Pedagogy questions: Difference between revisions
Remove exact duplicate question |
mNo edit summary |
||
| Line 3: | Line 3: | ||
Some questions to consider as input to thinking about microtonal pedagogy. Contributions from people with experience are welcome. | Some questions to consider as input to thinking about microtonal pedagogy. Contributions from people with experience are welcome. | ||
== | == Answered questions == | ||
(But still feel free to add your own answers too!) | |||
== When is learning a microtonal system of pitches harder than learning the 12-equal system? When is it easier? == | === When is learning a microtonal system of pitches harder than learning the 12-equal system? When is it easier? === | ||
=== x31eq's answer === | ==== [[Graham Breed|x31eq]]'s answer ==== | ||
This is a first draft. If you think I'm wrong, edit the page to say why. | This is a first draft. If you think I'm wrong, edit the page to say why. | ||
| Line 21: | Line 18: | ||
* They resonate more with the subject's culture than the western chromatic; depends on context, and becoming less likely. | * They resonate more with the subject's culture than the western chromatic; depends on context, and becoming less likely. | ||
== When does experience in 12 help in learning non-12? When does it hinder? == | === When does experience in 12 help in learning non-12? When does it hinder? === | ||
=== x31eq's answer === | ==== x31eq's answer ==== | ||
Microtonality shouldn't be thought of as a practice distinct from music making. Experience of learning music will naturally translate into learning music in other tunings. In many cases experience of traditional music may not really be in 12-equal at all. However, the question's framed in terms of a dichotomy, so let's answer it that way. | Microtonality shouldn't be thought of as a practice distinct from music making. Experience of learning music will naturally translate into learning music in other tunings. In many cases experience of traditional music may not really be in 12-equal at all. However, the question's framed in terms of a dichotomy, so let's answer it that way. | ||
| Line 35: | Line 32: | ||
Experience may hinder when it conflicts with the new system being learned. Paradoxically, the most accomplished musicians will have the most difficulty because their habits are the most ingrained. | Experience may hinder when it conflicts with the new system being learned. Paradoxically, the most accomplished musicians will have the most difficulty because their habits are the most ingrained. | ||
== | === What method books and teaching tools do you recommend for the microtonal student? === | ||
The ones listed on the following page: [[Method books teaching tools]]. | |||
== Unanswered questions == | |||
{{todo|answer questions|inline=1}} | {{todo|answer questions|inline=1}} | ||
== | === What considerations does the particular question of a microtonal pedagogy warrant? === | ||
=== What does one consider when endeavouring to write pieces of microtonal music that also teach the microtones that they use? === | |||
=== To what degree can the need for a microtonal pedagogy address a general problem of missing language in speaking microtonality? === | |||
== | === In whose interest is it to sequester off learning/education/pedagogy into a separate page, as if learning only happens in schools/when you want it to? === | ||
[[Category:Pedagogy]] | [[Category:Pedagogy]] | ||