|
|||||||||||||||||||||||||||||||||||||||||||
|
|||||||||||||||||||||||||||||||||||||||||||
|
Teach TalkDeveloping Musical Structures:
|
Back to top |
Two very basic principles have guided the design of the course and the facilitating computer music environment, Impromptu . First, computers should be used only to do things we can't do better in some other way. Second (borrowed from Hal Abelson), an educational computer environment is valuable to the degree it causes its developers to re-think the structure of the relevant domain. Thus instead of saying, "Here is this computer with all these neat possibilities, what can I do with it?" I said, "Here are some things that beginning music students can do already, how can I use this intuitive know-how to help them learn to do what they can't yet do in a more musically relevant, intuitive, and accessible way?
Impromptu evolved in answer to these questions coupled with related issues of representation. Music notations represent music at the "note" level and I wanted to give beginning students more aggregated and perceptually meaningful elements. But "notes" are necessary to make them. So, I was drawn to the potential of the computer as an interactive medium because I could create programmable, clickable icons that would immediately play just such already aggregated melodic motives. These playable icons would function for beginning students in their initial composing projects as both units of perception and units of work. We called them tuneblocks.
In the screen shot, the icons on the right, when clicked, play meaningful structural entities (motives); in this example, they include the motives with which to reconstruct the melody, "Ode to Joy." To build the melody, students drag tuneblocks into the Playroom and arrange them in order so that they play the whole melody.
Blocks 3-1-3-2, the opening two phrases, are shown in the Playroom. Notice that as students build up a melody, they are actually involved in "constructive analysis" – i.e., they are reconstructing the larger structure of the melody as embodied by the sequence of icons/motives. The graphics window at the bottom of the screen shows a more fine-grained representation of the sounding blocks – "pitch contour" graphics.
The most interesting work develops when students are given what they called "strange" blocks borrowed from unfamiliar pre-tonal or post-tonal styles. Students are asked to make a melody "that you like and that makes sense" by listening, arranging, and rearranging blocks in the Playroom window and also modifying the "contents" (pitch and rhythm) by "opening up" the blocks using the edit window. It turns out that almost everybody can do that. However, in any one class of 10 or so, given the same materials, no two students come in with the same tune.
Most important, students are asked to reflect on their process of composition as an integral part of the process, itself. As they work, students keep a log commenting on their decisions, and how this informs their emergent "model of a sensible tune." Students' papers, together with the performance of their compositions, become the center of our class discussions. Of course, students are often surprised, even confused, that the focus in class discussions is on their puzzlements and insights rather than on collecting notes drawn from the instructor's knowledge and information. Instead, as instructor, I am interrogating, probing, questioning – in order, collaboratively with the students, to make sense of and build on their sense-making.
The text, Developing Musical Intuitions (Bamberger, 2000) and recorded examples on an accompanying CD, illustrate how composers have used and extended some of the structural principles that are emergent in the students' own work. In addition to the conventions of notation and other vocabulary, the basics of music fundamentals are couched in terms of generalizable principles, thus informing encounters students have had in composing, listening critically to one another's work and to the recorded examples.
One of the gratifying results of the class is that instead of my devising questions to test what the students have learned, it is their continuing investigations into their own and one another's musical understanding that becomes the generative base for developing new knowledge. Searching for answers to questions that they have put to themselves, students begin to build a developing theory of musical coherence. At the same time, they are developing hearings and appreciations of music that go beyond what they know how to do already, to knowing about and knowing why . And in that process, they are also learning to hear and to notice aspects of music that previously passed them by, thus helping to broaden their musical taste and their listening preferences. Rather than giving up their intuitions, they learn in the service of better understanding them.
Back to top | |
Send your comments |
home this issue archives editorial board contact us faculty website |