EDST 1100R: SITUATED LEARNING EDST 1100 N: Situated Learning Thursdays, 2.30 – 5.30 Keele Campus, Mac 050B Winter, 2020 Instructor: Dr. Lorin Schwarz Email: [email protected] Office Hours: ½ hour after class, or by appointment * Learning is intentional and contextual, and it involves developing systems and structures that not only allow but also encourage organization members to learn and grow together –to develop “communities of practice.” -Preskill and Torres The idea of a subject that calls to us is more than metaphor. In the community of truth, the knower is not the only active agent –the subject itself participates in the dialectic of knowing...geologists are people who hear rocks speak, historians are people who hear the voices of the long dead, writers are people who hear the music of words. The things of the world call to us, and we are drawn to them –each of us to different things, as each is drawn to different friends. --Parker J. Palmer Teaching is a complex, relational, and creative event. When I teach, I am simultaneously involved in several dynamic relations: with myself, with my everyday world, with my subject matter, and with my students. I cannot really teach if I am not engaged with my students or if my students are not involved with me. --Carol S. Becker The relationship between our physical constraints and the assertion of our freedom is not a 'problem' requiring a solution. It is simply the way human beings are. Our condition is to be ambiguous to the core, and our task is to learn to manage the movement and uncertainty in our existence, not banish it...the ambiguous human condition means tirelessly trying to take control of things. We have to do two near-impossible things at once: understand ourselves as limited by circumstances, and yet continue to pursue our projects as though we are truly in control. --Sarah Bakewell Course Description Welcome to EDST 1100: “Situated Learning.” As described in the university calendar, the aims of this seminar are as follows: “This course is framed around situated learning theories in relation to the provisioning of educational experiences in a variety of contexts (e.g., early familial experiences, formal educational experiences, cultural educational experiences, employment educational experiences).  Students are first introduced to the major principles of families of learning theories (e.g., behaviourism, cognitivism, social learning theory, social constructivism). This introduction is followed by in-depth study of situated learning theory drawing from Lave and Wenger (1991) a seminal text in the field. Students engage in exploring exemplars of situated learning drawing from theory to understand the factors at play in the exemplars because, as situated learning theory would suggest, the representations of situated learning theory must be situated in relation to reference points. Given any particular learning engagement’s situational parameters, stu.

1. EDST 1100R: SITUATED LEARNING
EDST 1100 N: Situated Learning
Thursdays, 2.30 – 5.30
Keele Campus, Mac 050B
Winter, 2020
Instructor: Dr. Lorin Schwarz
Email: [email protected]
Office Hours: ½ hour after class, or by appointment
*
Learning is intentional and contextual, and it involves
developing systems and structures that not only allow but also
encourage organization members to learn and grow together –to
develop “communities of practice.”
-Preskill and Torres
The idea of a subject that calls to us is more than metaphor. In
the community of truth, the knower is not the only active agent
–the subject itself participates in the dialectic of
knowing...geologists are people who hear rocks speak,
historians are people who hear the voices of the long dead,
writers are people who hear the music of words. The things of
the world call to us, and we are drawn to them –each of us to
different things, as each is drawn to different friends.

2. --Parker J. Palmer
Teaching is a complex, relational, and creative event. When I
teach, I am simultaneously involved in several dynamic
relations: with myself, with my everyday world, with my
subject matter, and with my students. I cannot really teach if I
am not engaged with my students or if my students are not
involved with me.
--Carol S. Becker
The relationship between our physical constraints and the
assertion of our freedom is not a 'problem' requiring a solution.
It is simply the way human beings are. Our condition is to be
ambiguous to the core, and our task is to learn to manage the
movement and uncertainty in our existence, not banish it...the
ambiguous human condition means tirelessly trying to take
control of things. We have to do two near-impossible things at
once: understand ourselves as limited by circumstances, and yet
continue to pursue our projects as though we are truly in
control.
--Sarah Bakewell
Course Description
Welcome to EDST 1100: “Situated Learning.” As described in

3. the university calendar, the aims of this seminar are as follows:
“This course is framed around situated learning theories in
relation to the provisioning of educational experiences in a
variety of contexts (e.g., early familial experiences, formal
educational experiences, cultural educational experiences,
employment educational experiences). Students are first
introduced to the major principles of families of learning
theories (e.g., behaviourism, cognitivism, social learning
theory, social constructivism). This introduction is followed by
in-depth study of situated learning theory drawing from Lave
and Wenger (1991) a seminal text in the field. Students engage
in exploring exemplars of situated learning drawing from theory
to understand the factors at play in the exemplars because, as
situated learning theory would suggest, the representations of
situated learning theory must be situated in relation to reference
points. Given any particular learning engagement’s situational
parameters, students examine the “teacher’s” role in that
engagement and how learning can be facilitated in that
situation. In addition, students are provided with opportunities
to develop frameworks to communicate to others about the
nature of situated learning.”
The work of this seminar stems from the questions evolving
from the idea that education is a situated practice: it exists as
part of physical and historical worlds that were created prior to
any given moment of practice, and that any of the actors within
the educational setting were not participants in choosing the
scripted worlds in which they learn and teach. In such an
equation of ambiguity, what freedom is possible? How does
situational relation weave through the very fabric of the project
of education? In what ways are teaching and learning possible?
What do the situated realities of teaching do to the students and
teachers, administrators and other invested parties who live
their lives in relation to the educational? How does education
go beyond the classroom? (We might work toward a much larger

4. definition of what education is rather than confining it to the
work of schooling, curriculum and classroom.) In what ways is
both existential and practical education co-created –and by
whom is it co-created? What is the educational –or the
educated-- subject? What role does education play in identity,
and vice versa? Where is the play of the personal and the
psychic reality of the emotional world within the continuum of
education? What legacies might we leave for future generations
as we created the situated worlds into which they will be born?
Working from traditional models of education, the course
will examine the “situations” of education –internal and
external-- and look at how communities of practice in all sorts
of educational settings work to repress, understand, alter and
work within the ambiguity of the phenomenological world.
Using articles, films, short stories, personal essays and a novel,
we will look at how learners and teachers exchange and move
between categories, how life might be seen as a search for
curriculum, and how we make meaning –and perhaps a sense of
identity, individuality and freedom-- from the learnings we do –
and those we resist-- from the larger world in which we live.
The course looks to define the delicate balance of learner,
teacher, subject, world –and a reality in which all of these co-
exist.
Regular attendance and participation are mandatory. Please
notify me as soon as possible if you are unable to attend class.
Teacher candidates are responsible for catching up on notes,
discussions and assignments that have been missed.
Unexcused/unexplained absences and/or lateness may result in a
lowering of your grade. Please make every effort to be in class
for your scheduled presentations –and keep in mind that others
have put a great deal of work into their presentations as well.
Active involvement in the seminar is also compulsory; students
are expected to contribute in creating a safe, respectful,
professional and engaging literary community. Furthermore, it
is the responsibility of everyone in the class to act in a

5. reflective, collaborative and supportive manner as we make
links between our university and practicum experiences, our
seminar work and our lives.
Students are expected to arrive punctually for class, with
course readings completed. Projects, group presentations and
written assignments must be handed in on time. Clarity and
precision of thought are required for all written work and
correct grammar and punctuation are expected. Appropriate
reference must be included and documented, refer to the York
University style guides at
http://info.library.yorku.ca/depts/ref/refweb.thm#style and
http://info.library.yorku.ca/internet/citing.htm for Internet
citations.
It is the policy of York University that instructors mark only
original assignments, not copies. Email and fax submissions are
not acceptable. Students are advised to retain a copy of each
submission. All assignments should be typed in an appropriate
12-point font and double-spaced with one-inch margins. Please
respect due dates and assume they hold weight. Unless a dire
emergency has taken place, it is expected that assignments will
be handed in on time. Work handed in outside of the parameters
of the course may not be graded in time to avoid recording a
“fail” mark on student transcripts. This is never a good thing. I
do not accept e-mailed versions of assignments; hard copies are
mandatory.
Academic honesty is of the utmost importance in any
learning endeavour. Please familiarize yourself with the
regulations on plagiarism and cheating in the pre-service
teacher education handbook. In addition, support material and a
tutorial can be accessed at York University’s Academic
Integrity Web Site: www.yorku.ca/academicintegrity or
www.yorku.ca/academicintegrity/students.htm.
Students with special needs are asked to contact the course

6. director within the first two weeks of classes in order to make
appropriate arrangements for assistance and facilitation of
learning and teaching. It is York University’s policy to support
students with identified special needs. If you believe you will
experience difficulties fulfilling course requirements, please
arrange to meet with me.
York provides services for students with disabilities
(including physical, medical, learning and psychiatric
disabilities) needing accommodation related to teaching and
evaluation methods/materials. These services are made available
to students in all Faculties and programs at York University.
Students in need of these services are asked to register with
disability services as early as possible to ensure that appropriate
academic accommodation can be provided with advance notice.
You are encouraged to schedule a time early in the term to meet
with each instructor to discuss accommodation needs. Please
note that registering with disabilities services and discussing
your needs with your instructor is necessary to avoid any
impediment to receiving the necessary academic
accommodations to meet your needs.
Additional information is available at
www.yorku.ca/disabilityservices or from disability service
providers:
-Office for Persons with Disabilities: N108 Ross, 416.726.5140
or www.yorku.ca/opd
-Learning and Psychiatric Disabilities Programs- Counselling
and Development Centre: 130 BSB, 416.736.5297,
www.yorku.ca/cdc
-Atkinson students: Atkinson Counseling and Supervision

7. Centre: 114 Atkinson, 416.736.5225, www.yorku.ca/atkcsc
-Glendon students: Glendon Counseling and Career Centre:
Glendon Hall 111, 416.487.6709
www.glendon.yorku.ca/counseling
I also want to say a word about the use of computers in the
class. While laptops, portable phones and WiFi have become a
vital component of our lives at the university, not to mention
invaluable tools for learning, there is undoubtedly a dark side to
the wireless experience. Using the computer to take notes,
enhance study or augment creative pedagogy is the best use of
technology. Checking email, texting, online surfing, chatting,
updating social networks and downloading games, music, videos
or software is not. These activities are distracting to colleagues
and the CD. As new teachers, you will come to understand the
distractions our portable world of technology creates, as well as
the educational challenges it presents within the classroom.
Drawing from that knowledge, I would ask that students operate
from the best angels of their natures and refrain from using
technology for any purpose but the aims of the course while in
the classroom setting.
On a related note, it is a matter of courtesy and legality
never to record members of the class –including the teacher—
without their expressed permission. My assumption is that
anyone choosing to remain in the course understands this
contract.
Course Texts
Dewey, John. Experience and Education. New York: Simon &
Schuster, 1938.
Ludt, Erika Hasebe and Wanda Hurren. (Eds.) Curriculum
Intertext:

8. Place/Language/Pedagogy. New York: Peter Lang, 2003.
Saenz, Benjamin Alire. The Inexplicable Logic of my Life. New
York: Clarion, 2017.
Course Kit containing five (5) short stories
Online Resources listed below
Assignments
I. Group Presentation + Handout (25%)
Each student will choose one of the short stories and lead the
discussion of that story to a small group in-class. In order to
facilitate the discussion, I am going to ask that each student
prepare 3 questions about their short story as these related to
ideas and concepts of situated learning. Please write the
question and some of your own links to in-class discussion and
reading for each. Hand these in ONE WEEK FOLLOWING
YOUR FACILITATION OF GROUP DISCUSSION, along with
a small synopsis of how the question functioned in the reading
groups. Did your question open up points to consider or shut
them down? Were links to the theory evident or were your
group members hesitant to make these connections? Why do you
think that was the case? How did your thinking about each
question evolve because of the discussion you facilitated? (Each
question should have no more than a one-paragraph write-up.)
II. Personal Experience of Situated learning (30%)
Due: February 13
On January 30, each student in the class will present a
personal narrative of an example of situated learning as it is
broadly defined and creatively expanded in each of the articles
we will have read in class by that point. After your

9. presentation, prepare a three-to-five page write-up of your
narrative. This write-up should include a description of the
story you told, how it relates to the theories we've discussed and
read about together, a grade you give yourself on the
presentation and a justification for that grade. What
characteristics of situated learning were present in your
personal narrative and the accompanying presentation? Which
theories did you see playing out in the discussion? In the work
of doing the write-up? In giving yourself an assessment? What
went well in the experience and what didn't? What was
disappointing, surprising, inspiring? What did the experience of
doing this assignment teach you about the larger issues of this
course?
III: Online Postings (10 X 3 = 30%)
Due: Weeks of January 12, 16 and 23
For each of the theoretical readings (Dewey, Lave) I will
pose an article-based question in class and on-line; students are
expected to respond in a succinct, one-paragraph answer
demonstrating their engagement and understanding with the
readings.
IV. Final Engagements (15%)
Due: April 2
For the last class, I will pose one last question about the
larger themes of our course and ask for a succinct response
engaging a number of the course readings, including The
Inexplicable Logic Of My Life. Students will respond either by
posting online or handing in a hard-copy demonstrating a
familiar understanding of the readings and a creative re-

10. envisioning of their encounter with the idea of “situated
learning.”
An outline of the standard expectations for grading are below.
CRITERIA
Unsatisfactory
Satisfactory
Very Good
Excellent
Engagement with course materials and texts
Does not demonstrate adequate engagement; is not able to
articulate influence of texts on thinking
Demonstrates an acceptable level of engagement with course
texts, some skill in articulating their influence in their thinking
Demonstrates a good level of engagement with course texts and
materials; demonstrates considerable skill in attending to the
meaning and interpretation of text and cites their influence on
thinking
Demonstrates thorough knowledge of and engagement with
required course texts, a high degree of skill and originality in
their analysis and interpretation and attending to their
significance for the development of insights and new thinking
Application of Theory Into Practice
Does not articulate links between theory and practice
Adequately applies theory to course readings and applications
to practice
Thoroughly and carefully uses theory to consider implications
of course themes, educational thought and classroom practice
Demonstrates a high level of sophistication using theory as
applied to course themes to examine educational practice,
demonstrating insight and curiosity, generating further insight
and inquiry
Effectiveness and clarity of written communication
Written communication is unsatisfactory because it lacks

11. clarity, coherence and or completeness.
Written communication is satisfactory and is consistently clear
and coherent.
Written communication is very good, demonstrates clarity and
coherence, and effectively expresses questions and ideas.
Written communication is excellent, demonstrating great
clarity, coherence, insight and further thinking.
Development of critical analysis and insight
Does not demonstrate the critical analysis or the making of
insight; remains at the level of description or generalities.
Demonstrates an adequate level of critical analysis and insight,
moving beyond description and generalization at times.
Demonstrates a consistent commitment to critical analysis,
providing responses that generate new insights, by moving
beyond generalities and the repetition of another's arguments.
Demonstrates an exceptional level of critical analysis, and an
effort to thoughtfully and critically engage with course material,
to provide thorough responses that generate new and surprising
insights, and to take conceptual risks.
Schedule
January 9:
Course Introduction and Syllabus; Phenomenological,
Existential ideas of
“situated freedom” and the psychology of being an educational
subject.
Reading for Next Class: “Situated Learning in Communities of
Practice”
by Jean Lave. Access at:
https://pdfs.semanticscholar.org/11c7/75f8a059d6100ad7f5e499
ab1300e4c1747f.pdf
January 12:

12. Situated Learning, Community, Identity, Co-Creation
Reading for Next Class: “Stories of an Itinerant Wayfarer:
Narrative in the Space of Healing” by Patrick Verriour.
In: Curriculum Intertext
January 16:
Identity, learners, teachers, “experts”, curriculum and
educational settings
Reading for Next Class: John Dewey: Experience and Education
Chapters 1 – 3 (inclusive)
January 23:
Progressive Education and Situated Learning
Reading for Next Class: John Dewey: Experience and Education
Chapters 4 and 5
January 30:
Progressive Education and Situated Learning (continued): The
Play
of the Personal.

13. Personal Narrative Due! Be ready to share and present these.
Reading for Next Class: “Spring Pedagogy” in the course kit
(Group Discussion Presentations begin next week)
February 6:
Trauma, the personal and the community in Situated Learning
Group presentations “Spring Pedagogy”, film
Reading for Next Class: “Thursdays” in the course kit
February 13:
Revisiting the Educational Setting; Personal History and
Situated Learning
What are we afraid of? What do we use the walls of a school
for?
-Group Presentation “Thursdays”, lecture
Reading for next class: “Cellists” in the course kit

14. Personal Narrative Write-Ups are due!
February 20:
No class. Reading Week! (Begin reading the novel!)
February 27:
Time and the situated learning; when does education begin? Can
it end?
-Group Presentation “Cellists”, lecture
Reading for next week: “The Honorary Shepherds” (in course
kit)
March 5:
Identity and Situated Learning, Community
Group Presentation “The Honorary Shepherds”, lecture
Reading for Next Class: “Full Count”
March 12:
The World and Situated Learning: What do we do with
Inheritance?
What is the “canonical text?? How does curriculum change?
Group Presentation “Full Count”, lecture

15. Reading for Next Class: The Inexplicable Logic of my Life
March 19:
The Life Cycle and Situated Learning: What is demanded from
us?
Lecture; discussion of the novel and of using fiction in the
social science world.
Reading for Next Class: The Inexplicable Logic of my Life
March 26: Situated Learning, Situated Freedom, Situated Lives:
Is all the logic of situation inexplicable?
Film
April 2: Wrap-up and final engagements
Final Engagement Due
You may find the listening this week a bit of a challenge to your
ear……..some of the selections, anyway. So, we are going to
challenge your ears and your ability to find the value in any
piece of music!
You are still working with 6 selections here, one pair must
include either the Varese, Glass or Cage piece. Think about the
style of these works and make an argument for their value and

16. the characteristics of 20th century music. Think about when
they were written. Do you think there is direct link to perhaps
architecture or visual art of the time?
Then choose 4 more selections from the week’s listening
assignments and make your contrast or comparison. You will
have 3 pairs again, with one pair including one of the
composers listed above. If it helps to watch a video on youtube,
please do. Sometimes the visual will help.
Make sure you correctly write the titles. These should be
treated like a book title. Capitalize, etc. as expected. Your log
should be one typed page using Times 12pt. font and single-
spaced. You will want to give the composer name and era
(Baroque, Classical, Rock, etc.) based on what we are studying
for the week. You will need to include at least one interesting
fact you learned along the way about this piece of music…even
if that is something you read about in regard to the composer or
some major historical event, etc. This is your choice. You
should discuss some of the instruments used and this may be
one way to make a contrast/comparison between works as well.
Here are other ideas: Tempo of the choices? Instruments vs.
Voice? Male vs. Female? Consonant/Dissonant? Describe the
music and its effect on you using Aaron Copland's three planes
of music listening (sensuous, expressive, purely musical
elements). These are all ideas you may use. I should not just
read a description of the music…….you MUST compare and/or
contrast the work(s) against each other in some way.
For my first pairing I wanted to compare works of the same
composer. I chose BEETHOVEN: String Quartet in C Minor IV
and BEETHOVEN: Symphony No 5 in C Minor, III. Not only
did I want to use the same composer, I also wanted to use the
same scale. The exciting rondo movement from Beethoven’s
String Quartet in C Minor, Op. 18, No. 4, may be outlined A B

17. A C A B A (Kamien, p. 204). What that means is that, this
piece has three main themes, A, B and C. The themes A and B
are repeated with C in the middle. This selection gets right off
to a fast pace start. I could hear the violin and recognized it
immediately. I listened to this selection a few times trying to
figure out the other instruments playing. I was astonished to
learn that it was just violins. That knowledge made me
appreciate the piece even more. BEETHOVEN: Symphony No 5
in C Minor, III is a very popular piece used in numerous
different ways. It was used in an Intel commercial, the Pink
Panther and sample by numerous musicians today. There is a
curious alternation of mood between his odd-numbered
symphonies (Symphonies No. 3, 5, 7, and 9), which tend to be
forceful and assertive, and his even-numbered ones
(Symphonies No. 4, 6, and 8), which are calmer and more
lyrical (Kamien, p.239). The more forceful mood was heard
immediately. The aggressive bowing from the violinist
expressed the mood of the selection perfectly. Totally opposite
of the light an airy mood the String Quartet. Utilizing the same
instrument and creating totally different sounds is amazing.
The power of music and the ability of musicians to understand
and be able to create different moods is lost on most musicians
of today.
My second pairing is of MOZART: Eine Kleine Nachtmusik, III
and HAYDN: Symphony No. 94 in G Minor II. Mozart’s Eine
kleine Nachtmusik is a serenade, a work that’s usually light in
mood, meant for evening entertainment (Kamien, p.203). The
double bass compliments the string section adequately.
Although, it is supposed to be light in mood while listening my
mood wasn’t light. This isn’t as aggressive as Beethoven’s 5th,
but the strings section had some assertiveness to them. I could
see royalty entering a Gala to this piece. It demanded attention
in an inconspicuous way, you wouldn’t even realize that you are
being commanded by the music. Haydn’s piece on the other
hand felt more like evening entertainment. I could see a Minuet

18. being performed to this piece. Haydn composed his most
famous symphony, Symphony No. 94 in G Major (Surprise), in
1791, during his first visit to London (Kamien, p. 210). Haydn
titled this piece Surprise and 32 seconds into the selection you
will understand why. The piece starts off with a soft melody
that’s repeated and then “surprise” the full orchestra reached a
crescendo and then the soft melody repeats. I was surprised by
the crescendo and then when I read about the piece and saw
what he titled it I smile and thought, fitting.
My third pairing is between MOZART: Requiem in D Minor and
BEETHOVEN: Piano Sonata in C Minor, II. The somber tones
of the violins and the chant like vocals in the background gave
me the feeling of utter doom. In the last two months of his life,
Mozart composed nine movements of the Requiem and part of a
tenth (Kamien, p235). Mozart felt the mood of this piece was a
reflection for him. He died trying to complete the Requiem.
His friend and student Franz Xaver Süssmayr, was the one who
completed the Requiem. For the first time since listening I got
the affection of the selection correct. I felt the mood, the
composer was trying to convey. Following this piece up with
Beethoven’s was a match. This mood of this piece in my
opinion felt like the danger and doom that Mozart was warning
about came to fruition in Beethoven’s piece. The way that the
piece started off so slow was what gave me that end feeling.
Like someone who was tormented just died and is in pain no
more. As the chords repeated and elevated in pitch it reinforced
the end. Deep tones inserted into the beautiful melody during
the first movement reminds you of the tragedy.

19. · DEBUSSY: PRELUDE
· Download audio file: 07_01_Debussy_Prelude_a_l’apres-
midi.mp3
·
DEBUSSY: PRELUDES FOR PIANO
· Download audio file: 07_02_Debussy_Preludes_Book1.mp3
·
RAVEL: BOLERO
· Download audio file: 07_03_Ravel_Bolero.mp3
·
STRAVINSKY: LA SACRE DU PRINTEMPS
· Download audio
file: 07_04_Stravinsky_Printemps_Introduction.mp3
·
STRAVINSKY: LA SACRE PT II, SACRIFICIAL DANCE
· Download audio
file: 07_05_Stravinsky_Printemps_Sacrificial_Dance.mp3
·
STRAVINSKY: SYMPHONY OF PSALMS
· Download audio file: 07_06_Stravinsky_Psalms.mp3
·
SCHOENBERG: MONDESTRUCKEN
· Download audio file: 07_07_Schoenberg_Pierrot_lunaire.mp3
·
BERG: WOZZECK, ACT III
· Download audio file: 2-105 Berg_ Wozzeck, Act III, Scenes 4
and 5.mp3

20. ·
WEBERN: FIVE PIECES FOR ORCHESTRA
· Download audio file: 2-106 Webern_ Five Pieces for
Orchestra, Op. 10, 3 Very slow and extremely calm.mp3
·
BARTOK: CONCERTO FOR ORCHESTRA I
· Download audio file: 2-107 Bartok_ Concerto for Orchestra,
I.mp3
·
BARTOK: CONCERTO FOR ORCHESTRA II
· Download audio file: 2-108 Bartok Concerto for Orchestra,
II.mp3
·
SHOSTAKOVICH, SYMPHONY NO 5
· Download audio file: 2-109 Shostakovich Symphony No. 5,
II.mp3
·
BEACH: THE YEAR'S AT THE SPRING
· Download audio file: 1-110 Beach_ The Year's at the Spring,
Op. 44, No. 1.mp3
·
IVES: PUTNAM'S CAMP
· Download audio file: 2-111 Ives_ Three Places in New
England, Putnam's Camp, Redding, Connecticut.mp3
·
GERSHWIN: RHAPSODY IN BLUE
· Download audio file: 2-112 Gershwin Rhapsody In Blue.mp3
·

21. STILL: AFRO AMERICAN SYMPHONY
· Download audio file: 78 Afro-American Symphony, III.mp3
·
COPLAND: APPALACHIAN SPRING
· Download audio file: 79 Appalachian Spring.mp3
·
GINASTERA: ESTANCIA SUITE
· Download audio file: 2-115 Ginastera_ Estancia Suite, Op. 8,
Final Dance_ Malambo.mp3
·
CAGE: SONATAS AND INTERLUDES
· Download audio file: 2-116 Cage_ Sonatas and Interludes for
Prepared Piano, Sonata No. 2.mp3
·
VARESE: ELECTRONIC POEM
· Download audio file: 2-117 Varese_ Poeme electronique.mp3
·
CRUMB: ANCIENT VOICES OF CHILDREN
· Download audio file: 2-118 Crumb_ Ancient Voices of
Children, _From Where Do You Come, My Love, My
Child__.mp3
·
PIAZZOLLA: LIBERTANGO
· Download audio file: 119 Piazzolla_ Libertango.mp3
·
GLASS: KNEE PLAY I
· Download audio file: 2-120 Glass_ Einstein on the Beach,
Knee Play 1.mp3
·

22. ZWILICH: CONCERTO GROSSO
· Download audio file: 2-121 Zwilich_ Concerto Grosso 1985,
I.mp3
·
ADAMS: SHORT RIDE IN A FAST MACHINE
· Download audio file: 2-122 Adams_ A Short Ride in a Fast
Machine.mp3
·
WHITACRE: LUX ARUMUQUE
· Download audio file: 1-123 Whitacre_ Lux aurumque (Light
of Gold).mp3