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.
Tuesday, April 27, 2010
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.
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