college & university Encouraging a More Effective and
Autonomous Listening Environment Michael S. Butler, Guest Writer
E
Ernest Hemingway once said, “I like to listen. I have learned a great deal from listening carefully. Most people never listen.” As musicians and educators, we certainly empathize with Hemingway’s thought process, as it is an important component of our art form. During re- hearsals, teachers are always asking their students to listen to various elements of their performance, both individually and collectively. With a wide range of learning styles undoubtedly present in each class, it is important that teachers provide specific guidance on exactly how to listen during rehearsal or performance. Furthermore, asking students to listen constantly to certain elements could eventually inspire a change in rehearsal protocol that empow- ers a more autonomous environment. This shift could allow instruction to be more student-centered rather than a teacher- centered approach where all information is disseminated from the podium.
A common strategy that directors use regularly is isolating certain instruments so that musicians can hear their line with- out being overloaded by other contrasting parts. For example, if the clarinets and
saxophones have like parts, having them perform together can provide clarity to aid in unifying elements of their per- formance. When returned to the regular context of the full ensemble, musicians can be more aware and proactive before playing a section of interest. Additionally, this approach allows the remainder of the ensemble to listen to another piece of the puzzle without being distracted by issues in their parts. During this process, ask the students questions about what they hear and for their suggestions for improve- ment. They are keenly aware of issues but sometimes are not exactly sure of what is transpiring. Asking them probing questions about where pitch or articulation discrepancies exist will eventually become part of their listening process whether they realize it or not.
Another element that appears to be pretty consistent with most bands is their seat- ing arrangement, which is often based on seating arrangements of professional ensembles. Inherently, there is nothing wrong with this approach but it may not be what is best for every ensemble. Directors should be willing to experiment with their
Teaching Tips Featured on NAfME’s My Music Class!
Here are some examples: • Designing Effective Rehearsals • Creating a Student Handbook
• Developing a Relationship with Administration
• Your First Day of Class Visit
nafme.org/my-music-class to browse tips. 20
“When experimenting with seating,
directors should solicit feedback from their students to understand what they are hearing or not hearing.”
seating arrangements to improve their stu- dents’ abilities to listen more effectively. Often instrumentalists in the back row have a difficult time hearing performers in the first row. Consequently, traditional setups can prevent students from hearing the clarity the director desires. When ex- perimenting with seating, directors should solicit feedback from their students to understand what they are hearing or not hearing. For example, asking students on opposite sides of the ensemble whether they can hear each other might vary from what the director hears at the podium depending on instrument placement. Additionally, directors should leave the podium and sit in the ensemble while students are playing to obtain a different listening perspective.
Consider the bass section of the wind band (bassoon, bass clarinet, baritone saxo- phone and tuba) and their traditional place- ment. Each of these instruments is usually placed in separate rows and sometimes on opposite sides of the ensemble. As a result, students may not be able to hear the other members of the low contingent as well. A couple of ideas to consider experiment- ing with would be to move all of the bass instruments to the same row (most likely
April 2016
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