| Author |
 Topic  |
|
|
Andy Edwards
Advanced Contributer
United Kingdom
615 Posts |
 Posted - 13/07/2009 : 13:22:59
|
I'm writing a scheme of works for the music course I teach on
(Kidderminster college National Diploma in Music. Read all about it here> http://andyedwardsmusic.blogspot.com/
plug plug)
and some thoughts have occoured to me.
A few years ago the goverment commissioned a report which suggested the country needs skilled people and looked to education to supply this.
I agree that this is true.
BUT...
What would we define musical skill as?
I've just written a definition but I'll post it up later if this discussion gets spicy.
The question I have is this:
What is musical skill? How valuable is it to society and should a we, the tax payers fund establishments to develop these skills?
Thanks in advance for your thoughts. |
please visit : http://www.midlandacademyofdrumming.co.uk |
|
|
mark.drums
Advanced Contributer
United Kingdom
1359 Posts |
Posted - 13/07/2009 : 13:38:37
|
IMHO:
In its broadest sense, musical skill should be interpreted as any skill that contributes positively to the enjoyment of music by the public.
I think music is something that is vital as a form of expression, as a common interest bonding societies and cultures. But unlike other forms of 'more permanent' art, I find it difficult to contemplate how it could be funded through taxation, or through a national levy, like 'percent for art' for instance - that funds tangible and more permanent art for public spaces from the national purse. |
 |
|
|
Andy Edwards
Advanced Contributer
United Kingdom
615 Posts |
Posted - 13/07/2009 : 14:07:42
|
Music is funded through taxation at the moment in the form of Arts Grants and my case through music courses.
I think that the government should fund music as we as a country have a history in this field. Good music can make money in all sorts of ways for the country.
But in the current economic climate there needs to be a good argument for continuing to fund music courses.
I think if you teach musicians to be good they will go out and make money. But what are the skills you should teach.
Something that sparked this in my mind was the Benny Greb DVD when he says that if you make music that people want to listen to there WILL be an audience.
It's actually quite a simple but profound statement.
So what are the skills (say for a drummer) that should be taught?
|
please visit : http://www.midlandacademyofdrumming.co.uk |
|
|
|
Diesel74
Advanced Contributer
Cyprus
18035 Posts |
Posted - 13/07/2009 : 14:21:12
|
Skill is very difficult to define. Everyone has different levels of skill - even as drummers.
I would argue Brian Bennett is a very skilled drummer, but then so is Keith Carlock. Both skilled. Very different. A skilled drummer? Hmmm.
Skilled musician? Hmmm.
For me it's being in control, command, call it what you like, of your given instrument. In drumming terms able to play soft, hard, slow, fast when the music requires. To master a craft.
Others may argue that skill requires someone to be well above average, to be able to play with such dexterous efficiency that it is above the powers of normal man (or woman, or child).
It is very difficult to measure skill, of course. What could be difficult to master for some, could be easy for others. That's why I'm not a professional footballer!
|
|
|
|
Captain Bubble
Advanced Contributer
United Kingdom
3530 Posts |
Posted - 13/07/2009 : 14:22:47
|
| The one problem with teaching arts such as music is that the educational establishments need results to prove success and maintain income, ultimately that means a focus on repeating known music and skills, rather than innovating and creating. However, really original music often does not get much of an audience, and with the media today concentrating on cover/tribute/lookalike acts this is a problem. Teaching a drummer to do known rhythms is fine, but it should always be remembered that repeating the known is one technique and students should also be encouraged to stretch the limits. I believe keith Moon was very largely self-taught yet he developed a style and voice which could well have been wrecked by following the herd. |
Marcus de Mowbray
www.330studios.co.uk
www.fezheads.com
www.myspace.com/captainbubbleuk |
|
|
|
crafty
Advanced Contributer
United Kingdom
6191 Posts |
Posted - 13/07/2009 : 15:15:11
|
All instrument lessons in state schools (primary and secondary) and colleges should be paid for by Govnt. To allow for the huge bill this will incur, all music funding beyond the state education system should be withdrawn. I think it's vital to get kids enthused about making music as early as possible and if that means other 'adult' schemes, groups, workshops suffer, then so be it.
I think PE lessons should be abandoned too as it is only of real benefit to a minority of gifted kids (kids who often pursue sports outside school time anyway). PE lessons should replaced by regular character-building outdoor pursuit events like climbing, boating, orienteering etc. Kids need to get back to thinking for themselves - much of this responsibility has been taken away from them by overprotective parenting and schooling. It's big problem.
Musical skill is adopting and staying true to a particular approach in performing a piece of music, not necessarily as the composer intended. It is recognising the potential from the instrument and it's use in interpreting a piece as a performance. This could go in many different directions but the skill comes in producing a meaningful dialogue between the instrument and the piece. The audience participation is merely their reaction to the dialogue. Skill is often discussed and summarised in somebody either 'having it' or 'not having it'. I'm convinced that if some people are born 'having it' many more are born 'not having it' but then develop it through their early years. This is why I feel it's important to catch it in the early stages. The reason why some kids 'get it' (eventually) and some never do is another topic for discussion and I don't really understand how this is so.
Beyond technique, musical skill is a musician's knack of bringing forth their own internal emotional ebb and flow and alowing it through the instrument and the piece. Are emotions ALWAYS really part of an maningful 'emotional' performance or is it the skill of the performer to make it look like it is? If not, can you teach someone to be emotional?
Ed |
|
|
|
Andy Edwards
Advanced Contributer
United Kingdom
615 Posts |
Posted - 13/07/2009 : 16:02:44
|
Well this is my definition:
Skill can be seen as the ability to execute methods used to create good music.
The course should develop these skills but also constantly question the meaning of ‘good’ in a musical context. Although the concept of good is somewhat subjective, I argue that it isn’t entirely subjective.
This scheme is designed to develop the following skills:
1) Motor skill on the students chosen instrument
2) Communicate with other musicians through different types of music notation
3) Improvise and Compose (these two being related)
4) An awareness of the music theory
5) An awareness of the history of music and the factors that affected it’s development
6) An ability to articulate what makes a piece of music good.
That is what I want to teach. I know that this definition is subjective but I find it still helps me when planning my lessons.
It's interesting Ed says about stopping funded music education post 16.
I personally have taught many musicians that have gone on to make serious money in the business. I hope what I taught them helped them in someway. If you cut this funding it would only allow kids with money to pursue a music education.
Some may say that a good musician doesn't need an education and will do well without one if they have natural talent.
I think this was true in the Rock era (by that I mean the last 50 years of music making) but I think in the future there may be a need for intense skills from musicians and if a society values these skills they may want to pay for them. |
please visit : http://www.midlandacademyofdrumming.co.uk |
|
|
|
Captain Bubble
Advanced Contributer
United Kingdom
3530 Posts |
Posted - 13/07/2009 : 16:35:10
|
| That is a fine definition, and I am pleased that improvisation and composition are stressed. Each year around the world there are hundreds of highly trained and highly skilled music graduates chasing a limited number of jobs, so being technically skilled on an instrument is no guarantee of a career. |
Marcus de Mowbray
www.330studios.co.uk
www.fezheads.com
www.myspace.com/captainbubbleuk |
|
|
|
DCR
Advanced Contributer
USA
1041 Posts |
Posted - 13/07/2009 : 18:14:26
|
I would consider re-writing 4-5---awareness is not a skill. When writing learning objectives the classic triumvirate is knowledge, values, and skills. Be more specific than "awareness"; I am aware of many things, but that is different than having useful or substantive knowledge.
Musical skill is having the knowledge and technique necessary to proficiently express musical ideas in accordance with general standards of instrumental excellence. Well, that would need some work. Al Dimeola could play circles around Hendrix using one standard of technical excellence. However, if your instrument sounds like an extension of your soul, if you will, that sound involves technique also. So, with any definition, the terms within need further definition. Heady stuff, definitions. Good luck, great start.
|
dcr |
|
|
|
Dave S
Advanced Contributer
United Kingdom
4442 Posts |
Posted - 13/07/2009 : 21:13:50
|
quote:
Originally posted by DCR
I would consider re-writing 4-5---awareness is not a skill. When writing learning objectives the classic triumvirate is knowledge, values, and skills. Be more specific than "awareness"; I am aware of many things, but that is different than having useful or substantive knowledge.
Perhaps, then, it's the combination of awareness with the necessary technical facility to create musical responses to the music being played. |
myspace.com/davesmythmusic
"Official drum notation transcriber extraordinaire" - Jamoca
Yoof Culture Officer of the forum's Sonor Delite appreciation society. |
|
|
|
crafty
Advanced Contributer
United Kingdom
6191 Posts |
Posted - 13/07/2009 : 22:17:01
|
The skill in (improvised) music is applying the appropriate musical response which underlines the general ebb and flow of the piece. In that, there are many ways to capture this and just by a simple and subtle change in dynamic and placement you can strengthen and intensify the musical flow OR impose some musical juxtaposition which sends the thing into a different direction. The key or SKILL here is keeping a constant eye on the whole unravelling performance an ensuring the story continues to be told without unnecessary diversions or distractions. You can be brave and explore possibilities but still keep the contextural nature of it on track. This leads the listener through the piece with a couple of surprises here and there. In reality during a performance, each musician will be adding sutracting and responding to another and the whole thing is very magical.
As drummers, it's important to understand the relationship of dynamics and beat placement. In order to capture the essence of a piece of music, the relative dynamic of the hihat snare drum and bass drum and their collective volume is key. This coupled with how smack on or behind (or in front of) the beat we play this can dictate the run of the tune. A producer I've worked with a lot with recently calls this dynamic and beat placement relationship 'the temperature' of the rhythm track. He's a drummer so he knows exactly what he's on about. Changing the 'temperature' of a rhythm track is a really interesting thing to explore. We all have a natural 'temperature' too but it's still good to explore how subtle changes can alter the feel of a piece of music. Again, judging the appropriate 'temperature' of a rhythm track is a great skill.
Ed |
|
|
|
MrNoisy
Advanced Contributer
7535 Posts |
|
|
Manek
Advanced Contributer
United Kingdom
12325 Posts |
Posted - 14/07/2009 : 01:31:12
|
quote:
Originally posted by Andy Edwards
1) Motor skill on the students chosen instrument
2) Communicate with other musicians through different types of music notation
3) Improvise and Compose (these two being related)
4) An awareness of the music theory
5) An awareness of the history of music and the factors that affected it’s development
6) An ability to articulate what makes a piece of music good.
That is what I want to teach. I know that this definition is subjective but I find it still helps me when planning my lessons.
Brilliant... 
(Also, hope you're keeping well Andy!) |
Manek.org.uk // Pellwood Drumsticks // MySpace // Facebook // Twitter
Witchers - "altrock:indie" // "Fill In The Blanks" EP out NOW!
Cardiem - "blues:funk:pop" // debut album coming soon, more news later
"I pay no attention whatever to anybody's praise or blame. I simply follow my own feelings." - - Wolfgang Amadeus Mozart |
|
|
|
Andy Edwards
Advanced Contributer
United Kingdom
615 Posts |
Posted - 14/07/2009 : 09:47:33
|
Dave S...You are right about using the word awareness!
I have fallen into using a vague non quantifiable term to describe the sort of ability I want my students to have.
4) Have a knowledge of music theory and use this theory in their work
5) An understanding of music theory that can be used as a positive reference in composing and performing
How does that sound?
Mr Noisy, I'm a member but I will have a look. There is a lot to discuss on this subject, I'm still holding back on my opinion of what the goverment wants to fund in terms of music education...
Thanks again for all of your intelligent and thought provoking responses. |
please visit : http://www.midlandacademyofdrumming.co.uk |
|
|
|
Dave S
Advanced Contributer
United Kingdom
4442 Posts |
Posted - 14/07/2009 : 10:16:45
|
That's better I think, though there's still something to be said, perhaps, for not just having this knowledge but having the musical intelligence/maturity to access and execute it appropriately...not sure how you'd want to add that in.
Interesting topic, though, Andy... |
myspace.com/davesmythmusic
"Official drum notation transcriber extraordinaire" - Jamoca
Yoof Culture Officer of the forum's Sonor Delite appreciation society. |
|
|
|
crafty
Advanced Contributer
United Kingdom
6191 Posts |
Posted - 14/07/2009 : 11:10:44
|
quote:
Originally posted by Dave S
That's better I think, though there's still something to be said, perhaps, for not just having this knowledge but having the musical intelligence/maturity to access and execute it appropriately...not sure how you'd want to add that in.
Interesting topic, though, Andy...
This is something that some of my students are already in touch with. One particular chap who is 16 years old plays with a level of touch and wisdom many drummers never achieve. It's a pleasure to watch him play anything - snare drum pieces, rudiment exercises, kit improvisations and playalongs. I've been complimented for my work with the boy but really what he does has nothing to do with me.
Ed |
|
|
| |
Topic |
|
All Forums
Musical Skill (what is it)
New Topic
Printer Friendly