Module 4 (Week 2)

A Musical Bridge

With this module I had the opportunity to explore music from different angles and as they relate to teaching. For me, music is a deeply personal experience. The type of music I enjoy listening to speaks to me in a variety of ways. Sometimes it is the music that speaks to me the loudest and then sometimes it is the lyrics that dominate the experience. Music has a way of moving me emotionally, personally, and often times creatively. So when I really think about it, music and the experience of teaching work similarly when it comes to sparking creativity in all of us.

Another way to explain that theory is to examine music by genre or category. There are several different styles of music. They range from pop to jazz to classical and so on. Each category has its own signature features. For example, jazz and classical music are very heavy on instrumental songs, while popular or contemporary music is very lyric-driven. One thing that all the categories of music have in common is they tend to possess a hook or a rhythm.

In teaching, there are different subjects. They range from Art to Math to English and so on. Just like in music, the different subjects that are taught have certain identifiable traits. For example, in English there is a heavy reliance on writing and reading, while in Art there is a lot of hands-on and “learn by doing” activities. And just like in music, the different subjects that are taught have something in common. They all need to a platform for instruction. Consider CEP 882, the platform for instruction is online.

Something else I would like to add that bridges teaching and music is an ability that individuals in those fields share. To become highly proficient at their craft, a musician and a teacher must be good listeners. Aaron Copeland stated that listening is a talent all by itself. I agree with this rather bold assessment. I believe teachers that have fine tuned their listening skills are excellent instructors. They understand what their students need because they hear what they say works and doesn’t work. It’s important to remember that teaching should be a shared experience with two active parties participating in the process.

That sounds (no pun intended) a lot like music doesn’t it? The world’s best music would be meaningless without listeners. Likewise teaching would be meaningless without students to teach.  

Module 4

It is often said that music is the universal language. I would concur with that affirmation, however it was rather difficult for me to come up with a link “or bridge” between a musical hook and teaching right away. I kept thinking, how could the two things possibly be compared to each other? But low and behold I was able to discover something that they do have in common.  A musical hook and teaching actually are quite similar and when I stopped to think about that similarity I gained a new appreciation for one of the most complex elements of music.

On the path to gaining this new appreciation I examined what a musical hook really is. According to the article written by Gary Burns it is, “a musical or lyrical phrase that stands out and is easily remembered (1).” Another important element of musical hooks is repetition. A good example would be a song that has a phrase or words that repeat over and over again throughout a song. While repetition is an important element, Burns offers additional insight into the musical hook. According to him, “repetition is not essential in a hook, but is not ruled out either. While hooks in the form of repetition may, to an extent, be ‘the foundation of commercial songwriting’ and record-making, repetition is meaningless without its opposite, change (1).” And this is realization is where I found the essential link between the musical hook and teaching.

In teaching, repetition is also important. Teachers often use it in their lessons by allowing students to repeat certain exercises so that they can gather a deeper understanding of what they are studying. But as Gary Burns pointed out, the element of change is equally as important. Good teaching strategies require knowing when to make changes when necessary. For example, most teachers examine their lesson plans prior to the start of a new class to make sure that the information they are teaching is still accurate and up to date. As an Instructional Designer, the element of change is constant in my learning environments. I develop training for computer applications and on average our IT department makes at least three to four system enhancements a year. These changes have to be factored into new and existing training manuals in order to make sure that the trainees are learning how to properly do their jobs.

Gary Burns recognized the importance of change as it relates to the musical hook. He stated that, “Rhythm is perhaps the most basic structural element of music. It can exist and be pleasing by itself, but other structural elements cannot exist in any meaningful sense without it. Rhythm is change. Something happens one moment and does not happen the next moment. Between those two moments there has been a change (1).” This is similar to what happens in teaching. For example, something that we teach about technology today may be impacted by a change to that same technology tomorrow. To teach a technology that does not reflect what has changed about it recently would be a great disservice to our students and we would not be adequately preparing them to work with that technology. 

And now that I reflect upon the bridge between the musical hook and teaching, I realize that they share important factors that make both work effectively. Those two factors are repetition and change.

Reference:

Burns. G. (1987). A Topology of Hooks in Popular Records. Popular Music. Vol. 6, No. 1. (Jan. 1987). Pp. 1-20.

The Hook"

For this week's module we are studying the hook that is often found in music. There aren't many songs, instrumental or with lyrics that do not have a hook. The video I have added below is no exception. The odd or perhaps ironic aspect of the music in the video is that the hook changes quite often. It is not disguised but changes in tone, often going from high to low using various instruments. This is what makes the old "Big Band" sound so amazing. With so many contributors (i.e. band members), big band conductors or songwriters could play with hooks by introducing it with an extended instrumental section and then float in vocals later on. They also emphasize the hook with horn or piano solos. Either way, it generally ended up being a marvelous piece of music. So, without futher adieu, here's one of my grandfather's favorites - Mr. Duke Ellington!