Subject: Re: Aural Training in Electroacoustic Studies...
From: Michelle Nagai (firstname.lastname@example.org)
Date: Sat Aug 20 2005 - 15:46:29 EDT
i was trying to be a lurker on this list, but i have to comment here.
helping students, or any musically curious for that matter, to listen
intelligently, analytically and with a discerning ear by creating
sound themselves is a HUGELY powerful way of learning. speaking from
experience as both a student and teacher, and having just spent a
week in "deep listening" with composer Pauline Oliveros, I can't
stress enough the value of a hands-on approach. teaching through
improvisation does not mean total chaos. in fact, a great deal of
structure and rigor of practice may be present in such a scenario.
teaching in a specific "jazz" idiom is something different, and not
what i am referring to here by improvisation - rather, i'm talking
about having students explore structure, form, tonality, variation,
pitch, meter etc etc etc through embodied, improvised and self-
composed sounding activity. this is incredibly productive, and
pertinent to EA study as much as any other musical practice, IME.
back to lurking now...
On Aug 20, 2005, at 2:17 PM, Kevin Austin wrote:
> Jazz Improv classes that I have observed are about the development
> of skills that will later be employed. "Improvisation" is not a
> large part of the early class work. Students require a solid
> technical basis with their instruments so that they can develop the
> higher level skills of real-time composition / variation /
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