What do children need from education now, and in the future? How is technology best used in teaching and learning? How can innovative approaches to education be reconciled with established, traditional ones? What does student-centred learning really mean? This five module course is not just for classroom or ensemble music educators. It’s suitable for anyone interested in creativity-infused education, in contemporary education issues, and in the integration and use of digital technology. It’s designed to challenge old paradigms, to inspire innovative and creative pedagogical philosophies, and to develop your ability to critically respond to the latest research. We’ll visit schools with vastly different approaches to learning and teaching, and meet inspiring teachers and principals. We’ll venture inside the classroom to closely observe how technology is integrated with music education – or how it’s decidedly not! We’ll talk to international leaders and experts about innovative and traditional approaches to music education, and I’ll provide insights from my own practice as well as from some of my students. I’ll be provoking you to think critically and creatively, to develop your own ideas and theories around students’ educational needs and the impact of digital technologies, now and into the future. Copy and paste this link into your browser to watch the trailer: http://tinyurl.com/music-education-21st-century
Liveschool
Loading...
Из курса от партнера The University of Sydney
The Place of Music in 21st Century Education
36 оценки
Из урока
Aliens
Hein: "Why does classroom music seem alien?"
Познакомьтесь с преподавателями
Dr. James HumberstoneLecturer in Music Education
Sydney Conservatorium of Music
[MUSIC]
I'm at Liveschool, which was the world's first music training center that uses,
exclusively, Ableton Live.
And I'm here with founder Adam Maggs.
Now Adam, we want to talk about your actual curriculum, but can you tell us,
maybe first, for those who don't know, what is Ableton Live?
>> Ableton Live is a music software.
It also now has a hardware component that's optional.
But it takes its heritage from digital audio workstations that came up in
the 90s that would allow you to record and edit, like an virtual recording studio.
But Ableton Live has been engineered from the ground up to service musicians,
composers, live performance.
And it actually turns the laptop or the computer into an instrument.
>> Okay, so when you set up this school,
what was the philosophy behind what you wanted to achieve?
>> Well, essentially, we saw that there was a bit of a disconnect in
how music was taught, in that it could either have career teachers,
or academics, or ex-musicians doing the teaching.
And we ourselves wanted to learn from other producers,
the people who we thought were the most interesting.
And we saw that that was a common thing for other people who have either
an ongoing passion for music or who have just realized their passion for it.
So our process is to find really innovative artists and
producers who are doing something currently great or pushing music forward,
helping them distill their knowledge into our curriculum.
We actually have a set curriculum, but we keep updating it through their skills.
And putting the students directly in front of those people.
>> So just like we would do if we were synthesizing a kick drum,
I'm going to head over to the controls here and set up a filter envelope.
You have to add the beat of sound to the kick drum.
So just head in to the envelope here, turning her on,
boosting the amount, which is now up here.
[SOUND] Yeah, and then just pulling the decay time down.
[SOUND] Kick drum.
>> Let's say I arrive here, and I don't know anything about music and
I don't know anything about Ableton Live.
And I'm going to come in at whatever the very bottom level of your curriculum is.
>> Mm-hm. >> What am I going to learn in those first
few classes?
>> Well, I guess that the analogy would be if I put an instrument in your hand,
we'll need to get you to know what the instrument is, how it works, and
that kind of stuff.
But also, what you can do with it, and you'd want to be able actually
to do something satisfying throughout, and at least by the end of it.
So obviously, you need to get to know the software,
what it can do, how it works, what things are called.
But really, its about diving hands-in, and
making music and exploring creative ideas, possibilities.
And then as long as you have some abilities on taking control of things and
working with it by the end of the session, and you've made something yourself.
Then if we combine that with making you aware of what the possibilities are,
that’s what we hope to achieve out of the first session.
>> Okay, so over time, I stick with it, I love it, I practice, I become good.
Where can I take this, what can I learn as I progress through your curriculum?
>> Well, it depends on how far you go through, but at every step of the way,
we hope that you can make something and complete something.
And that just gets deeper and deeper as you go.
So making your own sounds,
completing your own instruments that you can then write with,
being able to perform live, being able to collaborate with others, be able to remix.
But then all the other things that come into that,
like the more you want to do, the more you want to know.
So we just feed all that information in, things like music theory, ear training,
all that kind of stuff, sound design, arranging, mixing, mastering.
>> Right, I think for your average music teacher, things like music theory and
ear training, that means worksheets and sitting at the piano
playing intervals to students and getting them to shout them out.
I'm imagining it's quite different for you.
How do they learn that through your course?
>> Well, I guess there's so many ways that you can do it with technology.
But also, the fundamental is still there, in that harmony is harmony, and that there
are some rules about it that are based on physics, and the maths of the physics.
Certain things just work, and certain things have an emotional resonance.
We don't think it's necessary to put music theory on a pedestal and
that make that the only thing, or necessarily even the first thing.
But it's the kind of thing that as you make more music,
you want to know how things combine and work together.
So you need to cover tools, you need to cover triads and
extended harmonies, and all this kind of stuff.
But we want to do it in terms of the emotions, and the moods, and the harmonies
that you're interested in, and look at what your current skill level is.
So what's the best way for you to achieve that?
If you're a trained pianist, then we can look at creative ways for
you to expand on that knowledge.
But if you are new to music theory, we want you to have the same ability and
the same result, being able to work with complex harmonies and things like that.
>> Wow, fantastic, and so are your students generally all of the same ilk, or
are they quite broad in the knowledge they bring to the courses?
>> It's very broad, I guess we mostly have mature age students, so
people post-high school, but we definitely have high school students through here.
But in any given class,
you might be working with people who are studying at the conservatory of music or
are classically trained, people who are working in the music industry.
Absolute beginners, people who turned up to music class in high school, but didn't
pay any attention, and only later realized that they have this love of music.
So it's our challenge to work out how to make the complex concepts so
easy to understand that the beginners in the same class can get that.
At the same time as covering the basics in a way that is profound to the people who
have seen this stuff time and time again, but giving them a different tangent.
>> Cool, so I guess the $1 million question for
music teachers out there in high schools and middle schools and things like that,
who are watching, is can they take some of this sort of fantastic hands-on
curriculum and use it as a model for their own teaching in their own schools?
>> Yeah, I mean, well, every school is different,
and every teacher and classroom.
But I think there's some things that wouldn't translate so
easily with what we do, such as having a defined curriculum that we then train
artists to feed into and learn from.
But the concept that you can teach music through technology without making it about
the technology is definitely possible now with things like Ableton Live.
And I guess the main thing to take away from it is that you can engage students,
immediately, in the music that they're most interested in.
So if there's something, a song that they discovered this morning that they're in
love with, rather than teaching them some other repertoire that the teacher is
more familiar with, you can engage them directly with that piece of music.
Either you can extract the media and work with that, or you can get into edit and
remix, and layer other sounds with that actual song.
But what the teacher can bring to it is all their knowledge about music, and
explaining how things are working, and
what they could do next to develop this idea, and all that kind of stuff.
because at point, they're interested, and
then you have an open pathway to getting the knowledge in.
>> I love this idea of a curriculum where you can learn music theory in an entirely
hands-on, musical way, and learn all the technology at the same time, too.
So below this video, we've provided a link to the Liveschool curriculum so
you can check it out.
And Adam, thanks so much for having us in here today.
>> Thank you, James, cheers.
[MUSIC]
Ознакомьтесь с нашим каталогом
Присоединяйтесь бесплатно и получайте персонализированные рекомендации, обновления и предложения.
Coursera делает лучшее в мире образование доступным каждому, предлагая онлайн-курсы от ведущих университетов и организаций.
© Coursera Inc., 2018 Все права защищены.
