Articles
A response to "Action, Criticism & Theory for Music Education" by Leslie Stewart Rose and June Countryman
Within the article the narrator(s) discuss the importance of proper music education and the outcomes of the current misconstrued notion of a textbook fashion and of teaching an ever-changing art form. The narrator(s) bring up the concept of the elements of music of which can be defined by pitch, rhythm, tone, tempo, dynamics, etc., and of how these elements have begun to define the music, in teaching it to students from the Kindergarten to Grade 12. I found it interesting that the narrator(s) even chose to question the way of teaching music in schools when they later bring up the point that there is a huge decline in interest in the program to begin with. They bring up the very controversial on how music should be taught as it is, in my opinion, to each their own to decide and discover, and although their point resonates with this mentality they seem to disregard the fact that the elements could be and are crucial to understanding the basis of expression. This brings up the questions of how could one express themselves without the knowledge of self-expression? Surprisingly many would argue that it is self-taught and is in without the help of anyone except the artist, that the true music (and/or art) can be formed, but we know from history that most European composers came from wealthy families rich enough to afford a circular music education which allowed for their sons/daughters to compose knowing the instrument and having understood what they are performing. The argument that euro-centric method of teaching is an invalid method, despite the clear influence that methodology of pedagogy has had on the current western society, in my opinion is an excuse to get upset about the past when it can’t be changed. If speaking back to narrator(s) I would like to bring up the example that if the word ‘composers’ is ever mentioned to a non-musically inclined individual they will recite those well-known from the European music era such as Beethoven, Mozart, and Bach. This in fact does limit individual’s perception of what music can be without having the intention of being euro-centric but as previously mentioned, it is a starting ground for which a learning environment can begin. In conclusion, I stand by the narrator(s) perspectives on how music is taught in schools but not on the inconclusive variant they are suggesting as it currently seems un-predictable and unreasonable especially with interests in music and art declining year by year.
bibliography;
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45–64. http://act.maydaygroup.org/articles/Rose Countryman12_3.pdf
Sunday January 10th, 2017
Within the article the narrator(s) discuss the importance of proper music education and the outcomes of the current misconstrued notion of a textbook fashion and of teaching an ever-changing art form. The narrator(s) bring up the concept of the elements of music of which can be defined by pitch, rhythm, tone, tempo, dynamics, etc., and of how these elements have begun to define the music, in teaching it to students from the Kindergarten to Grade 12. I found it interesting that the narrator(s) even chose to question the way of teaching music in schools when they later bring up the point that there is a huge decline in interest in the program to begin with. They bring up the very controversial on how music should be taught as it is, in my opinion, to each their own to decide and discover, and although their point resonates with this mentality they seem to disregard the fact that the elements could be and are crucial to understanding the basis of expression. This brings up the questions of how could one express themselves without the knowledge of self-expression? Surprisingly many would argue that it is self-taught and is in without the help of anyone except the artist, that the true music (and/or art) can be formed, but we know from history that most European composers came from wealthy families rich enough to afford a circular music education which allowed for their sons/daughters to compose knowing the instrument and having understood what they are performing. The argument that euro-centric method of teaching is an invalid method, despite the clear influence that methodology of pedagogy has had on the current western society, in my opinion is an excuse to get upset about the past when it can’t be changed. If speaking back to narrator(s) I would like to bring up the example that if the word ‘composers’ is ever mentioned to a non-musically inclined individual they will recite those well-known from the European music era such as Beethoven, Mozart, and Bach. This in fact does limit individual’s perception of what music can be without having the intention of being euro-centric but as previously mentioned, it is a starting ground for which a learning environment can begin. In conclusion, I stand by the narrator(s) perspectives on how music is taught in schools but not on the inconclusive variant they are suggesting as it currently seems un-predictable and unreasonable especially with interests in music and art declining year by year.
bibliography;
Rose, L. S., & Countryman, J. (2013). Repositioning ‘the elements’: How students talk about music. Action, Criticism, and Theory for Music Education 12(3): 45–64. http://act.maydaygroup.org/articles/Rose Countryman12_3.pdf
Sunday January 10th, 2017