Augmented Learning

The last week of term concluded with what seemed a very relaxed jamming session. Tom invited us into the lecture room. The lights were dimmed, there was a chord progression projected onto the front board, and instruments were set up in a circle, ready to be played. We could choose between keyboards, guitars, bass, and various percussion. Tom kept the talk to an absolute minimum and we just played, with a few directions to improvise or play in groups of specific instruments. As we became more familiar with the song, Tom kept adding layers of detail. The chord progression was based on H.E.R.'s song "I Can't Breathe". We sang through the verses and chorus. We talked about the meaning of the song, and almost everyone had heard of George Floyd. We then looked at "I Can't Breathe" by Dobby. The first song had an atmosphere of healing. This one was visceral, angry and confrontational. We discussed both songs in groups, looking at the differences and similaritie...

Homework task (canon): We were given a chord progression based on the "Un Poquito Cantas" exercise and asked to choose a key, then add passing notes, creating a stacked series of melodies. These were then used to compose a canon. The idea was to do the exercise so that we could teach it to middle years learners. Example Stage 4 assessment task: Topic - Introduction to the Classical Style (Performance/Composition) "You are required to compose two original canons for three voices. Canons should be written using a harmonic progression approved by the teacher." We went through the homework in class, each person talking about their approach to the process. 'Do you think the outcome was successful?' It was a new way of working for me but non-the-less rewarding, compared to other compositional approaches. Canon in G minor "When there are gaps between theory and practice, how do you function? Who gets priority?" This week's question surfaced during PE...

  Week 11's core principle –  ‘music is multidimensional and the teacher is the facilitator for exploration’ – connects with John Paynter's philosophy. Paynter argued that creative music education centers on personal expression, with teachers initiating thought processes rather than controlling outcomes. His emphasis on non-discursive knowledge challenges us: you cannot get the same understanding from talking about music as from making it. This directly supports our approach: music first, then analyse it. The canon composition assignment exemplified this approach. By providing students with a chord progression and asking them to create stacked melodies through exploration of passing notes, we engage them in the compositional process Paynter championed -- selection, rejection, evaluation, and confirmation. This isn't box-ticking; it's genuine musical thinking. The Middle Years Learner guide illuminates why thematic units centered on social justice work so effectively....

Week 10 challenged us to think beyond superficial cross-curriculum connections .  ‘Do we always have to sing songs in other languages to build these?’ This question addresses the dichotomy between authentic integration versus box-ticking. Understanding the Australian Curriculum's structure (eight learning areas, seven general capabilities, three cross-curriculum priorities) helps us frame music education within broader educational goals, but the key insight is this – music first, then analyse it. The "Un Poquito Cantas" exercise demonstrated authentic numeracy integration. Creating harmonised parts required real-time calculations – counting beats per chord, identifying intervals, navigating pathways on X and Y axes. This wasn't forced integration; the musical task demanded numerical thinking. As Week 10 emphasised, we promote sustainability not by singing about the environment, but by preserving cultural music traditions, giving them longevity through performance and ...

Returning from placement, we revisited Elliott and Silverman's praxial music education to frame our shared experiences. The concept of "social praxis" -- music as something fundamentally people-centered that we do for and with each other -- took on deeper meaning after witnessing it in action. Jennifer Rowley's research on Work Integrated Learning helped me understand how reflection develops our teaching identity and tracks our growth over time. Looking back over the lecture slides, I noted an activity we didn’t have time to complete. Summarise Praxial Music Education: • Write a haiku (5-7-5) • Draw a picture • Create an acronym • Use melody of ‘Chumbara’ to summarise S ound and movement weave A tapestry of people,  L iving their best lives. (SAL) – my ideal music teacher. Three positive experiences stood out: providing one-on-one keyboard tutoring to a Year 7 student struggling with chord sequences; collaborating with a Year 12 student on his HSC guitar compositi...

The supervising teacher introduced us to some excellent resources: https://auralpapers.com/ We used these online resources for preparing senior students for listening tasks. https://www.musicconcepts.com.au/ GCSE Music Revision DSO Kids | Resource | Arc The Song Room - What's That Instrument? | Resource | Arc https://www.fivesenseseducation.com.au/musical-elements-concepts-aural-skills-student-book-print-digital An Introduction to the Concepts of Music: A Book for Senior Music An Introduction to the Concepts of Music is available for teaching staff in the school’s Google Drive folder. A few links to resources that I stumbled across: Musical Terms and Concepts | SUNY Potsdam Essential Classroom Tested Resources for Teaching the 6 Concepts of Music Musical Futures: An Approach To Teaching and Learning 2nd Edition Teacher Pack Stage 4 Concepts of music For Primary School: SAMPLE TEACHING AND LEARNING OUTLINE THE ARTS – MUSIC Music Educators Toolbox | Carnegie Hall Some of the learning...