HELLMAN, from pg. 39
such as tone quality, rubato, phrasing, dynamic changes, articulation and inflection that enhance expressivity. Metaphor is another technique that can be used in teaching emotional expression. Woody & McPherson (2012) explain that metaphors work because they provide students with a chunking device that mentally activates a set of actions that they know to do. While this may be effective or even an automatic process with more advanced players, less experienced students may not understand how this relates to the sound that they are making or engage in a cognitive translation process in which they attempt to plan out how to create an emotional effect. An example of a cognitive translation process could be figuring that playing bouncy in light may require a light articulation, space between the notes and putting in a crescendo. The stages through which a student may go through in being able to utilize a metaphor may reflect an important aspect of growth. There are a variety of ways in which this can be achieved but what is important is that teachers and preservice teachers make awareness and application of emotional expression an explicit part of music teaching.
The emotional aspects in music are easy to dismiss as something that is innate or automatically happens with explicit instruction. Perhaps, this is because fewer strategies and materials that have been developed in the field on emotional response compared to other topics in music teaching. However, this is one of the most
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important aspects in teaching and ways in which we can impact the future. Ultimately, the more experience and more autonomy that students can take on in making interpretive decisions, the greater their potential for deepening emotional experiences.
References:
Hodges, D. A. & Selbald, D. C. (2011). Music in the Human Experience: An Introduction to Music Psychology. New York: Routledge.
Hallam, S. (2010). Music education: the role of affect. In P. N. Justin & J. A. Sloboda, Handbook of Music and Emotion: Theory Research, Applications (pp. 791 - 817). Oxford, United Kingdom: Oxford.
Woody, R. H. & McPherson, G. E. (2010). Emotion and motivation in the lives of performers. In P. N. Justin & J. A. Sloboda, Handbook of Music and Emotion: Theory Research, Applications (pp. 401 - 424). Oxford, United Kingdom: Oxford.
SACCO, from pg. 29
Last year we had a blast spending 2 days celebrating and learning about music. This year we hope to blow everyone away with outstanding sessions from Missouri State faculty members and local music organizations. We will also take some time to address advocating for music in our schools and give your students resources to help. There will be a little something for everyone and a great way for our students to connect with fellow Tri-M members across the state. Keep your eye on the MMEA website and Facebook page for more information as it becomes available.
Take some time this summer for yourself. Catch up on some sleep, soak up some sun, spend some time with you family, and recharge. Once you do, give yourself a hand and start preparing your Tri-M students for the future. If you give them the right resources they could make a huge difference!
asfjkl;qweruiopzxcvbnm,. LITWILLER, from pg. 42
teachers look for new ideas to stay fresh. That is how they achieved greatness and how you will as well.
Finally, I don’t have to tell you that becoming a successful music educator is hard work. Let’s face it. If your job was easy, anybody could do it. You chose it, and if you’re reading this you made it through this year. Keep on learning, working, and planning. It will help improve your job performance for next year and it’s a tried and true antidote for “The Rut of Spring.”
MISSOURI SCHOOL MUSIC | Volume 71, Number 4
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