Книги з теми "Technical disciplines teaching"

Approaches towards the formal learning of piano playing with respect to musicianship is one that demands the understanding of musical concepts and their applications. Consequently, it requires the boldness to immerse oneself in performance situations while trusting one’s instincts. One needs only to cultivate an amazing ear and a good understanding of music theory to break down progressions “quickly”. Like an alchemist, one would have to pick their creative impulses from their musical toolbox, simultaneously compelling their fingers to coordinate with the brain and the music present to generate “pleasant sounds”. My exploration leading to what will be considered Keyboard Musicianship did not begin in a formal setting. Rather it was the consolidation of my involvement in playing the organ at home, Sunday school, boarding school at Presec-Legon, and playing at weekly gospel band performances off-campus and other social settings that crystalized approaches that can be formally structured. In fact, I did not then consider this lifestyle of musical interpretation worthy of academic inclusivity until I graduated from the national academy of music and was taken on the staff as an instructor in September, 1986. Apparently, what I did that seemed effortless was a special area that was integral to holistic music development. The late Dr. Robert Manford, the then director of the Academy, assigned me to teach Rudiments and Theory of Music to first year students, Keyboard Musicianship to final year students, and to continue giving Piano Accompaniment to students – just as I have been voluntarily doing to help students. The challenge was simply this; there was no official textbook or guide to use in teaching keyboard musicianship then and I was to help guide especially non-piano majors for practical exams in musicianship. What an enterprise! The good news though was that exemplifying functionalism in keyboard, organ, piano, etc. has been my survival activity off campus particularly in church and social settings.Having reflected thoroughly and prayerfully, it dawned on me that piano literacy repertoires were crafted differently than my assignments in Musicianship. Piano literacy repertoires of western music were abundant on campus but applied musicianship demanded a different approach. Playing a sonata, sonatina, mazurka, and waltzes at different proficiency levels was different from punching chords in R&B, Ballard style, Reggae, Highlife or even Hymn playing. However, there are approaches that can link them and also interpretations that can categorize them in other applicable dimensions. A “Retrospective Introspection” demanded that I confront myself constructively with two questions: 1. WHAT MUSICAL ACTIVITIES have I already enjoyed myself in that WARRANT or deserve this challenging assignment? 2. WHAT MUSICAL NOURISHMENT do l believe enriched my artistry that was so observable and Measurable? The answers were shocking! They were: 1. My weekend sojourn from Winneba to Accra to play for churches, brass bands, gospel bands and teaching of Choirs – which often left me penniless. 2. Volunteering to render piano accompaniment to any Voice Major student on campus since my very first year. 3. Applying a principle, I learnt from my father – TRANSFER OF LEARNING – I exported the functionalism of my off-campus musical activities to compliment my formal/academic work. 4. The improvisational influences of Rev. Stevenson Alfred Williams (gospel jazz pianist), Bessa Simmons (band director & keyboardist) and at Ghana Broadcasting Corporation, Mr. Ray Ellis “Afro Piano Jazz Fusion Highlife” The trust and support from lecturers and students in the academy injected an overwhelming and high sense of responsibility in me which nevertheless, guided me to observe structures of other established course outlines and apply myself with respect to approaches that were deemed relevant. Thus, it is in this light that I selected specific concepts worth exploring to validate the functionalism of what my assignment required. Initially, hymn structures, chords I, IV, V and short highlife chordal progressions inverted here and there were considered. Basic reading of notes and intense audiation were injected even as I developed technical exercises to help with the dexterity of stiff fingers. I conclude this preface by stating that, this “Instructional guide/manual” is actually a developmental workbook. I have deliberately juxtaposed simple original piano pieces with musicianship approaches. The blend is to equip learners to develop music literacy and performance proficiencies. The process is expected to compel the learner to immerse/initiate themselves into basic keyboard musicianship. While it is a basic book, I expect it to be a solid foundation for those who commit to it. Many of my former and present students have been requesting for a sort of guide to aid their teaching or refresh their memories. Though not exhaustive, the selections presented here are a response to a long-awaited workbook. I have used most of them not only in Winneba, but also at the Callanwolde Fine Arts Center (Atlanta) and the Piano Lab (Accra). I found myself teaching the same course in the 2009 – 2013 academic year in the Music Department of the University of Education, Winneba when Prof C.W.K Merekeu was Head of Department. My observation is that we still have a lot of work to do in bridging academia and industry. This implies that musicianship must be considered as the bloodline of musicality not only in theory but in practice. I have added simplified versions of my old course outlines as a guide for anyone interested in learning. Finally, I contend that Keyboard Musicianship is a craft and will require of the learner a consistent discipline and respect for: 1. The art of listening 2. Skill acquisition/proficient dexterity 3. Ability to interpret via extemporization and delivery/showmanship. For learners who desire to challenge themselves in intermediate and advanced piano, I recommend my book, “African Pianism. (A contribution to Africology)”

As dance training evolves and becomes more complex, knowledge of motor behavior is foundational in helping dancers learn and master new skills and become more efficient in integrating the skills. Motor Learning and Control for Dance is the first resource to address motor learning theory from a dance perspective. Educators and students preparing to teach will learn practical ways to connect the science behind dance to pedagogy in order to prepare dancers for performance. Dancers interested in performance from the recreational to professional levels will learn ways to enhance their technical and artistic progress. In language accessible even to those with no science background, Motor Learning and Control for Dance showcases principles and practices for students, artists, and teachers. The text offers a perspective on movement education not found in traditional dance training while adding to a palette of tools and strategies for improving dance instruction and performance. Aspiring dancers and instructors will explore how to develop motor skills, how to control movement on all levels, and—most important—how motor skills are best taught and learned. The authors, noted experts on motor learning and motor control in the dance world, explore these features that appeal to students and instructors alike: • Dance-specific photos, examples, and figures illustrate how to solve common problems various dance genres. • The 16 chapters prepare dance educators to teach dancers of all ages and abilities and support the development of dance artists and students in training and performance. • An extensive bibliography of sports and dance science literature allows teachers and performers to do their own research. • A list of key terms is at the beginning of each chapter with an accompanying glossary at the back of the book. Part I presents an overview of motor behavior, covering motor development from birth to early adulthood. It provides the essential information for teaching posture control and balance, the locomotor skills underlying a range of complex dance skills, and the ballistic skills that are difficult to teach and learn, such as grand battement and movements in street dance. Part II explores motor control and how movement is planned, initiated, and executed. Readers will learn how the nervous system organizes the coordination of movement, the effects of anxiety and states of arousal on dance performance, how to integrate the senses into movement, and how speed and accuracy interact. Part III investigates methods of motor learning for dancers of all ages. Readers will explore how to implement a variety of instructional strategies, determine the best approaches for learning dance skills, and motivate and inspire dancers. This section also discusses how various methods of practice can help or hinder dancers, strategies for improving the recall of dance skills and sequences, and how to embrace somatic practice and its contribution to understanding imagery and motor learning. Motor Learning and Control for Dance addresses many related topics that are important to the discipline, such as imagery and improvisation. This book will help performers and teachers blend science with pedagogy to meet the challenge of artistry and technique in preparing for dance performaance.