Chapter Summary: There is a lot of power in visualizing. If we learn to visualize, or "feel sense," an action before we actually perform it, our accuracy in our performance greatly increases. Our body and brain are more connected then most people think they are. If we visualize the correct stimulus without wavering in our mind over what we are doing, then our body is much more likely to act in the desired way. Once we have visualized the performance, we need to let the body give up the inappropriate patterns that we have acquired without forcing it. As our awareness increases, it will be much easier to find a place of comfort and ease in the body. We can also learn repertoire through visualizing in a more effective way then merely outwardly going over it over and over again without inwardly connecting to the repertoire.
Key Concept: "If you continue to visualize with a feeling sense, muscle patterns actually begin to change and become more dependable, more repeatable, less erratic."
Key Terms: Visualize, feel sense
Making Connections: In my own singing, I have often visualized inside of myself the way I felt the meaning of the text should be conveyed. However, I have spent a lot of time visualizing a whole piece of music in my mind without even opening my mouth. This concept reminded me of the tennis players in "The Talent Code" who would play tennis without the balls so that they could visualize in their body each swing. I am looking forward to applying visualization more fully into my practice, which I know will deepen my understanding of the music as well as the way it moves through my body.
Monday, September 30, 2013
Sam ER Chapter 12 Summary
Sam
Chapter 12 Summary- Sometimes as musicians we have an unhealthy attitude towards the challenges we face. Whenever we hear about other people's problems we are immediately ready and able to offer a long list of solutions, which we are sure will be beneficial. When it comes to our own problems, however, we sometimes become inconsolable, claiming that our problems are in fact insurmountable. This feeling is never consistent with reality. In many cases we become addicted to our problems because they give us an excuse to underachieve, after all how can anyone expect us to be great when our problems are so big and complex. This attitude can be avoided when one asks what he/she gains from this problem and from the claim that the problem can't be fixed. We are often reluctant to find solutions to our problems because we know that other seemingly impossible hurdles await us once we pass the one immediately in front of us, but if we have the courage to fix the most pressing problems we will have greater confidence when we face bigger challenges in the future.
Key Concept- Struggles with learning and performing music are often nothing more than excuses to complain and to underachieve. Every musician needs to realize that they do not help themselves by continually telling themselves that their problem can't be fixed.
Key Terms- Insoluble Problem
Making Connections- I certainly have my share of problems when it comes to singing, but I can't allow those problems to let me sink into habits of making excuses and practicing less diligently. I need to have the same positive ingenuity that I have about the problems of others with regards to my own problems.
Chapter 12 Summary- Sometimes as musicians we have an unhealthy attitude towards the challenges we face. Whenever we hear about other people's problems we are immediately ready and able to offer a long list of solutions, which we are sure will be beneficial. When it comes to our own problems, however, we sometimes become inconsolable, claiming that our problems are in fact insurmountable. This feeling is never consistent with reality. In many cases we become addicted to our problems because they give us an excuse to underachieve, after all how can anyone expect us to be great when our problems are so big and complex. This attitude can be avoided when one asks what he/she gains from this problem and from the claim that the problem can't be fixed. We are often reluctant to find solutions to our problems because we know that other seemingly impossible hurdles await us once we pass the one immediately in front of us, but if we have the courage to fix the most pressing problems we will have greater confidence when we face bigger challenges in the future.
Key Concept- Struggles with learning and performing music are often nothing more than excuses to complain and to underachieve. Every musician needs to realize that they do not help themselves by continually telling themselves that their problem can't be fixed.
Key Terms- Insoluble Problem
Making Connections- I certainly have my share of problems when it comes to singing, but I can't allow those problems to let me sink into habits of making excuses and practicing less diligently. I need to have the same positive ingenuity that I have about the problems of others with regards to my own problems.
Jake SOHH chapter 10
We are always hearing about new techniques or teaching methods that will make us better and smarter than we were before. So how can we know what is the best technique or teaching method to use when we keep finding new and "improved versions" or something totally different than what we have ever learned? We have to study things out for ourselves and decide what we think works best for us, and we can always add upon what we have learned. It's constant improvement and progression.
Key concept: study things out for yourself, then decide if It is right for you
Connection: I will remember that there are always knew ideas and experiments to try, maybe they will work out for me, maybe they won't. But I should always try and decide for myself.
Key concept: study things out for yourself, then decide if It is right for you
Connection: I will remember that there are always knew ideas and experiments to try, maybe they will work out for me, maybe they won't. But I should always try and decide for myself.
Sam ER Chapter 11 Summary
Sam
Chapter 11 Summary- Every person experiences a large amount of pressure from a wide variety of sources. This pressure can become overwhelming especially for musicians. As performers our main goal is to perform our music flawlessly. Although this is a righteous desire it can lead to us putting undue pressure on ourselves, which in the end causes us to make more mistakes. We must realize that errors do not constitute failure, but rather opportunities for learning and growth. When we realize that we are allowed to make mistakes the pressure that comes from inside of us and from other sources declines and our performance actually improves.
Key Concept- A deeply rooted fear of mistakes actually causes tension that can have an adverse effect on performance. In order to avoid this pressure one must have a positive attitude towards mistakes and have a good understanding of their important role in the learning process.
Key Terms- Super-person
Making Connections- I need to realize more that my mistakes are part of being human and that if I never made mistakes I wouldn't need to be studying right now. I think if I allow myself the make mistakes and put less pressure on myself I will have more effortless performances.
Chapter 11 Summary- Every person experiences a large amount of pressure from a wide variety of sources. This pressure can become overwhelming especially for musicians. As performers our main goal is to perform our music flawlessly. Although this is a righteous desire it can lead to us putting undue pressure on ourselves, which in the end causes us to make more mistakes. We must realize that errors do not constitute failure, but rather opportunities for learning and growth. When we realize that we are allowed to make mistakes the pressure that comes from inside of us and from other sources declines and our performance actually improves.
Key Concept- A deeply rooted fear of mistakes actually causes tension that can have an adverse effect on performance. In order to avoid this pressure one must have a positive attitude towards mistakes and have a good understanding of their important role in the learning process.
Key Terms- Super-person
Making Connections- I need to realize more that my mistakes are part of being human and that if I never made mistakes I wouldn't need to be studying right now. I think if I allow myself the make mistakes and put less pressure on myself I will have more effortless performances.
Jake SOHH Chapter 9
If we learn to let our bodies and minds work together in true unity, we can accomplish amazing things. Visualization and thinking about what happens very distinctly when practicing anything can help you make huge strides in what you are trying to accomplish.
Key concept: specific visualization of achieving your goal will make you achieve that goal much faster than just practicing over and over again.
Key words: visualization
Connection: I want to try doing this with my Mozart aria, especially in the coloratura, which I suck at.
Key concept: specific visualization of achieving your goal will make you achieve that goal much faster than just practicing over and over again.
Key words: visualization
Connection: I want to try doing this with my Mozart aria, especially in the coloratura, which I suck at.
Sam ER Chapter 10 Summary
Sam
Chapter 10 Summary- As musicians we are constantly bombarded with various theories on what constitutes proper technique and brings about success as a performer. The problem is that although many of these theories seem to contradict each other they may all seem to be effective when put into practice. It is important that we acknowledge and embrace this concept. If we are stuck on the idea that there is one true to solution to every problem then we will box ourselves in as both teachers and students and possibly prevent ourselves from realizing our potential in greater measure. It is entirely possible for effective learning to change its shape rather dramatically from one person to another. It is, therefore obvious that effective teaching can also be rather dynamic. As teachers it is our duty to be open to all methods that can bring good results because the method that might help our students the most may be the one that seems new or unorthodox to us.
Key Concept- An open mind with regard to teaching methods is necessary for success as a teacher. There are many cases where there is more than one solution to a problem. As teachers we need to accept this reality and adapt accordingly.
Key Terms- The evidence, Right Way
Making Connections- In both my practice and my teaching I need to be open to the suggestions of all reliable sources. Even though some methods may seem odd to me the only way that I can know whether or not they are effective is by trying it out.
Chapter 10 Summary- As musicians we are constantly bombarded with various theories on what constitutes proper technique and brings about success as a performer. The problem is that although many of these theories seem to contradict each other they may all seem to be effective when put into practice. It is important that we acknowledge and embrace this concept. If we are stuck on the idea that there is one true to solution to every problem then we will box ourselves in as both teachers and students and possibly prevent ourselves from realizing our potential in greater measure. It is entirely possible for effective learning to change its shape rather dramatically from one person to another. It is, therefore obvious that effective teaching can also be rather dynamic. As teachers it is our duty to be open to all methods that can bring good results because the method that might help our students the most may be the one that seems new or unorthodox to us.
Key Concept- An open mind with regard to teaching methods is necessary for success as a teacher. There are many cases where there is more than one solution to a problem. As teachers we need to accept this reality and adapt accordingly.
Key Terms- The evidence, Right Way
Making Connections- In both my practice and my teaching I need to be open to the suggestions of all reliable sources. Even though some methods may seem odd to me the only way that I can know whether or not they are effective is by trying it out.
Sam ER Chapter 9 Summary
Sam
Chapter 9 Summary-Our bodies are incredibly capable at responding to the impulses that our mind gives to it. When we have a clear image in our mind of a desired behavior our bodies can recreate that action with stunning accuracy. For that reason it is important to employ visualization and "feeling sense" into our practice. When we just simply try something without visualizing it first we often overstretch and include unnecessary movements in an attempt to fix mistakes. When we visualize the desired movement our muscles receive impulses even if we don't actually do any moving. That way when we actually attempt to perform we can do so without all those unnecessary muscle movements that just end up making us tired. So, when we practice it is helpful to first visualize what we want to happen, try to make it happen, and then visualize again using the added information that we gained as a result of our performance.
Key Concept- Visualizing the our target behavior before we attempt to perform a certain passage in practice can be an effective way of practicing because it weeds out muscle movements that are actually superfluous.
Key Terms- Instant Preplay, Muscle Memory in Reverse, Feeling Sense
Making Connections- When I practice I can do more to visualize the desired behavior. I need to realize that all of the physical capabilities required to sing my repertoire are probably already present. I just need to connect all those skills mentally so that I can make them happen physically.
Chapter 9 Summary-Our bodies are incredibly capable at responding to the impulses that our mind gives to it. When we have a clear image in our mind of a desired behavior our bodies can recreate that action with stunning accuracy. For that reason it is important to employ visualization and "feeling sense" into our practice. When we just simply try something without visualizing it first we often overstretch and include unnecessary movements in an attempt to fix mistakes. When we visualize the desired movement our muscles receive impulses even if we don't actually do any moving. That way when we actually attempt to perform we can do so without all those unnecessary muscle movements that just end up making us tired. So, when we practice it is helpful to first visualize what we want to happen, try to make it happen, and then visualize again using the added information that we gained as a result of our performance.
Key Concept- Visualizing the our target behavior before we attempt to perform a certain passage in practice can be an effective way of practicing because it weeds out muscle movements that are actually superfluous.
Key Terms- Instant Preplay, Muscle Memory in Reverse, Feeling Sense
Making Connections- When I practice I can do more to visualize the desired behavior. I need to realize that all of the physical capabilities required to sing my repertoire are probably already present. I just need to connect all those skills mentally so that I can make them happen physically.
Emily C.: SOHH, Ch. 12
A Soprano On Her Head: Chapter 12
Emily Cottam
Chapter Summary: “The most difficult stage in learning a piece is that stage at which we can play it well enough to impress our friends, but badly enough to convince ourselves that we will never get any better.” Sometimes it’s healthy to take a break from a piece to help ignition to rekindle itself. Many times, we find ourselves hiding behind our problems because they provide comfort from our mistakes and give us something to fall back on if we didn’t do as well as we wanted. They give us an excuse to be less than our best.
Key Concepts: Problems provide a false sense of security when we are afraid to fail--but these can inhibit us from taking risks and performing at our best.
Key Terms: problem attachment.
Making Connections: This chapter was extremely relatable for me, because sometimes I fall into the habit of making excuses for my mistakes because of self-declared “problems.” I need to learn how to take risks and not be afraid to be incorrect sometimes, because it’s in the errors (and correcting them) that we learn the most.
Emily C.: SOHH, Ch. 11
A Soprano On Her Head: Chapter 11
Emily Cottam
Chapter Summary: An effective way to silence you inner judges is to bring out the humorous/childlike side of you and view your responsibilities with a fresh perspective. Sometimes, trying too hard can actually inhibit your ability to give a genuine performance. By exaggerating a movement/action, you can actually give yourself permission to “mess up” or “be silly,” and as a result, lose all negative inhibitions that prevent you from performing at your best. The “shoulds” in our lives can be monitored if we “have the courage to talk back.”
Key Concepts: It’s important to give yourself permission to “mess up” so you don’t feel so pressured to always be right; this can free you and allow yourself to perform without inhibitions.
Key Terms: Taming the “shoulds”
Making Connections: I’m the sort of person that often tries to make things happen, when in reality, I should be allowing myself to just let go and let everything fall into place rather than forcing them. I get very serious too quickly sometimes, so I need to learn how to become more childlike and have more fun, particularly when I’m in performance.
Emily C.: SOHH, Ch. 10
A Soprano On Her Head: Chapter 10
Emily Cottam
Chapter Summary: One teaching method that works for one student won’t necessarily work for all the others. Before taking in new learning theories/ideas, it’s important to be able to identify the way that you learn best yourself, so when you’re presented with new information, you’re able to filter out what could most benefit you and then experiment with them. As a teacher, it’s important to pay attention to whether or not your students are taking in/connecting with what you have to say--if not, try a different method until they do.
Key Concepts: Teachers learn just as much from their students as the students do from their teachers. Personal experimentation (trial/error) is the best way for one to discover what learning style best resonates with them.
Key Terms: process of discovery
Making Connections: When I’m in private lessons (whether it’s for piano or voice), I can utilize what I’ve learned in this chapter by making sure to inform the teacher of the times when I don’t quite understand a concept in the way that they’re teaching it. Also, when I’m in the practice room, I need to be able to identify which ways work best for me when it comes to learning music by experimenting with new techniques until I find the way that really works and is efficient for me.
Emily C.: SOHH, Ch. 9
A Soprano On Her Head: Chapter 9
Emily Cottam
Chapter Summary: Ristad addresses the value of visualization when it comes to practicing; just thinking or imagining a particular physical motion or an end result can serve as a helpful mode of practice. If done correctly, visualization is like performing the act itself without really doing it in “real life.” It’s more about sensation and understanding how it feels to perform a certain act (like playing the piano, for instance) and being able to recreate in your mind’s eye--if you cannot picture yourself doing something correctly, you are likely to not be able to do it the right way in real life. “The trick is to let the body give up the inappropriate without forcing it. When we give it that chance, we begin building a sensible choreography of muscle impulses that we can trust...” Through the use of visualization, you can also have your strengths “teach” your weaknesses.
Key Concepts: Visualization is a way to perform an act without physically doing it in real life--it’s a mode of practices that saves time and energy. If you cannot picture yourself doing it the right way, it’s likely you can’t do it in real life just yet.
Key Terms: Visualization, Awareness Through Movement, “feeling sense”
Making Connections: I have actually applied visualization in my practice time previous to this year--many times, if I had a piano recital, I would often imagine myself playing through the piece before going on stage. I can attest to its effectiveness--however, I have yet to use it when it comes to my stage nervousness; I will be sure to practice visualizing myself on stage (without nerves inhibiting me!) so I can familiarize myself with the sensation of ease and calmness.
Jaron Putnam SOHH Chapter 12 Summary
Jaron Putnam SOHH Chapter 12
Summary:
Sometimes we like
our problems too much. We use complaining and whining as barricades to growth
and success. We just need to grow up and have the courage necessary to just
move forward without hiding behind our crutches. Mrs. Ristad shared the
experience of one pianist playing Brahms, stating that she couldn't overcome
her cleaning of the piece. This of course was not true, but she told herself it
was, and used her fears and excuses as a crutch to stop her progression. Once
she overcame it, she made great progress and was able to keep moving forward in
perfecting the piece.
Key Concept: Don't
whine. Take brave steps forward and keep working on it. It will all work out in
the end.
Key Terms: Playing
like you are the listener and the performer. (not exactly a great term, but I
like the idea)
Making Connections:
I try very hard to be someone who doesn't complain about my schedule… Sometimes
it creeps in though, and I use it as an excuse for my lack of progress. I can't
let it be a crutch though. This chapter has helped taught me that I need to let
that go as a crutch, and move on in my progression as asinger and performer.
Jaron Putnam SOHH Chapter 11 Summary
Jaron Putnam SOHH Chapter 11
Summary:
I should do this… I
should do that… There are so many times in our life where we think about what
we should be doing, or should have done. Often this creates more tension and
stress in our life and doesn’t really fix the problems that come up. This is important
to realize. What is talked about in this chapter is how to fix the shoulds of
our life by looking and identifying and recognizing what we are currently doing
and answering the question: Why am I doing this? If we can do this, then often
we find that our problems will go away.
Key Concepts: Rather
than thinking "I need to fix this." try to think: "What am I
doing right now?" Awareness is key.
Key Terms: ?
Making Connections:
This is definitely something I need to work on and improve: being aware of
myself, what I am doing. And not telling my body what it should be fixing, but
just recognizing what I am doing. By recognizing what I am doing, the problem
can fix itself.
Jaron Putnam SOHH Chapter 10 Summary:
Jaron Putnam SOHH Chapter 10 Summary:
SOHH Chapter 10
Summary:
What is truth? What
is the best for us? This chapter discusses this concept a little bit more
closely. So many areas of life are filled with uncertainty. What one person
says is true, another person can deny and prove that they are right with facts
and data. Life really can be so subjective sometimes… What does that mean for
us? Ms. Ristad believes that we need to discover for ourselves what we believe
to be true. Rather than letting it wash over us and accepting everything we
hear, we need to find what resonates within us. This is a beautiful and true
concept. As we discover for ourselves we find that certain things from
different people resonate for us. This gives us our own version of truth. This teaches us a few important things. It
means we have to be careful how we teach others. We have to encourage growth
and discovery not just teaching by formulas or specific methods etc.
Key Concept: What
works for us in music may be different from everyone else. We just have to seek
out what makes sense for us. We have to discover it for our own.
Key Terms: Growth
Discovery
Formula
Making Connections:
This helps me to understand that I don't have to accept everything I hear as
being the definitive way of doing things. I need to find what works for me and
find what resonates with me. Truth, in certain areas, really is subjective.
Jaron Putnam SOHH Chapter 9 Summary
Jaron Putnam SOHH Chapter 9
Summary:
Visualization is an
incredibly powerful tool that can be used to improve how we perform music, and
function in life. Often times we find ourselves at musical crossroads. We
aren't sure how to proceed, and we worry about being able to compose or perform
to the best of our ability. One answer to these questions might be found in
visualizing what you want. Imagine yourself performing that passage. Don't just
visualize it, but feel it. Feel the muscles engage, think about what it would
sound like, look like. Get a good feel for what you want, and then let it
happen. I like this last part of the chapter: "Not Crazy at all. The
craziness is in the fact that we are astonished each time we discover that our
minds and bodies work together in wonderous ways if we but give them the
chance." Our bodies and minds know how to do it. We just have to get them
to work together and let them take care of the hard parts.
Key Concept: To be
successful in a difficult circumstance, one must visualize what they want, and
then work towards that.
Key Terms:
Visualization
Making Connections:
I really cannot wait to try this tomorrow! There is a specific passage I would
like to try with this method… I hope I can make something work out.
Emily C.: Joint Practice, 9/30/13
Emily C.: Joint Practice, 9/30/13
Shalayna and I started the practice with discussion of warmups--before she arrived to the practice room, I had the opportunity to warmup without her, so I described how I ease myself into practice for about 10-15 before working on my songs. She added some interesting insight into how she prepares to practice as well; from the very start of the day, she beginnings warming up gently and does silent practice by going over her music in her head, so when she gets to practice, she knows immediately what parts of the song needs to be worked on. I went over my piece “La Serenata” by Tosti with Shalayna because I figured it would be the best song to get some help on because the high notes can be difficult for me. She pointed out that a lot of my problems came from lack of breath support, so she helped me identify strategic places to breathe. Also, we talked about keeping a forward resonance instead of pushing the tone back into the throat by relaxing the tongue in the back. Shalayna then had her turn and started working on one of her French pieces, and she told me a problem she had was that she often pushed her jaw forward. It was a little tense, so I showed her some techniques that I learned from Brianna to keep it loose when she spoke the diction (this included putting an “L” shaped hand on her jaw to monitor that it didn’t push forward). I also showed her an exercise I learned from The King’s Speech (movie), where you relax your jaw and shake your fists; if you’re unable to release your jaw, then it’s too tight. By doing that, we discovered that her jaw was too tight, so this helped as a method for her to check herself. Overall, I think this practice session was very insightful and helpful.
Brooke's Voice Lesson #2
Brooke's Voice Lesson #2
Date: 9/19/13
I had quando men vo somewhat memorized the IPA and translation done, as well as the song analysis. Again we started with some different warm ups to help release tension. Because I had been practicing all week her earlier ones these ones seemed easier. The one that was a little more difficult for me was the thinking a notes and singing down an octave from it. Another one was to be light on the top and heavier on the bottom. It was a new concept to me because I am so used to being heavy on the top but it felt so much easier on my throat. Singing doesn't hurt anymore. We picked the rest of my music this went over new goals for next week. Song analysis for my two english pieces and the IPA and translation for my two german and one french piece.
Date: 9/19/13
I had quando men vo somewhat memorized the IPA and translation done, as well as the song analysis. Again we started with some different warm ups to help release tension. Because I had been practicing all week her earlier ones these ones seemed easier. The one that was a little more difficult for me was the thinking a notes and singing down an octave from it. Another one was to be light on the top and heavier on the bottom. It was a new concept to me because I am so used to being heavy on the top but it felt so much easier on my throat. Singing doesn't hurt anymore. We picked the rest of my music this went over new goals for next week. Song analysis for my two english pieces and the IPA and translation for my two german and one french piece.
Brooke's voice lesson #1
Brooke's voice lesson 9/12/13
This was my very first lesson and I brought along all my music books and my signed contract. Laurie added that I needed to exercise and drink lots of water to my contract. We then started with warm ups. It was very apparent that my voice had lots of tension in it and she gave my a few warm ups to help release that tension. They consisted of closed mouth "chewing on a five note scale downwards, as well as the woop slide and the octave slide. Next we moved onto music what I have done and what I wanted to do. We decided in that lesson that I would do Quando men vo and porgi amor. My goals for the next lesson would be to have the analysis for quando men vo.
Next lesson we will pick the rest of my songs.
This was my very first lesson and I brought along all my music books and my signed contract. Laurie added that I needed to exercise and drink lots of water to my contract. We then started with warm ups. It was very apparent that my voice had lots of tension in it and she gave my a few warm ups to help release that tension. They consisted of closed mouth "chewing on a five note scale downwards, as well as the woop slide and the octave slide. Next we moved onto music what I have done and what I wanted to do. We decided in that lesson that I would do Quando men vo and porgi amor. My goals for the next lesson would be to have the analysis for quando men vo.
Next lesson we will pick the rest of my songs.
Taylee - Partner Practice 09/30
This was a tough assignment for me. Performing in front of your peers is pretty hard sometimes, but practicing in front of them was a whole new level of vulnerability. It took me a long time just to feel less self-conscious in front of my voice teacher. Fortunately, Emily and I eased ourselves into this project by starting off with quizzing each other on memory. We basically did a lot of "first attempts" (we both have a ton of songs to know this semester due to our recital). Emily actually lived in Germany at one point, so she helped me with my German songs. I am no expert of French, but I am in French class and have taken French diction, both of which she has not yet done, so I helped her with her French. To end our lesson, we discussed our recital. We considered how we should organize our program, things we might need to start doing to prepare, and what advice could we gather from our teachers as well.
Emily F. partner practice 9/30
Emily F. partner practice 9/30: Because Taylee and I have a recital coming up VERY SOON, we felt our time would best be spent, for now, working on lyrics and memorization. We quizzed each other on lyrics, prompting as needed. Also, it was beneficial for us to help each other with diction. Taylee helped me work out some of my French problems, and I gave her pointers with her German pronunciation. We also discussed some jaw issues we've both been noticing in our individual lessons, and how to address that with our wordy German pieces. Even though this wasn't a traditional singing help practice, it's what we both needed right now, so it was meaningful.
Amber's SOHH chapter summaries 5-8
Amber's Chapter Summaries 5-8
Chapter 5
When it comes to learning, there is no right or wrong approach; just different.
Key concept: you must, MUST know your student's learning style and match your efforts to that perspective if either of you want to get anywhere without incurring significant psychotherapy bills.
Connection: It is my responsibility to get understand what my students learning style is, or we're both going to be disappointed and frustrated, and ….sad.
Chapter 6
Everybody's brain works different. Perception of the student must be paid attention to. For some it helped to have the music staff turned on its side. For others, it was a matter of seeing the notes from a new perspective by being put in a position of teaching them. Still further, the act of juggling or throwing a ball back and forth with alternating hands seemed to stimulate a balance between the extremes of the perceptual spectrum and make it easier for students from both ends to make the connections they needed to perform better whether it be in sight reading or memorization.
Key concept: Where a student is coming from (their point of view) is just as important as where they are trying to get.
Connection: I had better pay attention to my student's learning style and how they see things to help them get where they need to go with their music, or anything else I am teaching.
Chapter 7
How to help those struggling with sight reading. Methods include, helping students to see the shapes of intervals and short phrases on the musical staff, and even turning the staff to the side to make intervals more clear, especially to those playing the piano.
Key concept: Find ways of making patterns in music more clear.
Connection: This is very powerful for me as my first piano teacher taught me (at six years old) in a similar manner by interval and transposition before I ever learned letter names of notes. It was all about finding the patterns. She would write out a tune on staff lines for me in my own notebook in C major, then every week give me a new key to play/transpose it in every week following the pattern of whole and half steps and clustered chord patterns in the same fingerings. I knew what the intervals were way before I was ever in any choir and I LOVED going to piano lessons because it was a fun new game of lines and spaces every week.
Chapter 8
Sometimes when we need to have a breakthrough and start doing things differently, we need a whole new set of descriptors to help us conceptualize what we need to do, or even how to get there. For example, instead of the feeling of being just dead in a piece, a student was finally able to get the right feeling with the phrase dead still.
Key concept: Music is all about communication and evocation. One needs the right descriptor for his or herself in order to get to that place on a personal level before passing it on to an audience.
Connection: I need to be aware of how my student perceives the world and interprets it in order to help him or her find the right descriptor he or she needs to fulfill the music for him/her self and others. (also I need to buy a thesaurus to keep on hand in my future studio)
Chapter 5
When it comes to learning, there is no right or wrong approach; just different.
Key concept: you must, MUST know your student's learning style and match your efforts to that perspective if either of you want to get anywhere without incurring significant psychotherapy bills.
Connection: It is my responsibility to get understand what my students learning style is, or we're both going to be disappointed and frustrated, and ….sad.
Chapter 6
Everybody's brain works different. Perception of the student must be paid attention to. For some it helped to have the music staff turned on its side. For others, it was a matter of seeing the notes from a new perspective by being put in a position of teaching them. Still further, the act of juggling or throwing a ball back and forth with alternating hands seemed to stimulate a balance between the extremes of the perceptual spectrum and make it easier for students from both ends to make the connections they needed to perform better whether it be in sight reading or memorization.
Key concept: Where a student is coming from (their point of view) is just as important as where they are trying to get.
Connection: I had better pay attention to my student's learning style and how they see things to help them get where they need to go with their music, or anything else I am teaching.
Chapter 7
How to help those struggling with sight reading. Methods include, helping students to see the shapes of intervals and short phrases on the musical staff, and even turning the staff to the side to make intervals more clear, especially to those playing the piano.
Key concept: Find ways of making patterns in music more clear.
Connection: This is very powerful for me as my first piano teacher taught me (at six years old) in a similar manner by interval and transposition before I ever learned letter names of notes. It was all about finding the patterns. She would write out a tune on staff lines for me in my own notebook in C major, then every week give me a new key to play/transpose it in every week following the pattern of whole and half steps and clustered chord patterns in the same fingerings. I knew what the intervals were way before I was ever in any choir and I LOVED going to piano lessons because it was a fun new game of lines and spaces every week.
Chapter 8
Sometimes when we need to have a breakthrough and start doing things differently, we need a whole new set of descriptors to help us conceptualize what we need to do, or even how to get there. For example, instead of the feeling of being just dead in a piece, a student was finally able to get the right feeling with the phrase dead still.
Key concept: Music is all about communication and evocation. One needs the right descriptor for his or herself in order to get to that place on a personal level before passing it on to an audience.
Connection: I need to be aware of how my student perceives the world and interprets it in order to help him or her find the right descriptor he or she needs to fulfill the music for him/her self and others. (also I need to buy a thesaurus to keep on hand in my future studio)
Brooke's SOHH chapter 9 Summary
Brooke's SOHH chapter 9 Summary- The idea that visualizing concepts helps us to improve physical performance is one that the student Eric embraced. I believe he already had the patterns of music in his head just didn't have a tool to help them come out. When he visualized an orchestra playing then it unlocked his brain.We use this tool every day when we wake up. Visualizing what we are going to do that day gets our muscles ready. The hard thing about visualization is the precision of your imagination. You have to picture every single detail for it to work. Visualizing helps with our consistency in music, it gives your mind a new perception of your body and remember patterns. You just have to let your body do it.
Key Concepts- Visualizing ourselves singing correctly helps us mentally and physically in music. Visualizing helps with our awareness.
Key Terms- Visualization, feeling sense
Connections- I have noticed before that I sit and visualize how well a performance is going to go it magically does go better. The power of the mind is great and it can do many things if you just let it.
Key Concepts- Visualizing ourselves singing correctly helps us mentally and physically in music. Visualizing helps with our awareness.
Key Terms- Visualization, feeling sense
Connections- I have noticed before that I sit and visualize how well a performance is going to go it magically does go better. The power of the mind is great and it can do many things if you just let it.
Sarah Brenay - SOHH - Ch.8
Sarah Brenay - SOHH - Ch. 8
Chapter Summary: Often, the body and the senses can interpret music better than words. There are times when words are not accurate enough to sum up an experience, musical or otherwise. In teaching, physically modeling for students can be much more effective than using verbal instructions. When we rely on words, we get lost in their flowery, philosophical attributes and lose sight of their actual meaning. This is why it is often better to instruct in simple, direct terms.
Key Concepts: Physical understanding can be more important than verbal understanding when learning a new skill. Words can get in the way of understanding. Modeling correct behavior is faster and more effective than describing correct behavior.
Making Connections: This concept was lifted directly out of The Inner Game of Tennis. Watching someone practice a skill is often more instructive than hearing how to do it. It's difficult to do this with singing because the instrument is not visible, but we can see the way the body should look while singing and we can hear the difference between good and bad technique. This is why it's so important for all of us to be great models for students. If we are modeling poor singing, it will be very difficult for students to understand what we want, especially with beginners.
Chapter Summary: Often, the body and the senses can interpret music better than words. There are times when words are not accurate enough to sum up an experience, musical or otherwise. In teaching, physically modeling for students can be much more effective than using verbal instructions. When we rely on words, we get lost in their flowery, philosophical attributes and lose sight of their actual meaning. This is why it is often better to instruct in simple, direct terms.
Key Concepts: Physical understanding can be more important than verbal understanding when learning a new skill. Words can get in the way of understanding. Modeling correct behavior is faster and more effective than describing correct behavior.
Making Connections: This concept was lifted directly out of The Inner Game of Tennis. Watching someone practice a skill is often more instructive than hearing how to do it. It's difficult to do this with singing because the instrument is not visible, but we can see the way the body should look while singing and we can hear the difference between good and bad technique. This is why it's so important for all of us to be great models for students. If we are modeling poor singing, it will be very difficult for students to understand what we want, especially with beginners.
Sarah Brenay - SOHH - Ch.7
Sarah Brenay - SOHH - Ch. 7
Chapter Summary: When we focus on the destination only, we deny ourselves the beauty of the journey. Our minds often take control of our bodies. When we allow our brain to trust our bodies we create a heightened sense of physical awareness and ease. This skill is required of musicians in many situations, particularly for instrumentalists sight reading. Physical awareness of piano keys, for example, allows the student's brain to focus more attention on the music. Students become more adept at sight reading when they learn to recognize shapes and patterns instead of trying to figure out every individual note.
Key Concepts: Let the mind take a back seat and trust the body. Give the student permission to be wrong. Learn to see music as a pattern, as whole physical movements, and sight reading will improve.
Making Connections: Getting your mind to quite down and let the body do it's thing is one of the hardest thing I've tried to do as a singer. But I've found that the more I let go mentally, the more pleased I am with the result. The mind just brings too much baggage to the table, making assumptions and criticisms too often. The body knows what to do and how to do it - like Thomas said, just give the voice air and vowel shape and let it do the rest. Ristad's sight reading tips were very interesting, I'd love to experiment with them.
Chapter Summary: When we focus on the destination only, we deny ourselves the beauty of the journey. Our minds often take control of our bodies. When we allow our brain to trust our bodies we create a heightened sense of physical awareness and ease. This skill is required of musicians in many situations, particularly for instrumentalists sight reading. Physical awareness of piano keys, for example, allows the student's brain to focus more attention on the music. Students become more adept at sight reading when they learn to recognize shapes and patterns instead of trying to figure out every individual note.
Key Concepts: Let the mind take a back seat and trust the body. Give the student permission to be wrong. Learn to see music as a pattern, as whole physical movements, and sight reading will improve.
Making Connections: Getting your mind to quite down and let the body do it's thing is one of the hardest thing I've tried to do as a singer. But I've found that the more I let go mentally, the more pleased I am with the result. The mind just brings too much baggage to the table, making assumptions and criticisms too often. The body knows what to do and how to do it - like Thomas said, just give the voice air and vowel shape and let it do the rest. Ristad's sight reading tips were very interesting, I'd love to experiment with them.
Sunday, September 29, 2013
Sarah Brenay - SOHH - Ch. 6
Sarah Brenay - SOHH - Ch. 6
Chapter Summary: Encountering concepts that cause particular difficulty can make students feel ashamed, stupid, and frustrated, convinced that there must be something wrong with them. It's the teachers job to try and present troubling concepts in as many ways as they possibly can, thinking outside of the box to try to get through to the students. Some students simply perceive things differently, like Ristad's student who simply needed to see the staff sideways to make the connection between notation and keys. Teacher's can't force students brains to work in the way they think they should, there is no right way to think about anything. Forcing all students to try and fill the same mold is a terrible disservice, and often convinces many gifted kids that they are stupid. Many of Ristad's students found that highly focused, nonverbal, kinesthetic activities like juggling helped their brains focus better on their music. Interestingly, Ristad also noticed that students' strengths in one area made them weaker in another, like sight reading vs. memorizing.
Key Concepts: Shame is a powerful emotion that inhibits growth. Every student perceives things differently, and expecting them to do things your way is foolish and destructive. Think outside of the box for solutions.
Making Connections: Never shame the student! Address their mistakes with patience and without making them feel stupid or lazy. Never assume that they are stupid or lazy! So often it's the teacher that's the problem.
Chapter Summary: Encountering concepts that cause particular difficulty can make students feel ashamed, stupid, and frustrated, convinced that there must be something wrong with them. It's the teachers job to try and present troubling concepts in as many ways as they possibly can, thinking outside of the box to try to get through to the students. Some students simply perceive things differently, like Ristad's student who simply needed to see the staff sideways to make the connection between notation and keys. Teacher's can't force students brains to work in the way they think they should, there is no right way to think about anything. Forcing all students to try and fill the same mold is a terrible disservice, and often convinces many gifted kids that they are stupid. Many of Ristad's students found that highly focused, nonverbal, kinesthetic activities like juggling helped their brains focus better on their music. Interestingly, Ristad also noticed that students' strengths in one area made them weaker in another, like sight reading vs. memorizing.
Key Concepts: Shame is a powerful emotion that inhibits growth. Every student perceives things differently, and expecting them to do things your way is foolish and destructive. Think outside of the box for solutions.
Making Connections: Never shame the student! Address their mistakes with patience and without making them feel stupid or lazy. Never assume that they are stupid or lazy! So often it's the teacher that's the problem.
LaeKin Burgess SOHH Chapter 8
Summary: Verbal instruction has great value but sometimes become a jumble in our minds as we try to accomplish a task that is more about feeling than about talking. Watching a mentor demonstrate correct behaviors can be one of our best learning tools as we learn to imitate them. Mentally feeling the positioning and muscular behavior of a certain action (mental practice) can really help us achieve our target behavior. We can learn a lot from our bodies when we reach inside us and feel the music, feel the action and feel the target behavior.
Key Concept: Don't get caught up in too much verbal instruction. Learning happens when we experiment and look inside ourselves.
Connections: I feel like this is a recap on what the book has already been teaching. We can't let our minds be tyrants of our bodies and movement with our bodies teaches us a lot. As teachers we should remember not to get too caught up in instructing that the student doesn't have the chance to experiment. Mental practice is also a valuable tool in instructing the body.
Key Concept: Don't get caught up in too much verbal instruction. Learning happens when we experiment and look inside ourselves.
Connections: I feel like this is a recap on what the book has already been teaching. We can't let our minds be tyrants of our bodies and movement with our bodies teaches us a lot. As teachers we should remember not to get too caught up in instructing that the student doesn't have the chance to experiment. Mental practice is also a valuable tool in instructing the body.
Bric Slade Lesson Summary 9-26-13
Bric Slade Lesson summary
My lesson for this week we focused a lot on the two things that Thomas Glenn has been urging us to do. Vowels and air should stay consistent. I feel it made quite an improvement on my performance as a whole. I also went and had a lesson with Thomas where we focused on the placement of my sound. He told me I have a very dark tone but I need to create more resonance above my throat. He told me to sing out my eyebrows. Than he gave me a few exercises to work on in order to improve my sound. Its really nice to be able to work with a male singer, a tenor even. I felt like I could understand him better almost than my normal lessons. I love taking from Lauri and she has taught me a lot, but its nice to take a lesson from someone who has been in your shoes. Anyway I feel it was very productive. I feel like I know what I need to do to improve. I never noticed how dark my tone actually was, and that I might have overdone it in that sense. I was having some trouble with the climax of my song and Mr. Glenn was able to show me that I actually could sing it, it would just take some practice figuring out voice placement and singing it lightly.
My lesson for this week we focused a lot on the two things that Thomas Glenn has been urging us to do. Vowels and air should stay consistent. I feel it made quite an improvement on my performance as a whole. I also went and had a lesson with Thomas where we focused on the placement of my sound. He told me I have a very dark tone but I need to create more resonance above my throat. He told me to sing out my eyebrows. Than he gave me a few exercises to work on in order to improve my sound. Its really nice to be able to work with a male singer, a tenor even. I felt like I could understand him better almost than my normal lessons. I love taking from Lauri and she has taught me a lot, but its nice to take a lesson from someone who has been in your shoes. Anyway I feel it was very productive. I feel like I know what I need to do to improve. I never noticed how dark my tone actually was, and that I might have overdone it in that sense. I was having some trouble with the climax of my song and Mr. Glenn was able to show me that I actually could sing it, it would just take some practice figuring out voice placement and singing it lightly.
LaeKin Burgess SOHH Chapter 7
Summary: Too often in life we let our minds act as tyrants over our bodies. We accept this because for a lot of us, this is all we have ever known. We often over-look, over-try and over-instruct our lives which leads to a lot of stumbling around. It is important for us to create a "mutually supportive team," a partnership between our minds and our bodies in order to find balance. When we pull out our little "director" selves during lesson or practice time we can't let our "director" become a dictator. When we actually test ourselves we find our bodies don't need to be micro-managed but do many good things on their own. One way we can stop micro managing is to look at relationships and patterns in the music rather than every note to note value. We need to be able to step back and look at the big picture rather than being overly obsessive with the tiny details.
Key Concept: Allow your mind and body to be an equal partnership. Don't allow you mind to micro manage your body.
Connections: Point taken! My mind is totally a dictator and it has been a long struggle to free my body. I am getting better. When I do experiments with my voice and allow it to be free of my dictatorial mind I sing so much better!
Key Concept: Allow your mind and body to be an equal partnership. Don't allow you mind to micro manage your body.
Connections: Point taken! My mind is totally a dictator and it has been a long struggle to free my body. I am getting better. When I do experiments with my voice and allow it to be free of my dictatorial mind I sing so much better!
LaeKin Burgess Lesson Summary 9/24
Lesson Summary: This week's lesson went well. I was very tired but I felt like I was able to accomplish everything I needed too. My pitfalls were some tension in my inhalation especially in my upper back. Brianna and I discussed that I need to really focus on release there. I found myself over thinking things a lot which meant Brianna and I had to experiment a little bit more to get me in the right place for singing. After every new thing we tried Brianna had me report back what I felt. I was able to pinpoint exactly what was working for me and what wasn't. I discovered that thinking of any physical downward movement with my body makes me push in my singing. Instead I have to imagine that a steady stream of air is coming into my body(I picture it kind of like water flowing) this way I don't feel like I have to assist my breath with any area of my body. Of course, my goal is to apply this feeling when I am singing songs, not just in my vocalizes.
LaeKin Burgess SOHH Chapter 6
Summary: Everybody's abilities are different. We all have weaknesses and strengths that allow us to help and teach one another. Along with all of our different abilities come different learning styles. Just because you don't learn something the same way everyone else does, doesn't make you stupid, it just means you need to approach things differently. When you run into a roadblock instead of wondering what the matter is with you you should wonder how you can approach that roadblock differently. One good way to make sure you thoroughly understand something is to teach it. If you have trouble explaining the concept then there is probably something you are missing and teaching it will help you fill in the gaps. Also, juggling is a good brain exercise.
Key Concept: Everyone learns differently! Just because you are different, it doesn't mean you are stupid. You should be a teacher/have a teacher that understands this concept.
Connections: This is something that I feel is especially important for teachers to understand. If you are going to teach anyone you should understand that they ARE NOT STUPID but that they may have different perceptions than you. A teacher should be very flexible and reach into their deep "matrix" of understanding to look for ways of making things clear to every student. If nothing is working, it's time to expand your matrix a little more.
Key Concept: Everyone learns differently! Just because you are different, it doesn't mean you are stupid. You should be a teacher/have a teacher that understands this concept.
Connections: This is something that I feel is especially important for teachers to understand. If you are going to teach anyone you should understand that they ARE NOT STUPID but that they may have different perceptions than you. A teacher should be very flexible and reach into their deep "matrix" of understanding to look for ways of making things clear to every student. If nothing is working, it's time to expand your matrix a little more.
LaeKin Burgess SOHH Chapter 5
Summary: Sometimes our love of music is lost inside a sea of guilt for not doing things correctly all of the time. We can become addicted to our guilt and feel like we deserve scorn. Worst of all, we can believe that we'll profit from repeatedly being given the "right answers." We need to not be so concerned with getting the answers right all of the time and listen to our inner love for music instead. We can be so full of dread to get a wrong answer that we tie ourselves down and impair the abilities that are naturally there. So many people are mistaken that you need to be born with some "special" ability to be able to play music, but they are wrong.
Key Concept: As teachers and as students we need to be wary of perfectionism and remember what we love about music. We shouldn't be so obsessed with all the "right answers" that we impair our natural abilities.
Connections: As a student I have felt this a lot. I focus so hard on one thing that I can't get right and I try so hard to fix it that I tie myself up in knots. Most of the time the answer to my problem is to relax and STOP trying too hard. This chapter reminds me to "try better" rather than to "try harder."
Key Concept: As teachers and as students we need to be wary of perfectionism and remember what we love about music. We shouldn't be so obsessed with all the "right answers" that we impair our natural abilities.
Connections: As a student I have felt this a lot. I focus so hard on one thing that I can't get right and I try so hard to fix it that I tie myself up in knots. Most of the time the answer to my problem is to relax and STOP trying too hard. This chapter reminds me to "try better" rather than to "try harder."
Sarah Brenay - SOHH - ch. 5
Sarah Brenay - SOHH - Ch. 5
Chapter Summary: Our experiences with music as children have a powerful effect on our attitudes towards music as adults. Teachers who put too much emphasis on the technical aspects of music and focus only on correcting mistakes may find that their students lose their passion and enjoyment of music. The goal is to ignite a love for music that will fuel the students practice long term, not create an assembly line of perfect cookie cutter students. Each student has a unique learning style and it is the teacher's responsibility to adjust their methods to meet the needs of each student.
Key Concepts: Each students has a different perspective and learns in different ways, and a teachers style needs to change accordingly. Teachers have a huge impact on their student's self-image. Creating a positive atmosphere in lessons is as important as what is taught in those lessons.
Key Terms:
learning modes - the way a student best interprets information
Making Connections: We all know the effect our teachers have on us. When I have a good lesson I feel elated all day. And when I have a bad lesson it can take days to shake it off. As teachers we need to make sure our students don't feel threatened in lessons so that they can approach the music with curiosity, creativity, and enthusiasm.
Chapter Summary: Our experiences with music as children have a powerful effect on our attitudes towards music as adults. Teachers who put too much emphasis on the technical aspects of music and focus only on correcting mistakes may find that their students lose their passion and enjoyment of music. The goal is to ignite a love for music that will fuel the students practice long term, not create an assembly line of perfect cookie cutter students. Each student has a unique learning style and it is the teacher's responsibility to adjust their methods to meet the needs of each student.
Key Concepts: Each students has a different perspective and learns in different ways, and a teachers style needs to change accordingly. Teachers have a huge impact on their student's self-image. Creating a positive atmosphere in lessons is as important as what is taught in those lessons.
Key Terms:
learning modes - the way a student best interprets information
Making Connections: We all know the effect our teachers have on us. When I have a good lesson I feel elated all day. And when I have a bad lesson it can take days to shake it off. As teachers we need to make sure our students don't feel threatened in lessons so that they can approach the music with curiosity, creativity, and enthusiasm.
Shalayna LS 9.25
In this week’s lesson, I struggled with getting the e vowel
forward. I was frustrated after many
vocalizes on e, but I tried to remain positive. I constantly told myself, out
loud, that I can do it and try again. I
was able to error detect my jaw tightening up. I was too focused on trying to
get the technique right. I noticed when I did one of the exercises faster I was
freer than when we slowed the exercise down.
Caitlin Craig ER Chapter 8 Summary
Chapter Summary: Wordy jargon can often complicate understanding. When teaching and learning sometimes it is better to watch, or feel the sensations in your body. These sensations will not lead you astray, like sound often does. Removing holy jargon from our teaching often solidifies and clarifies ideas that once seemed mountaneous.
Key Terms: Holy Jargon
Key Concepts: find connections and understanding in a wordless means.
Making Connections: I think as a teacher it might be hard to listen at first. I think it would be an easy task to put words into your students' mouths, just because you are trying to understand them. But perhaps it would be a better exercise to show and then have them listen, and explain to you what they perceive. This could also aid in deciphering where there current ability or understanding lies.
Key Terms: Holy Jargon
Key Concepts: find connections and understanding in a wordless means.
Making Connections: I think as a teacher it might be hard to listen at first. I think it would be an easy task to put words into your students' mouths, just because you are trying to understand them. But perhaps it would be a better exercise to show and then have them listen, and explain to you what they perceive. This could also aid in deciphering where there current ability or understanding lies.
Caitlin Craig ER Chapter 7 Summary
Chapter Summary: We often forget the importance of the journey in learning, and we generally focus on getting the right results. This can stunt the depth of our knowledge, and capacity to grow. Finding a right balance of mind and body can bring us into a state of mind that is perceptive and open to the obstacles ahead.
Key Terms: awareness, visual sense.
Key Concepts: Learning style=perceptual mode
Making Connections: I think I often focus on the details too much. I need to trust my "singing feet" and focus on the shape of the whole. I think I would be able to jump over my vocal hurdles with much more ease if I could let go and just trust my abilities. I need to enjoy the singing journey.
Key Terms: awareness, visual sense.
Key Concepts: Learning style=perceptual mode
Making Connections: I think I often focus on the details too much. I need to trust my "singing feet" and focus on the shape of the whole. I think I would be able to jump over my vocal hurdles with much more ease if I could let go and just trust my abilities. I need to enjoy the singing journey.
Mariah Lesson Summary 9/26
Mariah Lesson Summary 9/26
I felt prepared for my lesson this week. I had worked on "Traume" and learned "The Last Rose of Summer" almost to memorization. I had listened to all of my songs that I could find on youtube. And I had warmed up fairly well before going.
At the beginning of the lesson, we talked about my song analysis form for "Traume" and some clarifications with that since it was the first analysis I've done. We did a few more warm-ups including lip trills moving around on the pitches and not going up by half-step. Laurie had me swing my arms and body around while making sighing sounds to help me release tension. She also had me do the plank exercise to help me connect more with my core. She introduced the snort inhaled K which helped open up the back of my throat more. We focused a lot on having me breathe in slowly through my nose and then go into singing. This helped me a lot to center and have more full, relaxed breaths. She reminded me to always think pitch in every exercise to prepare myself. While working on "The Last Rose of Summer," I was having a hard time singing the higher notes and especially keeping them in the feeling of the song. I would either sing them really soft or really loud. Laurie taught me a great technique to help with this. She told me to trace a line in the air how I thought the momentum of the song went. When the feeling in the song built, that's when I would curve the line upward instead of when the notes went up. I tried doing the song on a lip trill while focusing on tracing the line and then singing while tracing the line. This really really really helped me connect those higher notes with the rest of the piece and sing them so much more freely. We also worked on saying the words sing songy. When I would say the words, I wasn't forcing air through at certain times like I tried to do in singing. She had me say the words sing songy in a more projected way to add that next step to singing. Laurie also told me to try not to play for myself while singing so that I am not distracted. She suggested bringing in an accompanist sometimes so that she can focus more on teaching me and less on playing. Laurie notice that I tended to breathe and hold my breath before singing. I need to focus on having slow, full breaths that go right into my singing.
The key things I learned in this lesson were the tracing the line exercise and taking slow, full breaths. Saying the words sing songy also helped me be more relaxed and connect my breath while singing.
My goals for next lesson are to start learning Clair de Lune, work on the pronunciation and have "The Last Rose of Summer" completely memorized. Also, I would like to have the song analysis form done for This Little Rose. I need to find a recording of someone singing "D'un Genio"as well.
New Vocalizes
primal uh huh into singing ya ih ya
oh no no
Santa Clause
snorted inhaled K into meh oh oh ee
mhmm mee
pull the tongue out and quacking
I felt prepared for my lesson this week. I had worked on "Traume" and learned "The Last Rose of Summer" almost to memorization. I had listened to all of my songs that I could find on youtube. And I had warmed up fairly well before going.
At the beginning of the lesson, we talked about my song analysis form for "Traume" and some clarifications with that since it was the first analysis I've done. We did a few more warm-ups including lip trills moving around on the pitches and not going up by half-step. Laurie had me swing my arms and body around while making sighing sounds to help me release tension. She also had me do the plank exercise to help me connect more with my core. She introduced the snort inhaled K which helped open up the back of my throat more. We focused a lot on having me breathe in slowly through my nose and then go into singing. This helped me a lot to center and have more full, relaxed breaths. She reminded me to always think pitch in every exercise to prepare myself. While working on "The Last Rose of Summer," I was having a hard time singing the higher notes and especially keeping them in the feeling of the song. I would either sing them really soft or really loud. Laurie taught me a great technique to help with this. She told me to trace a line in the air how I thought the momentum of the song went. When the feeling in the song built, that's when I would curve the line upward instead of when the notes went up. I tried doing the song on a lip trill while focusing on tracing the line and then singing while tracing the line. This really really really helped me connect those higher notes with the rest of the piece and sing them so much more freely. We also worked on saying the words sing songy. When I would say the words, I wasn't forcing air through at certain times like I tried to do in singing. She had me say the words sing songy in a more projected way to add that next step to singing. Laurie also told me to try not to play for myself while singing so that I am not distracted. She suggested bringing in an accompanist sometimes so that she can focus more on teaching me and less on playing. Laurie notice that I tended to breathe and hold my breath before singing. I need to focus on having slow, full breaths that go right into my singing.
The key things I learned in this lesson were the tracing the line exercise and taking slow, full breaths. Saying the words sing songy also helped me be more relaxed and connect my breath while singing.
My goals for next lesson are to start learning Clair de Lune, work on the pronunciation and have "The Last Rose of Summer" completely memorized. Also, I would like to have the song analysis form done for This Little Rose. I need to find a recording of someone singing "D'un Genio"as well.
New Vocalizes
primal uh huh into singing ya ih ya
oh no no
Santa Clause
snorted inhaled K into meh oh oh ee
mhmm mee
pull the tongue out and quacking
Shalayna SOHH 7
Chapter Summary: We get so caught up in reaching our goals
that we forget our journey. Our minds tend to take on too much power and suck
up all the enjoyment of learning. Look at what you are trying to learn
differently. Look for a patterns, relationships, and connections that helps to
understand the information better. It is better to look up and take in what we
are learning instead of burying our minds with information we don’t understand.
It is helpful to understand the roles of our mind and our body. There is a sense of trust that needs to
happen with our minds and our bodies that understand how and what we learn.
Key Concept: Enjoy the journey to appreciate the goal.
Key Terms:
Connection: I get so caught up in memorizing music that I don’t
stop and reflex on how the music may relate to my life. I’ve often find myself just
practicing music because its own my schedule, not because I want to. I’ve
scheduled everything in, work, school, free time, the gym, etc. But hardly do I
ever stop and do something for fun. I want my desire back. I want to really take
pride in my success and say I worked hard rather than being glad it’s all over.
Taylee. Summary: One of music's most beautiful phenomenons is its ability to say what words alone cannot. Words, sometimes, are not appropriate to use. We must allow other learning senses to have a turn. If we can have the patience to allow other influences a shot at explaining our desire, we can then apply the words that only now seem appropriate.
Key Concepts: Sometimes "words are best left alone for the time being." We have others learning senses that need time to absorb information before we apply words to explain it.
Key Terms: Learning senses.
Making Connections: I've always felt that there were better ways of explaining things than just words alone. I'm glad that this chapter finally just said that. I've not always been good at letting those "other things" have a voice though. I talk a lot. So, in my lessons, I am going to try not to verbally affirm everything right off the bat, but instead just trust myself to understand what I picked up with my other senses. We'll see how I do come Friday.
Key Concepts: Sometimes "words are best left alone for the time being." We have others learning senses that need time to absorb information before we apply words to explain it.
Key Terms: Learning senses.
Making Connections: I've always felt that there were better ways of explaining things than just words alone. I'm glad that this chapter finally just said that. I've not always been good at letting those "other things" have a voice though. I talk a lot. So, in my lessons, I am going to try not to verbally affirm everything right off the bat, but instead just trust myself to understand what I picked up with my other senses. We'll see how I do come Friday.
Caitlin Craig ER Chapter 6 Summary
Chapter Summary: Perceptual problems can often vague our senses and ability to complete a task. These stumbling blocks can be approached by looking outside of the box in order to be solved. Not only do we need to diagnose these problems, but we have to find solutions in order to overcome them.
Key Terms: instant recognition, perceptual problems.
Key Concepts: Faults and errors can be solved through unorthodox approaches that stimulate our brain and connect the two hemispheres (i.e. juggling, crawling, etc...)
Making Connections: I had a profound connection to this chapter. I often feel like I find that right place of singing in my warm-ups and vocalizes, but once I try to find that same place in singing, it goes out the window. I think if I thought more about being silly or playing, and less about singing, it might help me find that sweet spot in my voice. It would undoubtedly help me to think less about it, and it might even free up my attitude towards it.
Key Terms: instant recognition, perceptual problems.
Key Concepts: Faults and errors can be solved through unorthodox approaches that stimulate our brain and connect the two hemispheres (i.e. juggling, crawling, etc...)
Making Connections: I had a profound connection to this chapter. I often feel like I find that right place of singing in my warm-ups and vocalizes, but once I try to find that same place in singing, it goes out the window. I think if I thought more about being silly or playing, and less about singing, it might help me find that sweet spot in my voice. It would undoubtedly help me to think less about it, and it might even free up my attitude towards it.
Mariah ER 8
Mariah ER 8
Chapter Summary: Words cannot always express what we need to express. This is part of the reason why music can be so influential. But if we only focus on words to teach and learn, we lose the very message we are trying to convey through our music. To be more connected, we can visualize what we want to happen, express it through body movement and then try again. The depth in our music will become more apparent to us and our audience. Sometimes we need to understand what is trying to be said by first feeling it before we try to explain it in words.
Key Concepts: If we only used words to express ourselves, music would no longer exist.
Key Terms: visualizing
Making Connections: I want to practice visualizing and feeling the music more in practicing my singing. I think both of these things will help me find a balance between my mind and my body and be able to express the song much more easily.
Chapter Summary: Words cannot always express what we need to express. This is part of the reason why music can be so influential. But if we only focus on words to teach and learn, we lose the very message we are trying to convey through our music. To be more connected, we can visualize what we want to happen, express it through body movement and then try again. The depth in our music will become more apparent to us and our audience. Sometimes we need to understand what is trying to be said by first feeling it before we try to explain it in words.
Key Concepts: If we only used words to express ourselves, music would no longer exist.
Key Terms: visualizing
Making Connections: I want to practice visualizing and feeling the music more in practicing my singing. I think both of these things will help me find a balance between my mind and my body and be able to express the song much more easily.
Shalayna SOHH 6
Chapter Summary: Everyone is good at something. We all have
our strengths and weakness, we just need to put our fears aside and learn from
one another. It is better to understand how your brain works, rather than
forcing information that will not stick. When you surround yourself with people
that have all different types of struggles, its easier to connect with your
own, and understand that you are not the only one with them. Forcing
information can allow for the information to go completely against your
personal learning process. It is better to understand the material rather than
reviewing it.
Key Concept: Understand how you learn.
Key Terms?
Connection: This chapter explains exactly what I’m dealing
with in my life now. I never think that the people in my same classes are
having difficulties, just me. But that’s wrong. Everyone has something that
they struggle with. I need to have more fun with learning and not make it so
serious all the time. I think I get so caught up in trying not to be wrong,
that I lose sight of the excitement about learning something new.
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