Hearing Wang Jianmin 王建民 again
Labels: musical notes
Welcome, this is a blog created to foster peer learning in music analysis beyond the classroom. My students will share their understanding of pieces of music chosen by them on their individual blogs, the links of which are listed in the right-hand column. You are welcome to give your comments if you are so inspired, and we would certainly appreciate your contribution to our music learning. Apart from that, this blog is also my personal music diary to which you are equally welcome to respond.
Labels: musical notes
A student recently drew my attention to Jeffrey Gershman's MBM Times article, "Skimming the Top", in which Gershman critiques the generic and formulaic nature of many recent band works. In a nutshell, his complaints following his six criteria are:
Labels: musical thoughts
Labels: musical thoughts
Chris Bakriges was kind enough to give Xiao Li and I an informl Jazz improv lesson on the last day of IPWMT. Very interesting insights into the mind of a Jazz improviser/teacher:
Labels: musical notes
Wow! The last day is still opening up new dimensions to look at world music theories pedagogies! Pedagogies (plural) indeed!
John Hadja proposed using the psycho-physical notion of 'roughness' (as opposed to the western art-music idea of consonance/dissonance) to look at music across different traditions comparatively.
Brenda continues to problematize common western musical terms such as "cyclic(al)" and "developmental".
The afternoon Khatak workshop was by far the most challenging (and I thought learning to play in a Balinese gamelan the oral-tradition way was challenging enough). The integration of melodic/rhythmic syllable recitation coordinated with hand gestures and dance steps proved most challenging for me as a musician--my ability to maneuvre my four limbs as an organist wasn't sufficient. But, hey, what a great way to teach kids in this very bodily manner: imagine the fun learning rhythms and rhythmic concepts this way! (Maths teachers should be interested too!)
This wraps up a week-long series of very interesting perspectives on how to approach WMTP--from a compositional standpoint; with the aim of initiating students into academic research processes; through the lens of the American General Musicianship movement; recognizing the psycho-physical dimension; and incorporating bodily movements.
Labels: musical notes
Today is even "hotter", but only weather-wise: had a cool session (with Humphreys) improvising with blues and using home-made panpipes. The Americans do it so naturally, it's in their blood!
Labels: musical notes
Today was hot - weather-wise (relative to the first few days) and at the round table discussion!
Labels: musical notes
V. Levine's session on teaching transcription was an eye-opener in terms of the range of learning benefits possible - besides developing aural analysis and dictation skills, students are also challenged to think of fundamental issues of musical representation (aural vs visual), cultural values embodied in notation systems, transcription decisions as well as attendant scholarly processes (finding concordances, writing critical transcription/editorial notes, etc). Most of all, her idea of transcription as part of the process of music analysis (the students really get to know the music intimately) appeals to me.
Labels: musical notes