Bauer (2014) also suggests ways to incorporate technology in the teaching of improv and audiation needed for effective improvisation. "When an improvisation has a clear musical structure it becomes more meaningful for an audience, and young improvisers become familiar with musical structures through listening and performing." (Bauer, p. 57) As teachers, we have limited time and resources to teach the structure of music to our students, among the myriad other things we are seeking to impart. Perhaps technology can be a way to help make it possible.In my school, a big part of their grade is their practice time at home. Many teachers don't use this as a graded thing, saying it just encourages kids to lie. I agree this does happen, but on the other hand, I always said I felt bad as a kid because, due to my talent, I always earned an A while less gifted kids got lower grades. Had I been graded on my output, I would have worked a lot harder and probably had even more success than I did. I realize some kids do lie, but most don't lie every week, and eventually they do put some time in practicing. Using technology to structure their practice sessions could be a good way to ensure that the time isn't wasted and they are able to enhance what they've learned in the classroom when they are at home.
Our district is known for excellent jazz, and the jazz bands at the high school have a great reputation so competition to get in is fierce. Students who are bit by the jazz bug in middle school are often looking for more ways to develop as improvisers and to understand the chords and changes and how to play a great solo, because they know that getting into the jazz program at the high school is not guaranteed. Some students have the financial resources to study privately with many of the great jazz professionals we have in town, but many do not, so providing them ways to learn without the expense is important.
Bauer suggests posting harmonic and rhythmic accompaniments the students can improvise to and record their own playing for evaluation. He offers Smart Music, Band in a Box and iRealB as programs that can be used for this (Bauer, p. 57) and there also may be ways to embed accompaniments on Google Classroom for kids to use for practice and self evaluation. A simple 12-bar blues is a great structure to start with, and kids could record themselves playing along and send it to the teacher through this platform to evaluate and begin a portfolio. This will allow some permanence to the improvisation, and will benefit the kids by allowing them to witness their own progress in a truly meaningful way.
I am excited by the new possibilities given through technology. The future is bright!
References
Bauer, W.I. (2014) Music learning today: Digital pedagogy for creating, performing, and responding to music. New York: Oxford University Press.
Image from W. I. Bauer's website: http://wibauer.fatcow.com/digitalmusicking/
Ronica,
ReplyDeleteFirst off, I am really impressed with your competency with Blogspot! The layout and design are very inviting and much appreciated. I have not figured out how to do all of this neat stuff yet!
You brought to light many great ideas in this blog! As students become more technologically savvy, there are so many possibilities to improve what we are doing in our classrooms! I have always struggled to get my elementary band students to practice. I have tried using practice logs with parent signatures, but was not validity to it as many parents did not buy into the system. Furthermore, a lot of my elementary students do not yet have the technology available to them to record themselves practicing. What creative things can we try as music educators to use technology with these students and hold them accountable for practicing? Essentially, how do we use technology with the kids whose parents will not buy them a smart device?
I am excited about the possibilities given through technology also, especially if we can find a way to get technology in the hands of more of my beginners! With time, I do think this problem will eliminate itself because technology such as iPods and iPads will become more accessible and readily available to students in younger grades.
Hello, Ronica! Let me start off by saying that I appreciate your improvisational teaching approach, as our students need to learn how to create coherent music on their own, expecially "on the spot." Why do I believe this? I believe this because improvisation is one of the characteristics of jazz, so if a student is going to be a well-rounded musician, he should understand the musical characteristics of a variety of music styles such as jazz and other styles of music. Also, I support this teaching philosophy because I strongly believe that if you have strong knowledge about improvisation,then you will know what to play or sing just in case you have a "memory slip." I speak with experience in this kind of situation.
ReplyDeleteAs a black musician who was raised in a Southern, Black church, I have experience with being "put on the spot" musically. I remember at the age of about 7 years old, my pastor said to me, "Get up,and play some music behind me while I sing." Thank goodness I was taking Classical piano lessons at that time and had knowledge about basic chord progressions, or I would not have known what to play. However, I don't just credit my improvisational ability to music theory knowledge, but I also credit the amount of aural training I had experienced at that time. So, there must be an equal balance of ear training and visual (music reading) training in order to have the necessary creativity skills.
You see, in the area and time that I grew up in, Black congregational members did not have extensive music training. That is, a majority of the music performed was learned by ear, so these listening experiences helped me to develop the aural skills that I have now which helps me to be able to accompany someone on the piano even if I have never rehearsed with them. So, I can play a gospel accompaniment for a gospel soloist even though I may not have had the opportunity to rehearse with them. Because aural training is so important for creativity and music-reading skills within all styles of music, I still continue to listen to all styles of music on a regular basis to get the sound in my ear,so I encourage you to continue to expose your students to as many listening opportunities (within a variety of music styles) in order to continue developing their creativity skills.
Before I end this response, I would suggest that you listen to a variety of gospel music styles and gospel artists to become more familiar with this style of music. Gospel music incorporates elements some of the same elements that can be found in blues and jazz such as improvisation (or ad. Lib) that could help you to continue to develop your improvisational skills as well as your knowledge of music form.
Hello, Ronica! Let me start off by saying that I appreciate your improvisational teaching approach, as our students need to learn how to create coherent music on their own, expecially "on the spot." Why do I believe this? I believe this because improvisation is one of the characteristics of jazz, so if a student is going to be a well-rounded musician, he should understand the musical characteristics of a variety of music styles such as jazz and other styles of music. Also, I support this teaching philosophy because I strongly believe that if you have strong knowledge about improvisation,then you will know what to play or sing just in case you have a "memory slip." I speak with experience in this kind of situation.
ReplyDeleteAs a black musician who was raised in a Southern, Black church, I have experience with being "put on the spot" musically. I remember at the age of about 7 years old, my pastor said to me, "Get up,and play some music behind me while I sing." Thank goodness I was taking Classical piano lessons at that time and had knowledge about basic chord progressions, or I would not have known what to play. However, I don't just credit my improvisational ability to music theory knowledge, but I also credit the amount of aural training I had experienced at that time. So, there must be an equal balance of ear training and visual (music reading) training in order to have the necessary creativity skills.
You see, in the area and time that I grew up in, Black congregational members did not have extensive music training. That is, a majority of the music performed was learned by ear, so these listening experiences helped me to develop the aural skills that I have now which helps me to be able to accompany someone on the piano even if I have never rehearsed with them. So, I can play a gospel accompaniment for a gospel soloist even though I may not have had the opportunity to rehearse with them. Because aural training is so important for creativity and music-reading skills within all styles of music, I still continue to listen to all styles of music on a regular basis to get the sound in my ear,so I encourage you to continue to expose your students to as many listening opportunities (within a variety of music styles) in order to continue developing their creativity skills.
Before I end this response, I would suggest that you listen to a variety of gospel music styles and gospel artists to become more familiar with this style of music. Gospel music incorporates elements some of the same elements that can be found in blues and jazz such as improvisation (or ad. Lib) that could help you to continue to develop your improvisational skills as well as your knowledge of music form.
Thanks, Tiffany! I have been lucky to sing with Dr. Anthony Leach with his community Gospel choir at Penn State, Essence 2 (which is the local "y'all come" version of his auditioned group, Essence of Joy.) I have learned SO much from working with Tony, though I envy your piano skills. That is definitely one place where I do not have the abilities I'd like to have and growing up in farm country, North Dakota, my exposure is not extensive. However, I love gospel music and sang with Essence for 6 years before taking time off for this degree (and can't wait to return.) We had the opportunity to join some other churches in Pittsburgh and Washington DC for performances, in traditionally black congregations, and it was a hoot and a half! I tried to recruit some of them to come join my Lutheran congregation, but didn't have too much luck with that.
ReplyDeleteHere's an example of Dr. Leach's group in concert. https://www.youtube.com/watch?v=0tte404OtdE