<The attached video was shared with me weeks ago, yet I’m still stuck on it. This musician knows Phish’s style so well that he has mad virtuoso skillz when it comes to real-time analysis of form, pitch collections, and styles. I especially love his clear delight in nuances, evident in font size, underscoring, and use of caps. I would love for my students to develop that kind of delight in the pitch, collection, rhythms, meters, timbres, and gestures of music that they invest in. Continue reading
I have long nurtured my interest of incorporating outside-my-canon musics into my pedagogies. In four short days, I’ll be headed to the other side of the world to participate first-hand in a lot of different musical practices from Indonesia. I have some experience with gamelan, but the rest of these art forms will be new to me. While the musical aspect is only one of three foci for the trip, I am totally stoked to experience new musics because it always gives a boost to my creativity in teaching and love of music.
The trip is a Winter Term trip (2 professors, 10 students) called “Music, Islam, and Disasters in Indonesia.” We will travel via Dubai and Jakarta to Banda Aceh to start our 21-day adventure. While I know that every aspect of this trip will impact my life and the way I view the world, I am particularly excited about the musical aspects and their potential impact on my teaching. Continue reading
I’m getting super excited about re-entering the classroom after a semester away. This fall, I get to teach an old class in new ways: Music Theory 1. I last taught this class a lifetime ago: 2003(!!!!). I surely won’t teach it the same way in 2013. I’m extra excited about this class because it is the “intensive” class. Essentially, we identify the 18 students with the least amount of music theory preparation and put them in this four-day-a-week class. Historic tracking shows that they do marvelously in the next three semesters (when they are “mainstreamed” into a standard three-day-a-week schedule). The class spends considerably more time on fundamentals than the other seven sections of music theory 1, yet reaches the same ending point content-wise as those other sections. I think the students thrive in future semesters for two reasons: (1) they work hard, and (2) they had a great teacher for theory 1. Of course, this makes me completely nervous, too… I have big shoes to fill! Continue reading
So, it’s time to really model what I believe in. I’ve been invited to come do a 2.5-hour lecture/workshop at my friend and colleague Jena’s pedagogy class. I’ve thought carefully about what I want to do and feel that it is essential to model as many of my most passionately-held beliefs as possible. On the top of my mind is transparency, movement, honesty, risk-taking, and reflection. Here’s some of the decisions I’ve made: Continue reading
My friend Sarah recommended The Journal of Engineering Education to me as a really solid and totally awesome source of pedagogy research. So, I went and looked at the most recent issue (October 2012) and picked the article that called to me the strongest: “The Informed Design Teaching and Learning Matrix.” Authored by David P. Crismond (CUNY, City College) and Robin S. Adams (Purdue University), it is a huge article (40 large pages of single-spaced prose before the 20 pages of citations), incredibly well-grounded in previous research, and meticulously written/organized. It inspired many ideas for my classrooms and I was regularly amazed by the universality a lot of what they recommend: it applies to my own learning, parenting, classroom teaching, one-on-one teaching, mentoring, and probably a number of other things I’m forgetting at the moment.
These authors are focused on how engineering design is taught and learned. By design, they refer to the process of creating an object/solution (such as a parachute) according to given parameters. They present their findings as a matrix (table) that “contains nine engineering design strategies and associated patterns that contrast beginning versus informed design behaviors, with links to learning goals and instructional approaches that aim to support students in developing their engineering design abilities.” (p. 738) This sounds intimidating, but it is very cool. The bulk of the article and –for me– the most thought-provoking is the section “Unpacking the Matrix.” Each of the nine patterns is discussed in two sub-sections: a summary/description and teaching strategies. What a goldmine! Here are three of my three favorite “ah ha!” moments. I have organized them from the most general to the most specific, in terms of “field of study.” Continue reading
Sounds kind of silly, but I have a little ritual for closing up my semester. I clean out my course binder of extra photocopies, remove stuff from previous semesters that I didn’t use this semester and can’t imagine using in future semester, write a course reflection, insert reflection into the front of the binder, and put away the binder.
Even though I’m exhausted, I think it’s important to do the course reflection NOW while the semester’s experience is still fresh. Here’s how I go about it: Continue reading
We made it to the end! Yesterday was the Module 1 written exam. It’s a small 30-minute exam worth 5% of their semester’s grade. I use it to assess the processing of music they hear into some kind of notation. Since we have spent a good deal of in-class time on harmonic function, I made sure to assess this skill. I found a pretty good example that used ^6 in the bass, a Cadential six-four, and a strong T-P-D progression: “The Shire” theme (Howard Shore) from the Lord of the Rings. The students’ work in this area revealed a lot about how this aspect of the class went.
This 3-5 minute activity is the final one in a class whose subtext was “feeling the cadential six-four.” It also had a really nice connection with my students’ prepared singing (Purcell, “Dido’s Lament”). I didn’t get this post written before class, so here’s an overview of how it went and aspects I could tweak for next time. Continue reading
I’m exhausted. We’re at that point in the semester where it seems like it will never end. And, owing to a quirk of the solar calendar, there are THREE weeks of teaching after Thanksgiving instead of the traditional two. I find myself worried about keeping an appropriate level of energy and excitement in my classes.
One of the weirdest things about earning tenure is that, suddenly, your teaching isn’t critically observed any more. It’s been three years since someone has visited my classroom with the intent to help me evaluate my own teaching (I have had many guests there to observe my so-called “good” teaching, but–for obvious reasons to do with experience and power structures–they rarely offer feedback on what they saw). I invited my long-time mentor and friend to come in last week to give me his outsider’s perspective on two things: (1) how high or low I am setting the bar in my class, and (2) strategies for raising it. Here’s what he thought and what we talked about over lunch after class. Continue reading
This week, my upper division class had our second session in the museum. I wrote about the planning and my hopes here. I’m not surprised to report that we learned, but not necessarily what I thought we would learn.
The class time went as planned, and the students had done a great job engaging with the digital image of their assigned self-portrait. We didn’t have time to wrap up at the museum, but used about half of today’s class to talk about the effectiveness of the exercise, what we actually took from it, ways to tweak it next time, and ideas for our final visit. Continue reading