tag:blogger.com,1999:blog-78807398858091532322024-03-08T02:48:03.764-06:00Music and Music EducationConsider this a public forum for all ideas related to music. I will post my ideas, ramblings, and plans on teaching based on my experiences and I welcome any comments and suggestions.
Enjoy!
Updates when I am inspired.Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-7880739885809153232.post-9916380114461166632009-03-28T23:25:00.002-05:002009-03-28T23:29:42.601-05:00Beat It! 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name="Bibliography"> <w:lsdexception locked="false" priority="39" qformat="true" name="TOC Heading"> </w:LatentStyles> </xml><![endif]--><style> <!-- /* Font Definitions */ @font-face {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:1; mso-generic-font-family:roman; mso-font-format:other; mso-font-pitch:variable; mso-font-signature:0 0 0 0 0 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman","serif"; mso-fareast-font-family:"Times New Roman";} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt;} @page Section1 {size:8.5in 11.0in; margin:.6in 1.0in .6in 1.0in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--><span style="font-style: italic;font-size:85%;" >This post is (as the title suggests) a more in-depth exploration of a concept i presented earlier, specifically in my post titled, <a href="http://edinmusic.blogspot.com/2006/12/secondary-general-music.html">"Secondary General Music Classes"</a>
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<br /></span></p><p class="MsoNormal" style="text-indent: 0.5in; line-height: 150%;font-family:lucida grande;"><span style="font-size:100%;">This class is designed to be accessible to anyone. It is designed to allow students to explore many different sounds and ways to make music. It is also designed to help students realize that music can be found anywhere. The students will use any items that can be obtained, including available percussion instruments, to create sounds by striking, dropping, or throwing them. As the semester progresses, the students will be required to write down their favorite ideas. Also during the semester, the students will watch other groups, on video and in person, that perform in this improvisatory style and/or found sound style to get some ideas. And at the end of the semester, the students will put on a performance without any musical notation. This performance could just be video taped for the class or could be in front of an audience, which would be decided by the class.<span style="line-height: 150%;font-size:10;" ><o:p></o:p></span></span></p> <p class="MsoNormal" style="text-indent: 0.5in; line-height: 150%;"><span style=";font-family:lucida grande;font-size:100%;" >The goals of this class would be to teach some basic notation. As the students start to need to write their ideas down, notation becomes a needed subject. Pitches would not be emphasized unless it becomes necessary. Students will also learn the basics of improvisation, as well as a beginning knowledge of the history of improvisation and it’s role in classical music. They learn to start with known rhythms, and then to create rhythms on the spot from a synthesis of their prior knowledge.
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<br /><span style="line-height: 150%;font-size:10;" ><o:p></o:p></span></p> <p class="MsoNormal" style="line-height: 150%;"><o:p> </o:p></p> <p class="MsoNormal"><b style="">Introduction </b><i style="">(Week One)<o:p></o:p></i></p> <p class="MsoNormal">What the course is about, and a preview of things to come.</p><p class="MsoNormal">
<br /></p> <p class="MsoNormal"><i style=""><o:p> </o:p></i></p> <p class="MsoNormal"><b style="">Beats and Rhythm </b><i style="">(Weeks Two, Three, & Four)<o:p></o:p></i></p> <p class="MsoNormal">Students will all be given sticks to begin experimenting with rhythms</p> <p class="MsoNormal">Students will also be encouraged to write down the rhythms that they find they like</p> <p class="MsoNormal">Students will also experiment in groups of twos and more in the same manner to discover</p> <p class="MsoNormal" style="text-indent: 0.5in;">the way rhythms interact with each other</p><p class="MsoNormal" style="text-indent: 0.5in;">
<br /></p> <p class="MsoNormal"><i style=""><o:p> </o:p></i></p> <p class="MsoNormal"><b style="">Found Sounds </b><i style="">(Weeks Five, Six, & Seven)<o:p></o:p></i></p> <p class="MsoNormal">Students will continue with the things in a like manner adding experimentation with </p> <p class="MsoNormal"><span style=""> </span>found sounds and incorporating the rhythms to work on “instrumentation”</p><p class="MsoNormal">
<br /></p> <p class="MsoNormal"><i style=""><o:p> </o:p></i></p> <p class="MsoNormal"><b style="">History in Practice </b><i style="">(Weeks Eight, Nine, Ten & Eleven)<o:p></o:p></i></p> <p class="MsoNormal">Continue with previous concepts and begin discussing history of improvisation</p><p class="MsoNormal">
<br /></p> <p class="MsoNormal"><i style=""><o:p> </o:p></i></p> <p class="MsoNormal"><b style="">Putting it Together </b><i style="">(Weeks Twelve, Thirteen, & Fourteen)<o:p></o:p></i></p> <p class="MsoNormal">Presentation of projects</p> <p class="MsoNormal">Continue working with improvisation</p><p class="MsoNormal">
<br /></p> <p class="MsoNormal"><i style=""><o:p> </o:p></i></p> <p class="MsoNormal"><b style="">Performance Planning </b><i style="">(Weeks Fifteen, Sixteen & Seventeen)<o:p></o:p></i></p> <p class="MsoNormal">Deciding what rhythms to use and what will be left open</p> <p class="MsoNormal">Who plays what</p> <p class="MsoNormal">What order to perform in</p><p class="MsoNormal">
<br /></p> <p class="MsoNormal"><i style=""><o:p> </o:p></i></p> <p class="MsoNormal"><b style="">Performance and Debriefing </b><i style="">(Week Eighteen)<o:p></o:p></i></p> <p class="MsoNormal">Video and audio recording of performance</p> <p class="MsoNormal">Talk about what was learned and the experience of spontaneous creation</p> Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.com0tag:blogger.com,1999:blog-7880739885809153232.post-732860877110949882009-03-01T23:43:00.006-06:002009-03-27T18:54:41.076-05:00Musical Blending<span style="font-size:85%;">In working with a show choir back-up band, I had the opportunity to view several shows, including a show choir from California. What I noticed was that the performances that I enjoyed most generally had music I recognized but arranged in a new and intriguing way, and having a Bachelors of Music Education I might be more prone to notice such things. Sometimes this was done with setting a song to a different style, and sometimes this was in taking two songs and blending them together. It got me thinking about why show choirs are doing this and not instrumental ensembles.<br /><br />The obvious answer is that it's easier to do this with vocal music because they are less complex, especially when working with contemporary or "radio music". But this the ease of something shouldn't determine whether it is done or not. This musical blending can help make instrumental music more accessible to the casual listener, while also engaging performers in new techniques and styles of performance. People are more likely to want to hear more if they recognize parts of the music, even if in a different setting than they are used to. And this musical blending can also work in reverse, by making "radio music" more accessible to those that might not normally listen to it.<br /><br />Marching bands have began integrating more modern dance into their body movements but still generally limit themselves musically. I have seen more and more break dancing and similar movements from the guard and sometimes the band breaking partially away from the "traditional" movements, but more is still needed. This isn't to say that their shows aren't enjoyable, but musical blending could bring a new level of performance energy and audience interaction to the shows.<br /><br />Bands and orchestras seem to be the least experimental when it comes to this idea of musical blending. In general these ensembles' range of musical experimentation extends to 21st century music and no further. Perhaps some of the blame falls on the composers who write for these ensembles, but it also falls on the directors for not seeking out new ways to reach not only their students, but their audiences. Musical blending allows an audience to connect with the music in different ways and encourages further exploration of all aspects of a musical world, while also pushing performers to learn new styles and techniques. It's time to start actively pushing at the envelope, thinking outside the box, and writing our own musical history. George Santayana said, "Those who cannot remember the past are condemned to repeat it," bet he didn't say we have to live in the past. Let's keep the past at our side, as we journey forward into our musical evolution.<br /></span>Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.com1tag:blogger.com,1999:blog-7880739885809153232.post-53914824362629929692009-02-21T19:26:00.001-06:002009-02-21T19:27:57.521-06:00Music Theory/CompositionThese two classes are generally taught in tandem, and at first glance it makes perfect sense. Without a good understanding of theory, complex compositions are difficult at best, and what better way to practice the theory you learn than to personally write music using the skills learned. This idea is good in practice but in teaching one half of the class thoroughly you will do so at expense at the other half. To teach music theory, you need to build from the bottom up, and to teach composition you should be able to assume a base understanding of music theory. So you either teach a full semester of music theory and cram an entire year’s worth of knowledge into that one semester, then do the same with composition. Or you split the class into two year long classes with a prerequisite to composition being one year in theory.<br /><br />All that said, theory courses are pretty straight forward. Generally they start with note reading, and work their way up to form and analysis. Composition courses are more difficult to organize. I think that composition should begin with melody lines. These lines should start in a single key, then progress to multiple keys, and finally to keyless and atonal. The second step should then be to compose a chord progression. The chord progression, just like the melody lines, should start in a single key, then progress to multiple keys and finally to keyless and atonal. Third, the young composers should begin to develop melody lines and chord progressions in tandem. It is important that they practice developing a melody line then a chordal accompaniment and vice versa in order to keep their minds flexible. Up to this point I would recommend using mostly block chords with minimal independent movement, except for suspensions and anticipations. The fourth phase would then be to begin to develop counter melodies and bass lines. Then moving into counter point and separate voicings and rhythms. <br /><br />The last stage of the composition class would be to begin composing for instrumental groups. Beginning with small groups of like instruments and progressing up to symphonic orchestras and beyond. Ideally the class would hear live as many compositions as possible. Having their compositions performed allows them to get feedback into things that are difficult for instruments to play, and things that are difficult to read. Sometimes we, as composers, forget about the performer as a person needing to read the music and thus don’t write the music in an easily read format. I have often found that after I write a piece of music I can re-bar and re-stem many measures to make it easier to read. Also, a performance reflection may provide insight into a what key the music should be in if certain accidentals appear consistently.Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.com0tag:blogger.com,1999:blog-7880739885809153232.post-78552192341977758042009-01-28T15:36:00.001-06:002009-01-28T15:39:09.846-06:00Essential<meta equiv="Content-Type" content="text/html; charset=utf-8"><meta name="ProgId" content="Word.Document"><meta name="Generator" content="Microsoft Word 12"><meta name="Originator" content="Microsoft Word 12"><link rel="File-List" href="file:///C:%5CDOCUME%7E1%5CCHRIST%7E1%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_filelist.xml"><!--[if gte mso 9]><xml> <o:officedocumentsettings> <o:relyonvml/> <o:allowpng/> </o:OfficeDocumentSettings> </xml><![endif]--><link rel="themeData" href="file:///C:%5CDOCUME%7E1%5CCHRIST%7E1%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_themedata.thmx"><link rel="colorSchemeMapping" href="file:///C:%5CDOCUME%7E1%5CCHRIST%7E1%5CLOCALS%7E1%5CTemp%5Cmsohtmlclip1%5C01%5Cclip_colorschememapping.xml"><!--[if gte mso 9]><xml> <w:worddocument> 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font-size:12.0pt; font-family:"Times New Roman","serif"; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-bidi-font-style:italic;} .MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:12.0pt; mso-ansi-font-size:12.0pt; mso-bidi-font-size:12.0pt; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-bidi-font-style:italic;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.0in 1.0in 1.0in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} </style> <![endif]--> <p class="MsoNormal" style="text-indent: 0.5in;">There are many attributes that make up a good teacher, but there are three that form the base of any good teacher.<span style=""> </span>These three are communication, planning, and flexibility.<span style=""> </span>Each of these are vital in order to be most effective as a teacher.<span style=""> </span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="text-indent: 0.5in;">Communication is used to keep administrators informed about classroom progress and needs.<span style=""> </span>If a teacher doesn’t communicate well, there is a chance that supplies won’t be received, rooms won’t be reserved, and events won’t be scheduled.<span style=""> </span>Communication is also used to inform parents about activities, schedules, and monetary needs.<span style=""> </span>Parents are vital to a program because they are ultimately responsible for ensuring a student gets where he/she needs to be, and if a parent isn’t kept informed, then the student is more likely to be absent.<span style=""> </span>Parental support is also easiest to earn when they understand the structure of a class and what is expected of a student.<span style=""> </span>Finally, communication is used to inform students of rules, expectations, assignments, and schedules.<span style=""> </span>Students function best when they understand what is going on and what is expected, thus clear communication is extremely important to student productivity.<span style=""> </span>In all these examples, a teacher is communication their plan to administrators, parents, and students.</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Planning is important for many of the same reasons that communication is important.<span style=""> </span>If a teacher doesn’t have a plan, they don’t know what materials they will need, when projects will be due, or when they will cover their curriculum.<span style=""> </span>Planning is very important because it allows a teacher to plot out weeks and even months ahead of time, which in turn allows them to communicate this to students, parents, and administrators.<span style=""> </span>Having a plan not only allows everyone around the teacher to know what is going on, but also helps a teacher to focus on what is relevant.<span style=""> </span>Without a plan, a teacher could start to discuss a topic, but end up on a tangent because they didn’t have a plan to follow.<span style=""> </span>Lastly, plans help teachers make sure they aren’t overloading the students with projects and tests.<span style=""> </span>This is important, because students will quickly burnout or give up if they are overloaded one week and have nothing the next.</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="text-indent: 0.5in;">Finally, the last essential quality in any teacher is flexibility.<span style=""> </span>This is arguably the most important of the three because most times things don’t go exactly as planned.<span style=""> </span>When something goes faster or slower than planned, a teacher needs to be able to adjust their lesson plans to accommodate a class that needs more time, or one that can take information than originally intended.<span style=""> </span>If certain materials aren’t available when a teachers plans for them, they need to be able to substitute other materials or change the plan around to accommodate this inconvenience.<span style=""> </span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal" style="text-indent: 0.5in;">The very best teachers use all three in tandem, making a plan that they communicate to all parties, then being flexible enough to change the plan, and communicating this change to all people involved.<span style=""> </span>Some teachers will even make a main plan that they communicate, but have several contingency plans ready in case things don’t go as planned.<span style=""> </span>These contingency plans are then communicated as needed.<span style=""> </span>A teacher without these three attributes may be able to survive, but they will be infinitely more effective if they practice all three.</p> Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.com0tag:blogger.com,1999:blog-7880739885809153232.post-22892214611558582512008-11-20T21:24:00.004-06:002008-11-20T21:41:00.811-06:00Approach to Teaching<span style="font-style: italic;">Should I be laid back or strict?</span><br /><br />This is a question that plagues upcoming teachers almost constantly. What I have seen happen a lot is a new teacher will be overly strict because they are new to this kind of control and assume everything should be done their way, then will wax to the extreme and be too laid back because they have gotten more comfortable. I myself am guilty of both approaches, and both approaches are wrong. This isn't to say that you can't be strict or laid back. In fact they can work great, depending on your environment and your personal temperament.<br /><br />When it comes to how you approach your teaching, it has to be what works for you. You will mimic others, because when you first start that is all you know. But as you teach keep yourself aware of what works when you do it, and what feel natural. If it feels forced or is ineffective, then odds are you need to try something else. While I was student teaching, my supervising teacher told me that he came from a school where the director was a "screamer." After he graduated he tried to imitate that style, but it didn't work. He told me that it just didn't work for him or the kids he taught. So he settled down and let his natural personality take over. Frankly, I was floored to hear that he could ever have been a screamer. In my dealings with him at the time, and especially now, you would never guess he could yell. He is very laid back and the kids respond to him because they know him and know what is acceptable without him having to yell and shout.<br /><br />I have found for myself that I too am not a screamer, but I am also not as laid back as my former supervising teacher is. If I had to place myself on a scale of 1 - 10, 1 being laid back and 10 being strict, I would have to say I'm a 7. I know how to be laid back and at times I will share a joke with the students, but mostly I like to get down to the business of making music. From my experiences I would say that most people fall between 3 and 7 on that scale. But as I learned in marching band .01 can make all the difference. So as you teach, don't try and fit the mold of someone else, and don't take what you learn in school as law. There are thousands of ways to teach and you have to try them all before you find the perfect on for you.Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.com0tag:blogger.com,1999:blog-7880739885809153232.post-28248182736003628012008-11-11T15:08:00.003-06:002008-11-11T15:42:48.059-06:00Marching Band vs. Concert Band MotivationI know that motivation in music isn't a new topic. In college, we talked about ways you can motivate students in general, how to motivate those who are reluctant, and how to maintain motivation in those already excited about music. Unfortunately these discussions were all academic only, as there was no way to really practice and see what works in a classroom setting for us. Of course, we had guest speakers who would come in and tell us what they do, about their failures and successes with motivating their students, but again it was academic to us as students because we were getting the information second hand. So this is my attempt at doing what every teacher and guest speaker has already done. My advice for anyone that reads this is to not this this or any other discussion on motivation in the classroom as a rule, but only as a tool. What works for some won't work for others, you have to keep trying new tools until you find the one that works for you.<br /><br />We (as a teaching community) attempt to motivate students for marching band and concert band in different ways. During concert band, the focus is on the musicality, phrasing, emotion, and/or story that fits with the piece. In essence, the motivation is in making a great performance for the students and letting others just enjoy our music making. But marching band we talk about things like GE, box placement, points, judges, and placing. Why is this? What is the real difference between marching band and concert band? My opinion is that the only difference is that marching band incorporates movement with the music. There are those that would disagree and say that there are other differences and that it is a completely different approach, and I don't argue that here, I am only stating my opinion. <br /><br />There are tons of articles about motivating students in music, and they all generally say the same thing, when music becomes about winning, it loses it's luster. Obviously that is a grossly ineffective paraphrase or a lot of well thought out articles, but that is the advice I have gleaned from those articles. And as a rule I completely agree. But something else you will see a lot is, you have to find what works with the students, and again I agree. I think the main focus of teaching music, both marching and concert, needs to be personal expression. In my teaching, I have noticed that the best performances are the ones that the students do, not for the parents or the judges, but for themselves. When the students invest a part of themselves into their performance, whether marching or sitting, then they enjoy the music more, and when a band, orchestra, choir, or any other group performs like that, an audience can feel it and responds to it. <br /><br />As teachers we are caught in the "contest mentality" for many reasons; administrative pressure, funding, enrollment, prestige, or any other external reason. And unfortunately, these reasons can't always just be ignored, but I don't believe they should be passed on to the students. As teachers, we are expected to try and win, but the best way to do that is to pick music and plan drill that can maximize a bands strengths, minimize a bands weaknesses, and still push the band. But even though we have thought of these things, the students focus needs to be on their performance. If a band goes out and does their best, no matter the score they have won. I have seen bands win a marching contest even though they didn't do their best. <br /><br />We can't control the judges, the points, the competition, or the circumstances at any performance. All we can control is ourselves. And when a band performs for themselves, to push themselves, then there is nothing else you can ask of them. No one else matters, and the judges will say what they will. If a band does their best and gets rewarded for that, then it becomes a bonus, but not the focus. And if a band goes out and performs their best and isn't rewarded for it, then the students can be content in the knowledge that they were better than last time, and nothing else matters.Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.com0tag:blogger.com,1999:blog-7880739885809153232.post-22317245434573655612006-12-18T22:49:00.002-06:002009-03-27T04:39:35.720-05:00Stress, Music, and ThoughtsIf our lives were easy would our music sound the same? Could a world without stress hear a requiem and be affected the same way that you and I are affected?<br /><br />One of the reasons I feel in love with music is because it allowed me to express my inner-most emotions without fear of being criticized. When I played a solo, I would relate each part of the music to a part of my life, making the music my own. More often than not, the best part of my performances were those that I could relate to times of extreme stress in my life, and the more real I could make each memory at the time of performance, the more effective the passage was. At the same time, the "sad" parts didn't feel right without the "happy" parts. You can't have one without the other, so the more pronounced you can make one, the more pronounced the other will become.<br /><br />Is this basic idea at the center of all music? A good composer can sit down write a piece of music without the spark of the inspired, but how much more effective is the music when the composer becomes intimately familiar with and develops a deep emotional connection to the music? As musicians and teachers, we often try to tell the students what the composer wanted and was thinking, but in reality, we can't know for sure. A composers thoughts on their music should merely be a guide, the first step on the journey of discovering the piece of music<br /><br />Music is a very personal experience and no piece of music will affect everyone the same. We have to look beyond what the composer was thinking and feeling and discover what the music means to us as individuals.<br /><br />Some people claim that older music is losing it's spark, that it has passed it's prime and we need new music for <span class="blsp-spelling-corrected" id="SPELLING_ERROR_0">today</span>. But I say that all we need to do is to pour ourselves into the "old music" and it becomes new. So when you listen to music, either classical or contemporary, do so with an open mind. There is musical value in everything from chant to rap. Anyone can complain about how music has changed, but it takes a true musician to find something <span class="blsp-spelling-corrected" id="SPELLING_ERROR_1">worthwhile</span> <span class="blsp-spelling-corrected" id="SPELLING_ERROR_2">every time</span> they turn on music.Christopher J. Simerman Jr.http://www.blogger.com/profile/08986365560884467282noreply@blogger.com3