Weekes 1

Micah Weekes

Lori-Anne Dolloff

EMU130

Monday April 15th, 2024

EMU130 Final Take-Home Essay: My Experience

My Learnings from this year

In the past, my experience with music education had been limited to one-on-one

instruction, both as a student and as a teacher. While this individualized approach had its merits,

it also had its limitations. As a student, I appreciated the personalized attention and tailored

instruction that one-on-one lessons offered. However, I couldn't help but feel isolated at times,

lacking the camaraderie and collaborative spirit that often accompanies group learning

experiences. Similarly, as a teacher, I found one-on-one instruction to be effective in addressing

the specific needs and goals of each student. Yet, I also recognized the potential benefits of

teaching in a group setting, such as fostering peer interaction, promoting teamwork, and creating

a supportive learning community. It wasn't until I participated in these modules that I was truly

exposed to the transformative power of group learning in music education. As I engaged with my

peers in collaborative learning activities, such as ensemble rehearsals and group performances, I

began to appreciate the synergistic effect that occurs when individuals come together to make

music.

The exchange of ideas, the shared sense of accomplishment, and the collective pursuit of

musical excellence created a dynamic learning environment that inspired and motivated me in
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ways that individual lessons never could. Through these group learning experiences, I gained a

newfound appreciation for the social and emotional dimensions of music education. I realized

that music is not just about mastering technical skills or achieving artistic proficiency; it's also

about building relationships, fostering community, and cultivating a sense of belonging. In

[insert his name here]'s djembe module, this sense of community and collaboration was

particularly evident. As we worked together to learn and perform rhythms as a group, I witnessed

firsthand the transformative impact of collective music-making on both individual learning

outcomes and group cohesion.

My experiences in EMU130 and other engagements at the Faculty of Music have also

significantly influenced my perceptions of teaching and learning music, particularly regarding

the notion of making teaching enjoyable. Initially, I held the belief that making teaching fun was

a challenging endeavour. However, my experiences have led me to recognize that the key lies in

two essential factors: relevance and efficiency. When the content being taught is directly relevant

and immediately applicable to students' careers, and when it is delivered efficiently, the learning

process naturally becomes enjoyable for both the student and the teacher.

In EMU130 and other courses, I have observed firsthand how instructors incorporate

relevant and practical content into their teaching, linking theoretical concepts to real-world

applications and professional practice. This approach not only enhances student engagement and

motivation but also underscores the practical utility of the knowledge being imparted.

Furthermore, by delivering the content efficiently and effectively, instructors create an

environment conducive to learning, where students can grasp complex concepts with ease and

confidence. This combination of relevance and efficiency transforms the learning experience into
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a dynamic and enjoyable journey, fostering a sense of excitement and enthusiasm among both

students and teachers alike.

In reflecting on my experiences, I have come to appreciate the profound impact that

effective teaching practices can have on student learning outcomes and overall engagement. By

prioritizing relevance and efficiency in teaching, educators have the power to inspire curiosity,

ignite passion, and cultivate a lifelong love for music in their students. Moving forward, I am

committed to integrating these principles into my own teaching practice, striving to create

meaningful and enjoyable learning experiences that empower students to reach their full

potential as musicians and lifelong learners.

My mirror, window, & sliding glass doors

My most obvious sliding glass door in EMU130 was the conducting module with

Professor AK. I thought I would not find it particularly interesting or fun, but that was not the

case at all. Professor A.K. could have chosen to teach the conducting module with us students in

our seats the whole time, only sight singing pieces she conducted and making remarks on the

techniques she taught us. However, in having students do the conducting in her place, she

managed to not only make the class far more interesting (seeing classmates conduct makes the

skill seem more attainable than when seeing our professor do so), but fortified and engrained in

us the knowledges we were taught in the class. It is hard to forget the basics of proper conducting

when you’re able to experience your mistakes and successes first-hand, in front of the class. The

cumulus of this experience allowed us to not only “look through the window” but also to step

through the door of the world of conducting.

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In my time at the University of Toronto, I always thought that all new forms of music

were easier to learn on my own. Take for example the djembe module with [insert prof name

here]. After classes, I often went into a practice room on my own and attempted to practice the

rhythms or general concepts that were taught in class. These practice sessions were often very

unproductive. No matter how much I tried to learn the rhythms it seemed unachievable. That

said, when class time came around, as soon as [insert prof name] taught the concept again in

class, I understood it almost immediately. I gained an even further understanding of the

teaching/learning concepts when they were used & exemplified with everyone in the class. This

allowed me to learn about the ways in which I personally learn the best, acting as a mirror for me

to use when I teach, and when I learn in other classes.

Learning the steel pan through P. Ketura gave me insight on 1. just how difficult the steel

pan is and 2. the learning process that Caribbean people undergo to be at such a high level of

steel pan performance is. Seeing how much movement is required to play the steel pan made me

realize why it is so fun to do, and hence made me realize why people are so passionate about it

and often play with so much passion and physicality - it’s because the steel pan in an instrument

that, by it’s nature, calls for such physicality, and demands a certain level of fun-having in order

to add emotion when playing. My encounters with the steel pan made me realize the intricate

relationship between culture and musical pedagogy (in any context). Our learning process for the

steelpan highlighted the connection that Caribbean musicians surely make between music and

identity. Our time in class with the steel pan allowed me to profoundly understand the

commitment and passion with which steel pan players approach their craft.

Advancing in my musical career

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Next Steps and Goals

My overarching objective is to expand my teaching horizons by diversifying the settings

in which I engage with students. In addition to my current roles in home-based and school-based

one-on-one instruction, I aspire to explore a broader array of teaching environments. This

includes opportunities to teach in community centers, music camps, and potentially through

online platforms. By venturing beyond familiar territory, I aim to immerse myself in new

contexts that offer distinct challenges and opportunities for growth. Embracing this diversity

promises to enrich my teaching practice and deepen my understanding of effective pedagogy

across varied settings.

Another key aspiration of mine is to investigate a spectrum of pedagogical methodologies

by engaging with schools that employ diverse teaching philosophies. While I have cultivated my

own teaching style through experience and reflection, I am eager to broaden my perspective by

exploring alternative approaches. This entails visiting schools with differing pedagogical

frameworks to observe firsthand how educators implement various teaching strategies. By

critically evaluating the alignment between these methodologies and my own teaching

philosophy, I seek to refine my instructional techniques and enhance my effectiveness as an

educator. This deliberate exploration of pedagogical diversity promises to inform and enrich my

professional practice, ultimately benefitting the students under my guidance.

One of the skills I’ll need in order to teach in diverse environments is

flexibility/adaptability. Teaching in various settings demands a high degree of flexibility and

adaptability. Educators must be adept at navigating unfamiliar environments, responding to

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unexpected challenges, and adjusting their teaching approach to suit the needs of diverse student

populations. For example, when I messed up in the djembe module class where I was leading the

class in a rhythmic progression, I had to think on my feet as per how to compensate for the

mistake; whether to stop and restart, continue, or individualize the section of the class that

misinterpreted me. Developing this skill requires cultivating resilience, resourcefulness, and a

willingness to embrace change. By actively seeking out opportunities to teach in different

environments and engaging with a variety of teaching contexts, educators can enhance their

ability to thrive in diverse educational settings.

Another skill I will need in order to teach in diverse environments is the ability to

understand different cultures. Through EMU130, I learned that effective teaching in diverse

environments hinges on a deep understanding of cultural diversity and sensitivity to the unique

backgrounds and experiences of students. Take for example P. Ketura’s steel pan module. She

was so (seemingly) effortlessly able to introduce an entirely non-Caribbean class about the steel

pan and the culture she knows surrounds it, her being Jamaican. Building cultural competence

involves ongoing self-reflection, humility, and a commitment to challenging implicit biases and

stereotypes. By creating inclusive learning environments that honour the cultural identities of all

students, educators can cultivate a sense of belonging and promote equitable access to education

for all.

Exploring different pedagogical approaches requires a critical and analytical mindset.

Educators must be able to evaluate the strengths and weaknesses of various teaching

methodologies, considering factors such as student engagement, learning outcomes, and

alignment with educational objectives. Developing critical thinking skills involves questioning
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assumptions, examining evidence, and weighing alternative perspectives to inform decision-

making. By engaging in reflective practice and seeking input from colleagues and mentors,

educators can refine their ability to critically evaluate pedagogical approaches and make

informed choices in their teaching practice.

Another for the exploration of different pedagogical approaches is

adaptability/flexability. Learning about different teaching methods is a collaborative endeavor

that benefits greatly from teamwork and networking with fellow educators. Building

relationships with colleagues who embrace diverse teaching philosophies allows educators to

exchange ideas, share resources, and learn from each other's experiences. Participating in

professional organizations, attending conferences, and joining online communities provide

valuable opportunities to connect with like-minded educators and access a wealth of knowledge

and expertise. By fostering a collaborative mindset and actively seeking out opportunities for

networking, educators can expand their horizons and enrich their teaching practice through

shared learning and collaboration.