We Are . . . Mindful of the Critical Relationship between Repertoire and Curriculum
We Are . . . Mindful of the Critical Relationship between Repertoire and Curriculum
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我们是 。
DOI：
10.1177/0027432119897248
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发表时间：
2020
期刊：
影响因子：
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通讯作者：
M. Kaschub
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文献类型：
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作者：
M. Kaschub
Michele Kaschub，MEJ学术编辑nafme。9教学学生还需要发展听觉和记谱能力，以支持他们的工作，沿着历史和文化素养，为他们的音乐行动提供一个背景基础。此外，作为21世纪的音乐家，他们需要发展制作、保存和向远近观众传播他们的艺术产品所需的技术素养。这些技能和素养在精心设计的课程中得到最好的发展，为学生提供直接体验音乐的五个“ings”的机会：唱歌，演奏，作曲，倾听和即兴创作。这些互动中的每一个都以提供其他角色所不具备的独特见解的方式参与思想和身体。为了实现这些观点的最大价值，学生需要有机会练习真正的角色型音乐教师。他们需要做音乐家做的事情。无论他们是命名他们所听到的，回忆音乐历史或理论的各个方面，还是做一些其他的音乐，做音乐家的工作的行为都会告诉他们做出明智的艺术决定的能力。学生也需要时间来解释他们的想法，运用他们的音乐想象力和视觉，并以自己的方式解释音乐作品。总的来说，这些经验让学习者建立自己的理解音乐的情感冲击，影响和潜力，作为人类认识的手段。这种理解必须是我们提供的课程的基础，因为它代表了音乐的独特性质的核心，以及它对我们人类的价值。我们不能简单地重复简单的短语，使我们能够编程最热门的新出版物或重新访问canoni cal图书馆。3.我们必须深入思考我们所选择的音乐是如何融入一个大格尔中的。我们为学生设计的课程必须呈现经过仔细考虑的曲目，以激发和启发学习者超越这场音乐会和下一场：它必须启发他们超越我们的教室和排练霍尔斯的生活。这是我们在展望下一个有远见的目的地时都可以采用的愿景，因为我们牢记曲目和课程之间的重要关系。
by Michele Kaschub, MEJ Academic Editor www. nafme. org 9 teaching. Students also need to develop aural and notational literacies to support their work, along with historical and cul tural literacies to provide a contextual foundation for their musical actions. Furthermore, as 21stcentury musicians, they need to develop the technological literacies required to make, preserve, and disseminate their artistic products to audiences near and far. These skills and literacies are best developed within a welldesigned cur riculum that provides students opportu nities for direct experiences with music’s five “ings”: singing, playing, composing, listening, and improvising. Each of these interactions engages mind and body in ways that provide unique insights not available in the other roles. To attain the maximum value of these perspectives, students need opportunities to practice authentic rolebased musical behav iors. They need to do what musicians do. Whether they are naming what they hear, recalling aspects of music history or theory, or doing something else that is musical, the act of doing the work of a musician informs their ability to make informed artistic decisions. Students also need time to explain their think ing, apply their musical imagination and vision, and interpret musical works in their own ways. In totality, these expe riences allow learners to construct their own understandings of music’s affec tive impact, influence, and potential as means of human knowing. This under standing must be the foundation of the curriculum we offer, as it represents the core of music’s unique nature as well as its value to us as human beings. We cannot simply repeat easy phrases that allow us to program the hottest new publications or revisit the canoni cal library. 3 We must think deeply about how the music we select fits into a big ger picture. The curriculum we design for our students must present carefully considered repertoire to enliven and enlighten learners beyond this concert and the next: It must enlighten them for a life beyond our classrooms and rehearsal halls. This is a vision that we can all adopt as we look to the next visionary destination, for we are mind ful of the critical relationship between repertoire and curriculum.