MIDI LAGU POP MANADO 2016 MOVIES DRIVER
I'm Beau, and I am the owner, designer, operator, salesperson, janitor, folder, quality controller, web builder, and delivery driver for Tee See Tee. This necessitates a reconsideration of the received relation between sociolinguistics and language education policy, and requires that calls for change take a different tack.Hi. Consequently many calls for change may underestimate the difficulties of policy implementation, exaggerate their own effects, and overstate their critical character. This chapter argues that while such calls are pedagogically exciting and justified on principle, a significant number of them reproduce some of the main assumptions behind the policies that they denunciate, or invite problems of their own. Much scholarly work has been successfully problematizing this friction, producing an avalanche of criticism and ample calls for a change in schools’ approach to pupils’ primary linguistic skills and mixed language use. But certainly in urban, non-elite schools, where pupils’ linguistic diversity is pronounced, their fixation on language separation and multi-monolingualism produces salient sites of linguistic friction.
Language education policies are pivotal in nation-states’ negotiation of a globalizing economy and a diversifying population. Speaking from my perspective as a teacher, they represent a new promise of freedom: never before have the materials of music been so pliable, touchable, easy to understand and access. To the composer in me, these technologies represent an opportunity to expand my creative vocabulary with pure magic: to capture any sound and turn it into music that is meaningful to conjure up ghosts of the past to bend space and time to hold the air.
At the time of writing, these literacies can include skills associated with multitrack recording and production using digital audio workstations, MIDI sequencing, audio editing, sound design, synthesis, sampling, looping, triggering, live sequencing, coding, controlling music and sound with interfaces and apps, instrument and effect building, app development, hacking and circuit bending, mixing, remixing, and mashing up, score typesetting, publishing, broadcasting, and contributing knowledge and expertise to online communities of practice. The proliferation of digital applications, computerization, and online connectedness has given rise to a diverse and evolving collection of practices or “literacies” that are advantageous skills for creative musicians working in commercial and contemporary new music scenes to possess (Durant, 1990 Hugill, 2012). As a composer, I am completely enchanted and continually inspired by the way new music technology applications so readily challenge my own understanding of what music is and can be. (Music technology resides not in the field of music only but also in the fields of media science, technology, and society electronics and computer science.) Finally, it grants music creators agency and control of their works (Taylor, 2014). It sometimes requires interdisciplinary and collaborative approaches to bring projects, artworks, and products to fruition.
It is creating musical and sonic possibilities that transcend the facilities of traditional music notation and analysis. Technology has and is transforming our language around music content and consumption (“I streamed a podcast of glitchcore mashups, reblogged it and gave it a ‘like’ ”). Music technologies can lead us to a transformation of perceptions and the reinvention and refinement of our processes- from the way we see, interact with, and understand the materials of sound and music to the way we learn new skills, communicate, and share with each other, the way we represent ourselves to the world as music creators and professionals, and especially, the way we teach.
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