Module 1

Let's Open Music Education

Going through the videos and readings of the first week of this class I realize the impact of technology and 21st century advancements in the music world is greater than I thought.

For example, David Price stresses the importance of an open system. When we apply this to music, we can see that music and its evolution do not have to stay stuck in some composers head or in any given methodology or ideology. We have at our disposition a global network which may be used to centralize ideas and consider infinite options for musical decisions we might want to make.

This translates directly to the classroom. Though I agree with the Northern Beaches Christian School’s philosophy of holding back technology for a more hands-on human experience for the first few years of learning, I also believe that students must be exposed to an open source of learning. Perhaps a hybrid non-intrusive way of exposing students to a greater world has some merit. For example, students might be exposed to what other students are learning across the world in real time but with out the use of personal gadgets and computers. Perhaps a classroom portal which would bind students from around the world to share their traditions and culture.

This can be added to something like the Kamaroi school where the Orff system is implemented to the foolest. The singing, humming and rhythm acquisition could be shared with students from other schools where the Orff methodology is not implemented, and perhaps other resources could be shared with Kamaroi students from elsewhere in the world.

I believe open learning is a valuable tool which will only grow in the coming century.

Module 2

The Ever Evolving Field of Music

In his interview Francis Xavier tells us that being a DJ is not a very difficult job, you put one record and then another and try to blend them together. But then he goes on to say that there is such thing as a Technical DJ Which he explains has a deep understanding of the technical ins-and-outs of the DJing technology. But that is not where he stops. He says that this Technical DJ must also understand the inner workings of musical theory. This DJ must understand how chord progressions work and at the same time has to feel the rhythm structures of musical works. Using these tools, the technical DJ can them masterfully put together a blend of music.

At the Liveschool they teach Ableton, a music software for all sorts of engineers and musicians alike. This is also learned in layers where one can play around with it and have good fun results, but the deeper skills come with a more wholesome understanding of all musical innerworkings. 

Richard Gill tells us that music learning comes from singing first. Anyone can start singing songs they know and be more or less successful at it. But this is just a gateway to a larger musical world where he teaches students concepts which are not yet familiar to them.

I see a common thread in all three interviews. It is important to start music education with things which are familiar to the students. For example start with pop music or singing or technical manipulation of music. Then, once the students see the value in things they like, start expanding their musical horizons as needed. It seems this can be done from any angle, teachers just have to be sensitive to each student’s individual needs and preferences.

Module 5 

The Manifesto: Music Through Apprenticeship on Strings

I was born in Poland to a musical family. My father was an accomplished violinist and pedagogist. He was the concertmaster of numerous orchestras in Poland and around the world. He played in several orchestras in Poland, Iran (in the mid 70’s), and Mexico. My mother is a Eurythmics specialist and a pianist. She worked with small children exposing them to music through movement. She also accompanied my father in countless recitals and concerts. We eventually settled in Guadalajara Mexico where my father was the concertmaster of the Guadalajara Symphony Orchestra. 

Throughout my whole life I was an apprentice of my parents’ professions. I was one of these kids sitting under the piano during lessons. I was playing with my toys while listening to quartet rehearsals. Soon enough I was the one playing in the quartet with grown professionals. I was also subbing for orchestras around Mexico. I did not go to Music school at all, except for the very beginning in Poland where during my exam to enter primary school of violin, where the examiner told me my pinky finger was too short and I would not be able to play violin. Of course my father, the concertmaster of the orchestra at the time, stormed in the exam room and showed them his left hand which had his pinky finger (proportionally) considerably shorter than mine. But I digress, we moved very soon after that and I went to a private school in Mexico where music education was non-existent. So all I learned about music was through apprenticeship with my Mother and My Father. I went on to earn a performance scholarship in violin at Boston University. 

The power of apprenticeship is immeasurable. We may dress it up in any technology or musical style but when a child sees the meaningful purpose of a professional or an amatore Technical DJ, instrumentalist, vocalist, composer or conductor the curtains open wide. And when this child is allowed to hang out with a master music craftsman and this child clicks with what the master is doing, the possibilities are endless.

In the year 2000 after I took a break from music for a few years to start a business designing contemporary clocks and lamps, I, along with my wife, started a string program in a public school system. My philosophy has been “always play with the students, experiment with new things, encourage students to help other students, expose students to their other cultures and their own, and listen to what students like. No matter what level of music we are playing or learning I always encourage teachers, parents and students to play together. This creates a sense of partnership and the students get a sense of apprenticeship where their playing capabilities have constant real world goals and challenges. They play along with masters, soon enough they will become masters. This is not to say that I mold students to do what I have done. We play with and arrange tracks of old and new music (which we play with at concerts) from around the world (especially music native to my students’ origins). I experiment along with students and learn from them as well. It is an organic system where there is mutual respect and constant exchange of new and old ideas.

My violin program has grown to almost 500 K-12 students in 2024 in a district which has just over 7000 K-12 mostly low income students.

I believe that all music technologies, styles and mediums (old and new) are valid, and students should be exposed to it all but the main goal of the teacher should be to always do it with them and not at them. Be part of the learning experience along with the students and maintain high professional levels so students may focus on what is possible and what is surpassable.