ANNOTATED BIBLIOGRAPHY
Repositioning 'The Elements': How Students Talk about Music
My reflection - Adam Jahanghiri
January 15, 2017.
Rose, L.S., & Countryman, J. (2013). Repositioning 'the elements': How students talk about music. Action, Criticism, and Theory for Music Education12(3): 45-64
This article presents many compelling points about the teaching of "the elements of music" and music education. As a current university music student, I can relate to what the author means by "verbalizable objects" when talking about the "elements of music" and I agree with this statement. Pitch, rhythm, dynamics, texture, harmony, and form are all important examples of verbal and non-verbal music, and are the key musical elements of how a student can recognize a song of their choice and make it pleasing to listen too. With my musical knowledge and understanding of what to listen for in songs, I enjoy looking for vast variety of dynamics and beautiful harmonic structures which all fall under the category of "the elements of music." I also agree with what the author says about the music curriculum that "knowing is different then doing", and that this plays a huge factor in music education today.
What I found very interesting in this article was how music is omnipresent in teenager lives. It affects the teenager's moods, their fashion wear, their language and really takes over the conversations they have with peers. As a teenager I can completely agree with what the author is talking about. During my high school years I realized my behavior changing. I was starting to feel more comfortable in front of the public, and really open with all of my friends and family members. This was due to music, and my music teacher. At the start of every week we would all come together in a circle and talk about how our weekend went, before playing our repertoire. This made us comfortable with each other and eventually improved our playing as a whole. Not only did I make new friends at school, but being a scholarship winner and participant at the National Music Camp, I met many more friends and amazing music teachers.
The thing that frustrates me in this article is the lack of freedom that a music teacher can have with his or her classroom. I feel like teachers are being punished by the "professional pressures that influence their practice." If a teacher wants to perform a song that is closely related to pop culture, then they should be aloud to do so in any festival. With this freedom and choice in music education the percentage of 5.7% of students enrolled in Grade 12 music will rise! The reason this statistic is troubling is due to the fact that the songs these adolescents are listening to are not the same ones that they see in front of them in music class, which effects their mood and mind about music. I think that music schools should be allowed to perform pop songs and many more different genres of songs in festivals, and not be worried about being disqualified.
What really surprised me in this article was "the disconnect between school music and music in the everyday lives of students." I found this surprising because it is true. I have never thought about the feelings I get from classroom repertoire versus 'work out' music, or the adrenaline rush of a pregame song versus a calm relaxing Christmas tune with the orchestra. This shows that music education is often taught with rules and formats where, outside of school, it just happens and the music we choose to listen to is not what somebody has told us to do, but is a thing that we decide is best for how we are feeling at that time. That is why as musicians we tend to keep our personal music to ourselves and not socialize about it in the classroom, which I completely agree with.
What I would like to tell this author is that I believe this article to be true and that all the information noted for "the elements of music" and music education is quite accurate. Being a music student I agree with how there is a difference between us musicians and other people who have not taken music at all in their lives. As well as the music education part where I agree with the way the curriculum is set up, and how teachers need to engage students with the communication about music.
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Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education's Sake
My reflection - Adam Jahanghiri
January 20, 2017.
Dawe, L. (2016). Fumbling Towards Vulnerability: Moving Out of the Familiar for Music Education’s Sake, Canadian Music Educator, (57)2, pp.22-24
Throughout this article Lesley Dawe's idea and key factors about music education really connected with me personally as a learner. I remember the feeling when I was young and had to perform in front of a group of people during the Kiwanis Music Festival. I had no fear because I did not understand judgement, and criticism. As I got older I started to worry about what others were thinking about my performance, and this really affected my perspective on performing in front of others or for people that I know will judge the way I play. This feeling of uneasiness while doing something innovative is something I can truly relate too. I was always taught by an instructor who had a lesson planned for me every time I saw them. This limited my creativity a bit, but if it were not for those lesson plans then neither I or my teacher would have basic knowledge of what we were to do. I can really compare my primary and high school experience with this article, when it talks about being "pushed into a situation" for an audition that Lesley had. There were many times where my teacher would pick a section in my repertoire book that would be very challenging and ask me to perform it right in front of the class at that time. At that moment I felt very uncomfortable and stressed. As a future music educator I believe that a student should be allowed to do what they have practiced and feel comfortable with to perform in front of others. By allowing students to have this freedom, then creativity will make it's presence during the student's performance. I acknowledge what Lesley Dawe is doing with her class, where she is letting her students be creative intellectual individuals. Being comfortable in a music classroom is a very big deal for a music student, because the individual will eventually have to perform a piece of some sort in their future and what better way to start feeling comfortable in front of the public then your music classroom where the music educator has taught his or her students that it is a judgement free classroom, and that we should all be respectful among one another. As a musician I appreciate what my teachers have taught because I now know the basics of performing, but the creative aspect is something that I wish they allowed me to explore. Overall, I would like to tell this author that I agree with what she has said about "moving out of the familiar" for music education. The balance of 'the elements' from the last article and creativity that needs to be explored for students in this article, is what we as music educators need to seek.
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The Invisible Student: Understanding Social Identity Construction Within Performing Ensembles
My reflection - Adam Jahanghiri
January 28, 2017.
Hourigan, R. M. (2009). The invisible student: Understanding social identity construction within performing ensembles. Music Educators Journal, 34-38.
After reading this article, I really appreciated the way Ryan Hourigan expressed "invisible" students, and how we as educators should handle people that are not always going to be outgoing and loud. "Invisible" students include students who are shy, lonely, awkward, students who have special needs, and students who simply keep their emotions to themselves. I completely agree with what Ryan is saying in his "First Day Suggestions" paragraphs. On the first day of school it is the music educator's job to make every student comfortable in his or her classroom. We as educators have to brake down barriers that are separating these "invisible" students with others in the classroom. In high school, my music teacher Imraan Haq made sure everyone knew each other, by making us form a circle on the floor and present three interesting events that happened to our lives, and why we decided to take music instead of drama and art. He made sure that every student in his classroom felt useful, and complacent. As days went on in my music classroom, everyone respected each other, there were no "invisible" students, and no one would judge anybody. Mr. Haq is an example of a fantastic, open-minded teacher.
I also liked that Hourigan said it is our job as music educators to help our students in establishing a social environment. One way we can do this is by introducing events that allows first year music students interact with one another, like a music fair, or class field trip where the students are not only playing instruments with one another, but are doing many other activities that involve interaction, and friendship.
The one thing that surprised me in this article was the fact that the longer a teacher waits to provide a healthy social classroom, the more vulnerable the classmates are to form cliques. The reason this startled me was because, throughout my primary and high school years, I have been a part of such cliques, that I did not know I was being a part of this whole time. I have been in groups where certain individuals were frowned upon if they did not belong within the "self-identified" crowd, and I now know after reading this article that as a future music educator I will have to interact with my students from day one, personally and socially. Like Ryan Hourigan said, talking to your students and having daily conversations with them whether it be about sports, music, or their life tells them that you care.
I would like to ask Ryan Hourigan if he ever felt like an "invisible" student, and if he did, what inspired him to become confident, and successful.
"THE POSITIVE THINKER SEES THE INVISIBLE...FEELS THE INTANGIBLE...AND ACHIEVES THE IMPOSSIBLE"
- Winston Churchill
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Think Everything's "Normal?" Then It's Time To Reconsider And Promote A New Narrative Of Disability
My Reflection - Adam Jahanghiri
January 29, 2017.
Series, D. (2014) Think Everything's "Normal?" Then It's Time To Reconsider And Promote A New Narrative Of Disability. Retrieved January 29, 2017, from http://organizingchange.org/think-everythings-normal-then-its-time-to-reconsider-and-promote-a-new-narrative-of-disability/
The idea of being normal is an ongoing argument in our society. Our first instinct when we see a person that has a disability is that we feel sorry for them. We assume right away that the "disabled" individual is living a "less of a life" then we do, which in turn directly connects to ableism. After reading this article, I firmly agree that speaking about disabilities is not enough. There has to be some action shown, to make an impact in our world.
The thing we do not recognize when we are trying to "fit in", or be the "normal", is that we are simply copying other people who we think are right. Our society has become so insecure about themselves that we now have teen suicides, kidnapping, and vandalism. These are just the few disasters that our world faces. A hundred years ago, people would not care as much as we do today about clothing, food, ethnicity. They only took care of their families, and friends minding there own business. I completely agree with this article where it states that "Human difference is so vast that it's impossible to say there's only one way to act/live/be in this complicated world." When we think like this "ableism" and "sizeism" come to mind, and we start to look at people with impairments differently which makes our minds turn into a judge zone.
What frustrated me in this article was the section talking about charity/government institutions. I was disgusted by the amount of money the government is paying these institutions to keep "disabled" people from living independently. This can really affect an individual's mind, and can turn them even more crazy if they are stuck with people who have no control over themselves. An individual that may have a disability should still be treated the same way as an individual who is "normal" in this society. Just like the article states "There are plenty of ways to live, so it's time to stop focusing on a "normal" life as the only way." Therefore instead of judging people by their appearance, we should accept the fact that everyone is different and each person has their own unique characteristic.
At the end of the day, we are all human beings, with or without disabilities. This role of being "normal" should not have an effect on any one of us, because each person has their own particular life to live, and we should be open to those who do not have as much as others. I fully acknowledge the fact that people with disabilities just want to be treated like normal human beings, and I approve action 16 in this article, where it talks about supporting the disabled community's push for self-determination. It's objective is to allow people with disabilities to live freely, and to come to know their frame at their own pace. No more multibillion dollar programs that keep people with disabilities hostage. Every individual must be treated with equality and respect.
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The Power of Limits and the Pleasure of Games: An Easy and Fun Piano Duo Improvisation
My Reflection - Adam Jahanghiri
March 5, 2017.
Thibeault, M.D. (2012). The power of limits and the pleasure of games: An easy and fun piano duo improvisation. General Music Today, 1048371311435523
Wonderful surprises and creative ideas come from learners that get out of their comfort zone and explore various ideas and approaches to music education. As a future music educator I believe that improvisation is a huge factor for musicians in the classroom. Allowing freedom and expression through improvisation brings out the musicality that every individual has inside them. After reading this article I completely agree with the 'game' bringing willing teachers and students to explore creative aspects of music together.
What I found interesting in the article was the role of the teacher. The way you accept these musical moments really has an affect on the student doing the improvisation performance. I liked how Matthew supports student musicians saying that they should have their own unique musical idea. In my opinion as a future educator, listening to what your students perform is very important. Every person has their own way of playing a particular scale, rhythm or pitch, and our job as teachers is to carefully make suggestions that expand the learners playing ability.
While reading this article, the thing that surprised me the most was how the 'game' brought music students together not just musically but socially. When two people sit at the piano, they have to feel comfortable with who they are sitting beside, and that takes time. Improvising with each other and letting each other know how the harmonies sound, what the rhythm is like and how to play it together, improves the social atmosphere in the classroom. This improvisation game is the key to success in the classroom. It surprised me, because I did not know that students with this freedom of playing what comes to them in a classroom can improve their confidence and performing ability in front of others and turn your whole music lecture into one huge "hands on" social teaching experiment, where every student is a participant, and you as a teacher can grow discussions and conversations with other students who did not yet have a change to play this amazing improvisation game.
I would like to tell the author Matthew Thibeault that I completely agree with how the term "improvisation" is a word that describes creativity, freedom and innovative surprises that redeem "mind-at-play." Creativity contains splitting out of traditional patterns in order to see things in a different perspective, and I believe that this article by Dr. Thibeault truly explored this idea.
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Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture
My Reflection - Adam Jahanghiri
March 12, 2017.
Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99(4), 29-36.
As a future music educator I agree with the points that Evan Tobias explored. It is important to allow music from outside the classroom inside the classroom. In my experience as a learner in a music classroom throughout my high school career, there was one orchestra performance every year around December where we would perform a pop tune in front of the rest of the school. I remember every day leading up to the performance everyone in the classroom were exited about the pop tune so much that we would be in class, sitting in ready position with our instruments on our laps ready to go right at the pop tune, before the teacher walked in the room. That was the highlight every year for four years for us in the orchestra, and I wish that we could have been allowed to play a pop tune at every performance for the school and our parents.
What surprised me in this article was the difference between old and new technology for music. I did not know that older forms of media like the radio and television, are being interpreted through newer media forms like the internet and software. I always assumed that all types of media that could produce sound were the same, and that If people chose to present something musical on the radio, or on the internet then it was their choice to do so. I never really thought of an "older" and "newer" form of musical media. Although as a future educator I like the idea of allowing your students to produce mashups and mixes on "newer" media and present their inventions publically.
What caught my interest in this article were the scenarios that Evan Tobias talks about. Due to the increase in technology, as a future music educator it is very important to be able to learn and demonstrate to your students ways of performing music not just on your instrument, but by using certain websites that allow you to mix and mash different types of instruments together that form an orchestra, band or pop group. We as music educators need to become ethnographers identifying our students' passion. Not only will this help with the student and teacher bond, but by adding these new technologies to the curriculum for music learners, what students hear outside the classroom will be brought inside and be performed by the creative mind of the artist himself/herself that created this musical remix.
I would like to tell Evan Tobias that I agree with all the innovative points in this article. Allowing students to explore new media, and musical websites opens up new types of songs that are familiar to the children and makes an even happier environment in the classroom. If the student is pleased with what he or she has accomplished with their own musical mind, then the connection of musicality towards contemporary society is very close.
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The iPad Is a REAL Musical Instrument
My Reflection - Adam Jahanghiri
March 19, 2017.
Williams, D. A. (2014). Another Perspective The iPad Is a REAL Musical Instrument. Music Educators Journal, 101(1), 93-98.
I appreciate the fact that teachers are seeing technology as another tool of education. With this new generation, technology is a key factor in everyday life. Bringing iPads in school classrooms will not only expand a student's mind, but increase the student's creative aspect of learning what is being taught in the classroom. Most students have cell phones, and laptops, so making them learn how to play certain instruments through these devices can build astonishing creations, which could lead to becoming a member of an ensemble.
Using iPads as a way to help people with special needs is truly amazing. Learning music can be very challenging at times. Worrying about posture , fingerings, and how to hold the instrument properly can be very difficult and time consuming. The iPad is an outstanding solution to these problems. Having the ability to download certain apps that consist of instruments and learning note practices, can improve an individual's musicality. Another brilliant point about having iPads in classrooms, is that it will allow innovative learning throughout the student's social environment. Owning an instrument that takes care of posture and fingerings can help particular individuals become more satisfied and pleased with their educational participation.
The information that surprised me the most in this article were the similarities between the iPad and the oboe. A piece of equipment that provides musical sound is an excellent definition of what a musical instrument is. I never thought of the iPad as a traditional musical instrument, but after reading what Dr. Williams wrote in this article, about how the amount of practice is the same whether you are learning how to play the oboe or the iPad, and how both instruments are "inanimate objects", I now know the importance in the iPad for musical learners.
I would like to ask David A. Williams if he ever had a time where the students would not listen to what he was teaching and were playing games on the iPad or using the iPad for other non-educational purposes. The reason I want to ask him this question is because currently as a university student I see kids with their laptops, and phones out texting, or checking their Facebook, Twitter, Instagram, etc., instead of paying attention to what the professor is talking about. As a future music educator I trust the convenience in technology, but I believe that if we depend too much on the iPads, we will encounter invisibility between student and teacher social roles in the classroom setting.
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Teaching Creatively and Teaching for Creativity
My Reflection - Adam Jahanghiri
April 2, 2017.
Brinkman, D. J. (2010). Teaching creatively and teaching for creativity. Arts Education Policy Review, 111(2), 48-50. doi:10.1080/10632910903455785
Creativity is a huge word that allows students and teachers to explore new ideas in a classroom environment. I enjoyed reading this article because it covered creative teaching and learning strategies which I think as an future music educator is very important to have. I appreciated the "Big C", and "little c" references that David wrote about in this article. Currently as a university music student I can relate to what he is saying about teachers limiting themselves to what top composers have done in their careers referring to "Big C." I have performed in operas, symphonies, bands, and never once was there a time where the maestro would let us experiment the piece and be creative with it, because for the final performance it had to sound exactly the same as the original "Beethoven" or "Mozart" concerto. That is why allowing your students to become creative learners, and experimenters can improve the classroom environment exceedingly.
Using different ways to produce a result is what I think teachers should let their students do. For example, if you are teaching a classroom about how to find the key signature of certain note names, ask the class if anybody might have a creative way of finding these sharps and flats, before you write down what you had in mind. Giving your students a chance to think of a way to solve this problem, will help them understand the lesson even more, and improve their confidence in the topic that is being presented by you at that time. While reading this article I learned that the connection between teacher and student can become very strong once creativity is brought up. Creativity can bring out the social interaction between the student and teacher with ease. That is why I think creative thinking is very important, and I completely agree with what David Brinkman has to say about creativity in this article.
What surprised me the most in this article was the fact that teaching creatively and teaching for creativity are two different things. Teaching creatively is a huge step for teachers in the classroom. Coming up with new ways of teaching certain subjects can be difficult at times, and is why most teachers stick with what the board has told them to do. I personally believe that each teacher is different, and we should all have our own ways of teaching. Giving teachers this freedom of how to express their lessons in particular style, brings out the creativity inside them, which is then passed on to the students that are consuming every detail that the teacher demonstrates. Teaching for creativity on the other hand has a lot to do with the students in the classroom. In this case, future music educators need to allow their students the freedom to try different methods of learning to understand what is being taught in the classroom. As well as conductors allowing their players to express what they think the certain part in a "Beethoven" concerto should sound like. With this positive and innovative connection between learner and teacher in the classroom, their will be no lack of creative thinking and understanding seen in any school or performance environment.
I would like to ask David J. Brinkman if he ever conducted an orchestra. The reason for this question is because each performer in an orchestra has their own unique way of performing the same passage everyone else around them is playing. So as a conductor it is your first instinct to try and make each group sound similar, but as you are doing that the creativity goes away. My question is, how can you keep the creativity of each individual performer while playing a well known concerto or opera. As a current player of the Western University Symphony Orchestra I find that at some parts of performing a long piece, the spark that each performer had in the beginning tends to fade away once we are half way through the piece. Why is that?
This article really opened up my eyes as a future music educator. I will make sure every student that I teach will have the ability to express their creativity to the class. Theory and history lessons will be set up in a creative way so that once it is time for assessments, my learners will be able to produce innovative responses. We are all creative human beings, therefore it is only fair that we share our knowledge with others.
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