The Old Ways TLTC Jump Start Fall2009
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Presentation on participatory learning for Texas Tech University Teaching Academy, Aug 19 2009.
![The Old Ways: Energizing Your Students with Participatory Learning Fifth Annual Jumpstart Program Teaching, Learning, and Technology Center (TLTC) Texas Tech University August 19th and 20th, 2009 Dr Christopher Smith, Associate Professor & Chair of Musicology; Director: Vernacular Music Center & TTU Celtic Ensemble Texas Tech School of Music - [email_address] http://ttuvmc.org](https://image.slidesharecdn.com/theoldwaystltcjump-startfall2009-090820125916-phpapp01/85/The-Old-Ways-TLTC-Jump-Start-Fall2009-1-320.jpg)
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The Old Ways TLTC Jump Start Fall2009
- 1. The Old Ways: Energizing Your Students with Participatory Learning Fifth Annual Jumpstart Program Teaching, Learning, and Technology Center (TLTC) Texas Tech University August 19th and 20th, 2009 Dr Christopher Smith, Associate Professor & Chair of Musicology; Director: Vernacular Music Center & TTU Celtic Ensemble Texas Tech School of Music - [email_address] http://ttuvmc.org
- 2. Disclaimer!
- 3. VMC
- 6. Audience[s]: what, where, and who?
- 7. Audience[s]: what, where, and who?
- 8. Audience[s]: what, where, and who?
- 9. Audience[s]: what, where, and who?
- 10. The Bandstand & the Ivory Tower
- 11. Literac[ies]: to be pre-, post-, and/or differently-literate One key insight
- 12. Knowledge[s]:The world & the classroom One key insight
- 15. Intuition The efficacy of vernacular pedagogies
- 16. Intuition The precision of these pedagogies
- 17. Intuition The continued relevance of these pedagogies
- 18. The continued relevance of these pedagogies
- 19. Premise Topics are less problematic than are mindsets
- 21. Premise Teach to students’ expert learning modes, ancient & post-modern
- 22. Premise Teach to students’ expert learning modes, ancient & post-modern
- 23. Premise Trust the visceral and intuitive
- 24. Premise Trust archetypal teaching modes
- 25. Premise Recognize student strengths
- 26. Premise Recognize student handicaps
- 27. Premise Exploit “new” literacies
- 28. Exploit ancient literacies: “Once upon a time…” Premise
- 29. Patterns & their power
- 30. Patterns & their power Exploit memory, orality, recall
- 31. Patterns & their power “ Read one, see one, do one.”
- 32. Patterns & their power “ Let me tell you a story…”
- 33. Patterns & their power Context & content & their interplay
- 34. Patterns & their power Extending these usages
- 35. Problem-solving Why is “it” the way “it” is?
- 36. Demonstration/imitation/critique Ancient, archetypal, post-modern
- 37. How do YOU employ demonstration/imitation/critique…already? Questions for YOU
- 38. Questions for YOU What are your OWN discipline’s “archetypal narratives”?
- 39. Questions for YOU How could your usage become MORE intentional, conscious, and effective?
- 40. How to link your teaching, your discipline, and your students ’ experiences? Questions for YOU
- 41. Thank you!
Hinweis der Redaktion
- Musician, musicologist, teacher, director of VMC
- Why choose this term, and what all does it mean?
- What I teach, where I teach, who I teach
- What I teach, where I teach, who I teach
- What I teach, where I teach, who I teach
- What I teach, where I teach, who I teach
- This approach is based in my own work as a student in non-verbal situations; learning “on the bandstand” and then, years later, thinking about how to bring those insights from “outside the Ivory Tower” back into the classroom.
- Recognizing that post-literate classroom students share some key weaknesses—and strengths —with pre -literate learners.
- [Cite past publications and research; practical hands-on training, ways in which teaching outside the classroom and according to oral/aural methods have been brought back into the classroom.]
- Interactivity, engagement, intellectual “ownership,” participation, acquisition of skills for purposes of life-long learning, arts as a tool for insight and community as well as intellectual development
- That the ancient wisdom and oral/aural/vernacular traditions had their own pedagogies .
- That, like more prose/observation/literary traditions, those pedagogies effectively and precisely conveyed that information which the tradition itself believes to be essential.
- That, particularly in the teaching of those exact traditions and given their longevity, it would be arrogant not to pay attention to those pedagogies
- That these pedagogies may provide relevant insights into teaching in very different cultural/historical contexts, and even in other topic areas. These modes of teaching were employed, not only for the “fine arts,” but also for history, medicine, law, theology, and so on.
- Interactivity results not only from the topic , but also from pedagogical mindset .
- That student learning modes change; that contemporary students are particularly enculturated toward an essentially post-textual, visual, patterning, observation/imitation cognitive landscape.
- That student learning modes change; that contemporary students are particularly enculturated toward an essentially post-textual, visual, patterning, observation/imitation cognitive landscape.
- That, given the very long history of these methods’ applicability in pre-literate cultures, students can still respond viscerally or intuitively even in the absence of prior experience with them.
- What are the archetypal approaches to teaching? Can those archetypal, essentially “pre-literate” approaches provide insights in our address to an essentially “post-literate” clientele?
- Strong at assimilation, subjective interpretation, “deep-reading,” visual sources, “collage”
- Weak at synthesis, understanding differing experiential perspectives, structural understanding, texts, linear progression
- That we might find it fruitful to employ more nuanced and supple paradigms for “literacy”; that as teachers we might benefit by exploiting “new” literacies even as we consider remediation to teach “old” ones.
- e.g. “Once upon a time…”
- Patterns and their power :
- Oral literature & the vernacular memory employ and depend upon patterns, templates, and consistent procedures. Alfred Lord’s insights regarding Homeric epic based upon observation of Bulgarian singers ( The Singer of Tales ).
- Likewise, vernacular learning depends upon modeling: “read one, see one, do one.”
- The power of narrative arcs (chronological or otherwise): “Let me tell you a story”
- In teaching any cultural expression, context reveals content—content reveals context;
- This modeling can be extended to teach thought processes, problem-solving, modes of interaction, critical thinking, and personal conduct. And typically all at the same time .
- Problem-solving and investigative methods: “ Why is it the way it is?”
- Such demonstration/imitation/critique methods are both ancient and archetypal (and suitable for teaching topics, disciplines or skills that employed such methods), and always “speak” well to preferred multi-tasking, observation/imitation modes
- What are the unique skills or insights imparted via demonstration/imitation/critique in your discipline?
- What insights do you consciously convey in your teaching field via non-verbal and/or non-prosodic methods?
- How can you make those non-verbal, demonstration-imitation-critique methods more intentional, conscious, and effective?
- How might the structure, outline, sequence, tasks, and lesson-plans of your teaching link your discipline’s oral/aural insights with your students’ unique experience and cognitive preferences?