Recital Information:
Saturday, January 14, 2023 at 4:30pm Eastern
Edward Johnson Building (80 Queens Park) - Walter Hall
Thank you for wearing your mask!
Livestream Link:
https://www.youtube.com/channel/UCBnHY202HRB2FXXG9rNY9gQ/featured
Introduction
Why teach arranging?
Popular music
Value to youth: self-identity and peer connection (North et al., 2000; Walker, 2005).
Mood regulation (Batt-Rawden & DeNora, 2005; Saarikallio & Erkkilä, 2007; ter Bogt et al., 2017).
Student-centered education
Student choice and motivation (Green, 2008).
Culturally sustaining teaching (Buffington & Day, 2018; Gay, 2018; Paris, 2012).
Research sources
Dissertation project
Arrangements on today’s program
Personal experience
Positionality
Formal classical education
Informal autodidacticism and community engagement
Pedagogical training
Pedagogical Reference Frameworks
Classical (Burwell, 2021; Green, 2001; Rosenshine, 2008)
Teacher-chosen repertoire
Notated
Systematic
Authoritative discourse
Informal Music Learning (Green, 2008)
Student-chosen repertoire
Aural learning
Learning alongside peers
Non-differentiated
Holistic
Democratic (Allsup, 2008; Freire, 2000)
Dialogue
Shared decision making
Critical thinking
Collaborative Teaching
Characteristics
Prioritizes the student’s voice
Incorporates elements of systematic instruction
Strategies
Introduce early
Start small
Provide options
Flexibility
Performance opportunities (solo, track, ensemble)
Learning modalities (chords, melody, full)
Selection Criteria:
Does it sound good in the proposed format?
How many new concepts are introduced?
How much does the student love it?
Learning Modality #1: Outside-In
Play as written
Edit beforehand
Edit together
Learning Modality #2: Inside-Out
Start with a skeleton
Amplify together
Know Your Music
Cultural Context
What is my relationship to this music and its community?
Who is benefitting?
What is its performance practice?
Have I checked with culture-bearers about performance practice?
Resources:
Coryat, S., & Clemens, C. (2018, March 22). Appreciation and appropriation outside the classroom. Learning for Justice. https://www.learningforjustice.org/magazine/appreciation-and-appropriation-outside-the-classroom
Morrison, M. D. (2020). Exploring the limits of cultural appropriation in popular music. In I. Brielmaier (Ed.), Culture as Catalyst (pp. 204–209). The Frances Young Tang Teaching Museum at Skidmore College.
Johnson, M. Z. (2015, June 14). What’s wrong with cultural appropriation? These 9 answers reveal its harm. Everyday Feminism. https://everydayfeminism.com/2015/06/cultural-appropriation-wrong/
What makes this piece compelling?
Arranging Techniques
Textures
Accompaniment patterns
Middle voices
Trade voices
Registral changes
Form
Introductions and codas
Motives and modulations
Mood changes
Widmung: Robert Schumann (1810-1856), trans. Franz Liszt (1811-1886)
The Huckster
Children at Play
Night
Seven Pieces on Latvian Folk Songs: Lūcija Garūta (1902-1977)
I Was a Shepherd
At Dawn a Voice Rings
Mouse, Bring Sweet Sleep
Lark, When Will You Invite Me to the Wedding?
You Cuckoo, My Cuckoo
Beyond the Forest, Beyond the Swamp, the Sun Has Already Risen
My Gray Horse is Neighing
Selections from 24 Negro Melodies: Samuel Coleridge-Taylor (1875-1912)
2. The Stones are Very Hard
3. Take Nabandji
6. Warriors’ Song
8. The Bamboula
Selections from 7 Virtuoso Etudes Based on Gershwin Songs: Earl Wild (1915-2010)
4. Embraceable You
6. Oh, Lady Be Good!
7. Fascinating Rhythm
Bibliography
Allsup, R. E. (2003). Mutual learning and democratic action in instrumental music education. Journal of Research in Music Education, 51(1), 24–37. https://doi.org/10.2307/3345646
Batt-Rawden, K., & DeNora, T. (2005). Music and informal learning in everyday life. Music Education Research, 7(3), 289–304. https://doi.org/10.1080/14613800500324507
Buffington, M. L., & Day, J. (2018). Hip hop pedagogy as culturally sustaining pedagogy. Arts, 7(4), Article 4. https://doi.org/10.3390/arts7040097
Burwell, K. (2021). Authoritative discourse in advanced studio lessons. Musicae Scientiae, 25(4), 465–479. https://doi.org/10.1177/1029864919896085
Freire, P. (2000). Pedagogy of the oppressed (30th anniversary ed). Continuum.
Gay, G. (2018). Culturally responsive teaching: Theory, research, and practice. Teachers College Press.
Green, L. (2001). How popular musicians learn: A way ahead for music education. Ashgate.
Green, L. (2008). Music, informal learning and the school: A new classroom pedagogy | Lu (1st ed.). Routledge.
North, A. C., Hargreaves, D. J., & O’Neill, S. A. (2000). The importance of music to adolescents. British Journal of Educational Psychology, 70(2), 255–272. https://doi.org/10.1348/000709900158083
Paris, D. (2012). Culturally sustaining pedagogy: A needed change in stance, terminology, and practice. Educational Researcher, 41(3), 93–97. https://doi.org/10.3102/0013189X12441244
Rosenshine, B. (2008). Systematic instruction. In T. Good (Ed.), 21st Century Education: A Reference Handbook (p. I-235-I–243). SAGE Publications, Inc. https://doi.org/10.4135/9781412964012.n25
Saarikallio, S., & Erkkilä, J. (2007). The role of music in adolescents’ mood regulation. Psychology of Music, 35(1), 88–109. https://doi.org/10.1177/0305735607068889
ter Bogt, T. F. M., Vieno, A., Doornwaard, S. M., Pastore, M., & van den Eijnden, R. J. J. M. (2017). “You’re not alone”: Music as a source of consolation among adolescents and young adults. Psychology of Music, 45(2), 155–171. https://doi.org/10.1177/0305735616650029
Walker, R. (2005). Classical versus pop in music education. Bulletin of the Council for Research in Music Education, 163, 53–60.
Wild, E. (1975). 7 Virtuoso Etudes Based on Gershwin Songs. Rancho Mirage, CA: Michael Rolland Davis Productions ASCAP.