The Old Ways TLTC Jump Start Fall2009


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Presentation on participatory learning for Texas Tech University Teaching Academy, Aug 19 2009.

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  • Musician, musicologist, teacher, director of VMC
  • Why choose this term, and what all does it mean?
  • What I teach, where I teach, who I teach
  • What I teach, where I teach, who I teach
  • What I teach, where I teach, who I teach
  • What I teach, where I teach, who I teach
  • This approach is based in my own work as a student in non-verbal situations; learning “on the bandstand” and then, years later, thinking about how to bring those insights from “outside the Ivory Tower” back into the classroom.
  • Recognizing that post-literate classroom students share some key weaknesses—and strengths —with pre -literate learners.
  • [Cite past publications and research; practical hands-on training, ways in which teaching outside the classroom and according to oral/aural methods have been brought back into the classroom.]
  • Interactivity, engagement, intellectual “ownership,” participation, acquisition of skills for purposes of life-long learning, arts as a tool for insight and community as well as intellectual development
  • That the ancient wisdom and oral/aural/vernacular traditions had their own pedagogies .
  • That, like more prose/observation/literary traditions, those pedagogies effectively and precisely conveyed that information which the tradition itself believes to be essential.
  • That, particularly in the teaching of those exact traditions and given their longevity, it would be arrogant not to pay attention to those pedagogies
  • That these pedagogies may provide relevant insights into teaching in very different cultural/historical contexts, and even in other topic areas. These modes of teaching were employed, not only for the “fine arts,” but also for history, medicine, law, theology, and so on.
  • Interactivity results not only from the topic , but also from pedagogical mindset .
  • That student learning modes change; that contemporary students are particularly enculturated toward an essentially post-textual, visual, patterning, observation/imitation cognitive landscape.
  • That student learning modes change; that contemporary students are particularly enculturated toward an essentially post-textual, visual, patterning, observation/imitation cognitive landscape.
  • That, given the very long history of these methods’ applicability in pre-literate cultures, students can still respond viscerally or intuitively even in the absence of prior experience with them.
  • What are the archetypal approaches to teaching? Can those archetypal, essentially “pre-literate” approaches provide insights in our address to an essentially “post-literate” clientele?
  • Strong at assimilation, subjective interpretation, “deep-reading,” visual sources, “collage”
  • Weak at synthesis, understanding differing experiential perspectives, structural understanding, texts, linear progression
  • That we might find it fruitful to employ more nuanced and supple paradigms for “literacy”; that as teachers we might benefit by exploiting “new” literacies even as we consider remediation to teach “old” ones.
  • e.g. “Once upon a time…”
  • Patterns and their power :
  • Oral literature & the vernacular memory employ and depend upon patterns, templates, and consistent procedures. Alfred Lord’s insights regarding Homeric epic based upon observation of Bulgarian singers ( The Singer of Tales ).
  • Likewise, vernacular learning depends upon modeling: “read one, see one, do one.”
  • The power of narrative arcs (chronological or otherwise): “Let me tell you a story”
  • In teaching any cultural expression, context reveals content—content reveals context;
  • This modeling can be extended to teach thought processes, problem-solving, modes of interaction, critical thinking, and personal conduct. And typically all at the same time .
  • Problem-solving and investigative methods: “ Why is it the way it is?”
  • Such demonstration/imitation/critique methods are both ancient and archetypal (and suitable for teaching topics, disciplines or skills that employed such methods), and always “speak” well to preferred multi-tasking, observation/imitation modes
  • What are the unique skills or insights imparted via demonstration/imitation/critique in your discipline?
  • What insights do you consciously convey in your teaching field via non-verbal and/or non-prosodic methods?
  • How can you make those non-verbal, demonstration-imitation-critique methods more intentional, conscious, and effective?
  • How might the structure, outline, sequence, tasks, and lesson-plans of your teaching link your discipline’s oral/aural insights with your students’ unique experience and cognitive preferences?
  • The Old Ways TLTC Jump Start Fall2009

    1. 1. The Old Ways: Energizing Your Students with Participatory Learning Fifth Annual Jumpstart Program Teaching, Learning, and Technology Center (TLTC) Texas Tech University August 19th and 20th, 2009 Dr Christopher Smith, Associate Professor & Chair of Musicology; Director: Vernacular Music Center & TTU Celtic Ensemble Texas Tech School of Music - [email_address]
    2. 2. Disclaimer!
    3. 3. VMC
    4. 4. “ Vernacular”?
    5. 5. Example West Africa
    6. 6. Audience[s]: what, where, and who?
    7. 7. Audience[s]: what, where, and who?
    8. 8. Audience[s]: what, where, and who?
    9. 9. Audience[s]: what, where, and who?
    10. 10. The Bandstand & the Ivory Tower
    11. 11. Literac[ies]: to be pre-, post-, and/or differently-literate One key insight
    12. 12. Knowledge[s]:The world & the classroom One key insight
    13. 13. Example West Africa
    14. 14. Goals Life-long engagement
    15. 15. Intuition The efficacy of vernacular pedagogies
    16. 16. Intuition The precision of these pedagogies
    17. 17. Intuition The continued relevance of these pedagogies
    18. 18. The continued relevance of these pedagogies
    19. 19. Premise Topics are less problematic than are mindsets
    20. 20. Example North India
    21. 21. Premise Teach to students’ expert learning modes, ancient & post-modern
    22. 22. Premise Teach to students’ expert learning modes, ancient & post-modern
    23. 23. Premise Trust the visceral and intuitive
    24. 24. Premise Trust archetypal teaching modes
    25. 25. Premise Recognize student strengths
    26. 26. Premise Recognize student handicaps
    27. 27. Premise Exploit “new” literacies
    28. 28. Exploit ancient literacies: “Once upon a time…” Premise
    29. 29. Patterns & their power
    30. 30. Patterns & their power Exploit memory, orality, recall
    31. 31. Patterns & their power “ Read one, see one, do one.”
    32. 32. Patterns & their power “ Let me tell you a story…”
    33. 33. Patterns & their power Context & content & their interplay
    34. 34. Patterns & their power Extending these usages
    35. 35. Problem-solving Why is “it” the way “it” is?
    36. 36. Demonstration/imitation/critique Ancient, archetypal, post-modern
    37. 37. How do YOU employ demonstration/imitation/critique…already? Questions for YOU
    38. 38. Questions for YOU What are your OWN discipline’s “archetypal narratives”?
    39. 39. Questions for YOU How could your usage become MORE intentional, conscious, and effective?
    40. 40. How to link your teaching, your discipline, and your students ’ experiences? Questions for YOU
    41. 41. Thank you!
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