Final Reflection... Finally. Phew!
As I embarked on this journey to discover the nature and design of compelling experiences, the path was paved with pedagogical pebbles, pitted with procedural potholes, and packed with pensive peers and provocative publications. All of these worked together to create picturesque panoramas in which I took great pleasure. I admit, there were times I stumbled over scholastic stones and fretted about fundamental forks in the road, but I believe I was stretched and strengthened by these struggles, personally and professionally. The best and brightest moments came, though, when bridges were built. It is from these bridges I could see beyond.
Photography
Insight: Perspective
Impact: Provokes pensiveness
In the photography module, “pattern” (Rowse, 2008), “placement” (Calvetti, 2006) and “patience” (Rockwell, 2008), focus / focal points (Calvetti, 2006; Rowse, 2009), framing (Calvetti, 2006; Hill, 2010), and field (Calvetti, 2006; Rowse, 2008) all came in to play. Each of these relatively basic bricks was used to form the foundation for a good photograph. In many cases, this advice from experts can easily extend to education, for when it is not helpful to consider where a certain topic should be placed within a unit, what should be the primary focus of study, and how that focal point should be framed within its given context? These design elements of photography are equally important in the design and delivery of curricular material. But… while these basics build the base of the bridge, the boards and beams necessary to span the gap from good to great (from common to compelling) are still missing. Perspective might be the (a) missing piece.
According to Dictionary.com, perspective can mean, “the technique of representing three-dimensional objects and depth relationships on a two-dimensional surface,” and it can also mean, “the relationship of aspects of a subject to each other and to a whole” (American Heritage, 2009). By perspective, I do not necessarily mean the former, referring to the depth or dimension of an image nor the angle or point of view from which a subject is shot (the front / back, above / below, far away / up close). Of course, this physical interpretation of perspective is important, but it is the personal (or interpersonal, perhaps) piece of perspective that is a priority.
As I worked on my photography project, I remember the moment when I… put perspective in perspective. In analyzing my initial image I said, “Even with elements of line, texture, angle, [and] pattern, this image lacked intimacy and intrigue” (Rupp, 2010). As I worked toward my final image, perspective entered in. I began to think about “the relationship of aspects of a subject to each other and to a whole.” Calvetti (2006) and Hill (2010) might say, I set the scene and snapped the shot within a story. “My emotional perspective impacted my photographic perspective” (Rupp, 2010). As a result, there was much more to ponder than what could be seen within the frame of the photo.
Likewise, as an educator, I have been challenged to set the scene for my students. I must find a way to help them see and think beyond the borders of the blackboard, beyond the borders of their books. As I design lessons, I must consider “the relationship of aspects of a subject to each other and to a whole.” I must find ways to provoke pensiveness, to encourage my students to wander and wonder. Designing lessons around essential questions might be a place to start. I must cause them to ask… “How does division relate to fractions? How do ancient civilizations relate to modern America? How do any of these things relate to me?”
When perspective is gained, they will not only have a collection of but a connection to the ideas explored.
Film & Television
Insight: Piquing & Planning
Impact: Potentially provocative; Propels to new pursuits
Perspective and story certainly spill over into the realm of film and television, but as I contemplated the cutting room and critiqued commercials, other characteristics caught my attention… piquing and planning.
Commercials are a dime a dozen (well… actually several thousand dollars a second). Most of the time, they serve as background noise for bathroom and beverage breaks. On occasion, though, I have been stopped dead in my tracks, transfixed by a tune, jolted by a jingle, or intrigued by an image. Forced to freeze and focus, my interest is piqued, and I am potentially provoked to ponder (and perhaps even purchase) a product. The first step is getting the viewer to look up.
I experienced the power of piquing first hand as I watched the Superbowl. It really was an interesting exercise. While I was somewhat underwhelmed by the quality of commercials this year, there were a few that caused me to look up from my computer. Once my curiosity was piqued, advertisers could pull me in. This idea came across in a piece on promos, featured in the July 20, 1998 issue of The Rundown. In reference to a promotional piece for a news program, Paul Spingola is quoted as saying, “As soon as you have the viewer’s attention, you go on to say, ‘This is tonight at 11 on XYZ news’.” Piquing is a priority.
Is this not true in a classroom, as well? Which introduction has greater potential to pique? “Today, boys and girls, we are going to be learning about geometric shapes.” OR “Boys and girls, have you ever met a greedy triangle? If not, then today’s your day! Watch and listen closely to see what happens when this greedy triangle makes a visit to the shapeshifter.” I would argue, the latter. Anytime a teacher starts out with, “Today, boys and girls we are going to be learning about…” hearts drop, hands doodle, and heads daydream. When a question is posed, particularly one pertaining to something “silly” like a greedy triangle, hearts and hands and heads engage (Note: There is substance behind the silliness). Similar to what Pete Spingola said, “As soon as you have the students’ attention, you go on to say…” “This is a regular, equilateral triangle.”
Walter Murch also alluded to the need to grasp viewer’s attention in an interview with Michele Norris. “’My job as an editor is to gently prod the attention of the audience to look at various parts of the frame,’ he says. ‘And I do that by manipulating, by how and where I cut and what succession of images I work with.’” (Norris, 2005). In addition to grasping, though, there was a subsequent element of guiding involved. As he mentions (and later discusses in reference to a scene from Jarhead) “manipulating,” the “how and where” of cutting, and the “succession of images,” piquing is followed up by a great deal of planning. It is not good enough to just capture the initial attention of an audience; one must keep it. Attentions are fleeting and fickle. They can be lost just as easily as they were found. If producers of films fail to follow through, the flick falls flat.
Likewise with a lesson. It simply is not good enough to employ a gimmick at the outset of a lesson. One must masterfully “manipulate” the mind to want more. This requires planning – planning pertaining to subject matter, planning pertaining to strategies, AND planning pertaining to students. If even one of these pieces is not planned, there is potential for a problem. For example, how often do experts in fields enter in to education without a real understanding of how to successfully share their specialty? College classrooms are filled with professors who have not only planned but also perfected their subject matter. Unfortunately, many fail to plan their strategies and end up presenting a lecture that is less than compelling. Conversely, there are educators who have mastered instructional strategies, pulling out all the engaging and / or entertaining stops they can think of. While they often impart to their students lots of love for learning, they often lack links to learning.
Paul Hirsch could easily have been talking about teachers when he said,
“I think that the good editors have been undermined by the poor ones. There are some editors still working who do it sort of ‘by the numbers,’ who don’t have any feelings of showmanship or don’t have an instinct for what’s right. They put the film together as best they can in their relatively inept way, then go to screenings with the director and take notes about what he wants changed. They’re functioning as a pair of hands, they’re not contributing, and therefore they not really worthy of respect by creative people who bring the movie together. There are editors out there, working professionally, who don’t have a clue as to what editing is about. Then there are editors who take a very active role. They try to elevate everyone else’s work, and they’re in a position to do that as an editor. It’s their job to make everybody look as good as possible – the actors, the cameraman, the director, the screenwriter. The editor is the final filter before the film reaches the audience. If your standards are high enough and you can apply them to every aspect of the film, you can make a difference” (Oldham, 1995: 196).
Good teachers, like good editors, are purposeful planners. In order to transform their work from common to compelling, they must account for all the pieces and people, plan purposefully, and propel themselves and their students on to new pursuits.
As I said in a previous post, “In order to design a compelling experience, we must attend to the elements that cause us and our students to:
Look up!
Linger…
Listen.
And… learn… for a lifetime!” (Rupp, 2010).
Architecture and Interior Design
Insight: Purpose
Impact: Preserves “peace”
Again, the segue from one genre to another is relatively seamless. There is no question that planning is paramount in the areas of architecture and interior design, as well. With bridges in mind, I cringe at the thought of the chaos that would ensue on a construction site without any blueprints, not to mention the imminent disaster of the bridge succumbing to the slightest weight. I can see it now, the construction crumbling to the ground at even the hint of wind or rain. Lest we forget, planning is paramount!
In addition to planning, though, purpose ought to be a priority. After all, what would be the point of a bridge built in the middle of a flat, farmer’s field? With no water to cross or no valley to span, the bridge would be more of a barrier than of any benefit. It would lack purpose and would probably be the cause of conflict, internal and otherwise. Neighbors would lament the lack of aesthetic appeal, and the farmer would lament the land lost. Without purpose, problems tend to proliferate. In the case of this hypothetical bridge, the problems affected both the aesthetic and physical aspects of individuals’ lives.
The physical realm is, of course, the most tangible. In the case of the bridge, it is neither practical nor functional. Classrooms have similar clunky constructions. How often do we, as teachers, incorporate into our classrooms pieces of furniture that are neither practical nor functional… not the least of which are students’ desks? Or, how about those cozy and “compelling” centers set up around the room with pillows and lamps and other “homey” accoutrements. Supposedly, these special spots are designed to supplement and stimulate. Do they really serve that purpose?
Albeit subtly, Susan Susanka purports the power of purpose. Even in the title of her book, Home by Design, there is the sense that purpose is key and without it, buildings are basically… bridges to nowhere. One of my favorite quotes from this module, one I found especially applicable to education, came from this book.
"So it's a house that has a Theme and Variations. Most houses are lacking features like these that tell you, as you move from room to room, that they are all parts of a singular whole. But a house that's a Home by Design has some underlying organizational features that help identify it as all one thing, no matter where you are in the house." (Susanka, 2004: 9)
In my post for this module, I adapted the quote and titled it, “Learning Experience by Design.”
“So it's a LEARNING EXPERIENCE that has a Theme and Variations. Most LEARNING EXPERIENCES are lacking features like these that tell you, as you move from LESSON TO LESSON, that they are all parts of a singular whole. But a LEARNING EXPERIENCE that's a LEARNING EXPERIENCE by Design has some underlying organizational features that help identify it as all one thing, no matter where you are in the SCHOOL YEAR” (Rupp, 2010).
When I think about what is required in order for the more “aesthetic” elements of theme and variations to exist, purposeful design is imperative. Lessons and units must be treated like these cohesive pieces of architecture. Consideration must be given to the interdisciplinary nature of the lesson and attention to application. When students see purpose in their learning, they will be at peace with the process. Learning will make sense! And, it will make sense to learn... more.
Music
Insight: Passion
Impact: Promotes participation
Music is such a powerful medium; one in which I find great meaning. Despite being a musician, though, the music module was probably the most challenging for me. Most of the time was spent on identifying and elaborating on “the hook,” which was much more difficult for me than I would have expected. It was hard for me to dissect something I usually take in as a whole. Meaning is more than just a moment in a song. In the end, I managed to find myself mired in metaphor as I entered in to the project. The result was somewhat less than satisfying, certainly not my most shining moment. That said, it did allow for further reflection and additional revelations.
While I appreciated the opportunity to improve my analytical skills, what I found most fascinating was the passion with which Robert Kapilow what makes music great and Aaron Copland elaborated on the sonorous image. Kapilow’s commentary was especially contagious. After listening to his conversation with Tom Ashbrook, I couldn’t help but participate in his passion.
Bridges built in the music module were abundant, but it is passion that promotes participation I found most pertinent. Passion is contagious. Even when interest is almost nonexistent, a person in the presence of one who is passionate cannot help but, at the very least, lend a listening ear. Students are no exception. When in the presence of a passionate teacher, they cannot help but perk up. While it is not easy for a teacher to convey passion equally for every subject or subtopic, it behooves us as educators to at least try to work up enough energy to engage our students. When employed effectively, passion has the power to promote participation. When students participate wholeheartedly, they are more likely to learn.
Fashion
Insight: Personal-ness
Impact: Props up potential; Proliferates possibilities
The final bridge was fashioned out of… fashion. After watching an episode of What Not to Wear, I was able to identify “Three Peas (+1) in a Pod.” After reading and reflecting, I think it is a variation of the first “P,” personal-ness, that is most powerful.
Fashion and style are very personal things. As evidenced in every episode of “What Not to Wear,” people seek to share who they are by what they wear, and what people wear reveals, to some degree, who they are. And, when challenged to change, it is not only the clothes that are affected. Change can be a very emotional experience. Change can also be an encouraging experience, particularly when it is tailored to the individual.
In my reflection about “What Not to Wear,” I said,
“[F]ashion is not only about patterns, palettes, and pumps, it is about sharing and celebrating the individuality of each person and personality. Almost without fail, when the old is off and the new is in view, friends and family (and fans at home) notice not only how “nice” the individual looks but also the pride or perkiness or peacefulness with which they present themselves as they walk in the room. Fashion ought to be a reflection (and revelation) of personality” (Rupp, 2010).
While education is not necessarily a “reflection of personality,” instruction tailored to the person can accentuate the skills and strengths of the individual. When teachers fashion instruction with individuals in mind, they are better able to prop up potential and proliferate possibilities. Students begin to realize that they can be more than they are and doors are opened wide to things they can do. A “can do” context is compelling.
Such a personal learning experience was designed in this very course, fashioned in the form of the Work of Art project. Allowing us, as individuals, to identify and pursue a topic of personal interest compelled each one to dig deeply and apply all that we had learned. We were challenged to aim high (potential) and to look beyond any barriers that might block our path (possibilities). This tailored task was more than compelling.
What a thrill to think about how these insights, when applied, will impact my instructional experience and the learning experience of my students.
Work of Art Project - Transcript (video on FB)
As a child, one of my favorite places to be was in the kitchen. Whether actively involved in concocting some culinary creation or begging for a bite of a freshly baked bun while my mom bustled from one bowl to another, there was more to the moment than what was to be munched on. Even as a child, I knew that each meal was cooked up with care and consideration, commitment and creativity.
Many evenings, I sat silently on the kitchen floor in front of a heating vent watching and listening to my parents as they washed the dishes. Side by side they scrubbed, and together, they talked about their day. So much more than the moment… How I was drawn to this special space. A sacred space, really, where smells and smiles and savory and sweet somethings were served up and shared.
Having recently embarked on the journey of marriage, I now have an opportunity to make another kitchen a sacred space… a special space to share with my husband. While he doesn’t usually cook with me, I strive to make our meals with the same care and consideration, commitment and creativity my parents did. Along the way, though, I have found, whether it’s pork or pasta, chicken or cheese soufflé, sometimes what is served up is simply common. On occasion, however, there are some concoctions I would consider curious. And then, there are times when a few culinary creations are compelling. Having come to this realization, I decided to investigate the “work of art” that goes in to the making of one component of a meal… a salad.
Common
(Synonyms: usual, ordinary, regular, nothing special)
In salad terms, “common” could be described as basic or bland, a simple, standard side with which all are familiar.
Most evenings, once I have the main course well under way, I set about the work of serving up a simple side salad to accompany the meal. Typically, this tag on is tossed together without requiring much planning or preparation. As I snatch the ingredients from the fridge, there is little feeling about or focus on the task at hand. Time and thought are minimized.
When the time comes to break open a head of lettuce, though, I will admit I often feel a sense of satisfaction with the initial crack. The flecks of water that fly about my fingers flaunt freshness, but it this food flavorful or fortifying? The sound from the split shouts of something scrumptious, but is there any substance to savor? With one eye on the stove and another on the table, I shred and slice, chop and plop with little attention to precision or placement. I randomly rip apart the lettuce leaves and lob them into a barren bowl. Without much care for consistency, the cucumber is quartered and cut. Tomatoes, too, are scored and sliced and sprinkled onto the salad. Finally, green peppers are diced and dropped into the dish. With hurried hands, I turn this heap head over heels, mindlessly mixing this mundane mélange.
Sure… some of the colors are bold and bright and beautiful, but as I set the salad on the table, there is a listlessness in and lethargy about the lettuce. Thrown together in barely a blink, I look on to the bowl and am bored by what I see – basic and bland, a standard side, common. Even as I think about the single bowl set amidst all the others at the table, there is nothing special about this salad.
I, as the salad maker, am unimpressed and underwhelmed. I have little hope that my husband will be tempted to taste. When he does dare to dig in, I am disappointed. Rather than “Ta dah!” the bowl cries “Boo hoo!” as the basic and bland is buried in a gluttonous glob of store-bought salad dressing.
There is no life. There was little love. Much of the lettuce lingered for another day… Common!
So… what about a curious salad? Will it suffer the same fate? Wilted and weeping… unwanted.
Curious
(Synonyms: unusual, strange, peculiar, intriguing)
A “curious” salad might serve as an abnormal appetizer, salivary stimulation, or a taste temptation.
Unlike the common salad, the curious salad required much more planning and preparation, the first step of which was rummaging through my recipes. I knew what I wanted to make and knew, in general, what it would take, but I had to ensure that I had everything I needed to make this spark of an idea truly special.
Once I had secured all the items on my shopping list, I spread them out and took stock of the odd assortment of ingredients that was to be combined into something curious. I took time to think about the color and texture and flavor of each ingredient and how things so drastically different were ever considered to be complementary. In some ways, it is like the union of a couple or uniqueness of individuals that function as a family. Somehow, they work together to bring out the flavor in one another. They enable the curious qualities to shine and the complementary qualities to strengthen.
As I set about to assemble this salad, I was much more careful as I collected, cleaned, cut, and combined. Unlike the common salad served up in a communal bowl, I decided to make this curious salad more personal by serving it up on individual salad plates. To start, I sorted through half a bag of baby spinach and set the leaves in a strainer. Then, I showered the spinach under running cold water in order to rinse and refresh their nutrient-rich roughage. I then peeled a portion of a cucumber, more careful about quantity and quality. Knowing that each component of this salad would be seen, I was much more concerned about conformity as I quartered the cool cucumber. The red onion, sure to add a zap of zest to the meal, was slice and diced into the tiniest of tidbits so as not to be overbearing in any one bite. In addition to these fresh ingredients, I portioned out the other pieces of this peculiar puzzles and placed them in individual glass bowls. Fun frills like the feta and fruit were fanned out around the plate, ready for garnishing.
Before assembling the salad, though, I had to attend to two other more time-consuming tasks – the dressing and the sugared walnuts. Both proved to be somewhat challenging, but worth the extra effort.
Dressings have the potential to draw out or accentuate flavor. In an attempt to avoid the Ranch ruination, I started a dressing from scratch. Seeking to complement the ingredients included in the salad and the salad as a whole, a curious combination of several spices, sugar, solvents, and suspension substances was used. Each ingredient was poured into a salad dressing carafe we received as a wedding gift. This special dispenser added sentiment to this salad.
The final touch, sugared walnuts, was added with my husband in mind. He very much enjoys eating walnuts, so I was especially excited to be able to top off this curious salad with a kiss of caramelized crunch.
When it came time to carry this curious creation from the kitchen, I did so with care. I presented this personalized plate with pride and anxiously awaited my husband’s reaction. The first sign that this salad was more special than the last was when my husband drizzled rather than drenched the dish with dressing. And, I was pleased when he commented on both the aesthetics and the taste.
This curious salad was savored as special. Time was taken. Tiny, thoughtful touches were applied. It was rare but rewarding for both my husband and me.
Compelling
Synonyms: spellbinding, transfixing, mesmerizing
As I consider what constitutes a compelling salad, descriptors like mouthwatering, satisfying, and complete come to mind.
Once again, before assembling this salad, I had to ensure I had everything I needed on hand. With a need for a few unusual items, like Romaine lettuce, mandarin oranges, pineapple, and chow mein noodles, a special shopping trip was in order. Several of these items were prepackaged, which reduced the preparation time; however, placement tended to be more tedious. The cucumbers, a staple in all the salads, ended up being a distinguishing feature in this creation. As a result, presentation took on a primary role in making this salad more compelling than the others. Rather than quarter and cut, I decided to slice the cucumbers on an angle. I then spread these long slices across one side of a large dinner plate. It almost looked like the tail of a pale peacock. As I fanned out the slices of cucumber, I felt more like an artist than a cook, like I was creating something artistic, not just edible.
On top of this fanned frame, I neatly nestled the light and leafy lettuce. On top of this, I sprinkled the green onion and avocado bits, which were to provide contrasts in texture and taste. For a splash of color, the mandarin oranges were added. Like the orange slices themselves, I smiled. These subtly sweet segments were especially bright against the green backdrop. For added punch (and crunch), the chow mein noodles were also sprinkled on top. This exotic ingredient also provided variety in terms of shape, contributing to the artistic element. I felt as if I was painting a picture, adding layers of colors and textural contrast with each ingredient.
To complete this picture, an “inkwell” was added. Set in to the side of the salad, was a small glass pitcher in which would be placed an individual portion of the homemade salad dressing. This extended the element of personalization explored in the curious salad, communicating to the person to whom it was served, my husband, that he was special. As I placed the pitcher on the plate, I felt as if I was sharing something special, a piece of my heart hidden in this gastronomic gift.
Like the curious salad, planning and preparation continued to be paramount. Since this particular salad featured grilled chicken, I had to begin the process the day before, marinating the poultry overnight. When ready, the chicken thighs were cooked quickly on a grill, sealing in the flavor and juice. Once cooled, the chicken was sliced into long, narrow pieces and precisely placed on top of the hearty heap of lettuce.
With this picture painted on the plate, I presented it to my husband not as an add-on or an appetizer but as a work of art. It evoked in me, the salad-maker, neither a sense of serving something substandard nor of sheer sentiment, but of satisfaction. This was not something common or curious, but complete… compelling.
Having lived and taught in Afghanistan, this quote was especially MEANINGFUL!
"‘One of the signatures of any repressive regime,’ he wrote the following day, ‘is their need to control not just meaningful differences-the voices of dissent, for instance-but ostensibly 'meaningless' ones as well, like dress. It will take some time for people to realize that creating the difference between Coke and Pepsi is not just an empty pastime but one of many signs of life in a free society.’ The Afghan women who risked the Taliban's prisons to paint their faces and style their hair in underground beauty shops, and who celebrated the liberation of Kabul by coloring their nails with once-forbidden polish, would agree. Surface may take on meaning, but it has a value all its own” (Postrel, 2003: 92).
Referred to in previous blog entry
Michigan State University
ED 800 Concepts of Educational Inquiry
Unit 4 Writing Assignment
Leslee Moyse
November 15, 2008
Deep and Wide: Is the Fountain Flowing? Or, Are the Waters Mmmmuddied?
“Deep and wide,
deep and wide,
there’s a fountain flowing deep and wide.
Deep and wide,
deep and wide,
there’s a fountain flowing deep and wide.”
When I was a kid, these were words sung, with actions, in our Sunday School class. The tune would be repeated over and over, slowly removing a word each time, replacing it with “Mmmm…” until the song sounded like this:
“Mmmm and mmmm,
Mmmm and mmmm,
there’s a fountain flowing mmmm and mmmm.”
As I’ve read through and reflected on Gardner’s deep approach to education (Gardner, 2000: 118) and Hirsch’s wide approach (Hirsch 1983), I think, in order for the fountain of knowledge and understanding to keep flowing, there needs to be a bit more… harmony. As Rodney King aptly put it, “People, I just want to say, you know, can we all get along?” (Wikipedia). (I believe Sly and the Family Stone would echo such sentiments.)
The question posed for this unit was, “What can be learned about curriculum inquiry from the interaction of competing ideas?” While there was much to learn about curriculum inquiry, I found the idea of competition to be a complicating factor. With the vocalists singing the “Mmmm and mmmm…” parts in the faces of others rather than listening for the music that can be made when opposing members of the dueling duet (or tangled trio… or quarreling quartet for that matter) complement one another, a distracting dissonance entered into the score.
I found this to be true during the NPR interview (1998), for example, when Gardner tossed around phrases like, “the sole purpose of school is a collection of hollow information”, “facts are disciplinarily neutral”, and “a cluttered mind can’t think clearly” when referring to Hirsch’s cultural literacy model. Similar statements, like “cultural literacy… amounts to a hodgepodge of concepts and facts” (Gardner, 2000: 118) were sprinkled throughout The Disciplined Mind. I concur, to some extent, with Hirsch in his statement that Gardner was thinking in “polarized terms” (NPR, 1998), which was somewhat alarming coming from someone touting consideration and exploration of “the true, the beautiful, and the good” and depth of understanding. At times, I wondered, as Hirsch articulated in the interview, if Gardner “understands” cultural literacy? Did Gardner not have to have some factual knowledge of evolution, Mozart, and the Holocaust at hand to fill the pages of his book with illustrative explanations and examples of… understanding? My question is: why do the two approaches, the deep and the wide, have to be mutually exclusive? Why does it have to be… pieces versus ponderings, fact-finding versus philosophizing, or tidbits versus “truths”? I acknowledge this is a bit of an exaggeration, but, at the very least, where’s the harmony?
Where was the conversation capitalizing on shared ideas like: intrinsic motivation (Gardner, 2000: 218; Gootman, 2008; Hirsch, 2001; NPR-Hirsch, 1998) or curricular connections (Gardner, 2000: 157; Hirsch, 2001; Kennedy Manzo, 2008) or civic responsibility (Cuban, 2004; Gardner, 245; Hirsch, 1983)? Can the deep and the wide not work together to accomplish these common goals? I realize the two primary competitors, Gardner and Hirsch, are committed to their respective approaches, but why not work together to feed the fountain that it might truly be deep AND wide?
Perhaps the “Mmmm” needs to be “Hmmm….”
“We know that people generally don’t want something that’s otherwise worthless just because it comes in a pretty package and, conversely, that valuable goods and services are worth even more in attractive wrappings” (Postrel, 2003: 66)
This quote spawned a flood of thoughts… the first of which took me to a series of Ally Bank commercials. In these commercials for a new online bank, kids are presented with something snazzy but end up with something that stinks. What appears “luxurious” on the surface ends up being a “lemon” when the substance (the “fine print”) is revealed. This begs the question, as raised in Postrel’s writing, can the two (surface and substance) coexist?
Ally. (2009). Ally bank bike commercial. YouTube. Retrieved from: http://www.youtube.com/watch?v=suBGbef5p3g&NR=1
Ally. (2009). Ally bank pony commercial. YouTube. Retrieved from: http://www.youtube.com/watch?v=7qb0vquRcys&NR=1
Ally. (2009). Ally bank truck commercial. YouTube. Retrieved from: http://www.youtube.com/watch?v=nKdIKP1arF0&feature=related
Ally. (2010). Ally bank “automated”. YouTube. Retrieved from: http://www.youtube.com/watch?v=1caAJ5CfU2g&NR=1
Ally. (2010). Ally bank “eggs”. YouTube. Retrieved from: http://www.youtube.com/watch?v=QgdTymCZowU&NR=1
ICONIQtv. (2009). Ally – “Hide”. YouTube. Retrieved from: http://www.youtube.com/watch?v=uHBRGOScyZY&NR=1
The aforementioned quote also took me to a very different place… back to Unit 4 of my ED 800 class in which the writings of E. D. Hirsch and Howard Gardner were juxtaposed.
In his article entitled, “Breadth Versus Depth: A Premature Polarity,” Hirsch writes, “In the education wars we encounter a lot of ‘premature polarities.’… I would define ‘premature polarities’ in education as the habitual, almost automatic taking of sides on education issues based on whether one considers oneself to be a liberal or a conservative in politics. Unfortunately, such ideological stand-taking not only brings investigation to an end, it tends to replace thought.
For example, in the reading wars, premature ideological polarization has caused phonics to be viewed as an agency of right-wing suppression that deprives reading of naturalness and impairs love of literature. ‘Whole language’ on the other hand, is attacked as a left-wing abandonment of adult responsibility. Similarly, in the math wars, memorization of the multiplication table is viewed as a ‘conservative’ principle of teaching, whereas the use of calculators is viewed as a pernicious ‘liberal’ pedagogical policy” (Hirsch, 2001).
Hirsch, E. D. (2001). Breadth versus depth: A premature polarity.” Common Knowledge, 14 (4).
Gardner, in his book, The Disciplined Mind, also alludes to the surface / substance schism. He writes,
“And I am equally weary of debates that array one educational philosophy against another – traditionalists versus progressives, proponents of phonics versus advocates of ‘whole language.’
These discussions, while not unimportant, skirt the most fundamental question. They avoid consideration of the purposes of education – the reasons why every society should devote monetary and human resources to the education of its young persons…
I want everyone to focus on the content of an education – the meat and potatoes: on how that content should be presented, mastered, put to use, and passed along to others. Specifically, I believe that three very important concerns should animate education; these concerns have names and histories that extend far back into the past. There is the realm of truth – and its underside, what is false or indeterminable. There is the realm of beauty – and its absence in experience or objects that are ugly or kitchy. And there is the realm of morality – what we consider to be good, and what we consider to be evil” (Gardner, 2000: 15)
Gardner, H. (2000). The disciplined mind. New York, NY: Penguin Press.
For some, the writings of Hirsch might be boiled down to “surface,” while the writings of Gardner might be considered “substance.” My question is, must there be such a schism?
Certainly, other institutions struggle with this schism. Postrel’s reference to churches was especially illustrative of this challenge. As I read the description, there were many parallels to education.
“Today's services feature giant video screens [educational equivalent – Smart boards, Powerpoint presentations], professionally lit stages, and high-energy rock bands. ‘The worship of God is increasingly presented as a spectator event of visual and sensory power [educational equivalent – manipulatives, total physical response] rather than a verbal event in which we engage in a deep soul dialogue [educational equivalent – Socratic questioning, reflective discussions] with the Triune God,’ he writes, adding that ‘Aesthetics, be they artistic or musical [educational equivalent – multiple intelligences], are given a priority over holiness [educational equivalent – depth & complexity]. More and more is seen, less and less is heard. There is a sensory feast but a famine of hearing.... Now there must be color, movement, audiovisual effects, [educational equivalent – fun and games] or God cannot be known, loved, praised and trusted for his own sake [educational equivalent – love of learning for learning’s sake].'
Here, the ‘sensory feast’ is less a lie than a distraction, diverting worshipers' [educational equivalent - students’] attention and ministers' [educational equivalent - teachers’] efforts from more important matters. As aesthetic expectations rise, in this view, congregants [educational equivalent – students] too easily forget the purpose of the spectacle. They become addicted to sensory stimulus, losing the ability to worship [educational equivalent – learn] without it. They come to expect an experience of ‘color, movement, [and] audiovisual effects,’ an immersive environment rather than a cognitive exchange. As the aesthetic overrides the verbal, the feeling [educational equivalent – surface] of worship overwhelms the message [educational equivalent – substance]” (Postrel, 2003: 70).
While these experiences are "fun," Ally Bank says it best, "Even kids know it's wrong..." Pretty packaging doesn't make it profound. At the same time, profound doesn't need to be unpalatable.
For educational experiences to truly be compelling, I think surface and substance must somehow be fused. The critical question, though, is... how?? This is where design dominates the discussion.
Nature and Design of Compelling Fashion Project - Video (also on FB)
What Not to Teach
Transcript
Frame 1
Teacher:
Boys and Girls, today we are going to explore equivalent fractions!
Students:
Equiva-what?
Ugh!
Oh, no,… not the fraction pieces!!
Frame 2
Pizza:
ARRRGGGHHHH!!! It’s that time of year again when teachers go in to their curricular closets and pull out their faded or frayed or fuzzy or faded or frighteningly fragmented fraction pieces.
Frame 3
Pizza:
C’MON PEOPLE!! Where’s the fun… Where’s the flair… Where’s the function… in these flat, flavorless pieces of plastic?
Frame 4
Pizza:
Let’s shine a spotlight on these sixths for a sec. What do you see?
Frame 5
Students:
Uh… six stiff slices of some synthetic substance.
Six sticks used to solve some silly problem.
Something to shuffle, stack, slide around, and stuff back in the box until next year.
Supplements for a subject that doesn’t make sense.
Frame 6
Pizza:
Are they… fabulous and fresh? meaningful and munchable? stimulating and savory? transferable and tasty? practical and filled with pizza-zz?
Students:
Not really!
Hardly!
Are you kidding?!
Frame 7
Teacher:
Hold the cheese, Stuffed Crust!! I thought manipulatives were mod!? I thought these shapes were chic!?
Frame 8
Pizza:
Well, there is space for these supports in the curricular closet, but as you fashion a lesson you must consider what is going to be engaging and enduring.
Frame 9
Teacher:
I thought I did. After all, these fraction pieces are more fashionable than wearing a hole in a worksheet or strutting problems on the board.
Frame 10
Pizza:
Uh… Perhaps I should illustrate with the help of some of my crusty old friends.
Frame 11
Fraction Pizzas:
Hey, Pepperoni Pete. We’re all dressed (minus the tomatoes) and ready to go!
What kind of savory solution can we serve up today?
Frame 12
Teacher:
Mmmmm…. My students would love this!
Pizza:
Let’s try on some edible eighths for size!
Frame 13
Pizza:
If we were to eat one half (1/2) of the pizza, how many eighths would that be?
Fraction Pizzas:
Hmm… if 8 pieces equal one whole, and half of 8 is…
Ask me! Ask me! I know! I know!
Eat??? Who said anything about eating?!
Frame 14
Teacher:
Wow! The students are so engaged!
Pizza:
And, the ideas will endure!
Frame 15
Pizza:
While I’m partial to pizza, can you think of another way to fashion a fraction lesson featuring food?
Frame 16
Teacher:
Hmmm… could I edibly enlighten students about equivalents by baking cookies?
Frame 17
Teacher:
Aha! My students could not only work with equivalent measurements, but also…
Pizza:
… Oh, yes! They could also find equivalent fractions within the whole batch of cookies. Great!
Frame 18
Teacher:
How many… fourth (1.4) cup measures are equivalent to two cups of flour?
Pizza:
The class eats two thirds (2/3) of a batch of cookies, what is the equivalent if there are 24 cookies?
Frame 19
Teacher:
I can see now how fashioning a fraction lesson using food would be more fun and functional!
Frame 20
Pizza:
This practical approach from the pantry also allows you to branch out beyond the basics more easily and effectively than those boring fraction bars.
Transformational Tidbits
After purging the teacher’s closet of plastic pieces and expanding her instructional palette, she was freed to fashion lessons that linked to life. Her teaching was transformed…
• from tacky to tasty.
• from stale to stylish.
• from limited to long-lasting.
• from apathetic to appetizing.
One week later…
Frame 21
Teacher:
Boys and Girls, today we are taking our class TO THE KITCHEN for some culinary calculations…
Students:
Awesome… Math with muffins!!!
This makes so much more sense than those silly sticks!
I can’t wait to fix some food fractions at home!!
Application Addendum:
What does this mean for us??
We must consider carefully the tools of our trade, in order to prepare pertinent, purposeful, practical, and profound plans for our pupils.
Don’t forget the pizza-zz!!
Week 12 - Discussion Post (also on FB)
The “compelling experience” I am in the throes of investigating is related to the making (and eating) of a salad. In this installment for the “Work of Art” series, I highlight my own salad-making skills, which are applied to the creation of a salad intended for my husband. In the end, I hope to have designed a salad that makes my husband’s salad-eating experience more compelling, something he wants to dig into rather than dismiss.
For this investigation, I have selected three different salads (common, curious, and compelling) to make, munch on, and mull over. The common salad consists of very basic ingredients (iceberg lettuce, tomatoes, cucumbers, and store-bought ranch dressing). The curious salad is comprised of what could be considered “odd” ingredients (baby spinach, red onion, dried cranberries or fresh strawberries, feta cheese, and homemade poppyseed dressing). The compelling salad is what one might call a heartier heap of ingredients (Romaine lettuce, green onions, avocado, mandarin oranges, crushed pineapple, grilled chicken thighs, and homemade honey-mustard dressing). A large part of the design of this experience involves ingredient selection. I think there is an art of choosing appealing / appetizing ingredients (planning) and ingredients that complement one another in color and flavor.
Once ingredients are selected, composition comes into play. I explore how each of the ingredients is cut (preparation) and subsequently combined with other ingredients (presentation). In addition to combining ingredients, I look at serving options of presentation, which include plating, utensils, and complementary condiments (dressings and garnishing).
With respect to the nature of the experience, I studied my husband’s reaction in order to gain an understanding of what aspect of form (verb or noun) affected him most significantly. Also, I investigated how the nature and design of the salad impacts his overall eating experience. While I have yet to complete this part of the project, I would like to conduct a post-eating interview. My husband is not keen on having his face featured in the film, but maybe I can get him to record his thoughts in an audio recording. If we could boil (or toss, as the case may be) each of the salad-eating experiences into single-syllable, onomatopoeic summaries, I expect my husband to say “Hmph!” “Hmmm??” and “Mmmm…” respectively.
I’d love any and all feedback you have to offer. Questions, suggestions, criticisms are welcome!!
As I thought about the connections between education and fashion, the initial imaginary bridges built in my mind were mostly broken ones. For me, one of the most frustrating aspects of education and fashion is fads.
In and out… and in again. The cycle of style spans the centuries.
Back and forth… and back again. The pedagogical pendulum swings perpetually.
Whether it’s bell-bottoms or brand name jeans, paisley prints or plain pastels, inevitably “fab” fashions fade. We can rest assured, though, that these faded fads will find their way back to “fab” in the future.
Likewise, whether it’s direct instruction or discovery learning, rote or reasoned or revealed, trends in teaching are transitioned in and out tirelessly. What tops the training ticket today could be trashed tomorrow. For something as timeless as education, why are the techniques so temporary?
As I read through the articles, a number of fashion fad-specific words jumped out, including: “hot” (Brand, 2006), “cool” (Caplan, 2005; Grossman, 2003; Wong & Henricksen, 2008: 7), and “pop phenomenon” or just “phenomenon” (La Ferla, 2005: 2, Wong & Henricksen, 2008: 12). And, as the fashion / education gap was bridged, “buzz” (Wong & Henricksen, 2008: 12) entered in to the conversation. What happens when “hot” cools or “cool” becomes lukewarm? What happens when “pop” becomes a flop or the “phenomenon” becomes part of everyday fare? And, what happens when the “buzz” just becomes annoying background noise?
For me, compelling goes beyond quirky; quality must be considered. Compelling ought not be simply something new or novel, but something necessary and needed. Compelling is not a matter of what’s “pop” but what’s purposeful. Compelling is not a matter of “mod” but meaning. Compelling is not only engaging but also enduring.
These qualities of compelling came to the fore for me as the authors of the article, “If Ideas Were Fashion,” discussed “the expert / novice paradigm.” They suggest, “WNTW provides a compelling, contemporary illustration of pragmatism’s central argument – something far too uncommon in most philosophical discussions. WNTW reminds us that ideas, like fashion, must be lived in and experienced in order to understand, appreciate, and judge their meaning and significance” (Wong & Henricksen, 2008: 18). When ideas… or fashion fads… or teaching techniques come and go so quickly, how can they be “lived in”? How can “meaning and significance” be realized? How can the teaching and learning experience be compelling?
I don’t have the answers, but as I fashioned my ideas for this module, my frustration with fads festered.
Week 11 - Discussion Post (also on FB)
While I don’t watch “What Not to Wear” on a regular basis, I have seen Stacy and Clinton in action before. I am always amazed, first, by the flagrancy and frequency of the fashion faux pas's (some of which I am admittedly guilty) and also by the redemptive and revolutionary quality of a few “simple” stylistic rules… when applied appropriately.
As I watched the episode featuring Pam (and subsequently, a few clips from the “Greatest Transformations” montage), the revelation of these “rules” was something to which I had not tuned in previously. Unlike some shows (ex. interior design, home renovation, cooking, and other DIY topics), where rules are either articulated clearly or even bulleted briefly on the screen, the hosts / producers of WNTW have seemingly decided to take on a more flexible and / or personal approach. A blanket set of fashion fixes are not overtly stated by the hosts, but slipped in surreptitiously by the some of the ambushed offenders. In the portions of this makeover show we, the viewers, get to see, general recommendations (never really rules) are subtly woven in to the conversations between and consultations / critiques conducted by Stacy and Clinton. As I watched this time, I sensed that the featured individual had been more carefully coached off camera and had a specific toolbox of tips with which to rebuild his / her wardrobe. When tailored to body type, tone (skin, hair, eye), proportions, and personality, the end result is transformative, trendy, and timeless (Hmmm… how is it possible to have those latter two descriptors simultaneously??)
In terms of the nature and design of a compelling fashion experience, I came up with a list of three “P’s” that I thought were addressed:
Personality
Practicality
Professionalism
Personality
At the outset of each episode of WNTW, viewers are usually treated to a trailer of tackiness. After being subjected to a spy-cam snapshot of the unsuspecting, it is tempting to toss out labels like “The Schlump,” the shapeless stick, or the shameless slob, solely based on style… and that’s where we stop. While we might get a peek at personality, generally, the person is pigeon-holed by his / her poorly-fitting pants or stretched-out sweatshirt. More often than not, self-esteem is suffering, and the soul does not shine. Bright, bubbly, or bold personalities are often buried under baggy barriers. Creative, clever, and competent contributors are concealed from society by “comfy” clothes.
Thankfully, Stacy and Clinton see beyond the atrocious attire. The hosts, hired to help, hurry to dispose of the horrendous hand-me-downs and stock up with sophisticated, suitably-shaped, and simply stunning shirts, skirts, slacks, and shoes. While fabrics and fashions that fit and are flattering are at the fore, the hosts also seek to bolster and bring out the beauty within. For them, fashion is not only about patterns, palettes, and pumps, it is about sharing and celebrating the individuality of each person and personality. Almost without fail, when the old is off and the new is in view, friends and family (and fans at home) notice not only how “nice” the individual looks but also the pride or perkiness or peacefulness with which they present themselves as they walk in the room. Fashion ought to be a reflection (and revelation) of personality.
Practicality
Whether a mom or media mogul, a teacher or a trial lawyer, an artist or an administrative assistant, fashion needs to be functional. It is the fallacy of “functionality” that causes many to look frumpy, though. One set of videos, called “Best Frumpy to Feminine,” seizes the opportunity to slam sweatshirts / pants, sweaters, and shorts, articles of clothing that many claim are “practical.” These items are wash and wear, quick to get on and off, easy to maneuver in, allow one to “blend in,” and help “hide the flaws.” As Stacy and Clinton point out, though, this form of “functional” is functional only for frump.
In one of the “fast forward” videos entitled “Kimberly Flunks Fashion,” a teacher and mother of triplets is tackled for wearing oversized sweaters and T’s. For her, these were “functional,” but Stacy and Clinton gave her an F for Frump! In the end, though, Kimberly was fab. One of the key concepts of compelling fashion that she walked away with was the need for “use value” and versatility. Being able to mix and match and easily move from one venue to another (ex. from work to dinner out) with only minor changes is a must. It is possible to be classy and comfortable at the same time, a pillar of practicality.
Professionalism
The concept of classy AND comfortable spills over into the realm of professionalism, as well. In a number of segments, it seemed that those captured on camera had decided that these two ideas were mutually exclusive and opted for comfortable over classy, which ended up being sloppy over sophisticated. This was especially true of caregivers (ex. moms, teachers, health / home care workers). Self took second place to service, and it showed.
While this often takes some convincing, Stacy and Clinton embark on many missions to makeover the “thee over (or instead of) me” complex. As the trod upon try on outfit after outfit, eventually they find something that fits, flatters, and functions. Those that tried to blend in realize they can still do so without wearing baggy and bland. Tailored and timeless pieces with tempered tones and textures are trendy without being over-the-top. Soon the selfless realize that in order to be the best they can be in whatever role / job they have at home or in the workplace, presenting themselves professionally is key. It brings excitement and energy to their endeavors and deserved (although not necessarily desired) respect and recognition from others.
A fourth “P,” Presence (a term used by Clinton), also entered my internal conversation about the nature and design of a compelling fashion experience. I’m not sure that I am able to adequately describe what this means or looks like, but it seems to draw on each of the previous “P’s.” Confidence, context, and quality all enter in and contribute to the “Wow” factor featured at the end of each episode.
What do the following quotes have in common?
“Yes, the sonorous image is a preoccupying concern of all musicians. In that phrase we include beauty and roundness of tone; its warmth, its depth, its ‘edge,’ its balanced mixture with other tones, and its acoustical properties in any given environment. The creation of a satisfactory aural image is not merely a matter of musical talent or technical adroitness; imagination plays a large role here. You cannot produce a beautiful sonority or combination of sonorities without first hearing the imagined sound in the inner ear. Once this is imagined sonority is heard in reality, it impresses itself unforgettable on the mind” (Copland, 1952:22)
Copland, A. (1952). Music and imagination. Cambridge, MA: Harvard University Press.
“I asked Hunter what she hopes people will say years from now about her influence. Without a pause she replied, ‘If I could have my wish, I would hope my work would help move teaching from a craft to a profession based on research translated into artistic practice, where the professional is a decision maker and where that professional never stops learning’” (Goldberg, 1990: 43).
Goldberg, M. (1990). Portrait of Madeline Hunter. Educational Leadership, 47 (5), 41.
Whether in a concert hall or a classroom, on a score or in a schoolbook, by the wave of a conductor’s baton or the stroke of a teacher’s chalk, the timelessness of a sonorous image is dependent on both technique and talent. Creativity and craft must be combined with care. Sentiment and substance must be summoned ceaselessly. If one is elevated at the expense of the other, the image becomes blurry and the potentially timeless temporal.
I think debates such as those related to whole language versus phonics or direct instruction versus discovery learning illustrates how emphasis on one over the other leaves some parts of the paint by number picture blank.
In order for the image (or instruction) to be timeless, balance needs to be brought in.
Week 10 - Discussion Post (also on FB)
“Recognizing the beautiful in an abstract art like music partakes somewhat of a minor miracle” (Copland, 1952: 8).
As I reflected on this statement and listened back to the selected songs, I realized that, in some cases (like “Sexyback”), a more major miracle is required. Not able to find the beauty in the beat of that song, I steered toward “Jesus Take the Wheel.”
In addition to the hook, my head and heart were held throughout what could be considered a country classic. As I mentioned last week, melody produced the preliminary and primary pull (“hook”), but what kept me listening? Was it simply that “circle, yearn, and leap pattern,” or was there something more? Part of me senses that it is something haunting or hopeful or even hallowed, but that speaks more to nature than design. The question posed this week is, what do you think “the musicians are trying to do to keep the music developing, continuous, and interesting”? I had to dig a little deeper to discern these details.
“Notes can be manipulated as if they were objects, certainly – they can be made to do exercises, like a dancer. But it is only when these exerciselike patterns of sound take on meaning that they become music” (Copland, 1952: 12)
For me, it was easy to find “meaning” in this song, but being able to identify how were the notes manipulated was more of a challenge. To begin, I think dynamics definitely played a role in development, maintaining continuity, and sparking interest. The introductory instrumental, played at a dynamic level of piano (soft) or maybe a mezzo forte (medium loud), seems to suspend the listener in a state of sad (or suspenseful) serenity. When the vocals enter in, the instruments dial down an additional notch. The violins fade leaving only the dynamically-constrained chords on the keyboard / piano and a subtle snare as accompaniment for the vocal artist. On occasion, the voice of the violin ventures in, again softly. Quiet can pique curiosity and promote concentration, as the listened must tune in more purposefully in order to appreciate the musical nuances nestled into the score.
As we approach the chorus, the sound swells substantially. The musicians modulate from mysterious to majestic in a matter of a meter (4 beats) and mount from mezzo to full-out forte (loud). The cymbals, strings, and snare all work together to whelm the listener with sound, summoning strength from On High. This dynamic development is both interesting and inspirational and is reprised after the second verse.
The transition from the chorus back to the verses varies slightly. As the sound subsides, there is a poignant and almost-pleading pause. While the strings are not silenced, there is the suggestion of such, a moment when the music and musicians maneuver the mind from a state of strength as a result of surrender to the Sovereign back to the struggles of self. This dynamic shift back to a softer sound serves to sustain the story. Notably, this dynamic decrescendo is repeated after the reprisal; however, rather than a feeling of resignation there is a sense of resilience. As the pleading continues, it is not as passive as in the previous passage. Somewhere along the way, purpose has been found, which the musicians are able to communicate through the dynamics and tone.
In addition to dynamics, some rhythmic revelations can to the fore this week. At the outset of the song, the slightly syncopated sounds were long and drawn out, as if to create an image of the down-and-out damsel in distress dragging her feet along a dark and dusty road. As the musicians pulled from one not to another, there was a feeling that, at any moment, the character (and song) would collapse.
The chorus, though, combated the sense of hopelessness as a robust and regular rhythm was rapped out on the drums and cymbals. While the strings sustained their longer notes throughout this portion of the song, the percussive instruments, electric guitar, and perhaps an almost-staccato stroke on other strings (sets of 8th notes) added life to the step of the song. Moving into the second verse, while not as prominently played, the regular rhythm is a driving (no pun intended) force that compelled me to follow, although I didn’t notice this in early listenings. With these rhythmic alterations in the second verse, I sensed that the musicians were attempting to develop / increase the tension or intensity as compared to the first verse, although there certainly was not as much emotion expressed / encouraged as was evident in the chorus sections.
Instrumentation also played a role in the making of what I consider to be a moving piece of music. While the violin stood out initially as the most influential instrument throughout this piece of music, as I listened more closely, it seemed as if the musician sought to feature a different instrument in each of the verses or chorus sections. In the first chorus, for example, it was the drum / cymbals that helped drive and develop. The electric guitar also emerged in this section and continued into the second verse with what some might consider scarce but, what I would say are significant slides. Going into the final chorus, all the instruments are intermingled. Layered upon one another, the strings, drums, guitars, and piano / keyboard merge and are manipulated into something memorable, meaningful, and for which I want more.
Nature and Design of Music that Moves Project - Video (also on FB)
Transcript
The principal concern of the composer is to seek out the expressive nature of any particular instrument and write with that in mind. Aaron Copland, Music and Imagination, 1952: 29
What if that instrument is… a penny whistle?
Come… Listen… Ponder with me…
Penny Whistle Song
Composer: Hans Zimmer
Album: The Power of One – Original Motion Picture Soundtrack
Label: Elektra / WEA
Copyright: May 19, 1992
In an attempt to analyze this piece of music and describe what the musicians are trying to do to keep the music developing and interesting, I have formulated a set of questions aimed at what I consider to be a few compelling components. In the first set of questions, instrumentation and the expressive nature of the instruments will be addressed. In the second set of questions, the roles of rhythm and repetition will be explored, particularly as they work to create a sonorous image. Are you hooked yet? If so, let’s take a closer look… or should I say listen?
What is the expressive nature of the penny whistle?
Might I propose…
playful?
perky?
piercing?
penetrating?
precocious?
persnickety?
peculiar?
From the initial note, this instrument intrigues and invites if not the cultured, certainly the curious ear.
A playful parade of notes prances from this peculiar “piccolo,” the pitch of which piques the interest of the listener.
As this form of a flute frolics from note to note, there is a feeling of freedom.
In addition, the delightful duet (or perhaps duel) creates a desire to join the dance.
Will you come out and play?
What of the other instruments like the…
hands?
As it happens, they hear the call and hearken.
The palms serve as personal percussive instruments, prepared to prop up or participate in a piece at any moment.
Hands help, hearten, and… harmonize in the sense that they bring unity to the community, which is, in this case, a myriad of musicians (and “gifted listeners”).
While definitely individual instruments, do the hands also have a role in the rhythm and repetition?
“Repetition creates that sense of belonging to something greater than us” (Kapilow, 2002).
As the chorus of claps repeats a regular beat, the hands cling to the cultural and community context from which they come.
Belonging is part of each beat.
This steers us toward the idea of a sonorous image.
As layers of lilting sounds merge, unity in diversity is rhythmically repeated.
The penny whistle proclaims the power of one.
One instrument. One voice. One rhythm. One song.
At the outset of his article, “A typology of ‘hooks’ in popular records*,” Gary Burns says, “According to songwriters Al Kasha and Joel Hirschhorn, hooks are ‘the foundation of commercial songwriting, particularly hit-single writing’” (Burns, 1987: 1) Burns goes on to note Kuroff’s (1982) definition of a “hook,” which is described as, “A memorable ‘catch’ phrase or melody line which is repeated in a song. The author also references Bennett’s (1983) definition, which summarizes “hook” as an “attention grabber.”
After reading about and listening for the “hook” in various articles and songs, I couldn’t help but think about the “hook” heralded by Madeline C. Hunter in her (7-step) lesson planning and delivery model. In the Hunter model, the “hook” is referred to as the anticipatory set.
According to Thomas H. Allen, Ph.D. of Humboldt State University,
“Anticipatory set or Set Induction: sometimes called a "hook" to grab the student's attention: actions and statements by the teacher to relate the experiences of the students to the objectives of the lesson. To put students into a receptive frame of mind.
- To focus student attention on the lesson.
- To create an organizing framework for the ideas, principles, or information that is to follow (c.f., the teaching strategy called "advance organizers").
- To extend the understanding and the application of abstract ideas through the use of example or analogy...used any time a different activity or new concept is to be introduced” (Allen, 1998).
Allen, T. H. (1998). Some basic lesson presentation elements. Humboldt State University. Retrieved from: http://www.humboldt.edu/~tha1/hunter-eei.html
Beth Lewis also elaborates on this second step of an adapted version of Hunter’s seven step model, stating, “The purpose of the Anticipatory Set is to:
- Provide continuity from previous lessons, if applicable.
- Allude to familiar concepts and vocabulary as a reminder and refresher.
- Tell the students briefly what the lesson will be about.
- Gauge the students' level of collective background knowledge of the subject to help inform your instruction.
- Activate the students' existing knowledge base.
- Whet the class's appetite for the subject at hand.
- Briefly expose the students to the lesson's objectives and how you will get them to the end result.”
Lewis, B. (2010). Lesson plan step #2 – anticipatory sets. About.com. Retrieved from: http://k6educators.about.com/od/lessonplanheadquarters/g/anticipatoryset.htm
While not identical, I was surprised at how similarly “hook” was characterized by each of these writers. In each definition, a few words grabbed me (or, perhaps I could say served as hooks) and the idea of impressions (first and lasting) came to mind. As it happens, another author made a similar connection… in the realm of learning (and lesson planning).
“First impressions are important, and the beginning of your class or lesson is no exception. You have certainly experienced how important first impressions of people or places [or songs] can be. Research in learning validates that effect. Information introduced at the beginning of any sequence is more easily learned and better remembered than equally difficult material encountered later in that same sequence. … The beginning of any class or lesson is the prime time for that learning. Obviously, when certain material is more vivid, more meaningful, or more interesting, it will be more easily learned and remembered regardless of its position in a sequence.” (Hunter, 2004: 38)
Hunter, R., & Hunter, M. C. (2004). Madeline Hunter's Mastery teaching: Increasing instructional effectiveness in elementary and secondary schools. Thousand Oaks, Calif: Corwin Press. Retrieved from http://books.google.com
I think it is the last sentence the most aptly summarizes the ultimate (or desired) role of the “hook”. Certainly, in order for learning (or gifted listening, as Copland might say in the world of music) to take place, there must be more than that one moment when all eyes (or ears) are attending. It is not just the first impressions that matter, it is the lasting impressions that make the difference. Hooks must be more than head turners; they must be mind movers.
After the hook, one must hold.
Week 9 - Discussion Post (also on FB)
Despite having a musical background and sitting in on Robert Kapilow’s fascinating crash course in song analysis, I’ve struggled to identify “THE hook” in each of the songs. As I have listened to the suggested songs, I found myself riveted by rhythm at one point only to be dazzled by dynamics in another. In some of the songs, the melody proves to be memorable at moments, but is sometimes inched out by instrumentation later on. While held by a hook, I seem to get knotted in a net of notes and other musical nuances. I get tangled in the fishing line of tempo and timbre and text. Certainly Kapilow and Copland are more than capable of navigating the nets, holding true to “THE hook,” but I want to know if there has to be just one? That said, I will attempt to articulate my analysis.
Not being familiar with any of these songs (My time overseas, while illuminating in many ways, was also isolating, particularly in terms of pop culture), I was able to listen to each song with fresh ears. Not really knowing much about any of them and having no preference, I listened in order of appearance.
Not Ready to Make Nice
The first two musical phrases in this song, absent of any vocalization, were quite intriguing. The dark, deep, resonating note pounded out on the piano created a hollow, hurting feeling. An emptiness echoed inside me as that first note sounded and was followed up with low, lingering sounds on the downbeat of each mournful measure. The slow stepping in the bass created an image of a heavy and lonely left hand plodding along the piano, somber and solitary.
On top of this tense, timekeeping tone, a discordant turn of the guitar was added. The almost-goading grace note seemed to stick a finger in an open wound and twist. That hurt feeling served as an initial hook. As the lyrics entered in, a sense of cynicism about forgiveness confirmed that some form of hurt was at the heart of the song.
As the song progressed, we eventually reach the refrain, which, for me, served as a secondary hook (if that’s possible). Up until this point, the instrumentation and vocalization consisted of a series of short phrases with longer pauses in between. This measured means of “communication” added to the tension and contributed to the message that forgiveness was not forthcoming. The refrain, though, seemed to release some of the rage. Rather than a somewhat muted snare keeping beat, time was kept with a crashing cymbal. And, while the tempo did not increase, the number of articulated beats did. The pauses were virtually eliminated (or at least significantly reduced) and words spewed forth. I felt as if all the pent up anger was being unleashed. Certainly, the opening hooked me initially, but it is this portion of the song that echoed in my mind later on.
Ain’t No Other Man
I loved the opening to this song. From the first blast of, what I assume are, a set of saxophones, I was hooked. As the raspy bass sax and the harmonizing tenor sax climbed curiously up a nonstandard scale, I couldn’t help but experience a sense of anticipation. What would come next? Certainly, the subsequent sound of the singer’s voice was unexpected. As she glided up the scale and wiggled (for lack of a better term) her way back down, I was amazed by her range and was prepped for a powerful performance. This power was punctuated by the big band sound as the brass broke through.
After catching listeners’ attention, the song settled in to a strong and steady bass drum beat. My toes couldn’t keep from tapping. The brass blasts (repeated regularly throughout) continued to keep my attention. In addition to repetition, dynamics (the brass blasts were much louder than the rest of the instruments) and rhythm (somewhat syncopated) served as, what Bennett would call, constant “attention grabbers” (Burns, 1987: 1).
Waiting on the World to Change
Syncopation, the snare, and the cymbal started this song off with a special something that sparked interest. Combined with sometimes clumsy-sounding (although, surely calculated) claps, counting, and keyboard, I was caught. The instruments created a very bright, hopeful feeling, which is welcomed if one is “Waiting on the World to Change.”
The rhythm also played a role in catching and keeping my attention. While not a “driving, danceable” rhythm (Burns, 1987: 1), I felt the need to move and groove a bit in the chair. That said, this song, with its somewhat monotonous meter (accent on every other beat), had the potential to lull me into a state of listless listening. Thinking about this, I was reminded of a couple comments from Tom Ashbrook’s interview with Robert Kapilow. At one point, Kapilow quoted Stravinsky saying, “All of composition essentially comes down to a balance of unity and variety” (Ashbrook, 2002). The snare and cymbal, while sleepy at times, was both consistent and unifying. Subtle syncopation and slight rhythm alterations, though, provided the variety needed to balance out the song and keep it interesting.
Kapilow made another statement I think is applicable, “Repetition creates a sense of belonging greater than us” (Ashbrook, 2002). While not necessarily profound or riveting, the rhythmic repetition in this song draws listeners in and allows them to partake in the musical experience. Considering that the very first line of lyrics states, “Me and all my friends, we’re all misunderstood…,” I think the rhythmic repetition is refreshing, reaching out to those would want to be a part of the change but are currently marginalized. Maybe that’s more meaning than was / is intended, but these are the risks of reflection.
SexyBack
This song epitomizes “a driving, danceable rhythm,” part of the definition of “hook” described by Kasha and Hirschhorn (Burns, 1987: 1). Beyond the beat, the synthesized sounds effects served to showcase what the song was selling… sex (or sexiness).
Jesus Take the Wheel
Melody was the most moving element of this song for me. The opening phrase, repeated once prior to the introduction of the voices, serves as the foundation for all instrumental and vocal phrases throughout the remainder of the song. This reminded me of Kapilow’s analysis of “Somewhere of the Rainbow,” in which he described a circle, yearn, and leap pattern. While not in the same order, this repeated phrase does seem to have a similar construction. Opening with a high note conveys a sense of yearning. Hope slowly fades as the three subsequent notes slump down the scale. Hope and yearning circle around, though, as the phrases repeats, leaping once again to a high note.
While melancholy and even mournful most of the time, when this melodic phrase manifests in the refrain, the circle, yearn, and leap pattern modulates into something more majestic. For me, this reflects the fact that when “Jesus Takes the Wheel” things change. Dynamic, tempo, and register (higher notes) changes all add significance to this act of surrender noted in the lyrics. It gave me goose bumps. As I listened to this song, Kapilow’s quote of E. Yip Harburg came alive, “Words make you think a thought, music makes you feel a feeling, a song makes you feel a thought” (Ashbrook, 2002).
