In my last post, I introduced the online Write Like Mozart class offered by Coursera. I promised to post some of my notes I sent my high school students from when we collectively took the class last year.
I have logged into the January 2015 offering of the course, and it appears that the videos have not changed since I took the class. The supplemental notes I offer below for Write Like Mozart Class Week 1 are largely unedited from what I sent to my students last year.
This time last year I started a fabulous free online class called Write Like Mozart. This class is offered through the Coursera, a conglomeration of high quality online classes offered by major universities around the world. Write Like Mozart is taught by Peter Edwards of the National University of Singapore. The class is being offered again starting this week (January 13, 2015), and it is a great time to join in. Because the videos are all online and the assignments are not due until the following week, it is no problem to join the class late. I encourage anybody with at least a high school or College Freshman year understanding of music theory to partake.
As an educator, I found that the Write Like Mozart class offered me new ways of teaching music theory. Some of the key approaches within this course are:
- The theory is learned by composing.
- Harmonic possibilities are derived from variations on previously learned harmonic progressions.
- Increasingly complex harmonic progressions are derived from expansions of the more basic harmonic progressions.
- Significant time is spent on how to write keyboard accompaniment to melody.
In my studio, the new year marks the beginning of composing season, during which each of my students will write at least one composition. A couple of my students typically will write one or more pieces on their own, but most of my students need some level of guidance and encouragement to get them from the beginning of the piece to the end. Some of my youngest students will take only a couple of lessons to complete a short piece. Usually at least one student hates everything he or she writes. In this case, the process reminds me of one of those made for TV movies I saw as a kid, where I am the farmer blindfolding the panicking horse so that I might lead it out of a burning barn. But most of my students enjoy the process and are quite proud of the end result.
I require my students to compose for several reasons:
- I am an active compose partly because one of my early piano teachers encouraged creativity beyond what was written on the page. I may not have pursued this passion if that door hadn’t been opened for me by that teacher. Hence, I believe it is important to crack this door open for every student, at least to offer a glimpse of one potential creative passion a student might embrace.
- I want my students to know that music is not written only by dead white men or far-away, glamorous rock stars. It can be written here and now, by anybody, including a five-year old beginning piano student.
- Writing music offers great opportunities to dive deeply into music analysis. My younger students write to conform to basic musical forms, while my older students analyze works that they have enjoyed playing and write music modeled after that.
In my last post, I mentioned the four types of music memory:
- Kinesthetic Memory, where the fingers “know” what to play;
- Aural Memory, where the performer knows how the piece sounds and can hear the music ahead of the performance;
- Mental Memory: where the performer can reconstruct the work from a mental understanding of the elements of the work;
- Photographic Memory: where through genetic luck or extremely hard work, the performer has a visual image of the sheet music in the imagination.
I try to help my students develop only the first three types of music memory. Developing a photographic memory of a single work requires not only a depth of understanding and musicianship that extends well beyond that of most high school students, it also requires a patience and focus that not even I choose to apply.
Here are some music memory tricks I teach my students:
I am aware of four types of music memory that can be used in performance of a piece of music by memory:
Kinesthetic Memory is where the fingers “know” what to play based upon habit. This is the weakest kind of memory, and it is most prone to break when performance conditions change. Yet, it is also the most common and frequently the only form of memory used in performance. A change in instrument (teacher’s piano versus home piano versus stage piano) can throw kinesthetic memory off. The piano keys feel different, and the physical cues that trigger the kinesthetic memory change. When the performer is nervous, or even playing at a different time of day, the body behaves differently, and the kinesthetic memory can again be broken.
Kinesthetic memory also tends to be sequential, in that the memory of a note depends upon the correct performance of the previous note. If a note is played incorrectly, then the sequence is broken, and the body does not remember what comes next. From a performance point of view, kinesthetic memory tends to be passive, and the performer in effect is letting the body do the work instead of intentionally creating an experience that will move both the performer and the audience.
For these reasons, I always encourage students to develop other kinds of memory.