Block - 10, 11, 12


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Ricky + Eric's presentation on Block.

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Block - 10, 11, 12

  1. 1. Block Chapters 10, 11, 12 <ul><li>Presented by </li></ul><ul><li>Eric Johnson </li></ul><ul><li>& </li></ul><ul><li>Ricky Valle </li></ul>
  2. 2. Powerful Questions in the Classroom <ul><li>What do you plan to receive from your education? </li></ul><ul><li>What musical, technical or emotional gifts can you bring to the music classroom? </li></ul><ul><li>As an ensemble what are our strengths? How can we use them and develop weaknesses into strengths? </li></ul>
  3. 3. Advice Free? <ul><li>Block suggests that in a community we can not give advice. As teachers, this seems like a nearly impossible task. How can we reconcile not giving advice but at the same time serving as more than a baby sitter? </li></ul>
  4. 4. The Six Conversations <ul><li>Invitation </li></ul><ul><li>Possibility </li></ul><ul><li>Ownership </li></ul><ul><li>Dissent </li></ul><ul><li>Commitment </li></ul><ul><li>Gifts </li></ul>
  5. 5. Invitation <ul><li>We gather to learn and (re)create art. </li></ul><ul><li>We choose to learn about perform various kinds of music, work under leadership </li></ul><ul><li>The challenges are learning, making the music come alive, believing in the music in the face of adversity </li></ul><ul><li>This is an invitation for all , but not one all will accept. </li></ul><ul><li>Music reaches beyond the needy and depersonalized culture in which we live. You are invited to wake your soul with music. </li></ul>
  6. 6. Possibility <ul><li>The possibility leads to the transformation. </li></ul><ul><li>It is not a vision (problem solving). </li></ul><ul><li>What do we want? What kind of music do we want to create? How are we inspired? </li></ul><ul><li>Identifying the music making and education within ourselves and with others. </li></ul>
  7. 7. From Peter Sellar’s Headline Speech American League of Symphony Orchestras American League of Symphony Orchestras <ul><li>&quot;We arrived at this church on a Saturday afternoon, and it was in the middle of a full gang funeral. A young man the community valued had been shot in gang crossfire. The church was filled with mourners and with a kind of heaviness over the pointless violence that's going on right now in our cities....The orchestra had programmed the Egmont Overture of Beethoven. Those opening chords in that grief-stricken community were overwhelming. And then this small theme that tries to propose an alternative to violence, which is brutally massacred, comes back as the oboe decides to keep it alive. Gradually, like an underground movement of women in the community, the theme is handed around until finally everyone in the orchestra has tasted it....&quot; </li></ul>
  8. 8. Ownership <ul><li>“You have to do your own growing no matter how tall your grandfather was.” </li></ul><ul><li>-Abraham Lincoln </li></ul><ul><li>The invitation must welcome and encourage ownership. Music making and learning are surely most effective when people own their educational and musical experiences. </li></ul><ul><li>Music making must be personal. Conductors often encourage singers to find personal meaning behind a piece’s text. </li></ul>
  9. 9. Dissent <ul><li>It is inevitable to run into dissent in the classroom and in almost any community. </li></ul><ul><li>People (students, parents, administrators, audiences) do not always agree with artistic and educational choices. </li></ul><ul><li>Art and education are vulnerable things which open themselves easily to criticism. Dissent about our artistic and educational decisions are not negative in nature. They help to define our educational community. However, we must help to direct the dissent in a productive (authentic) direction. </li></ul>
  10. 10. Inauthentic Dissent? <ul><li>How can we deal with the various forms of inauthentic dissent (denial, rebellion, resignation) in the classroom? Block identifies this as having a negative effect on the community. </li></ul>
  11. 11. Commitment <ul><li>- a promise made with no expectation of return. The willingness to make a promise independent of either approval or reciprocity from other people. </li></ul><ul><li>As previously mentioned, creating art and music is a big investment. You will not always find that it is one students are interested in. Although in Block’s mind the invitation , while causing anxiety should ultimately engage people into their community. However, people cannot be manipulated into thinking they must join that community. </li></ul><ul><li>We have no guarantees in music or in education. The risk and commitment are great, and there is no way to see how it will all turn out. </li></ul>
  12. 12. Gifts <ul><li>Music is a gift. </li></ul><ul><li>We describe people who are talented as being “gifted”. </li></ul><ul><li>Each student brings strength to an ensemble/classroom. Each ensemble has strength. Although Block’s gifts are more about possibility and potential than specifics. </li></ul><ul><li>Performing for people is a gift. </li></ul>
  13. 13. Westminster’s Gifts <ul><li>What gifts does Westminster Choir College currently hold in exile? </li></ul>