what if it had been different 02
TRANSCRIPT
C H R I S T O P H E R J S M I T HV E R N AC 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 SmithProfessor & Chair of Musicology
Director, Vernacular Music CenterTTU Teaching Academy
INTRODUCTION
pattern recognition
pattern recognition
practice-based research
processes(not objects)
processes(not objects)
processes(not objects)
not facts but tools
patterns in knowledge creation
patterns in knowledge creation
demonstration, imitation, critique
problem-based learning
critical perspectives within cultural contexts
“moments”
modeling “contingent thinking”
modeling “contingent thinking”
“Musicologists’ Creed” a/k/a #MCreed2016
“Musicologists’ Creed” a/k/a #MCreed2016
“Musicologists’ Creed” a/k/a #MCreed2016
“Isms”
Parsifal (1880)
Le Sacre du printemps (1913)
ludography
ludography
always-online
Query?
new and “post”-literacies
new and “post”-literacies
older competencies
clientele
clientele
clientele
MUHL3303 “Music as Cultural History: The Modern Period”
MUHL3303 “Music as Cultural History: The Modern Period”
MUHL3303 “Music as Cultural History: The Modern Period”
MUHL3303 “Music as Cultural History: The Modern Period”
content contextThe “Tristan chord”
content context
SHMRG“5 Questions”
SoundHarmony
MelodyRhythmGrowth
“Who’s playing?”“Who’s listening?”“Who’s paying?”“How does it work?”“What does it do?”
WI vs CI
WI vs CI
Practice-based research a/k/a/ Arts-practice research
Engaging the clientele’s platforms
Balancing “new skills” versus “meet them where they are”
Critical reading, writing, thinking, speaking, and listening
modeling behavior
modeling investigative processes
patterns & hypotheses
incrementalizing investigative processes
incrementalizing investigative processes
incrementalizing investigative processes
incrementalizing investigative processes
incrementalizing investigative processes
incrementalizing investigative processes
incrementalizing investigative processes
alternate history as teaching tool:contingent analysis and “Devised” creativity
“Gaming history”
contingency vs inevitability
“great composers”“great men”
“great art”“the great works”
“works that have stood the test of time”
resisting canons
flipping classroom processes
pitfalls of team-based work
trial & error
Spring 2015: details
Spring 2015: hurdles
Spring 2015: closing loopholes
Spring 2015: closing assessmentThe Ancient Overlords
Spring 2015: reflections
Spring 2016: iteration
Spring 2016: reconfiguring
Minds on Fire
Reacting to the Past
refocus: watershed events uniting content, context, & individuals
“moments”
The 3-part “Long Twentieth Century”
“moments”
“The Long 20th Century: c1857-c1980”
1857: Prelude to Tristian & Iso
lde
1980: Reich Tehillim
Part I: 1857-1914 Part II: 1917-39 Part III: 1945-80
MUHL3303 “Music of the Long Twentieth Century: 3 sections, 3 exams”
Inhabiting characters
“three premieres”
“The Long 20th Century: c1857-c1980”
1857: Prelude to Tristian & Iso
lde
1980: Reich Tehillim
Part I: 1857-1914 Part II: 1917-39 Part III: 1945-80
MCreed “Module I w
atershed”: 1876 Bayreuth Fest
MCreed “Module II w
atershed”: 1920 Pulcin
ella
MCreed “Module III w
atershed”: 1951 Ives 2
nd Symphony
MUHL3303 “Music of the Long Twentieth Century: 3 sections, 3 exams”
staging the watershed event
Spring 2016: closing assessmentThe Return of the Ancient Overlords
very preliminary observations and insights
reiterate: use platforms they know:“flip” their presumptions
seek dynamic energy
Takeaway:“Seeing history as an act of imagination, rather than of memorization”