Frisco TX Summary And Analysis

Another popular philosophy of music education discussed in this weeks reading, is that of Bennett Reimer, the teacher of David Elliott, known as the Aesthetic philosophy. This philosophy is “an experience-based philosophy of music education is one that focuses on and cherishes all the many ways music can be experienced and all the many music’s offering the special experience music provides.” (Reimer, 2005, p. 69)

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For the Best of the Best, Determination Outweighs Nature and Nurture by Alina Tugend, discusses the age old question about a person’s acquisition of talent. Are people naturally talented or can talent be gained through years of practice? Tugend’s article addresses the issue on a personal level and a scientific level. As she introduces the study, she reflects on her personal skills. She describes herself as a good writer and terrible singer, but questions why that is so. Her questions leads to expert’s opinions with scientific evidence in order to find an answer to this question.

Etien is able to work effectively with group members during collaborative class assignments. He is developing his note reading and writing capabilities and recently composed a short piece using a repeated motif. Etien is able to read and play the notes g through high d on the recorder with the correct fingerings and a good tone. A goal for Etien is to maintain better focus when singing with the class, in order to appropriately develop his vocal skills. I look forward to hearing his recent creation on Garage

Molly Mullis may not be the loudest person in the Freshman class, but she definitely knows how to channel her voice. Her voice isn’t heard through her mouth, however: it’s heard through her heart. Beginning in 2013, Molly has taken 30-minute piano lessons once a week for the entirety of the school year. This extensive training allows her to play a plethora of familiar and/or challenging pieces; moreover, it has given her the chance to create her own music herself. Often times, she will simply sit at the piano and then see her where her fingers take her. “Usually the songs will come depending on my mood,” she says. Even though many of her improvisations happen at her house, Molly does take time to share her work with the world. Last May, she

Unquestionably, playing the trumpet in a diverse range of musical ensembles over the past nine years has led to experiences that have not only shaped me as a musician, but furthermore as a student and as an individual. As early as middle school “Black Dog Jazz Band,” I struggled with the confidence on center stage to perform solos, even with sheet music and the exact notes to be played. Progressing through high school, my skill and my perception were transformed, as improvising measures of music of my own creation were no longer a source of insecurity, but rather an opportunity to display my creative expression and capability as a musician. Fast and difficult chord changes and previously unheard melodies were now uniquely mine, and I perform with a self-assurance in my own interpretations. This composure stemming from years of soloing and jazz band undoubtedly seeped into my academic life, as the poise and self-assurance with which I similarly deliver oral presentations has been clearly and positively impacted.

Specifically, any influences they may have had at the start of their musical path and throughout their career. This paper will also look into the direction their career went in, for example performing, recording or teaching. Sources used for this comparison will include biographies and Youtube. In each section this paper will be looking at different periods of their development. This will be in a chronological order starting with what initially sparked them to play music and then their early, middle and end point of their career. Finally, this paper will draw any conclusions from the evidence

Throughout the past year, I have observed students at various levels at the DSR, and consistently witness the power of the unparalleled education and experience the students are receiving, whether the student is five years old, or fifty. The classes that occur every week are more than just music classes; music is the core of a joyful and hugely influential way to educate and enrich the lives of those students who are involved.

Through weekly private lessons, chamber, wind, and orchestra ensemble playing, and assiduous independent practice, I have improved immensely as a trombonist and musician. My work paid off when I was accepted into Boston University’s Tanglewood Institute. At this nationally competitive program, I spent six weeks with talented, dedicated students while rubbing shoulders with the Boston Symphony Orchestra (BSO). I had never heard elite musicians live before the BSO. Their concerts brought tears to my eyes and my drive to make music at the highest level grew. After receiving instruction from these musicians and hearing their own performances, I refined my technique and made more tasteful musical decisions.

Since day one of my musical interest, I have heard the term, “practice makes perfect,” in almost every setting imaginable. From the beginning of my sixth grade year, I had heard of what it was to be an All-West musician, but at that point I really didn’t grasp the concept of just

Throughout my four years of high school, there was one class that became a huge part of my life. It not only molded me to the person I am today, but it introduced me to a large network of music genres and a diverse group of musicians. And what connects everyone in this network is language. However, this language is unique because of the different ways it can be used. It can be used as a command, the flick of a director’s wand, an instrument’s sound, or through scatting.

In order to become an expert performer Abbott and Collins (2004) suggest that talent development requires the possession of Psychological Characteristics for Developing Excellence (PCDE), which as the performer moves through the transition phases become further developed. PCDE’s are both trait characteristics and state related skills such as self-belief, dedication and discipline (Abbott and Collins, 2004). Another significant aspect of becoming an expert musician is deliberate practice. Deliberate practice requires determination with the correct motivation for the performer, and the necessary time and effort roughly equating to 10,000 hours (Ericsson et al., 1993). MacNamara, Holmes and Collins (2008) state that expert musicians require numerous aspects to reach the highest level; natural talent and/or deliberate practice combined with social context and significant others are needed to maintain performance at this high level. As talent is developed, the performer moves

Every performance has something to offer in a way of self-improvement. Listening to performances with analytical ears is an important part of developing skills and knowledge for any musician. From these experiences, more informed decisions can be made about the way practice is completed, what techniques are applied or disregarded, and what musical ideas an individual implements. Without critical thinking skills, a performance can be enjoyed, but the same learning will not occur. Also, as music operates on a global scale, a diverse understanding of cultures, musical content and performers is essential for a rounded awareness and has potential to create local and international networking opportunities.

The Kodaly method is a system used all around the globe to teach the reading, writing and performing music through the medium of the voice. The method has been used for about a century and has proven to be an effective way to learn about the many complexities of reading and performing music. The system has fallen in and out of favor over the years and has recently regained resurge in popularity. (Robert Garfias, 2004)

Over time, you really will be able to hear a melody and execute it flawlessly. But by