Performing Arts for Educators: Learning Reflection (A2.C5)
Performing Arts for Educators: Learning Reflection (A2.C5)
Reflective Music & Dance Practitioner template
Name Date completed Guidelines1. When completing each section your aim is to make visible the degree to which you can examine the learning experience within the context of the unit's content and purpose. Your responses should be contextualised within professional knowledge and understandings. This means you need to think about the learning experience in the context of the readings, viewings, discussions and activities you have completed.
2. Use in-text citations and add the reference at the end of the document.
1. The arts learning processes - what did you do? Make sure you use the relevant arts terminology.
I.e., This is a simple explanation of the main steps taken towards completing the Arts Making and the Arts Responding activities. Remember the learning process begins with activities such as brainstorming or researching.
Making (Music):
Responding (Music):
Making (Dance):
Responding (Dance):
2. Studio habits of mind. These are a guide to the nature of learning in the arts. Where possible, insert a sentence describing how each of these featured in your own work process for the Arts Making and the Arts Responding activities completed in Music and Dance.
These Studio Habits of Mind are abridged and adapted from Hetland, Winner, Veenema & Sheridan, (2007). More information can be found online including here: http://www.everyarteverychild.org/assessment/studiohabits.html
Develop craft
Technique: learning to use arts language, conventions, styles. Working respectfully with props, instruments and other equipment. Making (Music & Dance):
Responding (Music & Dance):
Engage & persist
Embrace relevant problems, develop focus and other mental states for working & persevering. Making (Music & Dance):
Responding (Music & Dance):
Envision
Mentally picture or imagine possibilities and next steps. Making (Music & Dance):
Responding (Music & Dance):
Express
Aim to create work that conveys your ideas, feelings or personal meaning. Making (Music & Dance):
Responding (Music & Dance):
Observe
Attend to careful, considered looking/viewing/listening. Making (Music & Dance):
Responding (Music & Dance):
Reflect
Question, explain & evaluate your work. Making (Music & Dance):
Responding (Music & Dance):
Stretch & explore
Reach beyond limitations, explore playfully, embrace opportunities to learn from mistakes. Making (Music & Dance):
Responding (Music & Dance):
Understand art world
Learning about the domain of art (the world of art/arts history) and participating authentically in arts making while understanding yourself as being part of an arts community. Making (Music & Dance):
Responding (Music & Dance):
Summary
Reviewing the above, what do you observe about your thinking and actions in relation to your arts learning 3. Based on you Arts Making experiences in Music & Dance, what is your view about why these types of experiences should be in the school curriculum.
4. What insights have you gained (something you discovered) from completing the Arts Responding activities? Make sure you use the relevant arts terminology.
This may be in relation to the subject or the curriculum or approaches to teaching etc.
5. What aspect of your work process, learning or outcome are you most satisfied with and why?
6. How have these learning experiences impacted your views about arts education in the early learning/school environment?
7. Rate the degree to which you feel you have achieved the Units Learning Outcomes? (Insert a tick/cross.)
Unit Learning Outcomes Doesnt apply I have made some progress I have made significant progress I now feel confident in this area
1 Demonstrate understanding of The Arts as cultural enterprises in terms of their significance and role in life society and education with particular consideration of Aboriginal and Torres Strait Islander arts practices. 2 Apply the principles of authentic arts engagement through experiential learning in dance drama and music education where the emphasis is on creative thinking self-expression meaning-making and communication of ideas by diverse learners. 3 Demonstrate a foundation of arts literacy competency for teaching through a personal investment in performing-arts making and responding activities. 4 Appraise the nature of learning in the Arts and the significance of this learning for diverse learners in the educational context. 5 Develop presentation and communication skills through dance drama and music to become a confident and effective performer and communicator. General observations about your learning to date:
Hetland, L, Winner, E., Veenema, S. Sheridan, K. (2007) Studio Thinking: The Real Benefits of Visual Arts Education. New York: Teachers College Press.
Source: http://freebigpictures.com/river-pictures/
Music: responding
The Moldau (Die Moldau) by Smetana
http://www.youtube.com/watch?v=h3_EsIKarl8Your name: Ilkay Cakan
Note the four sections of this document to be completed
1. Response in another medium
2. Guided listening
3. Background research
4. Observations
Information about The MoldauThe Moldau is the best-known of the six symphonic poems that constitute M vlast ("My Country"), composed by Bedrich Smetana between 1874 and 1879.
A 'symphonic poem' means that the music illustrates or evokes a poem/painting/story. In this case - the journey of a river is being evoked. It is the Vltava which runs through the heart of the present day Czech Republic, towards Prague.
The music is also known as program music referring to the fact that the 'story' being conveyed in the music is outlined in the concert program for the audience to read. Knowing the story adds to the appreciation of the music in such cases:
In the shady depths of the Bohemian forest, two springs gush forth, the one warm and spouting, the other cool and tranquil. They trickle over rocky beds through the undergrowth before uniting to form a larger brook that flows along glistening in the rays of the morning sun. It continues flowing on until it flows into the river Vltava. The journey continues through Bohemia's valleys: the river flows through wooded areas where the hunters horns are heard; it flows through pastures and lowlands, where a wedding feast is celebrated with song and dancing the polka. Night falls and the haunting wood and water nymphs revel in the moonlight. The river glides on through the night past fortresses and castles that are witnesses of the past glory and history of bygone ages. At the St. John Rapids the waters become turbulent, weaving through the cataracts, before crashing through the rocky chasm into a broad and calm expanse beyond. It glides majestically onward before disappearing in the far distance. (Adapted from: http://www.kennedy-center.org/calendar/?fuseaction=composition&composition_id=2102)
1. Response in another medium
1. Listen to The Moldau http://www.youtube.com/watch?v=h3_EsIKarl8 just allowing yourself to 'go with the flow'. When listening for the first time it is a good idea not to watch the video as it will be distracting.
2. On a piece of white paper and using your choice of drawing/painting media, create a visual response to the music while playing it again. You're not required to represent anything pictorially. (No landscapes.) The lines and colours are a response to the music in the moment. You can choose to respond to the stages of the whole piece or a segment.
3. Insert a scanned picture of your drawn/painted response here:
42729411783Assistance:
Instruments of the orchestra (great website for kids too!!) If you need assistance for questions 1 and 5 go to the San Francisco Symphony website for kids where youll find a section on instruments.
https://www.classicsforkids.com/music/instruments_orchestra.phporhttps://www.youtube.com/watch?v=M0Jc4sP0BEE.
To answer a number of questions you need to refer to the video time code. This is found at the bottom left of the video. The time codes do not have to be precise but in the zone for where the musical passage begins and where it ends. Record the time codes like this: 1:27 - 2:18
00Assistance:
Instruments of the orchestra (great website for kids too!!) If you need assistance for questions 1 and 5 go to the San Francisco Symphony website for kids where youll find a section on instruments.
https://www.classicsforkids.com/music/instruments_orchestra.phporhttps://www.youtube.com/watch?v=M0Jc4sP0BEE.
To answer a number of questions you need to refer to the video time code. This is found at the bottom left of the video. The time codes do not have to be precise but in the zone for where the musical passage begins and where it ends. Record the time codes like this: 1:27 - 2:18
2. Guided listening
Complete this guided listening activity by filling in your responses:
1. When the music begins we hear the sound of water bubbling up from springs and creating little rippling streams deep in the forest. The three main orchestral instruments creating this effect are:
2. In the first 90 seconds of video you see the violins being played in two different ways. What are they and how does this change the sound? The musical term pizzicato is relevant here.
3. The music captures the journey of the river. Write down the video time code for each of these stages of the journey identifying where the musical passage begins and where it ends.
a. Two springs beginning in the forest and bubbling over rocks:
b. The streams have grown and become a gliding river:
c. The river passes through dark forests where hunters horns can be heard:
d. The river passes through pastures and lowlands where a wedding feast is being held:
e. Night falls and visions of castles and fortresses under the moonlight create a haunting reminder of past glories:
f. Day comes and the river continues on. Suddenly the river becomes turbulent it strikes the rapids and chasms. The turbulent passage of music:
g. Past the turbulence, the river widens again and flows majestically through the city of Prague and on into the distance. The majestic river passage of music:
4. In musical compositions a theme is a recognisable melody on which the whole composition is based. The theme is repeated in various configurations several times throughout the composition. Listen to the passage of music you hear at 1:27 - 2:18 time code. At what time code/s does this occur again?
5. The French horn (an orchestral instrument) features prominently in one passage of the music. What is the time code? What do the French horns represent in the musical story?
6. Aim to identify how the composer has worked with the elements of music to create the effects that bring to life the changing nature of the river. The video will be helpful. For example, an increase in volume (musical element: dynamics) may help create the sense of the river widening and becoming mightier. (200 words approx.)
3. Background research
Part of appreciating artworks and becoming knowledgeable about the world of art is to know something of the artist (composer), the artwork (musical composition) and the historical/cultural/social context of the artworks creation. Complete these sections by undertaking some on-line research.
1. Composers biographical information:
Name:
Nationality:
Born and died:
2. Cultural context of the musical composition:
What is the cultural significance of The Moldau? For example, what older forms of music have been used as inspiration for this composition? What is the political significance of The Moldau and why did the Nazis ban it? (300 words approx.)
4. Observations
Based on your personal experience - and in light of your readings - describe four valuable things you learned/observed from listening and responding to The Moldau.
1.
2.
3.
4.
Based on what you have learned from your readings and practical experience, describe the educational value of guided listening with children. (400 words approx.)
