Rose, L. S., & Countryman, J. (2013). Repositioning 'The Elements': How Students Talk about Music. Action, Criticism & Theory For Music Education, 12(3), 45-64.
While Reading “Repositioning ‘The Elements’: How Students talk about Music” the idea of how in current society’s if music is not met by the standard of other curriculum such as the science, it can not be considered a way of learning if it is not complex truly resonated within me. This is because when growing up I was always told that the music I needed to play had to be of the specified genre which was primarily classical and that the music I wished to play was to be done in my free time. Being taught music sometimes my teachers would let me or the choir sing songs that were a bit more modern. For competitions we needed to perform the pieces that were respected and could not be altered for popular music. Still being a student that is learning of music I felt to connect to how music that I listen to that is not classical, baroque, romantic or 20th century, are not as thoroughly studied as the previous mentioned. When coming into western I still expected this from what I have experienced in high school and private studying however in courses such as History we talked about popular and modern music like jazz and songs such as thriller, especially in theory we touched upon Ed Sheeran’s “Perfect Symphony”. What surprised me was how I am not the only one that thinks that music is being judged by decisions from centuries prior and how only until recent more music popular is being considered. I did get frustrated with the idea of how curriculum must be scientific based and complex for the subject of music to be thought of a method of learning, it is said in the article that expression and emotion in music cannot be taught in the curriculum. If I were to talk to the author I would tell them that the points they brought up of how music can resonate within the student and those being introduced to music as a study. I do however feel there are more ways that a student sees music then the three that were proposed in the second half of the reading. What I read has encouraged me to teach more about the expression of music. |
Dawe, L. (2016). Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake, Canadian Music Educator, (57) 2, pp.22-24.
When Reading Dawe’s recount of her experience of music education it made me realize how different the times have changed or how progressive they are becoming. Dawe explains how the system she went through was very conservative and they never really expressed how the music felt or what it meant to them. Dawe explained the activity where they had to clap back a rhythm to partner and they repeat it and she explained how she didn’t understand who she was trying to impress and it made her feel subconscious which to me goes to show how conservative the idea of music education is/ Music education is not to impress someone or receive good grades for it in competitions, while yes it is something that happens in competitions it should not be the same in a place of learning especially with a subject as expressive as music. Again going forward into the reading I was frustrated with the idea of how conservative music has been for the past couple decades and how it isn’t about how you are supposed to express yourself through the piece of music and how it will be conveyed to others. When learning music I believe that as Dawe said she is trying to strive toward for should be to be able to not be so strict on the education that is being done and help students especially those who are not musically inclined be able to participate. I would want to talk to Dawe further on how the idea of music was when teachers were supposed to think of students as empty heads and how it should be seen as children with different experiences and trying to cater to all without having your own set personal agenda with your education. Teaching music to me seems to be more of being able to help others understand and express themselves and not to impress and get good marks as Dawe had grown up to learn. |
Comments to My Response
Thank you for your thoughtful response. It’s interesting that your experience reflected some of the separation the authors refer to between “school” music and music that students are interested in. I must admit, I found it humorous that Jazz (now officially the least popular genre of music according to US album sales) and Thriller (a song from 1982) were among your teacher’s way of integrating “popular” and “modern” music! Why do you think we as a profession resist these efforts? What choices can you see yourself making to include music that your students will connect with as you teach? And, what kinds of efforts will that require on your part? |
Comments to my Response
Thank you for your thoughtful response. What do you think it means to be “musically inclined” or “able to participate” in music? How much of this reflects student ability versus teacher conceptions? What kinds of shifts take place as we begin to think of these assumptions differently? I think as you’ve begun to articulate what it means to you to teach – and to teach music – you’re already starting to challenge phrases like those and what they represent. |
Wasiak, E. (2017) Unmasking the Hidden Curriculum in Canadian Music Education Canadian Music Educator. pp.19-24.
When Reading Wasiak’s work I found most of what he said to be eerily true. While growing up learning music both privately and in school, when reflecting on it I can see how times have changed and how they are still currently changing with social justice being put into music education. When Wasiak spoke of how music education is more centered for European standards due to how “classical” is defined, it shows that the agenda of the people in those times are to be set through as well within the education that is being taught. Music such as jazz was not a type of genre that would be taught because it was sung by predominantly black males as well as female singers which looking through the European standard was not meant to occur due to the fact there are more male composers than that of female ones. Wasiak also went into depth on how the social stereotypes of music education today which surprised me, Wasiak said that there are more male conductors than female in instrumental music, and to hear that it made me realize that from when I was little until now I noticed predominantly male conductors than that of female. However, when coming to western it became more apparent that such stereotypes are starting to be broken with so many female conductors leading the ensembles at western it shows to me that times are changing. What Wasiak pointed out the flaws of social justice within music education made me frustrated because it is true how some teachers are not aware of how they may be excluding their students due to their own set beliefs and experiences of music education The example he used of how a white woman with many experiences of European centered music learning will try to exclude genres such as Jazz or music with black male composers or artists because it makes them uncomfortable or it is not what they grew up learning. Because of situations like that to me, it feels as though they are excluding the students that perhaps are into that style of music and wish to learn more about it. Finally, if I could speak to Wasiak I would like to talk to him more about his ideas that he wishes to be not implemented yet only aware and criticize the teaching of music education and how perhaps we could do more. Comments to my Response
Thank you for your thoughtful response. I’m noticing here that you’re confronting several ideas that you’re realizing you’ve taken for granted, such as women conducting instrumental ensembles far less frequently than men, Eurocentric content dominating school curricula, and exclusive programming practices. These moments are powerful, and helpful in determining what it is we value, and ultimately why. As you continue to reflect as you face these issues, it’s important to think about they will be part of who you are as a teacher and how will you work toward change: the change you want to see! |
Hourigan, R. M. (2009). The invisible student: Understanding social identity construction within performing ensembles. Music Educators Journal, 34-38.
Serres, D. Think Everything’s “Normal?” Then It’s Time To Reconsider And Promote A New Narrative Of Disability. Retrieved from http://organizingchange.org/think-everythings-normal-then-its-time-to-reconsider-and-promote-a-new-narrative-of-disability/ Reading both Hourigan’s and Serres work’s I came to realize how isolation within the classroom can happen without even meaning to do it. Serres speaks more of how normalcy will make it appears there is a “normal” that everyone one should be. Serres goes on to further say how in the education systems how students are sent on the school-to-prison pathway. This way of seeing how children such as Jason who was mentioned in Hourigan’s work, might have been on the path to prison if they did not realize how the social hierarchy was treating students such as him since they were not one to fit in. When further reading in Serres work he talks of how punishment is the main reason as to why this path is an option to these students. Serres recommends how the punishment method for these students who are treated differently because they are not in the standards of “normal” so that the path is taken out. These students are treated differently as soon as their disability is discovered so Serres also recommends how we should give school more resources to aid in the disabilities and not just slap them into special education with which I totally agree with. If I could speak to Serres I would talk to him with my experience of being the odd ball due to my intense lisp I had to be taken somewhere else to learn English and how to pronounce the words and most though it was because I wasn’t a Canadian even though I was born here and how it made me feel outcasted from most of the groups that I would have preferred to be apart of. Reading Serres’ article it truly resonated with me The same goes for Hourigan’s, his case of Jason made me discover some similarities with my experience in the education system, not particularly with music ensembles but of having that social awkwardness and having other students think differently of me due to it. In Hourigan’s work, it goes into what an invisible student is and how you might not be able to see it at first if they do not have a disability that is noticeable. For example, Jason was a student without a disability he was just socially awkward and because of this he fell into the gap of not being able to fit into the groups or social circles that there would be at school especially in the ensembles he was in. Both the articles leaned heavily on social identity and when it comes to music education social identity is a very much needed requirement for how the music conveys to you and how will you get that across and in an ensemble format you all need to agree on what it means and what are the means to convey the message. Therefore, one of the recommendations that I agree heavily on is a positive atmosphere to help students like Jason be able to feel more comfortable as well as make the other students more comfortable to talk to one another freely with no “invisible students”. If I had the chance to speak to Hourigan I would want to hear more of what they tried to do to help students like Jason be able to fit in and what else, we can try to implement to help. |
Comments to my Response
Thank you for your thoughtful response. I think your point about social identity about facilitating environments that value everyone inclusively is very important, and one with which these authors would agree. However, I just want to point out that “Jason” is not just lacking social skills and absent any disability as you wrote. You’ll see on the first page when you re-read this that Jason “suffered from traumatic brain injury syndrome.” Does that change any of your reading or your thoughts about Jason, his teacher, or his classmates? Are his needs any different knowing that? What do you think Serres would say?
Thank you for your thoughtful response. I think your point about social identity about facilitating environments that value everyone inclusively is very important, and one with which these authors would agree. However, I just want to point out that “Jason” is not just lacking social skills and absent any disability as you wrote. You’ll see on the first page when you re-read this that Jason “suffered from traumatic brain injury syndrome.” Does that change any of your reading or your thoughts about Jason, his teacher, or his classmates? Are his needs any different knowing that? What do you think Serres would say?
Williams, D. A. (2014). Another Perspective The iPad Is a REAL Musical Instrument. Music Educators Journal, 101 (1), 93-98.
In the journal by Williams he made quite a few arguments defending how the iPad is a musical instrument and the approaches his ensemble, touch, and the students use the iPad for learning in and music making. Within the journal he went on to talk about 6 attributes that an instrument have and while most of them were correct one of the attributes bothered me. Williams states that an iPad is unable to make music without a person touching it and the same goes with the oboe, however if I touched the iPad once it can go into a mode where it just continues to play music without me touching it unlike the oboe, Williams implying that to the both instruments bothered me a bit. However, most of what he said was true with the iPad not being seen as a device for music making and I am happy to see that he is trying to break the ceiling that the curriculum of the elements has put there to stop him and others to try and modernize the music education methods. One thing Williams said that interested me was the idea of that they do not have sheet music to read off of since there is no one composing specifically for the iPad so what they must do is listen to the music aurally that has already been created and they try to perform it by ear. That intrigues me because I have never personally used an iPad to make music so I am wondering how one would know what note is being played within the song if you are starting off as a beginner, this would be something I would want to ask Williams. Another ability this group has is the ability to compose within an hour or so using their iPads. They just start with an idea and then from there they all contribute this reminds me of the Maud Hickey compositional workshop I sat through and how Maud said that she uses technology to help students compose even with no background training in music whatsoever they are able to do it just like the touch ensemble can. This article interested me with the ideas and experiences they have come across however the way the arguments were put together by D. A. Williams bothered me. |
Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99(4), 29-36.
In the article Tobias wrote of having music education work towards a convergence, what he wrote of I could not agree with more. When looking at music education while yes, we need to make sure to still have the tradition and history of music within the classroom we must also adhere to what our students are listening to as well outside of the classroom. What they listen to will depend on what occurs outside of the classroom whether it be recreational or in private studying. Tobias’ thoughts on the new methods of interactivity there is currently with music he brought up the main methods of music making on the web with remixes, arrangements and covers being currently some of the main ones being seen over the web. Using these to encourage students to get into music education is a very well thought out idea since you can show them remixes of Mozart or Beethoven but still having the new styles incorporated into the music. The idea of bringing the old and new together is what I enjoyed most while reading the article for I always love trying to create links with classical music to modern day style of music. I especially enjoy these styles when it is done well and even put into another style such as sampling. Returning to the article one thing that I did never consider and what Tobias brought up was the fact of copyright laws and how it will affect the creative process that will happen when students will try to share their creations using music that is copyrighted. Having a dialogue, I believe will be the best way to have an equal level of understanding of this type of music creating process. While there are music that artists and composers will create and let their audience do their own inventions with their music is a cool concept and I feel as though most content creators should do so that the creative process will always continue. When looking back at the article I can agree with the article Tobias’ has written and I can agree from firsthand experience that doing these types of music creating will help involve ourselves into music education. |
Comments to my Response
Thank you for your thoughtful response. It’s great to see how you engage with something you find both interesting and frustrating. I think your point about the ipad being capable of continuing to play music even after a person is no longer touching it extends. If the purpose is just to produce sound an ipad may achieve that, but if some continued effort needs to be exerted you might be onto something Williams hasn’t addressed! I think when being used to trigger samples like you’re referring to, there’s also an issue of creativity at stake. Is a performer being creative when playing back material curated for them by garage band? Maybe this is like sampling or collage, but are we asking students to think like that? Perhaps worth a deeper look!
Thank you for your thoughtful response. It’s great to see how you engage with something you find both interesting and frustrating. I think your point about the ipad being capable of continuing to play music even after a person is no longer touching it extends. If the purpose is just to produce sound an ipad may achieve that, but if some continued effort needs to be exerted you might be onto something Williams hasn’t addressed! I think when being used to trigger samples like you’re referring to, there’s also an issue of creativity at stake. Is a performer being creative when playing back material curated for them by garage band? Maybe this is like sampling or collage, but are we asking students to think like that? Perhaps worth a deeper look!
Workshop Reflection
On Saturday March 10th Dr. Chris Cayari came to Western to do a workshop with us on music education using electronic devices such as iPads or cell phones. When sitting through his lecture what the points he made interested me to want to know more on subject and even try it out to apply what he said to real life. Dr. Cayari explained how watching ukulele videos seemed to make the performance of a ukulele was more amazing and able to learn from it through a media platform like YouTube. From that point Dr.Cayari started to look at implementing technology and sound edits to his class room for music education because music and media such as that is become one huge outcome presently in the music society. He showed the assignments he asked his students to do such as make a music video and how they all took their own creative ideas and applied it, there were no specifics on what had to be done just a broad open-ended question. After the lecture and presentation of most of Dr.Cayari’s experiments with not only his music education students but elementary education students as well we lead into trying out the experiment themselves. For the rest of the workshop we were given iPads and we had follow Dr.Cayari on using the apps to make music and we would do it in groups for a collaborative experience. One of the apps that I and my partner were enjoying to use was starmaker because the songs were already there but we would have to sing it and then either add an effect we enjoyed to our voices and or an effect over the video if we took one. Another enjoyable app was Acapella. For Acapella we were asked to do a round and I believe that trying to figure out what song we should do for a round was an enjoyable creative experience. What I think of the workshop is that electronic devices used for music education will increase the creativity in students and overall enjoyment but I wish I had asked Dr.Cayari how does he stream from the experiments to say music theory or history? Does Dr.Cayari try to find a connection or does he the iPads as a sort of activity to immerse his students? I did thoroughly enjoy however the workshop and it has given me ideas on technology within music education.
Teacher Interview
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Student Interviews
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Student And Teacher Perspectives
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