I saw a ridiculous amount of talent exhibited by young musicians that afternoon, but I noticed one thing all the pianists had in common: their faces remained blank throughout their performances. “How are they sitting so still while they play? My piano teacher has to stop me from swaying like a boat when I play the Arabesque,” I thought to myself. By the end of the recital, I realized that my earlier failure was not fruitless. That day of defeat was the day that my passion for music became clearer than ever. Though I was not the best pianist in state by any means, I loved my music. I played because I chose to, not because my parents forced me to practice for hours and hours to perfection. I understood for the first time that if I have passion for what I do, I cannot
In order to, actually learn a person has to fully grasp a subject to comprehend it. The third author, Kyoko Mori, author of the essay School, declaims that, “No matter what the subject, our teachers never gave us very clear advice about how to do it better” (Mori 206). Most people would agree with that statement, not just because of the truth behind it, but from personal experiences where that certain statement has been applied before. It could be math, english, science, history, art, sports, music, or anything under the sun that could possibly be learned, where the teacher of that particular subject may explain something where it all sounds familiar; it could be on the top on someone’s mind and they just wouldn’t quite be able to get it, because of the way the teacher explained it. Most people have figured out that most things, if they want to be successful with it, they have to do it themselves to know if they did it right or not.
Initially, development of content starts from the fascination by the sound of piano to basic learning from cousin and then getting the technical knowledge of the piano. After that, using this skill to enthrall the audience or other members playing piano in the same community shows the writer’s credibility, logical reasoning,
Author Courtney Crappell writes the article, “Making Music Lessons Attractive Again”. She begins by asking her readers if they are interested in discovering ways to make music a better-known aspect of people’s everyday lives. She then moves on to explain what it is music teachers do. Music teachers are people who give individuals who seek musical knowledge, the tools to experience the world of music. At some point in his or her lives, Crappell states every person desires to learn how to play an instrument.
Matteo, was a missionary to China, he brought mathematical and astronomical knowledge to China, where he adapted to their culture. He studied philosophy, theology,
There were many cultural events, and interesting thing that happened during the time of Giovanni. Some things I personally find very interesting in this certain era, is how many composer were apart of the music life. Some of those composers include, John Dunstable, Walter Frye, Jacob Obrecht, Jean Mouton, Adrian Willaert, along with Giovanni and many more amazing composers. All these composer have made music what it is today.
This is where the “da Palestrina” in his name as a musical composer would come from. Pierluigi started his learning in Rome where he ended up starting and finishing his musical education. He went from a simple choir boy to an outstanding composer. His patron
Raffaello Sanzio had a very interesting young life. He was born in Urbino, which at the time was a cultural center that encouraged the arts. The arts
In the practice of teaching, it is the responsibility of a teacher not only to teach students subject matter, but to teach students in order to enable them to grow and develop as a person. While it is essential for students to have an understanding of academic material, it is also equally as important that when students finish their education they have skills to use in
Giovanni Gabrieli was an Italian composer born in 1554 and wrote many works in the ‘in between’ stage of Renaissance and Baroque. He was a composer and
Educators then need to teach fundamentally sound lessons. This means they need teach, reteach, and reteach again until ever student has reached mastery. Demonstrations, guided practice, practice, practice, and more practice until everyone can show mastery. Do not leave any students behind, make sure that all students master each concept before moving on, in doing this no student will
In Dr. Moore's lesson he worked with a sophomore music education major, and the majority of the lesson was spent on working on two etudes the student prepared for her lesson. During the first etude Dr. Moore began his critiques by always giving a compliment and positive feedback. He talked to the student about the progress that she had made from the previous week, particularly in regards to her rhythmic integrity. One interesting element I notice in Dr. Moore's teaching was his awareness of how the student processed information which seemed to be a critical skill to have. As Daniel Knout stated in the first chapter of his book, “teaching is an activity which emerges from some conception about how learning occurs.” By asking the student what was
Guido d’Arezzo is an Italian musical theorist in the medieval era. He studied at Pomposa but then left because his fellow monks resisted his musical invention. Guido was appointed by Theobald as a teacher in a cathedral school. He is known as the inventor of the modern musical notation that replaced Neumes. Neumes notation is different because earlier in life it only specified the high or low of a pitch. Neumes notation used to help musicians memorize music since music was largely an oral tradition. However, Guido invented four-lined musical staff. It was invented in approximately 1025. The four line musical staff consists of four lines and 5 spaces. The second and fourth lines are in different colors. The second line was often red to indicate
The stigma associated with pursuing an education in the musical arts affects the decision of many musicians nationwide. The appeal of guaranteed financial and career stability of STEM and other paths of high demand jobs is very difficult to pass up, even by the most dedicated musicians. Then, the input and advice of outsiders come into play. These onlookers not only encourage study of the hard sciences and a foolproof path to success via university, but they also totally and blatantly discourage and belittle the intelligence, rationality and integrity of not just the paths of musicians, but all liberal artists. Don’t you want to make money? What do you mean you won’t have internships, don’t you want a job? How are you going to survive? This blitzkrieg of questioning and doubt, though theoretically peripheral to the bigger picture, is reasonably common, however, severely unjustified. Pursuing a formal college education in music is easily one of the best things you could do for yourself, regardless of whether or not this is the career path of your choosing. As a student of formal music education, you are actually being trained in more real world skills than most other majors, which will prepare you for many careers, making you stand-out amongst the masses. Being a music major, you learn more than just music, you learn problem-solving skills, how to communicate and collaborate, and how to overcome failure, which are all essential skills to have as a professional in today’s day