What if it had been different 02
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This document discusses using role-playing games in musicology teaching and research. It proposes modeling investigative processes and pattern recognition through incremental activities. This allows framing history as contingent rather than inevitable, and resists canonical approaches. The author details using role-playing in his "Music of the Long 20th Century" course, dividing students into characters to experience pivotal events like premieres. Students research characters to stage watershed moments, seeing history as imaginative rather than memorization. This practice-based approach engages students and challenges presumptions.
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What if it had been different 02
- 1. C H R I S T O P H E R J S M I T H V E R N A C U L A R M U S I C C E N T E R T E X A S T E C H U N I V E R S I T Y “WHAT IF IT HAD BEEN DIFFERENT?”: ROLE-PLAYING GAMES AS PRACTICE-BASED TEACHING AND RESEARCH Christopher J Smith Professor & Chair of Musicology Director, Vernacular Music Center TTU Teaching Academy
- 2. INTRODUCTION
- 8. processes (not objects) not facts but tools
- 9. patterns in knowledge creation
- 10. patterns in knowledge creation
- 13. critical perspectives within cultural contexts
- 14. “moments”
- 17. “Musicologists’ Creed” a/k/a #MCreed2016
- 18. “Musicologists’ Creed” a/k/a #MCreed2016
- 19. “Musicologists’ Creed” a/k/a #MCreed2016
- 20. “Isms”
- 21. Parsifal (1880)
- 22. Le Sacre du printemps (1913)
- 23. ludography
- 24. ludography
- 25. always-online
- 26. Query?
- 30. clientele
- 31. clientele
- 32. clientele
- 33. MUHL3303 “Music as Cultural History: The Modern Period”
- 34. MUHL3303 “Music as Cultural History: The Modern Period”
- 35. MUHL3303 “Music as Cultural History: The Modern Period”
- 36. MUHL3303 “Music as Cultural History: The Modern Period”
- 37. content context The “Tristan chord”
- 39. SHMRG “5 Questions” Sound Harmony Melody Rhythm Growth “Who’s playing?” “Who’s listening?” “Who’s paying?” “How does it work?” “What does it do?”
- 40. WI vs CI
- 41. WI vs CI
- 42. Practice-based research a/k/a/ Arts-practice research
- 43. Engaging the clientele’s platforms
- 44. Balancing “new skills” versus “meet them where they are”
- 45. Critical reading, writing, thinking, speaking, and listening
- 56. alternate history as teaching tool: contingent analysis and “Devised” creativity
- 57. “Gaming history”
- 58. contingency vs inevitability “great composers” “great men” “great art” “the great works” “works that have stood the test of time”
- 59. resisting canons
- 62. pitfalls of team-based work
- 63. trial & error
- 66. Spring 2015: closing loopholes
- 67. Spring 2015: closing assessment The Ancient Overlords
- 71. Minds on Fire
- 72. Reacting to the Past
- 73. refocus: watershed events uniting content, context, & individuals
- 74. “moments”
- 75. The 3-part “Long Twentieth Century”
- 76. “moments” “The Long 20th Century: c1857-c1980” Part I: 1857-1914 Part II: 1917-39 Part III: 1945-80 MUHL3303 “Music of the Long Twentieth Century: 3 sections, 3 exams”
- 78. “three premieres” “The Long 20th Century: c1857-c1980” Part I: 1857-1914 Part II: 1917-39 Part III: 1945-80 MUHL3303 “Music of the Long Twentieth Century: 3 sections, 3 exams”
- 79. staging the watershed event
- 80. Spring 2016: closing assessment The Return of the Ancient Overlords
- 81. very preliminary observations and insights
- 82. reiterate: use platforms they know: “flip” their presumptions
- 96. Takeaway: “Seeing history as an act of imagination, rather than of memorization”