FLOW The Psychology of Optimal Experience (Mihaly Csikszentmihalyi).
In this case, first instance of flow could be a small experience which led to an interest in music making
-lose sense of space and time
-meaningful Engagement leads to Flow
-challenge and capacity to meet that challenge. intersection of Skills + Challenge. Feels effortless.
-“a sense of discovery” “creative” “transport to new reality”
Musical Knowledge’s two areas
first encounter’s meaningfulness invites complexity, change consciousness
Csikszentmihalyi’s 4 areas
- needs of the organism
- self interest
- reflective individualism (where individual unites w/ cultural values)
- meaning starts with individual, then with engagement (skills + challenge) can connect with society
3 areas of meaning: Personal, Social, Cultural
- “Autotelic” personality can construct his/her own challenges that lead to flow. Nature/nurture: is this something we can bring out thru teaching?
- his answer: both when environment encourages experiences of all kinds, “make meaning” *
- create your own challenges
- strong in children 7 and under, then creative de-skilling (by schooling?). Basis of sustainable involvement with music-making.
- attraction to “music as an image”
- for James who felt “duty” but no motivation, it was the ‘ensemble’ (social) and challenge of a new instrument (clarinet, not drums)
- dislike drill and practice, essential to build on and encourage child’s interest
- affect – the intrinsic nature of music is the natural focus of music learning
- intuitive understanding is more important than declarative knowledge
- Where is it?
- Personal – intrinsically motivated, including “living thru” teacher’s experience, achievement
- Social – collaborative musicmaking
- Cultural – self esteem and confidence
intrinsic becomes cultural thru particular ways of being playful with sound
music should be curricular and extra-curricular to connect meanings
“meaning may be caught and taught”
>> CH5 <<
*** “interfaces between knowledge systems” — culturally appropriate
Enable engagement with tensions at the interface –> common ground
Aboriginal / indidgenous cultures w/ country & hiphop
“syncreticism” – “Syncretic music involves a blending together’ of musical ideas that maintains the integrity of the original cultures and brings about something even more expressive or expressive of the relationship between cultural frameworks”
jam2jam – networked improvisation – collaborative
–> conversation about music while making it together, focused around musical concepts
–> musician’s evolving relationship with technology suggests that a new form of musicianship is required
Music Tech “an expressive communications tool, a cognitive amplifier (Papert 1980, 1994, 1996) and a container of knowledge as our oral/aural knowledge systems (Will 2000) evidence for us”….
*Problematising Tech in Experience: ask what enables/filters? how to make technology expressive?
Meaningful engagement in software design and development
Contexts that influence teacher:
- arts pedagogy
“colonial” vs. “interface between cultures”
Meaningful Engagement Matrix: Personal / Social / Cultural:: Appreciate, Direct, Explore, Participate, Select
<< CH 6 >> STUDENT AS MAKER
- Music is intrinsically motivated: Playful, this is universal, so it should be fun, right? Environment should have play + learning
- Activitiy <==> Reflection – balance
- lessons both making and reflection. Reflect on both product and process.
- Lessons should include Composing (creative), Performing (presentation), Listening (analytic response)
- Revisit fundamental concepts to built framework for analysis
- Music is part of life outside of curriculum
Student as Maker Defined
- experience thru process of making (including active analysis)
- in class (art) and in community (pragmatic)
“demystify the process of music making in the world today”
Goal of “Student as Maker” – become more expressive, understand expression in other cultures, , understand other cultures