In chapter one I think what I really liked about this is the approach to new genres in the examination. Students don't always want to listen to classical music but often are forced to participate in ensembles and listen to ONLY this kind of music. I'm not saying that I don't approve of it but I am saying that if we want to teach students about music why are we covering music that isn't even very relevant to their everyday life. If a large chunk of your class listens to bossa nova music, I would love to see students engaged in listenings and observations and performances involving this kind of music. These are the steps we need to think about when engaging students. In chapter two we discuss the processes of group learning. I am going to use the example of students who want to perform together, they take time to think about their organization of what a band is. Why do they do that, and where did they get these ideas? It's from opportunities to be engaged in situations where the student is almost imitating a professional band. These can be good ways for students to develop shared goals so they can understand what they want from each other in the group. A challenge we can run into in situations with this is students not wanting to play specific parts and being used as a “placeholder” for a part. This overlaps a lot of what I got from chapter three with the understandings of the harmonic structure of the tunes they like. I would encourage the students to not only look at instrumentation but take time to look at the music as a whole for their particular taste, form, and ability.
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Through my reading, some topics I would like to bring up that made me think as I was reading. What ways can we engage the students in class with listening to music. We often have the students sit down and listen to music, however we need to think about our active engagement in the classroom. What kind of things do we do while listening to music? We dance, we tap our foot, sometimes we even exercise, this makes it part of the experience. So I believe this is an important part when talking about music in the classroom, I would like to have the students in my classrooms become more active when we listen weather it may be passing a ball or dancing. It is also important to involve the student in the selection process for the rep, students who are involved in this decision feel more engaged in the music making processes automatically. We also talked about students expressing their actual feelings for particular genres of music in the classroom free of picking what's “popular” just to fit in. first the students can take time to analyse music in their class that they would like to learn more about, taking time to identify not the chord progression even but something as simple as the form. We also discuss the personal particular meaning of different musical phrases in the world. These can be related to a TV show or maybe related to something in our culture. All covered in class first must have some sort of positive meaning in the student's life, this is important because without original meaning or thought, the students will have nothing to build off of except for what happens in class by itself, this would be limiting to the classroom and not challenging the student to develop a personal enough musical experience. Students need music in the classroom that has influenced their life in some positive way.
The points that stuck to me a lot through this reading were the emphasis on students learning without you actually being there. We saw how the two students influenced one another, and it mentioned in this that there was no teacher present, however I would like to make the argument that they were each others teachers in these situations. This experience allows for so much more to happen “in the classroom”. These students are as it describes in the book bridging the gap between one another's differences in music.
When watching a video In my beginning methods music education class, we were comparing two classrooms. One classroom had organization and students who were interested and engaged, the other had the complete opposite. We talked about things that can cause a classroom to turn out like the second one, and I think it is well exemplified in the first example in the book. The students are learning music they want to learn, they are doing it how they want to do it, they don't feel like they are in a class or are preparing for an assessment. Students who are doing all of the following would have the maximum potential for success and to be engaged in class. However, meeting goals and VA standards. We need to keep in mind what these students should be able to do by the end of this class, a lot of the time we use the SOLs to determine the path of which we would teach, but what we could do is redo it so its meeting these standards of learning but it is engaging material that will best interest the students for a curriculum for example, 5.2 The student will sing a varied repertoire of songs alone and with others, including. Who says the students can't sing “Stayin Alive” by the Bee Gees. I think we choose to give students classical rep to perform for things like these because WE are scared of change, we need to be more open to adaptation of the music in the classroom. |
Brandon RhinehartHere I will be posting reflective essays and philosophical documents and other assignments Archives
December 2019
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