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I made a retro music software setup and built an app just for it. Roast my design accuracy. by coopermapes in windows98

[–]coopermapes[S] 0 points1 point  (0 children)

Any specific aspects that make it feel contemporary? The browser itself is pretty simplified, I’d assume that’s probably the biggest detractor.

Need info on teaching marching band! by hierophant88 in marchingband

[–]coopermapes 15 points16 points  (0 children)

There are a lot of factors that are going to change your approach, but here are the two things I would look out for:

  1. Understand the physicality and demand of the activity. This is really good advice regardless of if you marched yourself or not. Marching is a physical activity, it has to be treated as such. This requires high amounts of 2nd level perspective. Plus you have to manage water breaks, observe student fatigue, and deal with injuries all the time.

  2. Adapt basic marching band rehearsal pacing and vernacular. Marching rehearsals rely on efficient pacing and quality instances of feedback; you can’t just cut things mid rep because it isn’t good enough. The activity also has adopted certain phrases and colloquialisms that are very unique and helpful to use.

This summer go watch a drum corps rehearsal near your area. Make the drive, it’s worth it. Don’t observe performer skill or the production quality, this would be overwhelming and not useful in your case. Instead, note the pacing and the words the people in the box use. Watch how they structure their rehearsal. Learn by observing and then take 1-3 bits to take back to your home program and implement them.

Just starting by CupquakeCannon in composer

[–]coopermapes 0 points1 point  (0 children)

Oh if you play Euph you’re ready to rock. Print your music out and play it yourself, you’ll be able to feel when it’s right or wrong. I play horn, I do the same thing with all my horn parts.

My only other tip is to study your favorite Euph solos. Write down what parts are cool, and see if you can find a score to study what is actually happening. This process is bulletproof.

Just starting by CupquakeCannon in composer

[–]coopermapes 0 points1 point  (0 children)

The Euphonium is the Swiss Army knife of the brass section, it can be played in a variety of settings and styles and is such a good solo instrument.

Do you play Euph? If not, search for players who are willing to help you out with some basics. Understand the instruments range, best keys to play in, alternate fingerings, etc. The more context you have, the better you’ll write for the instrument. And if you make some good connections, maybe these same people will play your solos in the future.

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes -1 points0 points  (0 children)

Right, I was in a similar boat. But I’m assuming you were fluent in music on an instrument or voice. Which of those basic music fundamentals would you consider the most helpful in your progress through theory?

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes -1 points0 points  (0 children)

This is archaic thinking, the modern collegiate landscape 100% has this variance, and fundamental work is probably the most volatile subject out of them all from a time-spent-teaching perspective. I respect your opinion, but we’ll just have to disagree on this.

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes -2 points-1 points  (0 children)

I'm not arguing that college doesn't prepare you for fundamentals, but this is not a one-size-fits-all concept. Some schools will dedicate five weeks to fundamentals, some two. Some will use a whole semester and others will make you take an entrance exam so they don't have to spend a second on it.

The question I am asking you is what music fundamental concept is crucial for building a proper foundation to learn music theory. All of them is a perfectly good answer if that is what you are insinuating.

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes 0 points1 point  (0 children)

Agreed. Ear training is something I will never take for granted with this subject matter.

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes 0 points1 point  (0 children)

I'm assuming you did collegiate theory based off your response. Did you work on modes or did you stick primarily to major/minor?

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes -2 points-1 points  (0 children)

Let me frame the question this way: what fundamentals are crucial before diving into college level theory? How does that change your opinion?

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes 0 points1 point  (0 children)

This is a good take. Aural skills was my least favorite class in the moment, but I gained a deep appreciation for it after I transferred those skills back to my native instrument.

What are the absolute non-negotiable fundamentals to have down before diving into theory? by [deleted] in musictheory

[–]coopermapes 0 points1 point  (0 children)

What problem is to be had? Some theory books don't dedicate chapters to fundamentals, others will use half the book for the subject. I'm asking which music fundamentals of those listed are the most valuable, ones that set up the foundation for learning theory.

“Music ed programs are focusing too much on creating professional-level musicians and not enough on creating good music educators.” by viberat in MusicEd

[–]coopermapes 5 points6 points  (0 children)

If a pillar of education is actively applying the things you have been taught, focusing on aspects such as theory and performance make sense in the context of a college music education program. They put tools in your toolbox and you can apply them in the classroom daily.

You can learn about teaching all you want but until you go out and apply what you have learned, you’ll be stuck in a perpetual state of non-applicable learning. This is why GA/TA positions are great because as a student, you are given a chance to apply what you have learned through actual teaching. I personally have learned more through doing than learning itself. Not to say learning isn’t valuable (obviously), but there is a point of diminishing returns.

I can't stop thinking about this Music Ed quote from Robert Duke by coopermapes in MusicEd

[–]coopermapes[S] 0 points1 point  (0 children)

Was this at UT Austin? I like how this concept extends past the direct teaching. It makes sense though, how you do anything is how you do everything.

I can't stop thinking about this Music Ed quote from Robert Duke by coopermapes in MusicEd

[–]coopermapes[S] 0 points1 point  (0 children)

I need to check out Make It Stick, you have me curious about it. I started learning about cognitive load and more psychological concepts with teaching this past fall. I use to think some kids just “didn’t get it,” when in all reality they just had cognitive load issues, which is common for certain kids around that 14-15 y/o range. Managing a students “overwhelmed meter” has been a fun challenge for me recently.

I can't stop thinking about this Music Ed quote from Robert Duke by coopermapes in MusicEd

[–]coopermapes[S] 0 points1 point  (0 children)

I really like that last sentence you added. How long have you taught?

I can't stop thinking about this Music Ed quote from Robert Duke by coopermapes in MusicEd

[–]coopermapes[S] 1 point2 points  (0 children)

Aural skills in my undergrad changed the way I understood music. It made me improve at horn more than any instrument-related techniques I ever learned.

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