WEEK 2 READINGS – ISABELLA LOONG
Green, L. (2011). What can teachers learn from popular musicians? A conversation with Lucy Green Professor of Music Education [Video file]. Retrieved from https://www.youtube.com/watch?v=4r8zoHT4ExY
The use of technology in music education and teaching popular music for students requires a balance between the delivery of innovative industry tools and traditional Western art music theory and skills. In this video interview, Green (2011) discusses an approach to pedagogy by teaching popular music specifically chosen by students, learning by ear with a recording, independently and amongst friends. In particular, Green (2011) outlines effective teaching of popular music in the music curriculum, alongside practical listening, performance, improvisation and composition skills, increased by minimal guidance from educators in an unstructured way. At the forefront of Green’s pedagogical approach with these popular music practices of playing by ear and improvising (2011) is supporting autonomous students to idiosyncratically integrate and learn techniques used by musicians of a particular style to develop intrinsic musical skills with motivation, organisation and teamwork. Consequently, my teaching of diverse music styles aims to implement Green’s approach for student-directed learning of popular music (2011) in conjunction with accessible technology, exploration of traditional influences and students’ sociocultural contexts.
Clarke, A. C. (1980). Electronic tutors: Education is about to undergo a revolution unequaled since Gutenberg’s moveable type. Omni, 2(3), 76-78, & 96. Retrieved from http://www.housevampyr.com/training/library/books/omni/OMNI_1980_06.pdf
In this article by Clarke (1980), there is discussion of a ‘revolution’ for music education with novel electronic computers and software as ‘instructors’. More specifically, Clarke envisages the concept of a laptop computer as a “portable electronic library” of music and films with a keyboard and colour display screen (1980, p. 76), which can also play back sound and present music scores (p. 77). Above all, Clarke embraces the significance of inspiration, feedback and interaction for “genuine education” in computer programs (1980, p. 76) with accessibility to an interactive dialogue and library of knowledge and resources, and greater engagement of “play” for students to learn from the current computer technology as ‘electronic tutors’ alongside teachers (p. 96). Thus, I agree with Clarke’s audiovisual “computer-aided instruction” (1980, p. 77) involving close support of developing technology and an educator guiding the student in a creative, innovative way for learning music-making via technological experimentation and advancements.