SO UN D I N G T H E T E A CH IN G
EX A MI NI NG MU SI C LEA R NI NG EX P ER I ENC ES
1
“
Prelude
WHAT I REFLECT ON
Do we design the layout of our music rooms based solely on learning
instructions? Do we consider how the students feel about the room,
how they would like the room? Do we stick to a traditional or regular
layout or look for new or innovative layouts to enhance the way we
interact? Do we plan our lessons based on the space or modify the
space to suit our lesson?
SHAHRIN
MAHMUD
What Approaches
Can We Sound Out
“
I believe practise allows us to hone our skills of facilitating with an
aesthetic flow that magically transforms the class. We need the space
to thoughtfully explore, reflecting on our practices in order to create
that magic.
IRENE
CHAN
CHUA
SIEW LING
WU
MEIHUI
12
“
Have we taught
music in a way that
makes us mindful,
that is respectful of
differences, offers
choices and lets
students decide?
Do we offer something
for the soul?
Peer observations are useful and
are definitely powerful in helping
one deepen learning and grow.
Auto-ethnography is a self-study made up of the autobiography
(narrative, self), ethnography (culture) and the writing experience of
the phenomenon. It is a possible approach I can take on for a critical
inquiry on mentoring.
XIE
ZHIZHONG
TAN
TEING IM
SOME IMPORTANT TAKEAWAYS FOR ME AFTER
ATTENDING A SESSION ON COMPOSITION
a. Notation is a tool of documentation, not a pre-requisite for composition.
b. While trying to restrict parameters for scaffolding composition, be mindful of
balance and don't have too many restrictions as it will restrict personal expression.
c. Whenever possible, ask students about their intentions instead of telling them.
d. If students ask for ideas, always try to give at least three examples of potential ideas.
If you give just one, the student will just copy it.
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