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Art as a stimulus for musical thought and creativity at KS3 Art as a stimulus for musical thought and creativity at KS3

Art as a stimulus for musical thought and creativity at KS3 - PowerPoint Presentation

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Uploaded On 2017-06-20

Art as a stimulus for musical thought and creativity at KS3 - PPT Presentation

Aim all delegates inspired to experiment with using art as a creative stimulus at KS 3 Art Is visual It could be argued that art provides a stronger stimulus than just a title eg The Planets or Earth Air Fire and Water ID: 561490

music art students creative art music creative students work musical listening questions time colour creativity lead elements piece activity

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Slide1

Art as a stimulus for musical thought and creativity at KS3.

Aim – all delegates inspired to experiment with using art as a creative stimulus at KS 3...Slide2

Art

Is visual. – It could be argued that art provides a stronger stimulus than just a title (

eg

. “The Planets” or “Earth, Air Fire and Water.”)

Is non-musical, can provoke discussion and can help shape a piece of music.

Can have a meaning brought out by a creative piece of music or can give music a meaning.

Can break down the difficulty some students have with abstract music (i.e. music for its own sake...)

Can aid creativity and support reflection.

Can strengthen listening (when seen with a piece of creative music).

Can give a framework for creative music.Slide3

Questions for thought later...

The next 3 slides contain questions which you may or may not think are relevant or interesting !!!

No time now to discuss or debate them!Slide4

Synesthesia and other questions

The idea that stimulating one sensory or cognitive pathway in the brain will lead to experience of stimulation in another sensory or cognitive pathway...

Can visual art stimulate a musical experience in the brain?

Can art and or music change patterns of behaviour through their neurological impact?

Neurological studies have indicated different patterns of brain activity in people listening to music or looking at art.Slide5

What does colour mean to you?

Often associated with culture.

To some red = anger, danger etc.

But in Indian weddings the bride arrives in red...

What difference does colour make in the early formative years? (or sound?) Young children respond to primary colours. What would happen to their development if they were not exposed to primary colours?

When does colour become art? (or sound become music?)

Music is often played in school art rooms as a stimulus for creative art.

Should art be on the walls of music classrooms?

What is the impact of colour and music on us? How is colour and music used in marketing or making people rush to buy in sales? In Yoga? In “Body Pump” work out exercise sessions?Slide6

Preconceptions?

If a child grows up listening to Mozart and then hears Bartok will he hate it?

If a child grows up hearing the driving rhythms of pop and then hears Bartok, will he prefer it to Mozart?

If a child grows up to appreciate art as an accurate reflection of an image, what will he make of Cubism?

Is modern art and music exclusive

ie

. Is Schoenberg right when he said “if it is art it is not for all and if it is for all it is not art.”

Do you have to understand art or music to like it? If your understanding is different to someone else’s does it matter? Slide7

Roy (1880-1950)

“Danger on the Stairs” (1927)Slide8

Picasso 1881-1973)

“The Tragedy.” (1903)Slide9

Van Gogh “Starry Night.”Slide10

Part of a picture?Slide11

Dali “The persistence of memory”

(the whole picture.)Slide12

Vorticism Art/IndustrialisationSlide13

Orphism – form, colour,

mood, emotion...”Woman” by

Delauney

.Slide14

Available to view at the Tate Britain The Arrival by Wynne, “Merry go Round” by

Gertier

.Slide15

Visiting an art gallery...

Art like music is better live? Slide16

Student discussions after concerts and visits to galleries...

Visits get students talking, thinking and challenged in a way a power point in a classroom cannot.

Allows staff to drop in specific focussed questions about art.

Are very perceptive and visits always lead to an in depth discussion of likes/dislikes or interpretation of a piece of music or a work of art.

Encourages intellectual curiosity and independent thinking.

Always seem to lead to a discussion of how the musician or the artist has worked with colours, moods and emotions and how they have used their material.

Inspires – the real thing is (thankfully) better than a recording/image from the internet !Slide17

London Galleries

Have many educational opportunities.

Private views – invitations available for students and teachers

Exhibition spaces available.

Workshops often available.

Usually free!

See children as the audience of the future and are only too pleased to help schools... Slide18

Educational Projects...

success takes time...

Work out the ground rules first –

ie

. Artists/education officers are responsible for what... Teachers are responsible for what...

Pre visit the space/gallery.

Pre meet to explore aims/objectives/outcomes.

The “L” word – legacy. What will be different as a result of this enrichment activity? Slide19

Fund Raising

Your school – PTA, concert receipts, Pupil Premium.

Your locality – local council grants, Jack

Petchey

Award, local business.

Arts Sponsorship/ Educational grants.

Directory of Social Change publications.

Match funding.

Lottery awards for all. Slide20

Educational Partners in projects.

Your “local” college, university...

Often they are looking for ways to reach out to the community.

Often they are looking for opportunities to display their students’ work.

Often they are looking for opportunities for their students to lead workshops...

Conversely, often your local junior school is looking for secondary school students to lead workshops... Slide21

Furthering understanding of

a work of art.

How much “understanding” of a work of art is necessary to represent it in sound?

How much time should you devote to this in a music curriculum? Is “gut feeling” or immediate reaction enough?

Is it important to give time to intellectual curiosity or stimulation at this part of the creative cycle?

Whose understanding should it be? Teacher led, pupil led?

Is there a right or wrong answer to interpreting art?

What issues does an art work raise (if any)?

Social, ethical, cultural, spiritual, etcSlide22

A model for exploring understanding of a work of Art.

Description

Any Questions it raises.

Can students arrive at a question about the art which could be discussed without knowledge of the art work?

Debating the question, arriving at a conclusion.

Discussion of the meaning of the art work.

This model operates naturally in a gallery as students explore and discuss art. It can however be formally organised as a philosophical discussion in a classroom... Slide23

Painting an artwork in music – creating a framework for creative activity. How?

Creative critical thinking/decision making...

Creativity within a structure?

Open and closed creativity depending upon the abilities/previous experiences of the students.

Teacher as facilitator of learning who sets up the environment and patterns of behaviour to allow creative activity to take place.

Pre planning for groups??

Pitch

Rhythm

Dynamics

Texture

Timbre

Structure

TempoSlide24

Exploring the musical elements.

Which piece of music best represents which picture? Why? Explore strong and weak reasons...

How would you use tempo and texture to represent this image? Then experiment with music which uses the elements in the suggested ways.

? Create a chart before creative sessions filling in how the elements are to be used. (needed to allow creativity within a structure or not needed?)

? Create a chart afterwards reflecting on how musical elements have been used. - framework for feedback

?Ask for feedback for students from the rest of the class on how they used the musical elements.Slide25

Creating a framework for

creative activity.- set of notes, textures, structures etc..

In some classrooms you will need to create the framework for the students but if they have considerable creative experience they will create their own rules themselves...

For example pitch... A group decides on which scale or no scale will suit their chosen image or do you tell them, or do you use the exercise to introduce a particular scale?

In and

Yo

,

Pelog

/

Slendro

scale. Rag.

Serialism

,

Wholetone

and Pentatonic.

Melodic range.

Disjunct

/conjunct movement

Short cells or motifs, long tunes.Slide26

The role of the teacher

Lets them lead and discover for themselves. A facilitator.

Allows creativity to take place within a structured environment, gives time to it on the curriculum...

Gives time for students to fail and learn by experience.

Creates a culture which getting it wrong is ok and a part of learning.

Uses praise as much as possible.

Does not seek quick results.

Focuses and differentiates questions to groups/classes, challenges some, supports others.

Builds in time for AFL and reflection...Slide27

Creative questioning leads to thinking about and reflecting on music and demands detailed listening from students...

Can you explain that?... What do you mean by...?

Why do you think that?... What are your reasons?

Can you put it another way? What if someone suggested that...?

What can you say about their use of texture?

Does your answer give us a general rule? How would you test the rule?

Does that view agree with what we said earlier when we were listening to...

Can you summarise the progress made by your group? What do you need to do next?

OK so you’re stuck. What do you need to change to move on? How will you use texture/tempo? Slide28

Creative questioning means

Students are helped to develop their own musical ideas.

They will learn to challenge others with similar questions when they reflect upon/listen to a piece of creative music.

The value of creative music is raised.Slide29

Models for feedback/AFL/recording and listening.

Listeners often need a focus for their listening.

It is rare that we 100% listen so the art work can provide the focus.

Art works which inspired music are available on the whiteboard.

Music is played whilst the rest of the class view the whiteboard...

Different students are prompted to listen for different musical elements and feedback.

Reflection stems... “I particularly liked...”

“Could you explain your use of...”

“What if you changed...” followed by a repeat performance where it is changed and further reflection on the effectiveness of the suggestion. Slide30

The artistically rich and the artistically poor or deprived in London schools.

There are many children and their parents accessing London’s rich panoply of art music drama and dance.

There are other children who do not leave their estates. They never go to central London despite their proximity to it.

Teachers are struggling with their workload and the way their productivity is being directed for them. It is increasingly difficult to get cover due to financial constraints.

It is becoming increasingly difficult to manage everything at school as well as organise artistic visits to London, despite the fact that art and music organisations have offers and opportunities as never before.

If teachers don’t, our communities will remain artistically divided.

Any answers?