching to a wider range of cultures. The article helps me with discussing why we should be taught in more ways and how teachers should be able to be flexible for their students, shifting to more oral or more notated styles but still having both. The source gives a lot of ideas a room for discussion.
"Musical Notation." The Columbia Electronic Encyclopedia. N.p.: Columbia University Press, 2006. N. pag. Web. 4 Apr. 2010.
http://www.infoplease.com/ce6/ent/A0834560.html.
The article is a lot of history of musical notation starting back in 500 A.D. I do not necessarily need much information on the history so much as I will use this information to describe what notated music was originally used for in order to prove that notated music is needed but does have some holes in its style that the musician today needs to fill. It will also aid in the description of the notated music tradition. The descriptions in the article can help solidify what notated music is classified as.
This article gives a basic explanation of the notated tradition (or as it calls it the written tradition), the oral tradition (or as it calls it ‘by ear’) and the chord progression method of learning music. The chord progression method is not exactly relevant due to many styles of music not having chords but I could still use this to show how western music is traditional taught. The article is a bit elementary so when going into greater detail, a better source would be needed. The information is good for someone whom has little musical experience and needs the styles broken down a bit more.
"Theme 3: Methods of Teaching." World Music Centre: Worlds of Music. Web. 4 Apr. 2010. http://www.cdime-network.com/wom/0212031452477748#top.
This source talks about how to teach music to an intercultural environment of people. It goes through and describes how the world is changing and how the ways music is taught needs to be re-examined for the sake of teaching to a wider range of cultures. The article helps me with discussing why we should be taught in more ways and how teachers should be able to be flexible for their students, shifting to more oral or more notated styles but still having both. The source gives a lot of ideas a room for discussion.
"Musical Notation." The Columbia Electronic Encyclopedia. N.p.: Columbia University Press, 2006. N. pag. Web. 4 Apr. 2010.
http://www.infoplease.com/ce6/ent/A0834560.html.
The article is a lot of history of musical notation starting back in 500 A.D. I do not necessarily need much information on the history so much as I will use this information to describe what notated music was originally used for in order to prove that notated music is needed but does have some holes in its style that the musician today needs to fill. It will also aid in the description of the notated music tradition. The descriptions in the article can help solidify what notated music is classified as.
Monday, March 29, 2010
RJA#9c: Presentation Plan
Formal Outline
I. Introduction
a. Hook or capturing idea
b. State the thesis
i. Music students in America should be taught with a combination of oral and notated methods because it will give them a wider knowledge of music and allow them to play in a greater variety of ensembles.
II. Explanation of oral and notated methods of teaching
a. Oral tradition and method
i. Cultures and example ensembles associated
ii. Techniques and uses
b. Notated tradition and method
i. Origin and example ensembles associated
ii. Techniques and uses
c. Brief comparison of the two
III. Benefits of being taught with a combination of the two methods
a. Adaptation to new ensembles and situations
b. Ability to work with musicians and groups more effectively
c. Working for a greater variety of groups and ensembles there for increasing the chance for more income
d. Building better connections with the music world
i. More knowledge and variety of music will expose the musician to more people, increasing the chances of career building
IV. Why not focus on one method more?
a. Learning both methods can be more time consuming
i. Refute
b. More detailed study on a method would allow for more detailed learning
i. Refute
c. Specialization over variety and flexibility
i. Refute
d. The balance of the methods
i. The amount of instruction the student gets from one method to the other will not be even but more based on what their desires are
V. Conclusion
a. Transition thought
b. Re-statement of thesis
c. Concluding thought
I. Introduction
a. Hook or capturing idea
b. State the thesis
i. Music students in America should be taught with a combination of oral and notated methods because it will give them a wider knowledge of music and allow them to play in a greater variety of ensembles.
II. Explanation of oral and notated methods of teaching
a. Oral tradition and method
i. Cultures and example ensembles associated
ii. Techniques and uses
b. Notated tradition and method
i. Origin and example ensembles associated
ii. Techniques and uses
c. Brief comparison of the two
III. Benefits of being taught with a combination of the two methods
a. Adaptation to new ensembles and situations
b. Ability to work with musicians and groups more effectively
c. Working for a greater variety of groups and ensembles there for increasing the chance for more income
d. Building better connections with the music world
i. More knowledge and variety of music will expose the musician to more people, increasing the chances of career building
IV. Why not focus on one method more?
a. Learning both methods can be more time consuming
i. Refute
b. More detailed study on a method would allow for more detailed learning
i. Refute
c. Specialization over variety and flexibility
i. Refute
d. The balance of the methods
i. The amount of instruction the student gets from one method to the other will not be even but more based on what their desires are
V. Conclusion
a. Transition thought
b. Re-statement of thesis
c. Concluding thought
RJA#9b: Argument
Research Question:
Should music students in America be taught with a combination of oral and notated methods?
Thesis/claim:
Music students in America should be taught with a combination of oral and notated methods because it will give them a wider knowledge of music and allow them to play in a greater variety of ensembles.
Reasons:
- Having a wider knowledge of music will allow students to adapt quicker to new situations. Knowing two distinctly different methods that music is played will allow a musicain to join a group, even when they have not been in a group like it, and qickly learn their methods because they have already been taught two very different a widely used methods
- Having a wider knowledge in music increases the ability of a musician to work with other musicians. The more ways that they can describe what they want and or how to play somthing, the easier it will be to make, join and collaborate with musical ensembles.
- Being able to play for a greater variety of ensembles will yeld more income. The more gigs and positions a musician can gain, the better chance they will have for making a greater income. Having the ability to play in a variety of methods will open more doors for those positions and gigs.
- Playing with a variety of ensembels builds better connections in the music world. The more people you can play with and perform for, the more people are going to notice you and want you to play. Getting more opportunity to 'show your stuff' will progress your career further.
Objections/counterarguments:
- Learning music through both methods can take more time than just learning one and will hold a student back.
Refute~ Although the oral and notated methods are different in many ways, they are similar in just about the same. Both methods expand on one another and actually help to justify one another.
- The students wont be able to go into as much detail with one method if they are learning both at the same time.
Refute~ The combined method will still cover way past just the basics in both methods. The minute deatils are not as important as the basics because minute details are mostly learned from playing in specific situations and ensembles.
- Having more detailed knowledge of a specific type of music is better for musicians because then they can specialize and be the best at that particular style.
Refute~ Music changes rapidly and if that style of music is not longer in demand then what will that musician do. There is a greater need for diversity than specialization.
Should music students in America be taught with a combination of oral and notated methods?
Thesis/claim:
Music students in America should be taught with a combination of oral and notated methods because it will give them a wider knowledge of music and allow them to play in a greater variety of ensembles.
Reasons:
- Having a wider knowledge of music will allow students to adapt quicker to new situations. Knowing two distinctly different methods that music is played will allow a musicain to join a group, even when they have not been in a group like it, and qickly learn their methods because they have already been taught two very different a widely used methods
- Having a wider knowledge in music increases the ability of a musician to work with other musicians. The more ways that they can describe what they want and or how to play somthing, the easier it will be to make, join and collaborate with musical ensembles.
- Being able to play for a greater variety of ensembles will yeld more income. The more gigs and positions a musician can gain, the better chance they will have for making a greater income. Having the ability to play in a variety of methods will open more doors for those positions and gigs.
- Playing with a variety of ensembels builds better connections in the music world. The more people you can play with and perform for, the more people are going to notice you and want you to play. Getting more opportunity to 'show your stuff' will progress your career further.
Objections/counterarguments:
- Learning music through both methods can take more time than just learning one and will hold a student back.
Refute~ Although the oral and notated methods are different in many ways, they are similar in just about the same. Both methods expand on one another and actually help to justify one another.
- The students wont be able to go into as much detail with one method if they are learning both at the same time.
Refute~ The combined method will still cover way past just the basics in both methods. The minute deatils are not as important as the basics because minute details are mostly learned from playing in specific situations and ensembles.
- Having more detailed knowledge of a specific type of music is better for musicians because then they can specialize and be the best at that particular style.
Refute~ Music changes rapidly and if that style of music is not longer in demand then what will that musician do. There is a greater need for diversity than specialization.
RJA#9a: Thesis Statement
Research Question:
Should music students in America be taught with a combination of oral and notated methods?
Precise claim:
Music students in America should be taught with a combination of oral and notated methods.
Reasons/blueprint:
-Learning music through both methods allows for more opportunity to play in a greater range of ensembles
-Gives the student a wider knowledge of music which allows for greater and quicker progression
Complete thesis statement:
Music students in America should be taught with a combination of oral and notated methods because it will give them a wider knowledge of music and allow them to play in a greater variety of ensembles.
Should music students in America be taught with a combination of oral and notated methods?
Precise claim:
Music students in America should be taught with a combination of oral and notated methods.
Reasons/blueprint:
-Learning music through both methods allows for more opportunity to play in a greater range of ensembles
-Gives the student a wider knowledge of music which allows for greater and quicker progression
Complete thesis statement:
Music students in America should be taught with a combination of oral and notated methods because it will give them a wider knowledge of music and allow them to play in a greater variety of ensembles.
Monday, March 15, 2010
RJA#8b: Evaluation Check
http://astults.blogspot.com/2010/03/rja-7a-evaluation-of-sources.html#comment-form
http://kwill12.blogspot.com/2010/03/rja-7a-evaluation-of-sources.html#comment-form
http://kwill12.blogspot.com/2010/03/rja-7a-evaluation-of-sources.html#comment-form
RJA#8a: Quotation, Paraphrase, and Summary
Passage:
In the fragmented societies of today, there is no single reference. Cultures, subcultures and individuals build up their own musical identities and aesthetics. Sometimes reference to (or even deep understanding of) a previous context is useful or even essential, sometimes it is irrelevant. Music moves in place and time, is recontextualised, and takes on new significance.
World Music Centre
Quotation:
Music is a very diverse and comlicated happening that ties heavily into the culture of all peoples around the world. Music is also fluid and transends cultures, bonding the peoples of those cultures closer together. As the World Muisc Cetre online states, "Cultures, subcultures and individules build up their own musical identities and aesthetics... Music moves in place and time, is recintextualised, and takes on new signigicance."
Paraphrase:
No singular culture can be used to demonstrate this due to the variety of differences they have. Each society from the individual the whole creates their own musical existance. Understanding the changes a culture's music goes through can be useful or can be unnecessary. Music is not static and can be used for different reasons throughout time.
Summary:
With the broken cultures of today's societies, music is not a clear cut definition. Music not only created within the organized group of people, but also spreads and is altered for a different use. Knowing what music was used for can be helpful in some cases but in others it is not needed.
In the fragmented societies of today, there is no single reference. Cultures, subcultures and individuals build up their own musical identities and aesthetics. Sometimes reference to (or even deep understanding of) a previous context is useful or even essential, sometimes it is irrelevant. Music moves in place and time, is recontextualised, and takes on new significance.
World Music Centre
Quotation:
Music is a very diverse and comlicated happening that ties heavily into the culture of all peoples around the world. Music is also fluid and transends cultures, bonding the peoples of those cultures closer together. As the World Muisc Cetre online states, "Cultures, subcultures and individules build up their own musical identities and aesthetics... Music moves in place and time, is recintextualised, and takes on new signigicance."
Paraphrase:
No singular culture can be used to demonstrate this due to the variety of differences they have. Each society from the individual the whole creates their own musical existance. Understanding the changes a culture's music goes through can be useful or can be unnecessary. Music is not static and can be used for different reasons throughout time.
Summary:
With the broken cultures of today's societies, music is not a clear cut definition. Music not only created within the organized group of people, but also spreads and is altered for a different use. Knowing what music was used for can be helpful in some cases but in others it is not needed.
Monday, March 8, 2010
Sunday, March 7, 2010
RJA#7b: Feild Research Suggestions
http://jeffauger.blogspot.com/2010/02/rja-6c-field-research-options.html
http://tempestmitchell.blogspot.com/2010/02/rja-6c-field-research-options.html#comment-form
http://tempestmitchell.blogspot.com/2010/02/rja-6c-field-research-options.html#comment-form
RJA#7a: Evaluation of Sources
REFERENCE ARTICLE
Name(s) of author(s) of the article: Columbia Electronic Encyclopedia
Title of the article: Musical Notation
Title of reference work: infoplease
Name of publisher: Columbia University Press
Date of publication: 2007
Resource searched: infoplease encyclopedia
The reference shows at the bottom the sources it used to compile the information which shows that it can be resonably trusted, not just someone writting what they think they know. It is a encyclopedia entry that mostly contains the history with some detailed description of how musical notation came about. Within the information there are links to certain words but non of which would really help me with my research. I would probably use this information to lead into or even enforce the description of notated music and why it is or is not helpful in teaching musical instruments.
BOOK
Author: Mixon, Kevin
Title: Reaching and Teaching All Instrumental Music Students
Edition number or information: Illustrated
Name of publisher: Lanham, Md./Rowman & Littlefield Education
Date of publication: c2007
Resource searched: Auraria Library/Google Books
The book seems to be of a very credible source for it contains information gatherd from many different sources and seems well organized and researched. This book can be of many uses to my reasearch. It is mostly a book for teachers about the different aspects of teaching and how to be most successful, in mixons researched opinion, in teaching music students. It has a section on teaching for diverse learning styles which would be excelent to use for the oral side of my research. The book also has a section on introducing notation which would be great for research on the notated side. It also has many different elements that come to play on teaching music which will broaden my music teaching knowledge and allow me to bring a better understanding of how to teach music in gerneral.
PERIODICAL ARTICLE
Name(s) of author(s): Music Educators National Conference
(U.S.)Title of article: Neglected Skills: Aural Perception and Music Reading
Volume and issue number: 57, no. 2
Date: 2007
Pages on which article appears: 35
Resource searched: Auraria Library
This article comes straight from the Music Educators National Conference so I know it is credited right off the bat. It has great information on ways to facilitate learning in an aural and a notated manner but it is also a very western baised article. It is giving me the idea to condense my topic to western music because I am realizing that trying to duscuss other musics would make my topic too large for this class assignment. It gives great information on the trainings that music student can go through and how they can best benefit from them (wether it be aural or notated). Discussing non-western musics in my research briefly is still needed and this article would not be very useful in that area.
WEBSITE
http://www.scribd.com/doc/8646472/Music-Factsheet-No-1-Three-Ways-to-learn-music
Title: Music Musings No. 1: What is Music?
Author: Suzannah Doyle
Copright: 2004 Suzannah Doyle Music
The site is actually a site that links the users to documents. The document I am linked to comes from Suzannah Doyle's personal site. I went to her site and discoverd that she has a very extensive backround in music and is very actively involved in many different aspects of music and is well accredited. The document that I am useing is a very simpile explanation of three basic ways to to learn music (Written, Oral, and Chord Theory). The Document is mainly baised on western music and how to learn it so in applying it to learning by oral tradition, this site would not be useful but it is useful for a very brief description of those methods. I could use it for leading into more detailed information when talking about specific methods of teaching music.
Name(s) of author(s) of the article: Columbia Electronic Encyclopedia
Title of the article: Musical Notation
Title of reference work: infoplease
Name of publisher: Columbia University Press
Date of publication: 2007
Resource searched: infoplease encyclopedia
The reference shows at the bottom the sources it used to compile the information which shows that it can be resonably trusted, not just someone writting what they think they know. It is a encyclopedia entry that mostly contains the history with some detailed description of how musical notation came about. Within the information there are links to certain words but non of which would really help me with my research. I would probably use this information to lead into or even enforce the description of notated music and why it is or is not helpful in teaching musical instruments.
BOOK
Author: Mixon, Kevin
Title: Reaching and Teaching All Instrumental Music Students
Edition number or information: Illustrated
Name of publisher: Lanham, Md./Rowman & Littlefield Education
Date of publication: c2007
Resource searched: Auraria Library/Google Books
The book seems to be of a very credible source for it contains information gatherd from many different sources and seems well organized and researched. This book can be of many uses to my reasearch. It is mostly a book for teachers about the different aspects of teaching and how to be most successful, in mixons researched opinion, in teaching music students. It has a section on teaching for diverse learning styles which would be excelent to use for the oral side of my research. The book also has a section on introducing notation which would be great for research on the notated side. It also has many different elements that come to play on teaching music which will broaden my music teaching knowledge and allow me to bring a better understanding of how to teach music in gerneral.
PERIODICAL ARTICLE
Name(s) of author(s): Music Educators National Conference
(U.S.)Title of article: Neglected Skills: Aural Perception and Music Reading
Volume and issue number: 57, no. 2
Date: 2007
Pages on which article appears: 35
Resource searched: Auraria Library
This article comes straight from the Music Educators National Conference so I know it is credited right off the bat. It has great information on ways to facilitate learning in an aural and a notated manner but it is also a very western baised article. It is giving me the idea to condense my topic to western music because I am realizing that trying to duscuss other musics would make my topic too large for this class assignment. It gives great information on the trainings that music student can go through and how they can best benefit from them (wether it be aural or notated). Discussing non-western musics in my research briefly is still needed and this article would not be very useful in that area.
WEBSITE
http://www.scribd.com/doc/8646472/Music-Factsheet-No-1-Three-Ways-to-learn-music
Title: Music Musings No. 1: What is Music?
Author: Suzannah Doyle
Copright: 2004 Suzannah Doyle Music
The site is actually a site that links the users to documents. The document I am linked to comes from Suzannah Doyle's personal site. I went to her site and discoverd that she has a very extensive backround in music and is very actively involved in many different aspects of music and is well accredited. The document that I am useing is a very simpile explanation of three basic ways to to learn music (Written, Oral, and Chord Theory). The Document is mainly baised on western music and how to learn it so in applying it to learning by oral tradition, this site would not be useful but it is useful for a very brief description of those methods. I could use it for leading into more detailed information when talking about specific methods of teaching music.
RJA#6b: Social Media and Multimedia
Resource searched or tool used: Addict-o-matic
Keywords used: Learning, Notated, Music
Search strategies used: Social Media, Keywords
Date of search: 3/7/10
Number of hits: Searches multipule sites so unknown
Relevance of hits: 2 of 5
Resource searched or tool used: Globe of Blogs
Keywords used: Methods, Teaching, African, Drum
Search strategies used: Social Media, Keywords
Date of search: 3/7/10
Number of hits: 100+
Relevance of hits: 2 of 5
Resource searched or tool used: Fizy
Keywords used: African, Drum, Music
Search strategies used: Multimedia, Keywords
Date of search: 3/7/10
Number of hits: 9
Relevance of hits: 2 of 5
Keywords used: Learning, Notated, Music
Search strategies used: Social Media, Keywords
Date of search: 3/7/10
Number of hits: Searches multipule sites so unknown
Relevance of hits: 2 of 5
Resource searched or tool used: Globe of Blogs
Keywords used: Methods, Teaching, African, Drum
Search strategies used: Social Media, Keywords
Date of search: 3/7/10
Number of hits: 100+
Relevance of hits: 2 of 5
Resource searched or tool used: Fizy
Keywords used: African, Drum, Music
Search strategies used: Multimedia, Keywords
Date of search: 3/7/10
Number of hits: 9
Relevance of hits: 2 of 5
Friday, March 5, 2010
RJA#6a: Websites
Resource searched or tool used: Cuil.com
Keywords used: Teaching, Aural, Music
Search strategies used: Search engine, Keywords
Date of search: 3/5/10
Number of hits: 81,482
Relevance of hits: 1 of 5
Resource searched or tool used: Search.com
Keywords used: Ways, Learn, Music
Search strategies used: Meta Search, Keywords
Date of search: 3/5/10
Number of hits: 34,300,300
Relevance of hits: 3 of 5
Resource searched or tool used: Intute
Keywords used: Teaching, Music
Search strategies used: Directories, Keywords
Date of search: 3/5/10
Number of hits: 169
Relevance of hits: 2 of 5
Resource searched or tool used: Deep Dyve
Keywords used: Teaching, Notated, Music
Search strategies used: Invisible web search tools, Keywords
Date of search: 3/5/10
Number of hits: 1,109,137
Relevance of hits: 3 of 5
Resource searched or tool used: Yahoo! Groups
Keywords used: World, Music, Instruments
Search strategies used: Group Directories
Date of search: 3/5/10
Number of hits: 115,000,000
Relevance of hits: 2 of 5
Keywords used: Teaching, Aural, Music
Search strategies used: Search engine, Keywords
Date of search: 3/5/10
Number of hits: 81,482
Relevance of hits: 1 of 5
Resource searched or tool used: Search.com
Keywords used: Ways, Learn, Music
Search strategies used: Meta Search, Keywords
Date of search: 3/5/10
Number of hits: 34,300,300
Relevance of hits: 3 of 5
Resource searched or tool used: Intute
Keywords used: Teaching, Music
Search strategies used: Directories, Keywords
Date of search: 3/5/10
Number of hits: 169
Relevance of hits: 2 of 5
Resource searched or tool used: Deep Dyve
Keywords used: Teaching, Notated, Music
Search strategies used: Invisible web search tools, Keywords
Date of search: 3/5/10
Number of hits: 1,109,137
Relevance of hits: 3 of 5
Resource searched or tool used: Yahoo! Groups
Keywords used: World, Music, Instruments
Search strategies used: Group Directories
Date of search: 3/5/10
Number of hits: 115,000,000
Relevance of hits: 2 of 5
Wednesday, March 3, 2010
RJA#6c: Field Research Options
I have a few ideas for my field research:
-Interview (via e-mail) my world music professor because he has been trained in many different musical styles and cultures ,including the traditional western method, so I can ask him about both being taught in a more notated baised method opposed to a more aural method (or in most cases a fully aural method)
-Interview my percussion instructor about being taught in a strictly notated or western enviornment
-Interview the teacher for the Metro State African Drum Ensamble about being taught in a strictly aural enviornment.
-Interview (via e-mail) my world music professor because he has been trained in many different musical styles and cultures ,including the traditional western method, so I can ask him about both being taught in a more notated baised method opposed to a more aural method (or in most cases a fully aural method)
-Interview my percussion instructor about being taught in a strictly notated or western enviornment
-Interview the teacher for the Metro State African Drum Ensamble about being taught in a strictly aural enviornment.
Saturday, February 20, 2010
RJA#5c: Reference Articles
Name(s) of author(s) of the article: Columbia Electronic Encyclopedia
Title of the article: Musical Notation
Title of reference work: infoplease
Name of publisher: Columbia University Press
Date of publication: 2007
Resource searched: infoplease encyclopedia
Keywords used: notated, music
Search strategies used: Search Engine Math
Date of search: 2/20/10
Number of hits: 120+
Relevance of hits: 3 of 5
Title of the article: Musical Notation
Title of reference work: infoplease
Name of publisher: Columbia University Press
Date of publication: 2007
Resource searched: infoplease encyclopedia
Keywords used: notated, music
Search strategies used: Search Engine Math
Date of search: 2/20/10
Number of hits: 120+
Relevance of hits: 3 of 5
RJA#5b:Periodical Articles
Name(s) of author(s): Music Educators National Conference (U.S.)Title of article: Neglected Skills: Aural Perception and Music Reading
Volume and issue number: 57, no. 2
Date: 2007
Pages on which article appears: 35
Resource searched: Auraria Library
Keywords used: Aural, Music
Search strategies used: @ auraria, keywords
Date of search: 2/20/10
Number of hits: 2,430
Relevance of hits: 3 of 5
Name of author: Andy Hamilton
Title of article: Music and the Aural Arts
Volume and issue number: 47, no.1
Date: 2007
Pages on which article appears: 46-63
Resource searched: Auraria Library
Keywords used: Aural, Music
Search strategies used: @ auraria, Keywords
Date of search: 2/20/10
Number of hits: 2,430
Relevance of hits: 3 of 5
Name(s) of author(s): Music Educators National Conference (U.S.)
Title of article: Teaching Music
Title of periodical: Teaching Music
Volume and issue number: 1, no.1
Date: 2008
Resource searched: Auraria Library
Keywords used: Teaching, Music
Search strategies used: Keywords, @ auraria
Date of search: 2/20/10
Number of hits: 53,986
Relevance of hits: 2 of 5
Volume and issue number: 57, no. 2
Date: 2007
Pages on which article appears: 35
Resource searched: Auraria Library
Keywords used: Aural, Music
Search strategies used: @ auraria, keywords
Date of search: 2/20/10
Number of hits: 2,430
Relevance of hits: 3 of 5
Name of author: Andy Hamilton
Title of article: Music and the Aural Arts
Volume and issue number: 47, no.1
Date: 2007
Pages on which article appears: 46-63
Resource searched: Auraria Library
Keywords used: Aural, Music
Search strategies used: @ auraria, Keywords
Date of search: 2/20/10
Number of hits: 2,430
Relevance of hits: 3 of 5
Name(s) of author(s): Music Educators National Conference (U.S.)
Title of article: Teaching Music
Title of periodical: Teaching Music
Volume and issue number: 1, no.1
Date: 2008
Resource searched: Auraria Library
Keywords used: Teaching, Music
Search strategies used: Keywords, @ auraria
Date of search: 2/20/10
Number of hits: 53,986
Relevance of hits: 2 of 5
Wednesday, February 17, 2010
RJA#5a: Books
Author: Mixon, Kevin
Title: Reaching and Teaching All Instrumental Music Students
Edition number or information: Illustrated
Name of publisher: Lanham, Md./Rowman & Littlefield Education
Date of publication: c2007
Resource searched: Auraria Library/Google Books
Keywords used: Teaching, Musical Instruments
Search strategies used: Keywords, @ Auraria
Date of search: 2/17/10
Number of hits: 5
Relevance of hits: 2 of 5
Author: Colwell, Richard
Title: The Teaching of Instrumental Music
Edition number or information: Illustrated
Place of publication: New York
Name of publisher: Appleton-Century-Crofts
Date of publication: 1969
Resource searched: Auraria Library
Keywords used: Teaching, Muisc, Instruments
Search strategies used: Keywords, @ Auraria
Date of search: 2/17/10
Number of hits: 16
Relevance of hits: 2 of 5
Author: Colwell, Richard
Title: The Evaluation of Music Teaching and Learning
Edition number or information: Illustrated
Place of publication: New Jersey
Name of publisher: Prentice-Hall
Date of publication: 1970
Resource searched: Auraria Library/Google Books
Keywords used: 'Teaching Music'
Search strategies used: Search Engine Math, @ Auraria
Date of search: 2/17/10
Number of hits: 377
Relevance of hits: 3 of 5
Author: Campbell, Patricia Shehan
Title and Subtitle: Lessons from the World: A cross-cultural guide to music teaching and learning
Edition number or information: Illustrated
Place of publication: New York
Name of publisher: Schirmer books
Date of publication: 1991
Resource searched: Auraria Library/Google Books
Keywords used: 'Teaching Music'
Search strategies used: Search Engine Math, @ Auraria
Number of hits: 377
Relevance of hits: 3 of 5
Title: Reaching and Teaching All Instrumental Music Students
Edition number or information: Illustrated
Name of publisher: Lanham, Md./Rowman & Littlefield Education
Date of publication: c2007
Resource searched: Auraria Library/Google Books
Keywords used: Teaching, Musical Instruments
Search strategies used: Keywords, @ Auraria
Date of search: 2/17/10
Number of hits: 5
Relevance of hits: 2 of 5
Author: Colwell, Richard
Title: The Teaching of Instrumental Music
Edition number or information: Illustrated
Place of publication: New York
Name of publisher: Appleton-Century-Crofts
Date of publication: 1969
Resource searched: Auraria Library
Keywords used: Teaching, Muisc, Instruments
Search strategies used: Keywords, @ Auraria
Date of search: 2/17/10
Number of hits: 16
Relevance of hits: 2 of 5
Author: Colwell, Richard
Title: The Evaluation of Music Teaching and Learning
Edition number or information: Illustrated
Place of publication: New Jersey
Name of publisher: Prentice-Hall
Date of publication: 1970
Resource searched: Auraria Library/Google Books
Keywords used: 'Teaching Music'
Search strategies used: Search Engine Math, @ Auraria
Date of search: 2/17/10
Number of hits: 377
Relevance of hits: 3 of 5
Author: Campbell, Patricia Shehan
Title and Subtitle: Lessons from the World: A cross-cultural guide to music teaching and learning
Edition number or information: Illustrated
Place of publication: New York
Name of publisher: Schirmer books
Date of publication: 1991
Resource searched: Auraria Library/Google Books
Keywords used: 'Teaching Music'
Search strategies used: Search Engine Math, @ Auraria
Number of hits: 377
Relevance of hits: 3 of 5
Sunday, February 14, 2010
RJA#4b: Search Strings
Search Engine Math:
Music + instrumentsl + teaching + methods
"Instrumental music" + "teaching methods"
"Music teaching" + instruments + aural + notated
"Music teaching" + instruments + methods - "notated music"
"Music teaching" + instruments + methods - "aural music"
Boolean Search:
Instrumental AND music AND teaching
Methods NEAR music AND teaching
Notated OR aural AND music AND teaching
Aural AND music AND teaching NOT notated
Music + instrumentsl + teaching + methods
"Instrumental music" + "teaching methods"
"Music teaching" + instruments + aural + notated
"Music teaching" + instruments + methods - "notated music"
"Music teaching" + instruments + methods - "aural music"
Boolean Search:
Instrumental AND music AND teaching
Methods NEAR music AND teaching
Notated OR aural AND music AND teaching
Aural AND music AND teaching NOT notated
RJA#4a: Keywords
Keywords:
Instrumental, instrument, instruments, instrumentate, musical instrument
Music, musical, musics, air, harmony, song, tune, sound\
Students, student, learner, novice, pupil, scholar, academic
Taught, teach, teaching, educate, advise, demonstrate, guide, school, tutor
Aural, audible, heard, sound, discernible
Notated, notate, notating, write, symbolize
Method, form, process, program, structure
Ladder of Generalization:
Music - Instrumental Music - Instrumental Music Playing - Instumental Music Teaching - Teaching Instumental Music Students - Methods for Teaching Instumental Music Students
Instrumental, instrument, instruments, instrumentate, musical instrument
Music, musical, musics, air, harmony, song, tune, sound\
Students, student, learner, novice, pupil, scholar, academic
Taught, teach, teaching, educate, advise, demonstrate, guide, school, tutor
Aural, audible, heard, sound, discernible
Notated, notate, notating, write, symbolize
Method, form, process, program, structure
Ladder of Generalization:
Music - Instrumental Music - Instrumental Music Playing - Instumental Music Teaching - Teaching Instumental Music Students - Methods for Teaching Instumental Music Students
RJA#4c: Research Question Check
http://mgheng2010.blogspot.com/2010/02/rja-3c-research-question.html#comment-form
http://aaronrepp.blogspot.com/2010/02/rja-3c-research-question.html#comment-form
http://aaronrepp.blogspot.com/2010/02/rja-3c-research-question.html#comment-form
Sunday, February 7, 2010
RJA #3c: Research Question
-When is it best to teach a musical instrument in a notated method?
-When is it best to teach a musical instrument in a aural method?
-Should students being taught western style music be taught in a notated method or an aural method?
-Where in the world is the aural music teaching method used?
-Where in the world is the aural music teaching method used?
-Would it be best for all instrumental music students to be taught in an aural and notated method of teaching?
-When is it best to teach a musical instrument in a aural method?
-Should students being taught western style music be taught in a notated method or an aural method?
-Where in the world is the aural music teaching method used?
-Where in the world is the aural music teaching method used?
-Would it be best for all instrumental music students to be taught in an aural and notated method of teaching?
RJA #3b: Research Topic Focus
The topic of learning a musical instrument in a notation-based or an aural-based setting could spark many discussions. One being is learning how to read and write music really a necessary skill? The answer is yes an no. I know that in a modern western style ensemble it is imperative that you know how to read notated music because usually you will have to have the music prepared before you even practice or audition for a part. If you did not know how to read music then you would have nothing prepared and would not get the part or hired again for a part, no matter how skilled or talented a player you are. But in other ensembles such as African drumming, there is no notated music and therefor you just have to know (by memory) patterns and rhythms you have learned. If you are relying on notated music then you will have trouble performing in said ensemble.
Another sub-topic could also be is it better for solidifying skills to learn aurally or off notated music? Well, again it comes down to the setting. If you do not need to read notated music for the ensemble then you skills need to be solidified in an aural fashion for the student to better be able to perform in that setting. If the student is performing in a notation-based ensemble then learning how to visualize patterns and differences on a page is very important. But even in that situation, learning how to play scales and different physically challenging attributes of the instrument by memory or 'ear' is extremely helpful. So where is the line drawn.
Both in some cases no notation skills are needed but in most cases (if not all) aural skills are needed.
Another sub-topic could also be is it better for solidifying skills to learn aurally or off notated music? Well, again it comes down to the setting. If you do not need to read notated music for the ensemble then you skills need to be solidified in an aural fashion for the student to better be able to perform in that setting. If the student is performing in a notation-based ensemble then learning how to visualize patterns and differences on a page is very important. But even in that situation, learning how to play scales and different physically challenging attributes of the instrument by memory or 'ear' is extremely helpful. So where is the line drawn.
Both in some cases no notation skills are needed but in most cases (if not all) aural skills are needed.
Wednesday, February 3, 2010
RJA #3a: Research Topic Expanation
I decided to start as broad as I could. I did a general google search of 'methods for teaching musical instruments'. I decided to go to the Wikipedia link just to get the juices flowing.
http://en.wikipedia.org/wiki/Music_education
The first thing that jumps out at me was it listed four 'major' international music methods that all very different a are based off of teachers and their methods. Along with that, it lists five other 'notable' methods for teaching based off of others teachings and studies around the world. It then goes on to give a brief history of music education as well as listing some sources and teachers that I can explore. The information seems to be more based on the western ways of music education but I also feel that it can lead me to different sights that will be more geared toward other musics.
I then googled 'world music teaching methods' and found what appears to be an article reviewing what a group of musical 'experts' ,from a variety of different schools and institutions, were talking about regarding the question "how do you teach music in an intercultural environment?" It is on a forum sight called World Music Centre: Worlds of Music.
http://www.cdime-network.com/wom/0212031452477748
The article describes the discussion and how they cover four topics: Context, authenticity, tradition and place of musics in society. It goes through highlighting some main points and describing the differing opinions of the different experts but then comes to a conclusion of the whole discussion. It concludes that their is no definitive way to teach music in a intercultural environment other than to be flexible and open to teaching in a variety of ways. The article also gives the opposites of different methods for teaching (Examples of continuums in approaches to teaching music in an intercultural environment: Tradition - - - Innovation ; Reconstructed authenticity - - - New identities ; Monocultural - - - Transcultural ; Notation-based - - - Aural ; Analytical - - - Holistic) which can help to further my research.
What I am really looking to find for the center of my research is the differences (pluses and minuses) of learning to play from a aural and or a notation-based teaching method. Being taught primarily from a notation-based system myself, I want to explore the aural method more because I have developed an opinion that it has more benefits to my mind. I also want to discuss how every student learns differently therefor should be taught in a more notation-based or more aural based method depending on what works best.
http://en.wikipedia.org/wiki/Music_education
The first thing that jumps out at me was it listed four 'major' international music methods that all very different a are based off of teachers and their methods. Along with that, it lists five other 'notable' methods for teaching based off of others teachings and studies around the world. It then goes on to give a brief history of music education as well as listing some sources and teachers that I can explore. The information seems to be more based on the western ways of music education but I also feel that it can lead me to different sights that will be more geared toward other musics.
I then googled 'world music teaching methods' and found what appears to be an article reviewing what a group of musical 'experts' ,from a variety of different schools and institutions, were talking about regarding the question "how do you teach music in an intercultural environment?" It is on a forum sight called World Music Centre: Worlds of Music.
http://www.cdime-network.com/wom/0212031452477748
The article describes the discussion and how they cover four topics: Context, authenticity, tradition and place of musics in society. It goes through highlighting some main points and describing the differing opinions of the different experts but then comes to a conclusion of the whole discussion. It concludes that their is no definitive way to teach music in a intercultural environment other than to be flexible and open to teaching in a variety of ways. The article also gives the opposites of different methods for teaching (Examples of continuums in approaches to teaching music in an intercultural environment: Tradition - - - Innovation ; Reconstructed authenticity - - - New identities ; Monocultural - - - Transcultural ; Notation-based - - - Aural ; Analytical - - - Holistic) which can help to further my research.
What I am really looking to find for the center of my research is the differences (pluses and minuses) of learning to play from a aural and or a notation-based teaching method. Being taught primarily from a notation-based system myself, I want to explore the aural method more because I have developed an opinion that it has more benefits to my mind. I also want to discuss how every student learns differently therefor should be taught in a more notation-based or more aural based method depending on what works best.
Saturday, January 30, 2010
RJA#2b: Research Topic
I have chosen the topic (or better yet the debated question) is it better to teach someone a musical instrument through active involvement (playing with them most of the time they play) or passive involvement (having lessons and having them practice by themselves)? I chose this topic because of its relation to music education, my major. I have taught percussion, guitar and piano before but and I have my own opinions and knowledge on this topic but I am still debating on which way to lean. I would like to discover more of what others have done and do to help with my teaching.
I gathered the idea for this topic during my World Music class when we were talking about non-western styles of music. I learned that is some cultures, no music is written down so in order to teach it there has to be more active involvement in the teaching process compared to the western style of teaching which requires the student to take lessons and read sheet music for practice. I know that some African drum groups teach through repetition of the hand patterns, instead of just demonstrating the pattern and then requiring the students to practice outside of the lesson. This can solidify the rhythm and pattern but is very time consuming. Issues that can be discussed between the styles of teaching can be based on which one allows for more growth? Which solidifies the material better? Which one works better in certain situations? Which would the students prefer?
In studying this topic, I would like to gain the knowledge of what way of teaching can be best for certain students and situations. I want to know more on the topic of how to go about teaching music students instruments so that they can progress and have more success. I don't know if there are styles of teaching that hang in the middle of active and passive so I would like to investigate to see if there are as well.
I gathered the idea for this topic during my World Music class when we were talking about non-western styles of music. I learned that is some cultures, no music is written down so in order to teach it there has to be more active involvement in the teaching process compared to the western style of teaching which requires the student to take lessons and read sheet music for practice. I know that some African drum groups teach through repetition of the hand patterns, instead of just demonstrating the pattern and then requiring the students to practice outside of the lesson. This can solidify the rhythm and pattern but is very time consuming. Issues that can be discussed between the styles of teaching can be based on which one allows for more growth? Which solidifies the material better? Which one works better in certain situations? Which would the students prefer?
In studying this topic, I would like to gain the knowledge of what way of teaching can be best for certain students and situations. I want to know more on the topic of how to go about teaching music students instruments so that they can progress and have more success. I don't know if there are styles of teaching that hang in the middle of active and passive so I would like to investigate to see if there are as well.
RJA#2a: Possible Topics
-Is ADD/ADHD a disability?
-Should asspiring percussionists learn a drum or a mallet instument first?
-What is the best form of cardio activity?
-Is is better to teach someone a musical instrument with active involvement or passive involvement?
-Should airliners be able to land themselves or should a pilot have to?
I choose 'is it better to teach someone a muscial instrument with active involvement or passive involvement?'
-Should asspiring percussionists learn a drum or a mallet instument first?
-What is the best form of cardio activity?
-Is is better to teach someone a musical instrument with active involvement or passive involvement?
-Should airliners be able to land themselves or should a pilot have to?
I choose 'is it better to teach someone a muscial instrument with active involvement or passive involvement?'
Wednesday, January 20, 2010
RJA #1-Areas of Academic Interest
-World Music
-General Philosophy
-Music Recording
-The Physics of Music and Sound
-Sport Trainer/Physical Trainer
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