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The Music Identity Project

MayDay Group Colloquium 24 Presentation
by

Brent Talbot

on 8 February 2013

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Transcript of The Music Identity Project

Lived Experiences of a Secondary Methods Class in Spring of 2012 The
Music Identity
Project as a Musician
as a Learner
as a Performer
as an Improviser
as a Composer
as a Listener
as a Teacher Who Am I? You Betta
Chiggity Chiggity
Check Yo-Self (RE)PRESENTIN 1. Create a top ten list of songs that represent your music identities. Directions
2. Select one song from your list that best represents who you are as a person. 3. Analyze and describe important musical features of this song (i.e., lyrics, form, texture, instrumentation, mode, meter, etc.). 4. Articulate how the song you chose reflects aspects of your identities and histories. 5. Create a presentation using Prezi. 6. Share with the group. One
Preservice
Music Teacher's
Music Identity Project John Fulton Reynolds http://prezi.com/t-z5ywkkmaq0/my-musical-identity/ Thru Our Top Ten Lists Class
Exploration
of
Music Identity Music identity is the perception of one’s musical self as a learner, teacher, performer, improviser, composer, listener, and consumer. Musical identity is fluid and ever-changing. It can be shaped by the perceptions and actions of social groups and institutions (such as family, schools, houses of worship, governments, corporations, etc.), as well as one’s age, gender, sexuality, ethnicity, or socio-economic status. Class Definition "We are suggesting that identities in music might be based on generic distinctions between broad categories of musical activity, as well as on specific distinctions which cut across these categories, in particular instruments and genres. This is of course extremely rough and ready, and musicologists and others could refine our argument considerably. Nevertheless, it serves as the starting point for our basic argument that ‘identities in music’ are based on social categories and cultural musical practices." "Music identity is a dynamic phenomenon, defined by multiple, evolving influences that connect experiences between disparate spaces and places, across time, and among groups of people." Hargreaves, Miel, & MacDonald (2002) Custodero (2009) Research on Adolescence,
Identity, & Music

(Erikson,1968)
(Marcia,1980)
(Roe, 1985)
(Finnäs, 1989)
(Arnett,1995)
(Fitzgerald et al., 1995)
(Geter and Streisand, 1995)
(Kamptner, 1995)
(Larson, 1994; 1995)
(Hudak, 1999)
(McCarthy, et al. 1999)
(Tarrant et al, 2000; 2002)
(Campbell, 2002)
(Lamont, 2002)
(North et al, 1999; 2000)
(Sloboda et al, 2002)
(Rogoff, 2003)
(Jaffurs, 2006) PROLEPSIS Cole, M.(1995) "I combine all of my other identities into my identity as a 'musician.' I do, however, think it is harmful to students to separate individuals into the category of musician and non-musician, and I don't think that being a musician makes me better than anyone else. I do enjoy music theory and composition heavily, although I don't think that composition should be viewed as being for only an elite group and that the compositional 'masters' are not necessarily more important than any other composer or performer" John is from New Jersey. He is influenced heavily by his family, his mother is a music teacher, he is a self-identified intellectual critical thinker, has wide and varied interests, is an introspective extrovert, embraces contradiction, and loves the creative aspects of music most. "Of course everyone did it in different ways. I had been reading all this Cage and Dada stuff, so it’s sort of funny to do it in that context, because to say like, ‘these are ten songs that have affected me,’ is sort of an absurd thing, because it’s going to be different for everyone, but it’s also important to acknowledge that it’s ok that it’s different for everyone, and it’s ok that it’s going to change um….and it was different for even everyone in our class, which was fairly homogenous and that we are all, you know, Western classical musicians attending the same place. It’s interesting how much selecting the song versus the songs themselves is your actual identity. I noticed that some chose the songs they liked most and thought were best and I guess I intellectualized it more, so just even thinking of the way we did it is indicative of the way we tend to be, which is interesting. Some people think about it in terms of when they listen to songs and when they were there." Identity marker of self Identity marker of Others
&
Music Identity as
Musical Preference Time Present identity marker Future projected self
identity marker Identity marker of group Joshua Chamberlain Tillie Pierce Place CONTEXT Jennie Wade By putting this project together I really wanted to give people a chance to know me as a person and understand what makes me who I am today. Music is a great way for me to be able to express myself. During the process, I consumed more time trying to compile ten songs that accurately portray me as a person and a musician. Looking back on the project, most of the songs that I had compiled represented more of my past rather than the present. For me, I think it's important to look at my past and see what kind of musical memories I had in order to understand how I've grown today musically and as a person. Songs by the BeeGees, Celine Dion, Billy Joel, Linkin Park, and Whitney Houston are in some ways relics of my past. By embracing artists such as Ledisi and LaShun Pace are markers for something new in my life right now. All these artists represent some of the struggles that I've gone through in my life but also provide hope for something new that will happen in my life at this given point. That's what I wanted to share with my classmates. Identity as a fluid process of change "So like saying the word and whatever you are relating to it is putting it in that moment, so it’s something that really defines who you are, but it really defines who you are in the moment, that’s really the only way you can define somebody in a way, I mean you can’t talk about it in the moment because that moment is like a reflection." My own learning and transformation Arguments for the development and use of narrative inquiry come out of a view of human experience in which humans, individually and socially, lead storied lives. People shape their daily lives by stories of who they and others are and as they interpret their past in terms of these stories. Story, in the current idiom, is a portal through which a person enters the world and by which their experience of the world is interpreted and made personally meaningful . Viewed this way, narrative is the phenomenon studied in inquiry. Narrative inquiry, the study of experience as story, then, is first and foremost a way of thinking about experience. Narrative inquiry as a methodology entails a view of the phenomenon. To use narrative inquiry methodology is to adopt a particular narrative view of experience as phenomena under study (p. 477). Connelly & Clandinin (2006) The most difficult aspect of this project was creating our top ten list. Like most people in class, I found that my top ten songs are not stable or permanent. It is instead completely fluid and changeable, and really does depend on the day. This made it close to impossible to finally settle on one list to share. Marie Tepe Winfield Hancock
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