This article deals with one of the problems that, for many teachers, is the most challenging: how do we keep everyone involved while at the same time, giving due attention to the problems of individuals?
You will find several solutions and discover why this calculation is correct!
There has been much debate recently regarding an article that appeared in The Guardian on March 27th bemoaning the ever-diminishing provision and status of music education in the UK: a valid subject, well worth any number of column inches, given the decline in school music provision not “since 2010, when the baccalaureate was introduced” as the author Charlotte C. Gill states, but since the early 1980s at the hands of Margaret Thatcherand Sir Keith Joseph; a trend that shows no sign of being reversed – at least in terms of government policy. Ms Gill makes some valid points concerning the importance of music education albeit in a confusing and sometimes self-contradictory manner. The two key issues she sees are that music education in the UK has become the preserve of a predominantly white, middle-class, academic mindset (in other words, ‘elitist’) and that teaching with an emphasis on music notation is a dominant symptom of the overly academic approach to musical pedagogy. This, she claims, renders the subject inaccessible and irrelevant to the needs of many if not the majority of school age students. As she puts it, ”music has always been taught in a far too academic way, meaning that theoretical knowledge is the main route to advancement”. In response, there has been an outcry of indignation in the form of a letter published in The Guardian, with several musical luminaries among its signatories, and a plethora of articles and blog posts shared on social media. Several of these demonstrate a clear grasp of the issues surrounding music provision, but others, unfortunately, also contain contradictions and mixed messages even to the extent that, in effect, they lend support to some of Ms Gill’s claims. It is not possible, therefore, to come down firmly on one side of the debate or the other since there appear to be extremely valid points as well as errors and assumptions on both sides.Continue reading “Music Education’s Love Affair with Literacy (it’s complicated)”
I came across an interesting and thought-provoking article by Peter Greene the other day, entitled Stop ‘Defending’ Music. His basic premise is that music has so many affective – or if you like ‘human’ – benefits that it shouldn’t need defending. He tells us that it is “universal’; he mentions its omnipresence in our lives and asks the popular rhetorical question, “Would you want to live in a world without music?” Most musicians, music teachers or just ‘music lovers’ would find it nigh impossible to disagree with many of the points he makes, but I think Continue reading “Why We Shouldn’t Stop ‘Defending’ Music Education”
Pythagoras and the Music of the Future is a series of articles in which I discuss, in accessible terms, I hope, the central influence that the harmonic series has had on the development of western music since the Middle Ages. I look closely at the connection between the harmonic series and the conventions of the musical structures of timbre, melody and harmony and musical time i.e. rhythm meter and tempo.
Ironically, or so it might seem, I also argue that whereas the development of functional harmony, and therefore tonality, was strongly influenced by our (probably subliminal) awareness of the interplay of frequency ratios of the harmonic series, the ‘modern’ music that, quite fittingly, has nothing to do with functional harmony, tonality or indeed the notion of regular pulse and tempo is, or should be, equally bound up with the very same underlying proportions.
The planned fourth article will make the case for a musical ‘language’ that utilises the gamut of proportions inherent in the naturally occurring overtone series first postulated by Pythagoras. I will further argue that the realisation, and indeed the performance, of such a music, is made possible only via the availability of manageable and affordable digital computers together with allied software for sound generation and organisation.
Although the earliest article was published over two years ago, the series as a whole maintains a steady flow of views, which seems to have gathered momentum recently. Why not take a look yourself;
As we all know, group teaching is a controversial topic. One of the most frequent objections to it (in my experience) is that since no two students will progress at the same rate, or in the same way, the activity is doomed to failure because the less able students will hold the faster learners back and conversely, the faster learners will leave the slower ones behind. A ‘lose-lose’ situation, to coin a phrase.
However, I believe that these differences can indeed be accommodated
This article deals with one of the problems that, for many teachers, is the most challenging: how do we keep everyone involved while at the same time, giving due attention to the problems of individuals.
You will find solutions and discover why this ‘equation’ is correct!
It seems that the recent post and article in defense of group teaching has struck a chord with quite a few readers. However, whilst they did their job in defending the practice of group teaching they didn’t offer too many solutions to the challenges that teachers, especially those new to the situation, can face. Continue reading “More on Group Instrumental Teaching”
During the 1990s, I was director of a music support service for schools in the UK. We provided mainly group lessons, so when interviewing prospective teachers, I would ask them what they saw as the advantages or disadvantages of group tuition as opposed to one- to- one teaching. Their answers almost always (and I mean in more than 90% of cases), dwelt on the perceived disadvantages and very, very few advantages would be identified. Some would say things like “Well, obviously, the best situation is individual tuition, but …”
It’s a relief finally to be able to post the next article in my series about the relationship between musical structures and the harmonic series. It’s a relief because my crowded schedule, which included writing a new (now finished) piece for solo piano, meant that I could only work on it sporadically. However, it’s done now!
Whereas the first article dealt with timbre, this one focuses on melody on harmony (well, mostly harmony actually) and, after tracing the development of harmony in relation to the proportions inherent in the harmonic series, illustrates the premise that music based on functional harmony (tonal music) and atonal music are very similar in at least one very important regard.
The two are often thought of as very different and even in opposition to one another, but in fact one grew out of the other and both are founded on proportions to be found at points – distant points perhaps – but nonetheless, points on the continuum which is the harmonic series.
It’s all becoming reminiscent of Heraclitus and the ‘unity of opposites’ once more I think! Read more here.