Another massive and awesome day at the ASME Conference. I saw quite a lot today, and I probably won’t get it all down in one sitting. There are a few things that I’ll need to sit down with for a while and mentally digest before I can write too much, but here are some brief brushstrokes:
George Spartels of “Play School” fame presented the keynote address for this morning’s session of the conference. His title question: If we take music out of the equation of children and their education, then how grounded, drab, and even unsustainable would learning be?
He talked about how music is absolutely basic to human development, right from the earliest days of childhood. Something he said which immediately stuck in my mind was,”children are not an inferior audience”. Young children have a highly sophisticated (and critical) faculty for listening, and it’s actually much harder to write a song for children than a song for adults.
He talked about how the script of an episode of Play School would be figured out in minute detail, how arguments went back and forth around the table for hours at a stretch over the selection of phrases, or even the choice of a single word. This was all out of a huge awareness of just how much children pick up in the course of an episode…and what they pick up may not be entirely what you’d expect.
Example: George showed us a clip of a song he wrote about surfing, where he was pretending to surf on his desk before going out onto the beach with an actual surfboard. He was trying to get across the message of fitness and of getting outdoors. What many children picked up was: the action of surfing is done by standing on a desk. George had nightmares of injured children and lawsuits after finding that out.
He spoke about the essential importance of music in an episode of Play School. I have fond memories of Warren’s piano playing, how it wove in and out constantly, how it could make me laugh, calm me down, or tell me, “there’s a song coming”.
George talked about the emotional cues communicated by music, which wouldn’t necessarily be conveyed in a script or a visual image. He described how music could be used to convey to a child: this is a safe place to imagine whatever you like, however bizarre or out of the box.
His keynote ended as only a Play School presenter’s keynote can: by all three hundred conference delegates standing up and singing “I’m a Little Teapot”, with actions.
After the keynote, I went to a workshop held by Ros McMillan, about engaging junior secondary students in musical activities. She showed us some interesting and fun ways to create rhythmic rounds on the spur of the moment, and gave us a number of ideas for using just one song in a variety of different lessons.
Something Ros emphasised was the idea of connecting her units to something wider than simply musical content, like “The Environment”, or “Relationships” for example, and embedding musical ideas within those contexts.
I saw two presentations by Geoffrey Lowe, the first of which was very effectively entitled, “This Sucks!” It was all about why so many students drop out of music at school, considering some form of music engagement (listening, playing, creating) is probably the single most widely preferred leisure activity among children and teens, over and above TV, computer games, or sport.
This was so popular that people had to bring in extra chairs, and it was very nearly standing room only. Geoff’s main premise was that kids prefer prac-based, contextual-based music learning, and hate theory and aural skills training when they’re delivered out of context (ie: when they can’t hear it, or use it to play or create something).
They also have very clear ideas about the kinds of music they do and don’t like, and familiar is preferred, so that brings up the (for some) delicate question of popular music in the curriculum.
Basically, Geoff’s presentation invited music teachers to reflect on their practice and ask, “am I doing something here which may be contributing to the cause of students leaving?”
I also attended a workshop on Musical Futures by Ken Owen. I’ve heard quite a bit about Musical Futures lately, mainly from the Music Teachers’ Network, so I wanted to hear more about this one.
I got to have my very first go at using a jam hub, which was exciting (when it worked properly). I also felt a bit affirmed: much of the Musical Futures approach is similar to the approach I try to take in my classes, at least some of the time: informal, prac-based, student-directed learning.
There are some drawbacks, though: it doesn’t always work. But I want to find out more about Musical Futures and see how I can refine my practice. It’s certainly a very good tool, and one that I would love to embrace more fully.
I finished my day with a workshop focused on ACARA, the coming national Arts curriculum, held by Andrew Reid and Jay McPherson. This is a rather thorny topic, with lots of rumours floating around about it. This workshop was first of all an exercise in straightening out fact from fiction, and myth from reality.
They also discussed the recent draft (or “Shape” paper, if I remember rightly) and ASME’s not-so-enthusiastic reaction to it, for a variety of reasons.
What I mainly got out of that one was: no one really knows when it’s coming, and no one really knows what’s on it. So don’t worry about it…for now.
They were the workshops. I should also mention the stunning performances I heard from the AB Paterson Chamber Choir and Brisbane Birralee Voices during the breaks. There was also the Gold Coast City Wind Orchestra, and Trinity Lutheran College Revelation, a rock group, both of which were also very impressive.
Whew! That was a long one. Sorry for the overlong read. I just wanted to make sure I got everything mentioned at least briefly. Tomorrow I won’t be posting, as the conference dinner will be held in the evening. Tuesday I’ll be heading to Brisbane to visit family after the closing ceremony, before flying back home on Wednesday. My next post on the conference will hopefully be either Wednesday or Thursday.
This article by Gabrielle Deschamps is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.