Repositioning ‘The Elements’ - Response
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action Criticism, and Theory for Music Education 12(3): 45-64.
"Repositioning 'The Elements'", by Rose, L. S. and Countryman gave me insight into the many challenges music educators face with the strict regulations placed on the curriculum. By following the curriculum strictly, students suffer - it limits creativity and hinders active learning. Furthermore, some of the most creative and intuitive thinking happens when new techniques or ideas are introduced. Making topics personal and sharing with others is how we think creatively, and is what ultimately shapes us into better students, musicians, and future educators.
Something that frustrated me was the common misconceptions surrounding music courses in high school. The statistics presented were shocking, and quite sad. There is a stereotype that music “isn't cool”, yet most adolescents play at least one instrument or spend most of their days with headphones in listening to their favourite songs.
The way music and music education is presented in schools is quite negative. It is frustrating that people think a career in music is viewed as a “poor life decision” because of the societal standard created. These standards indicate that music will not get you a job. Without a job, you will make no money and have an unhappy, sad life. Although, It is quite the opposite. There is a common misconception that money creates happiness. Being in a career choice you love and are passionate about is greater than any money you will make pursuing a job you despise.
Repertoire in music classes is also very limited. There is no correct list of pieces that should be studied. Often there are great works by lesser known composers. Popular selections are chosen because they are easy to interpret and they have been studied and played many times. Teachers need to understand that we are sick of hearing the same Bach Sonata! Personally, I find outside of the box material much more engaging than the typical pieces associated with classical music. The curriculum needs to change to become more widely approachable. Sticking to one idea of what music should be turns people away from the greatness that is music education. The curriculum should be widened to explore all the different aspects of musical genres and styles, as well as exploring different instruments and techniques so that everyone can find an aspect of music and music making that they enjoy.
Music education programs in high school need to be tailored to all different types of musicians, whether it be sound engineering, classical and orchestral playing, or even jazz. It is frustrating that the lack of funding and interest as well as the concrete closed-minded curriculum is what is holding the new generation of musicians back. It is difficult for teachers to tailor programs to students when they often don’t show interest because of the lack of resources and time available.
I would like to thank the authors for giving insight into the truth behind many education systems. Curriculums shape poor programs and essentially, poor educators. Without the ability to be creative and free, students will become uninterested and therefore funding gets cut from some of the best programs, such as music. A new approach to teaching and possibly derailing from the curriculum could shape a better environment for musicians of all types.
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action Criticism, and Theory for Music Education 12(3): 45-64.
"Repositioning 'The Elements'", by Rose, L. S. and Countryman gave me insight into the many challenges music educators face with the strict regulations placed on the curriculum. By following the curriculum strictly, students suffer - it limits creativity and hinders active learning. Furthermore, some of the most creative and intuitive thinking happens when new techniques or ideas are introduced. Making topics personal and sharing with others is how we think creatively, and is what ultimately shapes us into better students, musicians, and future educators.
Something that frustrated me was the common misconceptions surrounding music courses in high school. The statistics presented were shocking, and quite sad. There is a stereotype that music “isn't cool”, yet most adolescents play at least one instrument or spend most of their days with headphones in listening to their favourite songs.
The way music and music education is presented in schools is quite negative. It is frustrating that people think a career in music is viewed as a “poor life decision” because of the societal standard created. These standards indicate that music will not get you a job. Without a job, you will make no money and have an unhappy, sad life. Although, It is quite the opposite. There is a common misconception that money creates happiness. Being in a career choice you love and are passionate about is greater than any money you will make pursuing a job you despise.
Repertoire in music classes is also very limited. There is no correct list of pieces that should be studied. Often there are great works by lesser known composers. Popular selections are chosen because they are easy to interpret and they have been studied and played many times. Teachers need to understand that we are sick of hearing the same Bach Sonata! Personally, I find outside of the box material much more engaging than the typical pieces associated with classical music. The curriculum needs to change to become more widely approachable. Sticking to one idea of what music should be turns people away from the greatness that is music education. The curriculum should be widened to explore all the different aspects of musical genres and styles, as well as exploring different instruments and techniques so that everyone can find an aspect of music and music making that they enjoy.
Music education programs in high school need to be tailored to all different types of musicians, whether it be sound engineering, classical and orchestral playing, or even jazz. It is frustrating that the lack of funding and interest as well as the concrete closed-minded curriculum is what is holding the new generation of musicians back. It is difficult for teachers to tailor programs to students when they often don’t show interest because of the lack of resources and time available.
I would like to thank the authors for giving insight into the truth behind many education systems. Curriculums shape poor programs and essentially, poor educators. Without the ability to be creative and free, students will become uninterested and therefore funding gets cut from some of the best programs, such as music. A new approach to teaching and possibly derailing from the curriculum could shape a better environment for musicians of all types.
Workshop Reflection
The ‘Ukulele, Kanikapila, and Cultural Responsive Teaching’ workshop presented by Professor Kruse of Case Western Reserve University, was a wonderful experience. Going in, I did not know what to expect, but I was very happy to learn that the audience was combined of undergraduate, graduate students, and even current music educators.
The day was very well organized. There was a set schedule with all the tasks and topics we would over. I liked that there was structure, but it was loosely followed, making it a relaxed setting.
I have played ukulele before, but I do not have much experience. We started out slow which gave everyone the opportunity to get used to the ukulele we chose Professor Kruse made a good point that by covering the basics, more advanced people get to practice what they already know, whereas people who do not know what they're doing get to take it slow and make sure they’re learning.
Professor Kruse took various approaches at letting us become comfortable with the ukulele which was very helpful since everyone in the workshop was at different levels. He began with enlarging a chord and the hand position on the projector and let us strum on the chord for a while. We then learned other chords and started on strumming patterns. Even though some of us hadn’t played the ukulele before, the visulas were very easy to understand as musicians. He then pulled up some youtube videos where we got to follow along with chords and it was a lot of fun to play. Singing was also encouraged and it was a very freeing experience.
I was quite nervous to be writing songs. I am no songwriter myself, so I was interested to see how it would go. We were encouraged to work with people of different experience levels than us, such as current music educators, so we could see their perspective and even ask them questions. It was nice getting to see different perspectives as well as collaborate and be creative as a group. Despite the different levels of experience, my group worked really well together and had a very fun time creating our song.
Professor Kruse did a wonderful job at keeping us engaged. I hadn’t even realized the workshop was over, it flew by so quickly! I hope we get another opportunity to participate in a workshop like this again.
Formal, Informal and Non-Formal Learning
Formal Learning - a traditional classroom setting where the teachers follows a set curriculum. It has structure and is a controlled environment. It possibly isn’t a style designed to best fit every type of student because of the structure. In a future teaching context, I would use the structure to be organized but i would use different approaches or steer away from the set curriculum to make it an enjoyable and engaging setting for all types of learners.
Informal Learning - not necessarily in a classroom setting with a teacher, but an environment where the student is the main focus, as well as the fact that the student drives their own learning. They turn to others for help, but the student is pushed to be independent. In a future classroom setting, I would present activities where the goal is for the student to figure out the purpose of an activity by them trying things out on their own. It is important for students to be dependent so they can think for themselves, as well as have an opinion - not just what the teacher is reciprocating.
Non-Formal Learning -learning happens upon collaboration. A casual setting, perhaps like a private lesson where learning is ongoing but may not always be noticed. I participate in this type of learning with my studio teacher, as well as I apply it in my job of coaching figure skating. It is a good approach to engage with students and make learning fun in a non-traditional way.
Formal Learning - a traditional classroom setting where the teachers follows a set curriculum. It has structure and is a controlled environment. It possibly isn’t a style designed to best fit every type of student because of the structure. In a future teaching context, I would use the structure to be organized but i would use different approaches or steer away from the set curriculum to make it an enjoyable and engaging setting for all types of learners.
Informal Learning - not necessarily in a classroom setting with a teacher, but an environment where the student is the main focus, as well as the fact that the student drives their own learning. They turn to others for help, but the student is pushed to be independent. In a future classroom setting, I would present activities where the goal is for the student to figure out the purpose of an activity by them trying things out on their own. It is important for students to be dependent so they can think for themselves, as well as have an opinion - not just what the teacher is reciprocating.
Non-Formal Learning -learning happens upon collaboration. A casual setting, perhaps like a private lesson where learning is ongoing but may not always be noticed. I participate in this type of learning with my studio teacher, as well as I apply it in my job of coaching figure skating. It is a good approach to engage with students and make learning fun in a non-traditional way.
Isolation in studio music teaching: The secret garden
Burwell, K., Carey, G., & Bennett, D. (2017). Isolation in studio music teaching: The secret garden. Arts and Humanities in Higher Education, 1474022217736581
“Isolation in Studio music teaching: The Secret Garden,” by Burwell, Carey and Bennett presented the positive and negative angles of studio teaching. It was interesting to compare what the article was suggesting in contrast with the engaging presentation by Professor Chiles. Prior to reading this article, I assumed that it would present the idea of how beneficial studio teaching is. In my experience I believe this is true, although the statements being made in the reading that certain issues can arise in this setting were very eye opening and made me rethink the idea of studio teaching.
An interesting remark that I found interesting was, “This might be related to a hierarchical structure in studio practices, with authority strongly invested in the teacher” I don't believe that this statement is true. My lessons at Western as well as at home are always a comfortable and collaborative environment. I never feel as if my instructor is condescending or uses a tone to make me feel bad about my playing. I have experienced settings where collaboration is key and I find that a lot of productive work comes out of that. Something that worked very well in my lessons is keeping a notebook full of expectations to be met for every lesson to make sure I am improving. It helps both me and my instructor see what needs to be worked on to have a successful session. If both the instructor and student set expectations on what to improve on, goals will be met in an enjoyable setting.
An issue that Professor Chiles brought up was that a student can get used to a certain style of teaching when staying in the same studio. There comes a point where there isn’t anything else you can learn from a specific teacher. Different settings and teaching styles help to create a well rounded musician. In some instances, I do not agree with this. I have had the same piano teacher since I started, and I still find myself learning new things every lesson. That being said, I have experienced some teachers where I was not enjoying what I was being taught and after a while, I found myself being disengaged with what was being taught from my instructor. It strongly depends on the relationship formed with your teacher and if you are giving as much effort as they are. I was told by multiple teachers that during my studies at Western, I should spend two years with one studio teacher and two years with another to get the best perspectives and feedback so I can improve my musicianship.
Professor Chiles’ love of teaching was very evident throughout his presentation and it was clear that he had a true passion for studio teaching. This can relate to the secret garden approach where, “In the novel, the garden becomes a metaphor for transformative and even therapeutic processes.” This is an amazing analogy. Studio teaching should not be a constant struggle to find a balance between the teacher and student. Collaboration in this isolated state can produce excellent results. It is truly dependant on the dynamics between teacher and student.
As a potential future educator, I think it was very valuable to hear what Professor Chiles had to say in contrast with the difficulties being presented in the article. I thoroughly enjoyed both perspectives and I think it gave me great insight into studio teaching and the things I have to keep in mind to have a successful teacher.
“Isolation in Studio music teaching: The Secret Garden,” by Burwell, Carey and Bennett presented the positive and negative angles of studio teaching. It was interesting to compare what the article was suggesting in contrast with the engaging presentation by Professor Chiles. Prior to reading this article, I assumed that it would present the idea of how beneficial studio teaching is. In my experience I believe this is true, although the statements being made in the reading that certain issues can arise in this setting were very eye opening and made me rethink the idea of studio teaching.
An interesting remark that I found interesting was, “This might be related to a hierarchical structure in studio practices, with authority strongly invested in the teacher” I don't believe that this statement is true. My lessons at Western as well as at home are always a comfortable and collaborative environment. I never feel as if my instructor is condescending or uses a tone to make me feel bad about my playing. I have experienced settings where collaboration is key and I find that a lot of productive work comes out of that. Something that worked very well in my lessons is keeping a notebook full of expectations to be met for every lesson to make sure I am improving. It helps both me and my instructor see what needs to be worked on to have a successful session. If both the instructor and student set expectations on what to improve on, goals will be met in an enjoyable setting.
An issue that Professor Chiles brought up was that a student can get used to a certain style of teaching when staying in the same studio. There comes a point where there isn’t anything else you can learn from a specific teacher. Different settings and teaching styles help to create a well rounded musician. In some instances, I do not agree with this. I have had the same piano teacher since I started, and I still find myself learning new things every lesson. That being said, I have experienced some teachers where I was not enjoying what I was being taught and after a while, I found myself being disengaged with what was being taught from my instructor. It strongly depends on the relationship formed with your teacher and if you are giving as much effort as they are. I was told by multiple teachers that during my studies at Western, I should spend two years with one studio teacher and two years with another to get the best perspectives and feedback so I can improve my musicianship.
Professor Chiles’ love of teaching was very evident throughout his presentation and it was clear that he had a true passion for studio teaching. This can relate to the secret garden approach where, “In the novel, the garden becomes a metaphor for transformative and even therapeutic processes.” This is an amazing analogy. Studio teaching should not be a constant struggle to find a balance between the teacher and student. Collaboration in this isolated state can produce excellent results. It is truly dependant on the dynamics between teacher and student.
As a potential future educator, I think it was very valuable to hear what Professor Chiles had to say in contrast with the difficulties being presented in the article. I thoroughly enjoyed both perspectives and I think it gave me great insight into studio teaching and the things I have to keep in mind to have a successful teacher.
Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture
Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99 (4), 29-36
What is the music educator's role when students engage with participatory culture?
The music educator’s role when students engage with participatory culture is to take a step back and let students explore. This doesn’t mean letting children do whatever they want, but giving them loose guidelines to get them thinking about ways in which they can bring their own personality and ideas into these types of music. It is important that kids are having fun while learning. This can be difficult because kids might feel self conscious about their work if it is personal, so it is important to create a safe space for sharing. Although this is not a traditional way of teaching or learning, it gives children the chance to be creative and to create beautiful art.
What aspects of our programs are we willing to change in order to more closely reflect participatory culture in our classrooms and ensembles?
Firstly, I think there needs to be a balance of formal and informal learning. Certain classes a week, or certain units could be directed differently to give students a chance to learn the foundation of music while getting to be creative. There needs to be more exposure to technology and music because I think it would inspire a lot more people to become involved with music. This could mean bringing ipads into the classroom, or computers that have mixing software. Furthermore, I think there should be a focus on the keyboard or guitar to allow students to be able to create their own personal songs or cover others. It could also mean teachers bring in guests to speak about all aspects of music to get students more engaged and aware with participatory culture. There is always hesitation for change, but I think the incorporation of contemporary musical practices in music classrooms could really benefit the next generation of musicians.