Wednesday, April 9, 2008
Wednesday, April 2, 2008
Chapter 1: MC (part 1)
1. Audiation is not necessarily related to:
A. earning a high grade in music history or music theory.
B. earning a high score on a valid music aptitude test.
C. developing music performance skills.
D. philosophy of music learning theory.
Answer: A--Comment: If music history is taught as learning composer' birth and death dates, personal histories, opus numbers of compositions, and so on, and if music theory is taught as learning interval names, definitions of key signatures and measure signatures, part-writing rules, and son on, students could achieve high levels regardless of how well they audiate. However, to do well on a music aptitude test, perform well, and understand music learning theory, not only intellectually but musically, requires audiation.
2. The difference between imitation and rote learning is the:
A. former is thoughtless memorization.
B. former requires audiation.
C. latter can be only immediate, never delayed.
D. latter is similar to, if not the same as, thoughtless memorization.
Answer: D--Comment: When a song is learned by rote, students are not aware of its intrinsic meaning, such as its tonality or meter. The only thinking involved is to do what they ar told Imitation requires more thought, but students still may not be aware of the intrinsic dimensions of a song they are learning. Of course, it is possible, and preferable, for students to audiate what they are imitating.
3. Which is correct? There is no difference between:
A. imitation and audiation
B. audiation and inner hearing.
C. imitation and inner hearing.
D. audiation and aural perception.
Answer: C--Comment: Students can imitate without understanding. Aural perception occurs when the listener hears sound. Audiation occurs when the listener hears and organizes sound into a coherent music context to produce understanding after sound is no longer physically present, or for music for which sound may never have been physically present.
4. Which is correct?
A. The words 'memory' and 'memorization' mean the same thing.
B. Recall is the basis of music aptitude.
C. Memorization is the basis of typical formal music achievement.
D. Both recall and memorization require audiation.
Answer: C--Comment: Memory, in terms of recall, is integral to audiation, but memorization is not. However, one can recall without audiating, and the need to memorize precludes audiation.
5. Whihc two series of sequences match each other?
A. Music-Performance-Audiation/Language-Speech-Thought
B. Music-Performance-Audiation/Thought-Speech-Language
C. Music-Performance-Audiation/ Language-Thought-Speech
D. Language-Speech-Thought/ Music-Audiation-Performance
Answer: A--Comment: Music and language are the result of the need to communicate. Performance and speech are the vehicles by which communication takes place. Audiation and thought are the content of what is communicated.
A. earning a high grade in music history or music theory.
B. earning a high score on a valid music aptitude test.
C. developing music performance skills.
D. philosophy of music learning theory.
Answer: A--Comment: If music history is taught as learning composer' birth and death dates, personal histories, opus numbers of compositions, and so on, and if music theory is taught as learning interval names, definitions of key signatures and measure signatures, part-writing rules, and son on, students could achieve high levels regardless of how well they audiate. However, to do well on a music aptitude test, perform well, and understand music learning theory, not only intellectually but musically, requires audiation.
2. The difference between imitation and rote learning is the:
A. former is thoughtless memorization.
B. former requires audiation.
C. latter can be only immediate, never delayed.
D. latter is similar to, if not the same as, thoughtless memorization.
Answer: D--Comment: When a song is learned by rote, students are not aware of its intrinsic meaning, such as its tonality or meter. The only thinking involved is to do what they ar told Imitation requires more thought, but students still may not be aware of the intrinsic dimensions of a song they are learning. Of course, it is possible, and preferable, for students to audiate what they are imitating.
3. Which is correct? There is no difference between:
A. imitation and audiation
B. audiation and inner hearing.
C. imitation and inner hearing.
D. audiation and aural perception.
Answer: C--Comment: Students can imitate without understanding. Aural perception occurs when the listener hears sound. Audiation occurs when the listener hears and organizes sound into a coherent music context to produce understanding after sound is no longer physically present, or for music for which sound may never have been physically present.
4. Which is correct?
A. The words 'memory' and 'memorization' mean the same thing.
B. Recall is the basis of music aptitude.
C. Memorization is the basis of typical formal music achievement.
D. Both recall and memorization require audiation.
Answer: C--Comment: Memory, in terms of recall, is integral to audiation, but memorization is not. However, one can recall without audiating, and the need to memorize precludes audiation.
5. Whihc two series of sequences match each other?
A. Music-Performance-Audiation/Language-Speech-Thought
B. Music-Performance-Audiation/Thought-Speech-Language
C. Music-Performance-Audiation/ Language-Thought-Speech
D. Language-Speech-Thought/ Music-Audiation-Performance
Answer: A--Comment: Music and language are the result of the need to communicate. Performance and speech are the vehicles by which communication takes place. Audiation and thought are the content of what is communicated.
Audiation: Chapter Summary
Audiation:
1. Audiation occurs when we hear and comprehend music for which sound is not physically present (as in recall), is no longer present (as in listening), or may never have been present (as in creativity and improvisation). Aural perception occurs when we hear sound as it is produced.
2. Audiation is central to music learning theory. It also forms the basis for music aptitudes and music achievement.
3. Learning conditions in music learning theory are ideal when all stages and types of audiation become apart of the audiation process.
4. The ability to audiate is innate. How to audiate is taught.
5. Sound is not music. Sound becomes music though the audiation of context and content.
Audiation is to music what thought is to language:
1. One audiates while listening to, recalling, performing, interpreting, creating, improvising, and reading and writing music notation.
2. Although music is not a language, the process of audiating and giving meaning to music is similar to thinking and giving meaning to language.
3. The words "language," "speech," and "thought" have parallel meanings to "music," "performance," and "audiation."
4. Tonal patterns and rhythm patterns are fundamental to audiation. They include essential and inessential pitches and durations.
Notational audiation:
1. Capable musicians audiate notationally as they read and write music notation. Others decode music notation.
2. Musicians bring meaning to notation. Those who connot audiate attempt to take theoretical meaning from notation.
3. Just as we think and read words in language and not the letters of the alphabet, we audiate and read patterns in music and not individual pitches and durations.
Distinguishing audiation from imitation and memorization:
1. Aural perception, imitation, memory, imagery, and recognition are different from audiation. However, some become part of the audiation process.
2. Imitation, sometimes referred to as inner hearing, and audiation are often confused. However, imitation provides the necessary readiness for audiation.
Clarifying the audiation process:
1. We give meaning to music by audiating context, which includes objectives or subjective tonality and meter.
2. Memory and memorization are not the same.
3. Although some labels used to describe audiation are shared by music theorists, audiation and music theory have little, if anything, in common.
Types of audiation:
1. The eight types of audiation are not sequential, though some serve as readiness for others.
Type 1--Listening to familiar and unfamiliar music.
Type 2--Reading notation of familiar and unfamiliar music.
Type 3--Writing notation of familar and unfamiliar music.
Type 4-Recalling and performing familiar music.
Type 5--Recalling and writing notation of familiar music.
Type 6--Creating and improvising unfamiliar music.
Type 7--Reading notation of unfamiliar music when we are creating or improvising.
Type 8--Writing notation of unfamiliar music when we are creating or improvising.
Stages of Audiation:
1. The six stages of audiation are sequential and occur concurrently, not simultaneously.
Stage 1: We engage in unconscious momentary retention of short series of pitches and durations. Thus, Stage 1 does not strictly reflect audiation.
Stage 2: We consciously and silently imitate all pitches and durations in each series heard in Stage 1. Then, while audiating a tonal center and macrobeats for each series of pitches and durations, we organize them into one or more tonal patterns and rhythm patterns of essential pitches and essential durations.
Stage 3: Through the audiation of tonal and rhythm patterns, we consciously establish the objective or subjective tonality and meter of music.
Stage 4: We consciously retain in audiation patterns of essential pitches and essential durations we have already organized in music.
Stage 5: Stimulated by what we are hearing, we consciously recall patterns of essential pitches and essential durations we have previously organized and audiated in other pieces of music.
Stage 6: Based on what we have been audiating, we predict patterns of esential pitches and essential durations we will be hearing next in music.
2. The first stage of audiation is activated differently in different types of audiation.
1. Audiation occurs when we hear and comprehend music for which sound is not physically present (as in recall), is no longer present (as in listening), or may never have been present (as in creativity and improvisation). Aural perception occurs when we hear sound as it is produced.
2. Audiation is central to music learning theory. It also forms the basis for music aptitudes and music achievement.
3. Learning conditions in music learning theory are ideal when all stages and types of audiation become apart of the audiation process.
4. The ability to audiate is innate. How to audiate is taught.
5. Sound is not music. Sound becomes music though the audiation of context and content.
Audiation is to music what thought is to language:
1. One audiates while listening to, recalling, performing, interpreting, creating, improvising, and reading and writing music notation.
2. Although music is not a language, the process of audiating and giving meaning to music is similar to thinking and giving meaning to language.
3. The words "language," "speech," and "thought" have parallel meanings to "music," "performance," and "audiation."
4. Tonal patterns and rhythm patterns are fundamental to audiation. They include essential and inessential pitches and durations.
Notational audiation:
1. Capable musicians audiate notationally as they read and write music notation. Others decode music notation.
2. Musicians bring meaning to notation. Those who connot audiate attempt to take theoretical meaning from notation.
3. Just as we think and read words in language and not the letters of the alphabet, we audiate and read patterns in music and not individual pitches and durations.
Distinguishing audiation from imitation and memorization:
1. Aural perception, imitation, memory, imagery, and recognition are different from audiation. However, some become part of the audiation process.
2. Imitation, sometimes referred to as inner hearing, and audiation are often confused. However, imitation provides the necessary readiness for audiation.
Clarifying the audiation process:
1. We give meaning to music by audiating context, which includes objectives or subjective tonality and meter.
2. Memory and memorization are not the same.
3. Although some labels used to describe audiation are shared by music theorists, audiation and music theory have little, if anything, in common.
Types of audiation:
1. The eight types of audiation are not sequential, though some serve as readiness for others.
Type 1--Listening to familiar and unfamiliar music.
Type 2--Reading notation of familiar and unfamiliar music.
Type 3--Writing notation of familar and unfamiliar music.
Type 4-Recalling and performing familiar music.
Type 5--Recalling and writing notation of familiar music.
Type 6--Creating and improvising unfamiliar music.
Type 7--Reading notation of unfamiliar music when we are creating or improvising.
Type 8--Writing notation of unfamiliar music when we are creating or improvising.
Stages of Audiation:
1. The six stages of audiation are sequential and occur concurrently, not simultaneously.
Stage 1: We engage in unconscious momentary retention of short series of pitches and durations. Thus, Stage 1 does not strictly reflect audiation.
Stage 2: We consciously and silently imitate all pitches and durations in each series heard in Stage 1. Then, while audiating a tonal center and macrobeats for each series of pitches and durations, we organize them into one or more tonal patterns and rhythm patterns of essential pitches and essential durations.
Stage 3: Through the audiation of tonal and rhythm patterns, we consciously establish the objective or subjective tonality and meter of music.
Stage 4: We consciously retain in audiation patterns of essential pitches and essential durations we have already organized in music.
Stage 5: Stimulated by what we are hearing, we consciously recall patterns of essential pitches and essential durations we have previously organized and audiated in other pieces of music.
Stage 6: Based on what we have been audiating, we predict patterns of esential pitches and essential durations we will be hearing next in music.
2. The first stage of audiation is activated differently in different types of audiation.
Tuesday, April 1, 2008
A few quotes I like...
Just from the preface: Things that excited me! (my own comments are in italics.)
page vii--'In search of simplicity and understanding, the human brain intuitively organizes and categorizes facts into theories' Remember that from Ed. Psych? Assimilation and Accomodation: Our brains first try to assimilate new information into categories we already know. If our brains cannot do that, it then accomodates new information
page viii--'Because course content is organized as part of a sequential program, everything students are learning builds logically from what they have already learned. As a result, students find what they are learning makes sense and can immediately implement acquired knowledge and skills as they performa a variety of types of music.' Of course! We are currently working on sequencing our course content. How very important this work will prove to be!
page ix--'By giving meaning to music, students are able to perform not only great music of others, but also to compose and improvise their own.' Yes! Give meaning! That's exactly what we want to do. What if we taught students in such a way that we purposefully taught understanding of music, not just the mechanics? Wanna talk about seeing students in All-Region/All-State?
Of coures, there was a whole lot more that excited me, but I thought I'd just give you a few things. What excites you?
page vii--'In search of simplicity and understanding, the human brain intuitively organizes and categorizes facts into theories' Remember that from Ed. Psych? Assimilation and Accomodation: Our brains first try to assimilate new information into categories we already know. If our brains cannot do that, it then accomodates new information
page viii--'Because course content is organized as part of a sequential program, everything students are learning builds logically from what they have already learned. As a result, students find what they are learning makes sense and can immediately implement acquired knowledge and skills as they performa a variety of types of music.' Of course! We are currently working on sequencing our course content. How very important this work will prove to be!
page ix--'By giving meaning to music, students are able to perform not only great music of others, but also to compose and improvise their own.' Yes! Give meaning! That's exactly what we want to do. What if we taught students in such a way that we purposefully taught understanding of music, not just the mechanics? Wanna talk about seeing students in All-Region/All-State?
Of coures, there was a whole lot more that excited me, but I thought I'd just give you a few things. What excites you?
Let's start on Thursday...
I hope you've had time to get started on the books. We're actually going to begin with "Learning Sequences in Music" by Gordon. (Felicia, I have yours. I will get it to you tomorrow.) Please read the preface and first chapter for Thursday. I'll first post some MC questions (I purchased the study guide to go with the book.) I'll also post the answers to the questions at the end of the post. The MC questions are meant to be a guide for you and don't necessary require you to respond to the post. (However, if you have something to say, say it.) After that, we'll launch into the discussion questions for the first chapter. I ask that you give your thoughts to each discussion question. I believe the way the questions are asked will solve this problem, but please remember that your responses are not supposed to be an evaluation of the book itself. Whether or not you agree with his theories, we want to take the information presented, allow ourselves adequate time to process it, and then decide what, if any, is useful in our teaching. Another thing: I think this blog thing will work, however, I've never done a discussion group in this way before. We'll figure out what works together.
In other news, this book is very exciting to me. In just the first chapter, it has challenged the way I think about teaching music. Gordon discusses things/ideas that were never discussed in my college years. I love it when my way of thinking is challenegegd. I can't wait to see what you gleen from the text.
In other news, this book is very exciting to me. In just the first chapter, it has challenged the way I think about teaching music. Gordon discusses things/ideas that were never discussed in my college years. I love it when my way of thinking is challenegegd. I can't wait to see what you gleen from the text.
Wednesday, February 27, 2008
Today's meeting...
was great! Continue to review those documents before March. Also, begin thinking about folks songs, instrument families, patriotic stuff, etc. I'll talk with Nancy soon and let you know what she says. By the way, since our meeting, I've been thinking about the orchestra thing. My brain won't stop thinking about how we could make it work. I'll write my thoughts soon.
S.
S.
How we're going to use this site...
Given our limited amount of meeting time, I thought we'd give this a try for discussing our books. This site will allow us to comment on various topics/sections of books and reply to each others posts. The posts will primarily be discussion questions to which you can reply. I will still use email to let you know when various sections of books need to be read, and I will email you letting you know when the discussion questions are posted. You'll need to create an account in order to post, but it's very easy and requires only an email and password. This should be fun! Enjoy!
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