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My Assignments

Annotated Bibliography #1: 

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. A Response by Sophia Daunt

As I begin to endeavour and concentrate more closely in the art of teaching and learning, I notice that this is much more complicated than originally anticipated. Just from attending the first class, I have been challenged to think in ways I never dreamt of, be more mindful in the way I communicate and also to never stop challenging the norms of society. When reading this article, it was so interesting to me to understand that people truly devote their lives to the education of adolescents. As ignorant as it may sound, I never thought teaching was this big of a deal. I have definitely been proven wrong.

I always assumed that teaching techniques had to be strictly followed and there were specific formulas to teach youth. This article challenged that way of thinking. Yes, there are formulas in teaching but if you follow them it is almost a disservice to the youth you are attempting to teach. This was interesting to learn and read about.

In my high school, every class followed strict weekly plans on how each person is to learn. The reality is, we believe in the uniqueness of each person and how beautiful that is, however when it comes to learning, we believe everyone follows the same strict set of rules and if you don’t, you fail. Why is it okay to be unique but that same uniqueness gets shut down in a learning environment? The only outlier for me was music class. We were able to learn in ways that suited us and we weren’t punished for it. I do know other students who weren’t so lucky. They did, in fact, follow the curriculum in terms of the elements of music and a curriculum that didn’t allow the emotional experience that music is to flow through the classroom.

I was surprised by how simple it was for these researchers to connect efficient learning to teen speak and less formalized language. It makes total sense and is something that surely makes huge strides in the classroom. There is more mindfulness and inclusivity between teacher and students than a hierarchy of power that can be so damaging.

I was frustrated while reading this article because it seems like such a simple topic, to value the thoughts, feelings and ideas of those you are attempting to teach. However, in my life as a student I have experienced this frustrating lack of compassion toward actually impacting a students life and merely just completing areas of the curriculum made by those who think they know what’s best. I wish that there was more conversation including students about what they know is best for them. I wish I could thank the authors of this article and every person who takes strides like these toward understanding and, thus, creating a better environment for students to learn.

References

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.

UConn Conversation Reflection #1

Formal, Informal and Non Formal Working Definitions:

Formal Learning:  

Formal learning, to me, would be in a classroom. It is where the sole purpose of the space is to learn from the teacher at the front of the class or from the others around you. The focus would be on learning theoretically. In context of my life, I would struggle to see where this kind of learning could impact me. I don't believe I would want to be a teacher. However, I have experienced this kind of learning and it was beneficial to me but not every formal setting would work for everyone. Formal learning often goes along with a structured lesson plan and the known intention is to learn. 

Informal Learning:

Informal learning would exist on the opposite end of the spectrum than formal learning. It wouldn't be a a school or regulated environment. The focus would be on doing rather than learning about doing and it could be intentional or unintentional learning. Student driven learning is key here. I could see informal learning happening in the context of my life through adult music classes. Through the community, the people are learning music while thinking they were just experiencing community programming. The learning isn't planned to happen but it does. 

Non Formal Learning:

Non formal learning would exist in private lessons in a music context. Where the student rules the progress in an unregulated classroom setting. Learning could be intentional or unintentional. Learning experiences could happen while experiencing life. I could see myself participating in non formal learning as a studio teacher. The student would seek out lessons with me and it would be unregulated but based on their goals. 

Annotated Bibliography #2: Video Response

Powell, B. & Berstein, S. (2017). Popular Music and Modern Band Principles. Routledge Research Companion to Popular Music Education (2017).

Annotated Bibliography #3:

Burwell, K., Carey, G., & Bennett, D. (2017). Isolation in studio music teaching: The secret garden. Arts and Humanities in Higher Education.

A response by Sophia Daunt

 I found this reading very interesting while also fairly frustrating. It was very interesting to discover the parallels between ‘the secret garden’ and the art of studio teaching. As studio teaching is something that will likely be in my future, it is important to me to understand how the style of teaching affects the students but also me as a teacher. I have also experienced studio teaching as a student. While reading this article, I assumed that it would about how beneficial studio teaching is to a student as it is a private place for the student to learn. While this is a benefit, I learned that it is also the privacy that is a downfall of studio teaching. Both a teacher’s ego and the students being isolated can pose interesting issues that are rarely spoken about in discourse surrounding studio teaching.

While these issues seem valid, they still leave a horrible taste in my mouth. Studio teaching, for me, was the way that I fell in love with music and especially how I chose what I wanted to do for the rest of my life. To hear experts critiquing it, and to have it make sense, is a huge discomfort to me. This is what is amazing about it though, the discomfort NEEDS to happen in our conversations surrounding teaching, it is the only way that change will happen. Changing things that have been held in high regard is always hard but is sometimes necessary, especially if it benefits the student. While I want to disagree with the authors, I cannot in good faith disregard the case they set up beautifully while referencing The Secret Garden (an amazing movie) and using it as a brilliant metaphor.  

In relation to Professor Chiles' lecture on private teaching, I was filled with excitement and exuberance that you could definitely feel radiating from his passion of teaching in a studio. You could tell that Professor Chiles has a love for music and a love for teaching that is palpable. It was a refreshing thing to see to almost calm my nerves about my future in teaching (hopefully). I learned that while the issues outlined in the article are real and pose interesting questions, they can be avoided through mindful, professional and meticulous teaching. I felt that Professor Chiles' experience spoke for itself and really made things clear for me in terms of how to teach in a studio setting and what is required of you as a teacher. While sometimes we can think that studio teaching is informal and easy, there are things you need to do in order to ensure successful teaching. This was very interesting to learn about and I look forward to learning more about it as I become a teacher. 

Sources: 

Burwell, K., Carey, G., & Bennett, D. (2017). Isolation in studio music teaching: The secret garden. Arts and Humanities in Higher Education, 1474022217736581.

UConn Conversation Reflection #2

Workshop Write Up: By Sophia Daunt

I went into this workshop hesitant as I had never been to one before. What would it be about? How would it work? How would I learn? Swedish folk music? After meeting Eva, all those hesitations went away. After the lessons started, I was very impressed by the way Eva taught the dances to us. She would just start moving and we were expected to follow along, there was no expectation of the classic teacher-student dynamic. There wasn’t one person in charge and everyone learned in a way that suited them. It was a very non-formal way of learning that was refreshing for me. The topic of Swedish folk music, being completely foreign to me, was a tad bit unnerving when first introduced but as the lesson went on I definitely felt more comfortable to express myself and just have fun. For example, one dance could be embellished with a spin and a jump but it wasn’t completely necessary for the dance to be fun. You could do whatever you were comfortable with and you still learned the same. I look forward to integrating this kind of learning into my own classroom one day. One other impressive aspect of this workshop was the introduction of the appreciation theory. It was so exciting to engage with a graduate student, Kelly, who I really look up to on an academic discussion. Not only the conversation was engaging but the theory behind it was engaging as well. I had a very fun time discussing my dreams for the music education system and having to talk through it and see my dream come to fruition. I learned a lot about myself and how I learn. This would be an exciting thing to explore in a classroom setting in the future. All in all, I really enjoyed this workshop and felt like I learned a lot from Eva and truly look up to her as an educator.  

Toward Convergence: Question responses

1.     What is the music educator's role when students engage with participatory culture?

The music educator’s role is to essentially take a step back and ensure that students are on task but to also pose questions that make the students think mindfully about what they are making. Questions like “Why did you choose this way of putting together this remix?” “Where did this inspiration come from?”. These questions will help the students to further understand why it is that they are doing something. This is a very important step in the learning of these students because it is one thing to have fun while creating music but it is another to fully understand and appreciate what you are learning. An educator’s role is to still have a handle on the class’s learning and make sure they’re on task but not to impede or make the students feel they are being judged or watched. While this is a very different way of learning, it is one that is very beneficial to students while learning about music.

2.     What aspects of our programs are we willing to change in order to more closely reflect participatory culture in our classrooms and ensembles?

There can definitely be hesitation in changing programs that seemed to work for most students and a dislike toward change can definitely halt this kind of positive revisions, which is troubling. However, in a perfect world, where this kind of change is welcomed gladly, I believe a totally new school music education system is long overdue. Some aspects that I believe should be willing to change is the formal teaching aspect. In music, I believe the most effective learning is done through informal/nonformal learning settings. Especially in school settings, this change or shift from a formal environment to a totally new perspective can be scary but if it is necessary it must happen. Through participatory culture and the new ways that youth seem to be learning, the only way to make music accessible in school systems. I hope another part that we will be willing to change would be the inclusion of non-classical music types and even non-Western-classical musical styles. While these kinds of musics are important, they can be limiting to the education of some students. I would hope that we could include other types of music in our conversation surrounding reflecting participatory culture in our classrooms.

Tobias, E. S. (2013). Toward Convergence Adapting Music Education to Contemporary Society and Participatory Culture. Music Educators Journal, 99 (4), 29-36.

Influential Teacher Project: Write Up

By:Sophia Daunt

    Upon learning about this project, one individual immediately popped into my mind. My high school music teacher, Clifford Azavedo, was the person who, nearly single-handedly, inspired me to pursue music in post-secondary. He is a teacher and musician who I look up to greatly and someone who shaped my high school career. He attended Western for piano performance and pedagogy and then pursued education. He has been teaching for 17 years and is the perfect candidate for an interview of this caliber.

    The first question that was asked in this interview was the classic “Who are you?” question. It is very interesting to see how people react to this question. Some introduce themselves on a basic name, age etc. level where as Mr. Azavedo answered that he defines himself through his work. In this definition, he explained that his teaching persona intertwines with his personal persona and after teaching for so long they had become one. As most people are, Mr. Azavedo was quick to get the attention off of himself and onto his teaching and work within the classroom. The next question was “What is music in your life?”. When drafting this question, I had the notion in mind that a music teacher must love music themselves in order to teach the subject to others. Following suit, Mr. Azavedo has a love of music that defines everything he does. He says that music is in every part of his life and he wouldn’t have it any other way. He went on to describe that music is often the starting place for advocating for other important issues and how there are amazing opportunities that come from music.

     The next part of the conversation went on to teaching music when asked “What inspired you to become teacher? Did you have a mentor of your own?” Mr. Azavedo described that he had been teaching private music lessons since 1987 while completing his own RCM levels. He says that this inspired him to teach as he enjoyed helping musicians. He explained that he didn’t have a specific mentor but learned what not to do from ‘bad’ teachers who he experienced and what to take into his own classroom from teachers he had himself that he thought were mindful and inspiring teachers. He said that mentors in music through his own education helped him greatly when he starting teaching. The next question asked was “Has your experience as a student impacted the way you teach?”. Mr. Azavedo answered that he hadn’t had any real music education in high school or elementary as he pursued his studies seriously outside of school but in his private studies he said that these experiences pushed him to learn. He definitely believes that if he had taken music in the public school system that his experience would have been better. Now, in his school, he tries to make the music program a safe space for all who enter it, something he wishes he would have had. He spoke about how in university, all his experiences worked together to make things easier when he began teaching. He drew off those inspirations he had whilst pursuing a music degree to his music classes.

      Next, we talked about challenges or struggles faced as a music educator in this day and age. He answered that there is almost an overwhelming sense of apathy that is reducing numbers of enrollment in music classes. He says a struggle is to keep kids interested in music as they take it thinking it is an easy course to check a box in order to graduate and end up not putting in the work. He also talks about the difference between the public boards and catholic board (where he teaches) and how the curriculum is different and how sometimes the curriculum puts a strain on the learning. How it can be difficult to teach theory to a class that doesn’t care about music. He also touches on how the changing society most definitely impacts the setting of the classroom. He tries to apply things in pop culture onto the curriculum to make things interesting. This is an interesting challenge as you not only have to teach the curriculum but teach it in a way that suits your class, which can be a struggle.

      The final question that I asked Mr. Azavedo was “Do you have any advice for undergraduate students pursuing a music education degree?” He began by saying that teaching is tiring and hard. But also rewarding and incredible. He says he has learned to be more open minded and tolerant since becoming a teacher and he has a new view on people and life. His advice was that small positive deeds impact the community greatly, and that through trying to understand every kid that walks through your door you’re on the right track. He says that teaching is first about relationships and especially in music which is so personal, it is an extension of yourself. He says to keep trying even though it may seem like nothing is happening but even if you make a difference in one kid’s life, you’ve succeeded. He challenges you to get out of your comfort because that is the only way you are going to learn about yourself as a teacher and continue to be excited about learning.

This interview was so beneficial to me. I had always admired Mr. Azavedo as a teacher and as a musician while I was in high school, but didn’t have the appreciation I do now. Mr. Azavedo runs 6 sections of music classes (band, vocal and steel pan) by himself as the sole music teacher at my old high school of over 1200 students. That alone is a feat unto itself but it makes me appreciate the art of teaching even more than I did. I learned a great deal from this interview and my view of teaching has expanded greatly. It is one thing to hypothesize about teaching but it is another to hear first-hand about the struggles and benefits to the profession. The biggest thing I learned was that relationships with your students is an important part of music education. I think this is an interesting take on how to expand yourself as a teacher.

      I really enjoyed having this conversation with my old teacher and I look forward to applying some things I learned into my own classroom in the future. I really believe Mr. Azavedo is a mentor in my life and I am lucky to have had to opportunity to converse with him surrounding the important topic of music education.

Perspectives on Music in Our Lives

A project by Sophia Daunt

FINAL VIDEO: By Sophia Daunt

UConn Conversation #3

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