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Grex > Music2 > #54: Passing on the legacy: Music education/pedagogy | |
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| 25 new of 97 responses total. |
flem
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response 24 of 97:
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Aug 3 01:53 UTC 1997 |
In response to the idea that John Williams has just one style which he
recomposes for every soundrack, don't forget the soundtrack to Schindler's
List.
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lumen
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response 25 of 97:
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Oct 8 00:05 UTC 1997 |
Well, I'm finally settling into music ed here at Central. I'm taking a
general music methods class, and I am learning through my texts, Music
Educators National Conference (MENC) news, and other sources that music
classes are in danger of being cut west of the East Coast (where music seems
to be firmly established). I will have to post here later what Wynton
Marsalis had to say to the public-- it was a grim statement. Essentially,
he said that we were dying from the inside-- neglecting our cultural strength.
Keeping up with Japan was secondary.
Mr. Holland's Opus dealt with this subject, too. That particular movie sums
up a lot of the challenges a music educator faces.
More to come, as they used to say on the Tonight Show..
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tpryan
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response 26 of 97:
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Oct 13 03:10 UTC 1997 |
<drift on>
Why does Johnny Carson have small hands?
A: Wee paws for a message from our sponsors.
<drift off>
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lumen
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response 27 of 97:
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Oct 16 02:37 UTC 1997 |
Aw, couldn't we have stayed on the subject?
I'm having a fun time learning Zotan Kodaly's teaching method, btw..
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goose2
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response 28 of 97:
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Oct 17 12:37 UTC 1997 |
Say Lumen, is Dr. Rivard still on the faculty? He used to teach Theory III.
Also, if you can get Dr. Albrecht for Theory I it's a good thing. She's
tough, but you'll learn.
(CMU music school dropout)
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lumen
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response 29 of 97:
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Oct 20 03:59 UTC 1997 |
Um, Chris, I go to Central Washington University in Ellensburg, Washington.
Don't know them, and couldn't tell you.
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krj
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response 30 of 97:
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Oct 21 13:31 UTC 1997 |
Jon: I've been trying to noodge Leslie into responding here; but
her own schoolwork has sucked up all over her time, especially with
Gilbert & Sullivan rehearsals. She did believe that she aced her
first exam, in 19th Century Music History; she's somewhat more concerned
about Thursday's exam in Music Theory.
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lumen
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response 31 of 97:
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Oct 22 01:20 UTC 1997 |
That doesn't surprise me-- theory is always much more demanding. What kind
of theory does she have to take for her Master's?
(Jon is glad he is only reviewing 1st-year music theory-- he couldn't stand
more, nor does he believe he'll need it)
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krj
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response 32 of 97:
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Oct 23 04:06 UTC 1997 |
Leslie's course is a review of the first two years of undergraduate
music theory.
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lumen
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response 33 of 97:
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Oct 23 05:00 UTC 1997 |
Bleach!
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goose2
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response 34 of 97:
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Oct 27 22:24 UTC 1997 |
Sorry Jon, I saw Central and assumed Central *Michigan*.
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lumen
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response 35 of 97:
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Dec 2 07:57 UTC 1997 |
I've been studying the history of music education, and I read about the Ann
Arbor Symposium of the 70's and 80's..where they made a link once again to
child psychology. ken, Leslie..comments?
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krj
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response 36 of 97:
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Dec 2 15:11 UTC 1997 |
Leslie didn't live in Ann Arbor until '87, and I didn't live in Ann Arbor
until '90, and I don't think either of us ever heard of this before...
sorry..
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lumen
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response 37 of 97:
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Dec 5 02:05 UTC 1997 |
What a tragedy! This was a monumental moment in music education history!
I was hoping to generate some discussion, because we talk truckloads about
personal enjoyment of music, but little of music education, especially in the
public schools..if I remember right, the U of M has a wealth of music
resources.. my theory teacher once lived by there (once had the Detroit
attitude, too)
Anyway, I mentioned this since I had to write a 10-pg essay on my philosophy
of music education. Net resources like this are killer for educating ppl on
the values of music :)
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lumen
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response 38 of 97:
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Jan 9 03:12 UTC 1998 |
Speaking of the Internet, I learned that the Web has excellent resources for
classical guitar, including musical scores for sale, webpages containing
detailed instruction on playing the classical guitar (one was of incredibly
masterful quality) and what to look for in buying one, etc., and descriptions
of flamenco, Classical, and New Guitar styles. It's incredible!
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orinoco
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response 39 of 97:
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Jan 9 04:50 UTC 1998 |
Neatness. Now I just need to learn how to play the *#^%&$*! thing. :)
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lumen
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response 40 of 97:
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Jan 10 00:20 UTC 1998 |
It's not that hard-- I've learned to play basic guitar styles in about a year
or so. Consistent practice every day helps-- even if it's only 15 mins.
If you're serious about playing classical guitar, you have to remember that
the instrument, care of the fingernails, and position is *everything*. This
formal genre is demanding, but the key is to play relaxed, and be in a
position that's comfortable. Follow what good teachers tell you-- the formal
position of holding a classical guitar was developed over centuries.
Don't take my word for it, of course-- I'm just a rookie. But most of the
experienced guitarists I've talked to will support what I read.
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diznave
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response 41 of 97:
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May 15 17:49 UTC 1998 |
Now if you aren't as interested in being able to read music for guitar as you
are being able to play completely improv., I offer the following suggestion.
Assuming that you enjoy listening to music, hold the guitar, whenever you are
in your home, and just sitting around listening to tunes or watching tv or
a movie. Start trying to play along with the music. This is how I learned how
to play guitar and recorder (except I play while I drive....well, the
recorders).
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lumen
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response 42 of 97:
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May 16 00:48 UTC 1998 |
I'm sure that's how the old musicians did it-- but it helps to have a
methodology so it can be a skill. Believe it or not, it helps with improv,
too.
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diznave
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response 43 of 97:
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May 18 14:31 UTC 1998 |
I agree Jon. I'm having to learn how to read for recorder, so I can join my
school's renaissance (sp?) ensemble. I've been wondering the same thing. How,
after all these years of playing stricly improv, will learning to read
recorder music affect my improv. I can't wait!
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lumen
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response 44 of 97:
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May 18 22:51 UTC 1998 |
Well, I'll bet you can guess how it helps-- it just provides a stable base
to build on. Practicing music like a craft may not always be spontaneous,
but it certainly helps you imagine new ideas faster. Remember, many of the
great Baroque and Classical composers were also accomplished improv players.
The cadenza is one example of freeform we've discussed elsewhere.
But you knew all that, right?
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diznave
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response 45 of 97:
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May 19 14:44 UTC 1998 |
Heh heh heh....Jon, I learn new things every day. This would explain why
improvising over Baroque, Renaissance, and earlier is so much more fun and
easy, than trying it over top of post Baroque 'classical' music. I live,
breathe, eat, and drink cadenzas, by the way.
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lumen
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response 46 of 97:
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May 21 01:27 UTC 1998 |
Explain-- how do 'new things everyday' make the incredibly scientific art of
the Baroque (composers carefully calculated what harmonies and sounds would
bring about certain emotions-- calculations that could be debated) and the
modal tendencies of Renaissance and pre-Renaissance music easier? I take it
you're a performer, then, if you consume all things cadenza. (Some of us
can't really do that, so we're educators.)
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bookworm
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response 47 of 97:
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Mar 12 06:07 UTC 1999 |
I'd like to write a song (I hope). My only problem is that I have no
training, no music, and no lyrics all at the same time. I'll
occasionally get music or lyrics but never both.
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tpryan
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response 48 of 97:
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Mar 21 15:03 UTC 1999 |
No writing volume from me, but I have written a few songs,
and have written some parodies. The song may seem more like a
poem, as I could not communicate how someone else may sing them.
I would take someone very patient to hear me sing one of my songs,
figure out what notes I should be hitting, them translate it to
paper.
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