(The performance of this piece follows the analysis)
As a piece of music dedicated to his country, the Czech Republic, and the programmatic nature of a Poem Symphonique, this piece is very much a musical representation of the Vltava. The Vltava, or Moldau is the river that runs through Prague, the capital city of the Czech republic. As such, the music begins with a trickle of water followed by an audible ebb and flow of what sounds like a river. Smetana accomplishes this through a light rhythmic trickle in the winds, which grows into a mass of polyphonic texture that flows seamlessly together, as if a river. The various fanfares and other musically descriptive moments represents the journey of the Vltava as it passes Vyserad (castle) and other monuments.
The piece also moves the listener in its display of a range of musical “symbol” or virtual emotion. The initial part of the piece, through the up and down contour of legato strings simulates a sensation of longing or even a hint of love, in this case love of “My Country”. The brass fanfare that enters inserting strong powerful chords initiates a sense of hope. Longing returns once again but builds with the entrance of the brass and the reiteration of the dominant in a sense of confidence and pride. This is followed by a flute reference to the beginning of the piece and the return of the river theme this time more confident aided by the hope in the middle, as well as a denser orchestration, more forceful yet still legato smooth and with flow. The brass once again enters with greater intensity, as if in the rapids of the river and again lands on the dominant but instead of returning to the original motif, it instead enters a variation, more stately and regal. This crescendos to the triumphant end of the piece, with a huge but swift decrescendo followed by a prominent accentuated perfect authentic cadence at the end. This last portion of the piece reaffirms a sense of pride and respect.
Again, because of the programmatic nature of the piece, we know that through representation and musical symbol this piece is an example of pride in Smetana’s country. Smetana, deemed the most important nationalistic composer (over Dvorak), subject to divisions in the Austro-Hungarian Empire, was attempting to provide a source of pride for the Czech’s of the time who lacked independence despite a unique cultural identity. As noted in the Grove Dictionary of Music, “When he began composing Má vlast…Smetana had been serving Czech national emancipation for more than ten years”. The melodies also can be derived from various Eastern and Northern European folk songs. The piece, for Smetana, was his way of connecting with his country and his people, using descriptions and melodic portrayals of places and ideas his country held dear.
Meta-Critique
I had a lot of difficulty within this method of delineating where and what could bleed in, especially in the onto-historical analysis section. I may have allowed too much historical analysis to bleed over, though in a nationalistic piece of this nature, I feel as though it may have been necessary.
I think that the ground for this kind of referential analysis could have also been more thorough and relatable if I had been able to conduct a full syntactical analysis here, but instead I was limited to the referential aspect only citing syntactical elements. The same exists with a phenomenological analysis. Part of why I love this piece so much, is the experience of it. Hearing and/or watching the strings move, their bows just like the flow of the river itself is amazing.
The brilliance of this piece cannot truly be understood until it can be looked it in more depth and through several areas of analysis. As such, this analysis could have been much stronger with the aid of an eclectic methodology.
Ma Vlast: Vltava Part I
Ma Vlast: Vltava Part II
Wednesday, June 18, 2008
Monday, June 9, 2008
Boundaries and Isolation
I understand the idea that communications breaks down or "erases" boundaries like we just talked about, but in this reduction of isolationism in the vast new social network that's arising, are we also creating a new sense of isolationism? Is the divide between those who interface with the internet and those who choose not to creating a different front? Or is there a way to break this down?
Equally, is this new form of social interaction a substitution for face to face contact? How can or do internet connections relate to social interation and how will it change the way in which we create, develop, and maintain our lives in terms of those around us?
I think you could argue that we are already with facebook, myspace, etc. but is there something even more personal to come? How will we extend the tactile onto/through the internet?
Equally, is this new form of social interaction a substitution for face to face contact? How can or do internet connections relate to social interation and how will it change the way in which we create, develop, and maintain our lives in terms of those around us?
I think you could argue that we are already with facebook, myspace, etc. but is there something even more personal to come? How will we extend the tactile onto/through the internet?
The Formal Analysis
I suppose since I asked for help, I'd post the analysis...see the video on the last post for the source material.
Eminem-“Lose Yourself” from the 8 Mile Soundtrack
Formal Analysis
Eminem’s “Lose Yourself” is written in the style of hip-hop containing drum/percussion tracks and synthesized instrumental additions.
This piece is written in the key of D harmonic minor. Throughout the piece, the harmonic structure never varies outside of a few chords, those being i-iv-i-V in the Verse or A sections, and i-iv-V-i in the B or chorus sections. The tonic is strengthened throughout the A and B sections with the use of pedal D being articulated as repeating eighth notes while the harmonic changes move on top of it. The V chord contains the leading tone in both the chorus and the verse but in the chorus, it is placed in a higher octave. The overall form of the piece is an Introduction (a1) followed by A-A-B-B-A-A-B-B-A-A-A-B-B and ending with an outro (a2).
The melody of the piece, though lacking pitch does have a contour and shape to it. The first syllables of his lyrics in the chorus are accented but fall on the off beats relying on heavy syncopation. The verse does a similar accent pattern but not as frequently.
The lyrical aspect of the piece tells the story of a rapper nervous before performing and choking on his words but not giving in. Eminem emphasizes in the chorus the need to “lose yourself” in the music. If you only have one opportunity to succeed you have to grab it and run with it. The lyrics in the verse form are built in pairs of four line stanzas. The chorus is also a four line grouping, but it is not paired with another grouping. In the verse, the last few lyrics before the next verse form lead-in to that next B section like an appoggiatura, also helping to create the melodic contour discussed earlier.
In its entirety, the length of the piece is five minutes and thirty-two seconds. In the end, the track is faded out while the B form is looped following the outro.
Eminem-“Lose Yourself” from the 8 Mile Soundtrack
Formal Analysis
Eminem’s “Lose Yourself” is written in the style of hip-hop containing drum/percussion tracks and synthesized instrumental additions.
This piece is written in the key of D harmonic minor. Throughout the piece, the harmonic structure never varies outside of a few chords, those being i-iv-i-V in the Verse or A sections, and i-iv-V-i in the B or chorus sections. The tonic is strengthened throughout the A and B sections with the use of pedal D being articulated as repeating eighth notes while the harmonic changes move on top of it. The V chord contains the leading tone in both the chorus and the verse but in the chorus, it is placed in a higher octave. The overall form of the piece is an Introduction (a1) followed by A-A-B-B-A-A-B-B-A-A-A-B-B and ending with an outro (a2).
The melody of the piece, though lacking pitch does have a contour and shape to it. The first syllables of his lyrics in the chorus are accented but fall on the off beats relying on heavy syncopation. The verse does a similar accent pattern but not as frequently.
The lyrical aspect of the piece tells the story of a rapper nervous before performing and choking on his words but not giving in. Eminem emphasizes in the chorus the need to “lose yourself” in the music. If you only have one opportunity to succeed you have to grab it and run with it. The lyrics in the verse form are built in pairs of four line stanzas. The chorus is also a four line grouping, but it is not paired with another grouping. In the verse, the last few lyrics before the next verse form lead-in to that next B section like an appoggiatura, also helping to create the melodic contour discussed earlier.
In its entirety, the length of the piece is five minutes and thirty-two seconds. In the end, the track is faded out while the B form is looped following the outro.
Wednesday, June 4, 2008
Formal Analysis Help....
Hi all,
So our formal analysis is due tomorrow and I thought I'd get a head start tonight with my piece. I think I got it right but maybe I misheard something so I'd like to put the basics of it up here a bit early so if you notice a discrepancy, especially in the harmonic analysis, you can let me know before I turn in the finished one tomorrow evening. Thanks! Here's what I have. The youtube of the video/music is below.
I started with the lyrics and analyzed the overall form of the piece:
Eminem-“Lose Yourself” from the 8 Mile Soundtrack
Introduction
Look, if you had one shot, or one opportunity
To seize everything you ever wanted-One moment
Would you capture it or just let it slip?
A-Verse
Yo, His palms are sweaty, knees weak, arms are heavy
There's vomit on his sweater already, mom's spaghetti
He's nervous, but on the surface he looks calm and ready
To drop bombs, but he keeps on forgettin
What he wrote down, the whole crowd goes so loud
He opens his mouth, but the words won't come out
He's choking, how everybody's joking now
The clock's run out, time's up over, bloah!
A-Verse
Snap back to reality, Oh there goes gravity
Oh, there goes Rabbit, he choked
He's so mad, but he won't give up that
Easy, no
He won't have it , he knows his whole back's to these ropes
It don't matter, he's dope
He knows that, but he's broke
He's so stagnant that he knows
When he goes back to his mobile home, that's when it's
Back to the lab again yo
This whole rhapsody
He better go capture this moment and hope it don't pass him
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
A-Verse
The soul's escaping, through this hole that it's gaping
This world is mine for the taking
Make me king, as we move toward a, new world order
A normal life is boring, but superstardom's
close to post mortem
It only grows harder, only grows hotter
He blows us all over these is all on him
Coast to coast shows, he's know as the globetrotter
Lonely roads, God only knows
A-Verse
He's grown farther from home, he's no father
He goes home and barely knows his own daughter
But hold your nose cause here goes the cold water
His don't want him no mo, he's cold product
They moved on to the next schmoe who flows
He nose dove and sold nada
So the soap opera is told and unfolds
I suppose it's old partner', but the beat goes on
Da da dum da dum da da
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
A-Verse
No more games, I'ma change what you call rage
Tear this roof off like 2 dogs caged
I was playing in the beginning, the mood all changed
I been chewed up and spit out and booed off stage
But I kept rhyming and stepwritin the next cypher
Best believe somebody's paying the pied piper
All the pain inside amplified by the fact
That I can't get by with my 9 to 5
A-Verse
And I can't provide the right type of life for my family
Cause man, these food stamps don't buy diapers
And it's no movie, there's no Mekhi Phifer, this is my life
And these times are so hard and it's getting even harder
Trying to feed and water my seed, plus
Teeter totter caught up between being a father and a prima donna
Baby mama drama's screaming on and
Too much for me to wanna
A-Verse
Stay in one spot, another day of monotony
Has gotten me to the point, I'm like a snail
I've got to formulate a plot fore I end up in jail or shot
Success is my only option, failure's not
Mom, I love you, but this trailer's got to go
I cannot grow old in Salem's lot
So here I go is my shot.
Feet fail me not cause maybe the only opportunity that I got
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
Outro
You can do anything you set your mind to, man
The Overall Structure of the piece is:
Introduction(a1)-A-A-B-B-A-A-B-B-A-A-A-B-B-Outro(a2)-in d harmonic minor
The verse: Consists of a pedal D with a i-iv(second inversion)-i-V
Refrain consists of Pedal D in the base with i-iv (second inversion)-V (over pedal D making the major 7th between the D and leading tone really great) followed by the i once again.
This is what I have...thoughts would be really helpful!
So our formal analysis is due tomorrow and I thought I'd get a head start tonight with my piece. I think I got it right but maybe I misheard something so I'd like to put the basics of it up here a bit early so if you notice a discrepancy, especially in the harmonic analysis, you can let me know before I turn in the finished one tomorrow evening. Thanks! Here's what I have. The youtube of the video/music is below.
I started with the lyrics and analyzed the overall form of the piece:
Eminem-“Lose Yourself” from the 8 Mile Soundtrack
Introduction
Look, if you had one shot, or one opportunity
To seize everything you ever wanted-One moment
Would you capture it or just let it slip?
A-Verse
Yo, His palms are sweaty, knees weak, arms are heavy
There's vomit on his sweater already, mom's spaghetti
He's nervous, but on the surface he looks calm and ready
To drop bombs, but he keeps on forgettin
What he wrote down, the whole crowd goes so loud
He opens his mouth, but the words won't come out
He's choking, how everybody's joking now
The clock's run out, time's up over, bloah!
A-Verse
Snap back to reality, Oh there goes gravity
Oh, there goes Rabbit, he choked
He's so mad, but he won't give up that
Easy, no
He won't have it , he knows his whole back's to these ropes
It don't matter, he's dope
He knows that, but he's broke
He's so stagnant that he knows
When he goes back to his mobile home, that's when it's
Back to the lab again yo
This whole rhapsody
He better go capture this moment and hope it don't pass him
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
A-Verse
The soul's escaping, through this hole that it's gaping
This world is mine for the taking
Make me king, as we move toward a, new world order
A normal life is boring, but superstardom's
close to post mortem
It only grows harder, only grows hotter
He blows us all over these is all on him
Coast to coast shows, he's know as the globetrotter
Lonely roads, God only knows
A-Verse
He's grown farther from home, he's no father
He goes home and barely knows his own daughter
But hold your nose cause here goes the cold water
His don't want him no mo, he's cold product
They moved on to the next schmoe who flows
He nose dove and sold nada
So the soap opera is told and unfolds
I suppose it's old partner', but the beat goes on
Da da dum da dum da da
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
A-Verse
No more games, I'ma change what you call rage
Tear this roof off like 2 dogs caged
I was playing in the beginning, the mood all changed
I been chewed up and spit out and booed off stage
But I kept rhyming and stepwritin the next cypher
Best believe somebody's paying the pied piper
All the pain inside amplified by the fact
That I can't get by with my 9 to 5
A-Verse
And I can't provide the right type of life for my family
Cause man, these food stamps don't buy diapers
And it's no movie, there's no Mekhi Phifer, this is my life
And these times are so hard and it's getting even harder
Trying to feed and water my seed, plus
Teeter totter caught up between being a father and a prima donna
Baby mama drama's screaming on and
Too much for me to wanna
A-Verse
Stay in one spot, another day of monotony
Has gotten me to the point, I'm like a snail
I've got to formulate a plot fore I end up in jail or shot
Success is my only option, failure's not
Mom, I love you, but this trailer's got to go
I cannot grow old in Salem's lot
So here I go is my shot.
Feet fail me not cause maybe the only opportunity that I got
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
B-Refrain/Chorus
You better lose yourself in the music, the moment
You own it, you better never let it go
You only get one shot, do not miss your chance to blow
This opportunity comes once in a lifetime yo
Outro
You can do anything you set your mind to, man
The Overall Structure of the piece is:
Introduction(a1)-A-A-B-B-A-A-B-B-A-A-A-B-B-Outro(a2)-in d harmonic minor
The verse: Consists of a pedal D with a i-iv(second inversion)-i-V
Refrain consists of Pedal D in the base with i-iv (second inversion)-V (over pedal D making the major 7th between the D and leading tone really great) followed by the i once again.
This is what I have...thoughts would be really helpful!
Tuesday, June 3, 2008
My last post...
I didn't like my initial thoughts on the movie. I rushed it and it wasn't what I wanted it to be so I deleted them.
Sunday, June 1, 2008
Let there be Internet!
So, I managed to find some internet here after all, so I thought I’d post this while I could!
Phenomenological Analysis-One True Authentic Swing
0-14-Clip starts with the sound of crickets, frogs, and owls for bout four seconds. It sound of night time but very light (as in not heavy), and clear. Footsteps can also be heard. They are light, and sound to be hitting the grass. Once the voices appear, first a man with a southern accent. The voice is confident but not overpowering. Gentle and knowing. About 10 seconds in, a strain is heard in the voice as if he was bending over. The younger voice is curious sounding.
15-31-The sounds of night grow louder and another voice appears, out of the scene narrating. It sounds like the voice of an old man. Also gentle and with a light southern accent on it. In the background, besides the noises of the night, you can still hear the boy counting.
32-1:07-First 4 seconds are once again just the sounds of the night, except this time a new type of bird chirping has entered beside the owl crickets and frogs. The man’s (not the old one’s) voice resumes, quiet and subtle at first. His statements/directions are followed by the sound of a golf putter hitting a ball. Then after nothing the voice keeps talking. Confident and steady. It’s then followed by a few seconds of just the night again. Throughout this whole section in general, the sound seems to be in a pattern of the night and voice, the night, voices, etc.
1:08-1:22-The man’s voice enters once again but this his talking isn’t just confident and steady, it has contour. A little rough at first, his voice then grows solid and retreats once again.
1:23-1:41-Again, the man’s voice enters soft and a little bit broken. Although interrupted by a question from the younger voice, the man’s voice reenters at a higher pitch and retreats maintaining the contour, the breathlike pattern. Meanwhile under this dialogue the sound of the night changes. It seems to have retreated as well and there is a distant sounding groan. Very earthlike and rooted.
1:42-2:04-Music rises out of the groan of the earth. The sound of another put happens and then as the music is definitely in its place the man resumes talking once again. Although a confident voice, it also still has contour, but with a shorter distance of beginning and end. The music seems to represent this building and then sighing, building and sighing without a center creating what seems to be a sense of an unknowing aura, or mystic.
2:04-2:44-Flute begins to come out more strengthening the contour of the aligning voice and music. The sound of the earthen groan also continues to make an appearance sounding like wind through a dense wood of trees.
2:45-3:25-The tensing and resolving sighs of the music envelope the scene like waves on a shore relentless and beautiful. The contoured voice of the man begins to do the same. It is layered subtly, so subtly it’s difficult to even notice at first and seems like it’s that natural course for the voice, on top of itself. Dreamlike or like the dialogue and music have lulled the listener into a trance. As this grows and continues the music becomes more and more prominent until at the end of the sequence the voice becomes singular again and we once again hear the sound of the putter hitting the ball.
3:25-3:30- As the ball enters the cup, the music slowly fades into the night once again.
3:30-3:47-This last portion consists mainly of the night sounds, feet walking on grass, dialogue, and the sound of metal being picked up or moved around as the clip fades.
Phenomenological Analysis-One True Authentic Swing
0-14-Clip starts with the sound of crickets, frogs, and owls for bout four seconds. It sound of night time but very light (as in not heavy), and clear. Footsteps can also be heard. They are light, and sound to be hitting the grass. Once the voices appear, first a man with a southern accent. The voice is confident but not overpowering. Gentle and knowing. About 10 seconds in, a strain is heard in the voice as if he was bending over. The younger voice is curious sounding.
15-31-The sounds of night grow louder and another voice appears, out of the scene narrating. It sounds like the voice of an old man. Also gentle and with a light southern accent on it. In the background, besides the noises of the night, you can still hear the boy counting.
32-1:07-First 4 seconds are once again just the sounds of the night, except this time a new type of bird chirping has entered beside the owl crickets and frogs. The man’s (not the old one’s) voice resumes, quiet and subtle at first. His statements/directions are followed by the sound of a golf putter hitting a ball. Then after nothing the voice keeps talking. Confident and steady. It’s then followed by a few seconds of just the night again. Throughout this whole section in general, the sound seems to be in a pattern of the night and voice, the night, voices, etc.
1:08-1:22-The man’s voice enters once again but this his talking isn’t just confident and steady, it has contour. A little rough at first, his voice then grows solid and retreats once again.
1:23-1:41-Again, the man’s voice enters soft and a little bit broken. Although interrupted by a question from the younger voice, the man’s voice reenters at a higher pitch and retreats maintaining the contour, the breathlike pattern. Meanwhile under this dialogue the sound of the night changes. It seems to have retreated as well and there is a distant sounding groan. Very earthlike and rooted.
1:42-2:04-Music rises out of the groan of the earth. The sound of another put happens and then as the music is definitely in its place the man resumes talking once again. Although a confident voice, it also still has contour, but with a shorter distance of beginning and end. The music seems to represent this building and then sighing, building and sighing without a center creating what seems to be a sense of an unknowing aura, or mystic.
2:04-2:44-Flute begins to come out more strengthening the contour of the aligning voice and music. The sound of the earthen groan also continues to make an appearance sounding like wind through a dense wood of trees.
2:45-3:25-The tensing and resolving sighs of the music envelope the scene like waves on a shore relentless and beautiful. The contoured voice of the man begins to do the same. It is layered subtly, so subtly it’s difficult to even notice at first and seems like it’s that natural course for the voice, on top of itself. Dreamlike or like the dialogue and music have lulled the listener into a trance. As this grows and continues the music becomes more and more prominent until at the end of the sequence the voice becomes singular again and we once again hear the sound of the putter hitting the ball.
3:25-3:30- As the ball enters the cup, the music slowly fades into the night once again.
3:30-3:47-This last portion consists mainly of the night sounds, feet walking on grass, dialogue, and the sound of metal being picked up or moved around as the clip fades.
Tuesday, May 27, 2008
Monday, May 26, 2008
Saturday, May 24, 2008
The Gap
Here's a question, do we actually want to see the technological gap broken down or is it what defines us as a generation?
Thursday, May 22, 2008
Alice on the Wall
Does anyone know what the story is behind this and Dark Side of Oz? Were they intentional? I've watched the whole Alice movie with the wall (minus Comfortable Numb) and it's eerie. They are many similarities. Dark Side of Oz is also interesting.
Tuesday, May 20, 2008
After referencing Indiana Jones...
...and in preparation for the coming release of the new movie....Shia Labeouf at his best:
Also...wikipedia reveals the history of barber's poles...
"The origin of the barber pole is associated with the service of bloodletting.[1] During medieval times, barbers also performed surgery on customers as well as tooth extractions. The original pole had a brass basin at the top (representing the vessel in which leeches were kept) and bottom (representing the basin which received the blood). The pole itself represents the staff that the patient gripped during the procedure to encourage blood flow.
Also...wikipedia reveals the history of barber's poles...
"The origin of the barber pole is associated with the service of bloodletting.[1] During medieval times, barbers also performed surgery on customers as well as tooth extractions. The original pole had a brass basin at the top (representing the vessel in which leeches were kept) and bottom (representing the basin which received the blood). The pole itself represents the staff that the patient gripped during the procedure to encourage blood flow.
In the middle ages in France a decree was issued banning facial hair in men.[citation needed] This helped the barber trade to organise. Later, their role was defined by the College de Saint Come, established in Paris in about 1210, as academic surgeons of the long robe and barber surgeons of the short robe.
The red and white stripes symbolize the bandages used during the procedure: red for the blood-stained and white for the clean bandages. Originally, these bandages were hung out on the pole to dry after washing. As the bandages blew in the wind, they would twist together to form the spiral pattern similar to the stripes in the modern day barber pole. The barber pole became emblematic of the barber/surgeon's profession. Later the cloths were replaced by a painted wooden pole of red and white stripes."
Monday, May 19, 2008
First Post
I haven't had a blog for a while. I started using xanga, (remember that?), towards the end of high school through my first year or two here. I've since given up. I thought it was shallow and full of boring ramblings that I don't know why anyone would actually read. I'm kind of excited to see where these blogs go...I feel like I have a reason to ramble now--which I guess means it's not rambling anymore.
I was thinking about our discussion today in regard to the generation gap and the comparison between moving from pre-literacy to literacy with the invention of the printing press and eventually movable type to moving from pre-internet literacy to internet literacy with the creation of the internet, or at least the space and technology that allows for an internet. I feel like we are stuck thinking, from a pedagogical standpoint, in terms of a very particular way of what it means to "learn". Until this is grappled with on a larger scale, we are stuck in a classroom teacher vs. technology war (this is the article mentioned today http://www.nytimes.com/2007/11/07/education/07education.html). I find this article to be so frustrating.
To learn is not to sit in a desk and be lectured to. Maybe it was, but though it may work for some, we are neglecting the broader student base and need to be aware that in an era where we (as I'm doing right now) can watch TV (Indiana Jones and the Temple of Doom), text message, and do homework, educators need to engage students in all these ways. When students, or teachers for that matter, get lost or distant, it's because we are failing to address all of our needs. Pedagogy needs to change, and the first step to doing this is addressing, problematizing, and reconsidering with all teachers, not just pre-service ones, what it means to "think", to "know", and to "learn".
I was thinking about our discussion today in regard to the generation gap and the comparison between moving from pre-literacy to literacy with the invention of the printing press and eventually movable type to moving from pre-internet literacy to internet literacy with the creation of the internet, or at least the space and technology that allows for an internet. I feel like we are stuck thinking, from a pedagogical standpoint, in terms of a very particular way of what it means to "learn". Until this is grappled with on a larger scale, we are stuck in a classroom teacher vs. technology war (this is the article mentioned today http://www.nytimes.com/2007/11/07/education/07education.html). I find this article to be so frustrating.
To learn is not to sit in a desk and be lectured to. Maybe it was, but though it may work for some, we are neglecting the broader student base and need to be aware that in an era where we (as I'm doing right now) can watch TV (Indiana Jones and the Temple of Doom), text message, and do homework, educators need to engage students in all these ways. When students, or teachers for that matter, get lost or distant, it's because we are failing to address all of our needs. Pedagogy needs to change, and the first step to doing this is addressing, problematizing, and reconsidering with all teachers, not just pre-service ones, what it means to "think", to "know", and to "learn".
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