The 5Rs Reflective Writing Scale for Arts Learning - Assignment Example

The 5Rs Reflective Writing Scale for Arts Learning Component Reporting This is a straightforward of what you have seen/heard/created (artwork, dance performance, musical recital etc) I viewed a lesson plan that included brainstorming, creative recombination of elements to create ne mythological animals and completion of the artistic task. Component 2: Responding This is a response to the substance of what you have seen/heard/created whereby you make some of your own observations, express feelings or raise questions. The exercise is engaging and provides an opportunity to promote creativity in students though this will in part depend not only on the exercise but on the techniques and attitudes of the instructor. The name “Dr. Newzoo” seems likely to be lost on some young students, but overall reflects well the goals of the exercise. Component 3: Relating This is when you relate or make connections between the substance (or content) of what you have seen/heard/created and your own experience, learning or understanding. This creative environment can be leveraged to support students in metaphorical thinking as well as in simply expressing their own views, both verbally and through their artistic work. According to Chapter 5 in the course text, such self expression is critical for the development of children’s identities and “sense of self.” Metaphorical thinking is a skill that, if left unused, can atrophy. Component 4: Reasoning You highlight in detail, significant factors contained in some of the ideas presented in an artwork, musical piece, performance etc and show why they are important. A key element in the lesson plan is attempts to bolster student reflection on their artistic work; this reflection is an important element for any artistic production and is the step in the learning process which most calls on students to think metaphorically and to simply express their own views and identity. Component 5: Reconstructing The understanding developed through addressing Component 4 provides the basis for reconstructing or reframing. You suggest how your understanding of the information/substance/content and the issues raised, will influence your future actions. Along with the inital brainstorming process, this reflective step is one I will take with me in building my own future lesson plans. The Sorcerers Apprentice (LApprenti Sorcier) is a symphonic piece composed in 1897 by the French composer, Paul Dukas (1865-1935). Its history reaches back in time to AD150 and stretches to the present day. The composition is a form of program music because it is intended to evoke images in the mind of the listener by musically representing a scene, narrative, image or mood. In this case, the music relates to the poem written by the famous German figure, Goethe (1749-1832), who in turn had based his poem on a story by the Greek, Lucian, written around AD150. The story and music were popularized in 1940 by the Walt Disney film Fantasia (a set of animated short stories based on classical music). In the Disney version, Mickey Mouse plays the sorcerer’s apprentice. This segment of the film was so popular that it was repeated in the remake of the film in 2000. The story differs in each account but the contemporary theme of the unwitting person unleashing powers beyond their control appears in many other stories including Faust, Frankenstein and Golem - that have in turn spawned a whole range of variations in films and computer games - and fairy tales such as The Master and his Pupil. Dukas’ music is richly textured with musical themes and motifs skillfully woven through the short piece (12 minutes) making full use of tempo, dynamics, pitch and texture. The instrumentation includes oboes, clarinets, bassoons, horns, trumpets, trombones, percussion, harp and strings (violins), which are used to good effect in creating the music’s dramatic tension. The length of the music makes it an ideal piece for the classroom. Resources and planning for teaching: The sorcerer’s apprentice [sound recording] Dukas, Paul, 1865-1935; Stephen Simon, conductor; Washington D.C.: Magic Maestro Music, c2006. Listen online or purchase http://www.magicmaestromusic.com/apprentice.html This CD includes narrated version, music alone, guided listening and background information. Play tracks 1 and 4 and familiarise yourself with the music. Make sure you can complete the worksheet yourself. Fantasia is available on DVD and there may be video clip version on YouTube. Review before using it in class. You may choose to play a segment only. Ideally load all recordings onto your computer and add notes about the entry and exit points you want to use. Other forms of program music can be researched on line. Peter and the Wolf by Sergei Prokofiev is a popular one designed for children. It has a narrative and different instruments are associated with different characters. The Moldau by Smetana is another example of program music. It evokes the journey of a river. Lesson sequence: Consider splitting the lesson into two sessions 1 Introduce the lesson. 2 Play the narrated version while children listen (Track 1 on the CD). 3 Hand out the worksheet and review the questions. Indicate that the next track you’ll play will be the conductor’s guided listening track which will help them answer some of the questions on the worksheet. 4 Play the first 4.35 minutes of the conductor’s guided listening (Track 4 on the CD). 5 Return to the narrated version (Track 1) and play it through again. Children complete the worksheet as they listen again. 6 Discuss the answers and replay sections to reinforce the learning if required. 7 View the Fantasia version. Listening to The Sorcerer’s Apprentice 1. Instruments heard: flutes, violins 2. Each note or sound has a pitch – its register on a scale from high to low. A motif (mow-teef) (or more correctly, leitmotif) is a short sequence of notes associated with a person or idea. In this piece, how would you describe the water motif’s sequence of notes in terms of their pitch? The pitches are generally in a high regiister. 3. When the apprentice sleeps and dreams of possessing the sorcerer’s mighty powers, the music changes. Describe what happens to the tempo (speed) The tempo increases dramatically at this point, indicating more power and energy. texture (layering of instruments) The piece is has a rich, complex texture, which is a reflection of the way in which the musical elements relate to each individual character in the story. dynamics (volume of sound) Volume is used to trace the narrative arc of the story—at the most dramatic moments, the volume is at its loudest. 4. When the apprentice chops up the broom it produces unexpected consequences. In the extended segment that follows, does the music become more scary, frantic, menacing or cheerful? The music sounds frantic during this extended period. 5. The sorcerer returns and casts his magic spell “in a booming voice”. What role does the music play at this point? It underlines and highlights the sorcerers loud, deep voice. 6. After the spell to stop the brooms has been cast, what mood does the music create? The slower tempo creates a more reflective mood. Read More