1 / 51

We are…

We are…. Support tutors Paula Bishop- Liebler - Royal College of Music; Guildhall School of Music and Drama; Royal Academy of Music and Dyslexia Teaching Centre, London. Sally Daunt – The Liverpool Institute for Performing Arts. Key points. Basic principles common to all support

suki
Download Presentation

We are…

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. We are… Support tutors • Paula Bishop-Liebler- Royal College of Music; Guildhall School of Music and Drama; Royal Academy of Music and Dyslexia Teaching Centre, London. • Sally Daunt – The Liverpool Institute for Performing Arts

  2. Key points • Basic principles common to all support • Issues that occur in performing arts support that can inform more general study skills work • Info for non-specialists in order to point students in the right direction • Subject specific?

  3. Outline • Organisational skills and strategies • Written work • Issues for musicians • Notation and reading of music • Supporting the reading of music • Reasonable adjustments • Aural work • Issues for actors • Issues for dancers • Features that can inform general support

  4. Organisational skills

  5. Strategies • Year time table There is no such thing as a normal week for musicians • Small targets • Observation week • A practice routine

  6. Written work ‘The measurement of effective treatment in cystic fibrosis’ or ‘A discussion of performance technique in relation to the cello repertoire of the 17th century’

  7. ‘The opening of Stravinsky’s Rite of Spring uses a solo melody based on a folk theme. This is quasi-pentatonic as can be seen in the emphasis on the notes DE GA and B in the extract at Figure 1…’ Figure 1: the opening of…

  8. Write a personal evaluation of two concerts that you have attended this term.Refer to issues such as historically informed performance, programming, interpretation and comparison to other performances of the works.

  9. Strategies • Develop a template to fill out in concerts • Read other critics • Overview then details • Get permission to video performances

  10. Issues for musicians with music Commonly reported difficulties include: Sight reading Rhythmical accuracy Aural dictation Memorising music Scanning between conductor and music Remembering and applying theoretical rules for music theory and composition Many of these difficulties relate to processing musical notation

  11. The notation of text and the notation of music Similar or Different?

  12. Surface similarities ‘push’ =  /p/, /ʊ/, /ʃ/

  13. “My name’s James and I’m dyslexic”

  14. The music:

  15. Supporting the reading of music • Maximise what you can do today • Integrate long term development of skills into daily practice • What are your priorities? • What do you find difficult about reading music?

  16. Questionnaire Do you have difficulties with – • Timing • Maintaining a pulse • Changing tempo • Reading rhythms • Reading rests • Recognising rhythmic patterns • Pitch • Reading pitches quickly • Recognising pitch patterns (e.g. scales, arpeggios)

  17. Sight reading • Do you have to sight read? • Get the music in advance • Rhythm – • Play the strong beats only

  18. Aural work • Short term memory • Aural dictation • Clapping and singing simultaneously • Mapping between aural and written • Responding quickly in written form

  19. Strategies • Break down tasks • Rhythm then melody • Practice singing the first 2 bars whilst the music continues • Try to isolate 2-bar phrases • Work on the piano for harmony • Listen actively

  20. Timeline

  21. Reasonable adjustments • Extra playings (25%) • Extra time between playings • Inclusive assessment protocol • Allow all students to prepare rhythm and singing exercises

  22. And another thing…

  23. Drama: sight reading

  24. Key points • Get the script as early as possible • Find a quiet place and read out loud • Connect to your breath • Get an overall picture • Clues: title etc • Other plays by the same author? • Long sentences? Where to breathe?

  25. And… • Kinds of punctuation? • What can you use of yourself? • Mark up ‘gear changes’ of emotion • Don’t get fixated on words you don’t understand or pronounce – be brave! • Memorise the 1st 3 words of key sections

  26. Multi-sensory • Movement (post-its) • Visual (story-board) • Actor’s thesaurus • Aural (put lines on a voice recorder)

  27. Dance • Difficulty copying movements in mirror fashion • Muddling up L and R • Short term memory of moves (sequences) • Concentration • (Use of dance notation)

  28. Features of support in the performing arts that can inform other areas • Memorisation techniques (the post-its) • Different types of memory – visual, auditory, kinaesthetic, emotional, place… • Regular practice over long periods of time

  29. Motivation & practice

  30. Adaptability & organisation

  31. Summary • Good approaches for dyslexic students are (usually) good approaches for all • Be imaginative in our support • Motivation is key • Everything is harder and takes longer • Get the student to solve the problem - metacognition

More Related