The Nature and Design of Compelling Music

Building an imaginative bridge between the work of art of compelling music, and the work of art of teaching…

Teaching via repetition helps learners retain facts, lists, procedures, etc., in their long-term memory under the assumption that the more often information is retrieved and used, the more deeply it will be processed. 

A musical "hook" is embedded into the mind of a listener via repetition.  The more often an attention-grabbing, memorable melody, lyric, or rhythm, is incorporated into a song, the more deeply it will be processed and remembered.

The Nature and Design of Compelling Music

Building an imaginative bridge between the work of art of compelling music, and the work of art of teaching…

One analogy that I came across several times when reading about what a "hook" means when it pertains to music, had to do with fishing.  Specifically, that you can't catch a fish when your rod is missing a hook.  The same principle applies with regard to music.  In music, the word "hook" refers to the part of the song that catches your ear, draws you in.  The "hook" must be appealing and something that makes the song memorable.

The same can be said of teaching.  In my mind, I see the "hook" as the teacher.  Every day he/she presents lessons to the classroom; however, if he/she does not successfully catch your ear and draw you in, you are disengaged.  If he/she is not dynamic in their appeal, he/she is not memorable; nor is the lesson.  A strong and appealing teacher, just like a strong and appealing "hook", is able to catch and reel you in!    

 

Module 3 ~ Architecture & Interior Design

Imaginative bridge between the work of art of Architecture & Interior Design and the work of art of Teaching…

My imaginary bridge this week was sparked by the uneasy confrontation I experienced while collecting pictures for our Architecture & Interior Design project.  I do understand that stores pay money to have people develop their displays, and I'm sure they have their share of people grabbing pictures of impressive displays and recreating them without paying.  However, this week, it was the store without bells and whistles and impressive displays that gave me grief about taking pictures.  The completely impressive store, with beyond amazing displays, allowed me to walk around for hours (without saying a word to me) allowing me a world of photo opportunities.  After looking at all the shots I collected of both stores, it was clear that one store was very proud and confident in what I would see; the other... not so much.  

As the week progressed, it made me think about teaching and how it relates to the interior design of my two stores.  The attributes of my first store are attributes I wouldn’t want to see in a teacher.  Quantity over quality, no improvements even though it is painfully obvious the need is there, and wouldn’t be thrilled with a Principal or school official observing in the classroom just as you wouldn’t want someone taking pictures in your store.  The qualities of the impressive store are the same as the qualities a good teacher would have.  They understand there is a place for tradition, but there is also a place for new ways, new ideas, new systems, and new approaches.  That store was proud to have me taking pictures and confident in what I would see ~ Just as a teacher with those qualities, someone who is taking the time to create a special experience, an engaging journey, would be happy to have someone observe them… taking mental pictures or otherwise!

Module 3 ~ Architecture & Interior Design

Imaginative bridge between the work of art of Architecture & Interior Design and the work of art of Teaching…


I believe Architecture and Interior Design play a role in teaching in that a school’s physical design can improve or worsen children’s academic performance. The example I would like to share has to do with my search for a school for my children. After narrowing it down to a choice of two, the deciding factor was based on the buildings themselves. School ’A’ was very dungeon like. The elementary section was allocated to the basement of an extremely old building, where the ceilings/walls had deteriorations, no windows, low lights, and narrow hallways. In this situation, I could only imagine that my productivity would be low, and I couldn’t imagine it would be any different for my children. It was a depressing atmosphere, and didn’t matter to me how academically appealing the school was. All I could think about was seven hours a day (x) five days a week (x) ¾ of the year was too much time to spend in such gloomy conditions.

In stark contrast, School ‘B’, the school I chose, has a wall of windows in every classroom allowing natural light to seep in, a glass wall in the library, wide open corridors, masses of light throughout the entire school! It was with great pleasure that I could send my children to school in surroundings that promote an airy, cheerful atmosphere. I have to believe the quality of their surroundings has an influence on their academic performance.
　

　

　

　

　

　

Building an imaginative bridge between the work of art of film & television, and the work of art of teaching…

Both Filmmaking and Teaching are interactive...

Just as s a filmmaker must know where to begin the story, as Groh states that she discovered that the story shouldn't begin at the chronological beginning, you have to figure out what the audience cares about, a teacher must know where lessons should begin, what the class cares about in terms of what they need to know to build on their current knowledge of a subject.  As Larry Prusak said, it's not like the Monty Python approach to learning, where you open up someone's head, and you pour the information in.  You're waiting for he/she to respond, to come back.  Because the sooner the audience/class responds, whether it's hundreds of people watching a video at the same time (or a class of 30 students), or speaking to an individual, the sooner the audience/class experiences the story and really feels something, the better the story/lesson is.  That's the objective for both filmmakers and teachers:  to have the person really experience something, and retain the information conveyed via the experience.  

Building an imaginative bridge between the work of art of film & television, and the work of art of teaching…

A filmmaker tells stories every day.  As an audience, if we are engaged and find the stories compelling, we pay attention; however, if not, we don‘t watch.  A teacher tells stories every day, and if she isn’t engaging or compelling, the students will tune her/him out. As was written in Storytelling: The film-maker as storyteller, as a conductor uses his power to make the orchestra powerful, a filmmaker’s job as a storyteller is to awake possibility in other people. Look at the eyes of people in the “orchestra” around you; if they are lit up, Great!  A teacher in the role as conductor uses her/his power to make the students more knowledgeable, awakening possibility in them.  A teacher must also pay attention to the look in the eyes of her/his students, be mindful of whether they are lit up… if they are, they are engaged and the lesson will more likely be heard and retained.

Building a bridge between Photography and Teaching...

After blogging last week on Graphic Design & Photography AND Teaching, I really didn’t think I would have much to say for this week’s blog. However, it seemed the more required readings I perused, the more I could see the imaginary bridge to the classroom.

The first connections between photography and teaching stood out to me after reading the “Photography Tip” article for the hundredth time.  As Mood, Narration and Idea were discussed, I could see obvious connections. Just as a photographer creates a mood in an image, a teacher creates a mood in a classroom that’s conducive to learning. Just as the photographer has an idea in mind and the techniques he/she will use to tell a story, a teacher has a lesson in mind and the techniques he/she will use to teach it.

Moving on to Ken Rockwell in How to Make Great Photographs, I was drawn to the section on “Passion”. He states: “Photography is communicating passion and sparking excitement in the mind and body of another person. If you don't care about the subject then the results won't get beyond the basics. Care deeply and incredible things happen. Don't care and you are quickly forgotten.”

Wow! Talk about bridging Photography to Teaching!! TEACHING IS communicating passion and sparking excitement in the mind and body of another person. If you don't care about the subject then the results won't get beyond the basics. Care deeply and incredible things happen. Don't care and you are quickly forgotten.

As I continued to read, Rockwell’s next little gem stated: “A photograph is communicating something, be it an idea, concept, feeling, thought or whatever, to a total stranger. For a photograph to be effective you have to be clear with what you're communicating.”

Again, it was really easy to see the bridge here… Teaching IS communicating something, be it an idea, concept, feeling, thought or whatever, to a total stranger. For teaching to be effective you have to be clear with what you're communicating.

Fortunately, where a photograph infers narration, a teacher has the ability to convey deep meaning with her animated, live storytelling.

　

Graphic Design & Photography AND Teaching...

Graphics Designers and Photographers utilize their knowledge and techniques to create a visual storytelling.  A graphic design or photograph can elicit an emotional response from the viewer; ultimately, stirring the thought process.

Building a bridge between Graphics Design & Photographers AND the classroom…

In a more direct analogy, a teacher will utilize storytelling to elicit an emotional response (i.e., provoke, motivate, etc.) resulting in engaged, deeper thinking students.  Just as a well-developed and presented image can hold your interest and reach the viewer, teachers need to hold the interest of their students and reach them with the subject they are trying to convey.

A less direct analogy would be with regard to composition.  For a graphic design or a photograph, composition can equate to… what goes where (placement of items to draw your eye), colors, patterns ~ combining parts to form a whole.  For a teacher, composition is very similar in that how he/she builds on the curriculum tells a story, pulling in different aspects, structuring the curriculum such that every lesson supports each lesson, combining parts or elements, leading to a harmonious result.

Filmmaking AND Teaching...

"I have come to believe that a great teacher is a great artist, and that there are as few as there are other great artists. Teaching might even be the greatest of the arts since the medium is the human mind and spirit."                                                 -- John Steinbeck

I have to admit, I had to re-read Eisners Aesthetic Modes of Knowing several times before I really grasped the concept. Given that I'm not a teacher, my perspective throughout this course will certainly be less of an insight about why something goes well or not, and hopefully more of a fresh way of looking at something. 

In the first assignment, we were asked to think of a domain in which professionals intentionally create compelling experiences for others, and I chose filmmaking.  The list of “Eisner-ian forms” professionals in this field use to create a "compelling experience" for the audience consists of:  script, music, acting, lighting, composition, special/visual effects, etc...  Filmmaking is the art of storytelling.  A filmmaker uses this wide range of forms to help tell a story, and bring an emotional experience to the audience.  In filmmaking, these forms are broken down into departments, and the Director works collaboratively with them to convey his/her vision. 

The connection I see (the "imaginative bridge") in the work of a filmmaker and a teacher places the Teacher in the role of Director.  Just as the Director has a vision, so does the teacher.  A teacher in a classroom is very similar to a Director on a film set.  A good Director will encourage his crew to bring fresh ideas to the table, and create an environment where the various departments will strive to do their best.  Even though the Director is in charge, the smart ones utilize the experience and talent of the crew members they have selected.

A bad film Director will utilize this same power to not control the film, but attempt to control the crew hired by the production.  This is often driven by ego, and certainly doesn’t foster the creative collaboration of the crew.  Under these circumstances, the individual departments naturally tend to do “just enough” instead of going the extra mile to really create something special within their realm of expertise.  It’s really a big mistake for someone in charge to hire a very experienced and talented crew, then not make them feel part of the collaborative process of filmmaking.

There is a direct correlation between the affect a film Director can have on his/her crew, and the affect a teacher can have on their students.  By creating the right environment, a teacher can motivate their students to strive for something special.  In this instance, both the students and the teacher excel, and realize the most benefit and satisfaction from their work.