Creative Arts Dr. Sharon G. Davis
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1 Creative Arts Dr. Sharon G. Davis
2 Outline The arts in everyday life. Meaningful arts integration Interdisciplinary processes used in the creative arts and some relevant examples. Constructivism and the thinking process involved in lesson planning in the arts. Problem solving: Learn a singing game. Videos of students engaged in problem solving lessons.
3 How do you use the arts in your life?
4 Creative Arts Dr. Sharon G. Davis
5 Interdisciplinary Processes: Analysis and Description With your partner take a few minutes and answer the following questions about the next slide: What do you see? What do you NOT see? What would like to know more about?
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7 Interdisciplinary Learning Authentic Non-authentic Engaging with interdisciplinary work requires knowledge of the skills involved in the separate disciplines What are the essential concepts and processes of a discipline?
8 Interdisciplinary Concepts
9 What interdisciplinary concept do you notice?
10 Musical Motif or Patterns Pop Music World Music Cartoon/Movie Music Classical Music
11 Musical Processes DIMENSIONS of MUSIC Timbre Form Melody Pitch Rhythm Harmony Dynamics Texture Tempo Meter Articulation Wiggins, J. (2015) Teaching for musical understanding. (3 rd ed.) Oxford University Press
12 Metadimensions: Products of the combination and interaction of dimensions METADIMENSIONS Style Time Genre DIMENSIONS Space Architecture Timbre Form Melody Pitch Rhythm Harmony Texture Dynamics Affective Qualities Historical Context Tempo Meter Articulation Sense of Ensemble Personal Context Cultural Context
13 Links to the essential questions METADIMENSIONS Style Time Genre DIMENSIONS Space Structure Affective Qualities Historical Context Unity or Sense of the Whole Personal Context Cultural Context Wiggins, J. (2015) Teaching for musical understanding. (3 rd ed.) Oxford University Press
14 Mark Rothko
15 Lessons from a painting by Rothko How would you paint a poem? Prepare the canvas carefully With tiers of misty rectangles Stacked secrets waiting to be told. Prepare the canvas carefully With shallow pools of color Stacked secrets waiting to be told Messages from some unknown place With shallow pools of color Thin layers of gauze float over the canvas, Messages from some unknown place Where soft shapes expand above a glow Thin layers of gauze float over the canvas With tiers of misty rectangles Where soft shapes expand above a glow How would you paint a poem?
16 Constructivism Understanding is constructed from experience and learning is supported through interactions in social contexts Learners construct knowledge best when new information is presented in holistic contexts how the parts connect to the whole. Learners must be involved in ways in which they can represent and distribute their knowledge amongst their peers. Scaffolding Bridges from where the learners are presently, to reaching new skills Agency: To be willing to learn learners must have some sense of control over their learning.
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19 John Kanaka Sea Chantey
20 Extensions Create your own work song that students can sing as they do chores in the classroom. Create a shape pattern based on the form of John KanakaNaka Create a poem based on the form of the John KanakaNaka.
21 Interdisciplinary Teaching Good interdisciplinary teaching is where the characteristics of one discipline enrich the learners understanding of other disciplines. Interdisciplinary themes are those that consist of processes in each discipline
22 Music in the lives of children Musical interactions Popular Culture Physical response Communication Entertainment Emotional reasons: Child composers
23 Songs Around the World
24 La Mariposa- The Bu8erfly Colibri World Playground: A musical adventure for kids
25 Metadimensions: Style and Genre Materials: 2 sets of puzzle cards** Game song and folk song playlist Organiza-on: Partners Dimensions: Melody Lesson Assumes: prior experience with melodic direchon Objec-ve: Learners will expand their understanding of melodic direchon Learning Target: I understand that melodies move by skips, steps and repeats. I will use my understanding and my musical ear to put the puzzle cards in the correct order. Musical Problem: Learners will make predichons about the melodic direchon. Learners will work with a partner to discover the melodic direchon of the song by pumng puzzle cards in the correct order. Compare soluhons to those of peers. Assessment: Learners be able to put the cards in the correct order and explain the melodic direchon.
26 Metadimensions: Style and Genre Dimensions: Melody Connec-on to prior knowledge: Review familiar songs and discuss the melodic shape. Demonstrate melodies on instruments. Groundwork: experience melodic direchon enachvely, iconically, and symbolically (Bruner, 1966) **Puzzle card idea conceived by Magne Espeland
27 Process: Learners solve problems Can you predict what the melody will sound like? Work with a partner to arrange the cards according to what you hear Pose Problems Learner predichons Humming I see pa8erns There are repeats
28 Process: AcHve ParHcipaHon
29 Learners Observe Other Dimensions O Pião Entrou : A Brazilian Game Song
30 Learners Observe Other Dimensions It had a good beat It has good singing, and it has great music, when you put it all together, it fits nicely (Architecture) It s not too slow and it s not too fast (Tempo) It s music that you like (Affect)
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32 What education can learn from the arts The senses are our first avenues to consciousness (Eisner, 2002, p. 12) Refinement of the senses develops imagination and opens up possibilities rather than narrowing possibilities see connections We learn to notice Appreciation of the aesthetic Enables communication of that which is ineffable Allows exploration of our emotional life and values individuality There can be more than one answer to a question The arts make vivid the fact that words do not, in their literal form or number, exhaust what we can know (Elliot Eisner) Every child is an artist, the problem is how to remain an artist once he grows up Pablo Picasso
33 The arts refine our senses so that our ability to experience the world is made more complex and subtle; they promote the use of our imaginative capacities so that we can envision what we cannot actually see, taste, touch, hear, and smell; they provide models through which we can experience the world in new ways; and they provide the materials and occasions for learning to grapple with problems that depend on arts-related forms of thinking (Eisner, 2002, p. 19)
34 References Eisner, E. (2002). The arts and the creation of mind. New Haven: Yale University Press. Greene, M. (2001). Variations on a blue guitar. New York: Teachers College Press. Wiggins, J. (2015). Teaching for musical understanding (3rd edition). Oxford: Oxford University Press.
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