Spotlight: Coronation Sound Bites

Sound Bites collage by Louise Campbell

Picture a large room: concrete floor, low tile ceiling, bare plaster walls, tables lined with stools, a wall of industrial fridges and an attached commercial kitchen. Imagine the accompanying sounds: hums, buzzes and the metallic clanks of a busy kitchen. Now imagine the same room filled with 100 or so kids eating lunch, anticipating going outside to play. The enthusiasm and efficiency of this room are laudable; the sound levels impressive. I’m excited to be Artist in Residence for Sound Bites, a School Hosts an Artist project aimed at reducing the noise level in this room, Coronation Elementary School’s cafeteria.

A school cafeteria is similar to a restaurant or a bar – there are a lot of people in an enclosed space, usually with a fair amount of background music and/or noise. People talk loudly so they can be heard by their friends, which means other people talk louder in turn. In brainstorming with science teacher and visual artist Shelly Sharp, we came up with the following focus questions:

“How does sound affect our well-being? What can we do as artists, students and adults to understand and positively impact sound quality and volume in the Coronation Elementary lunchroom?”

These questions fall perfectly into STEAM (Science, Technology, Engineering, Arts, Math), as sound touches on issues of awareness, self-expression, behaviour, group dynamics, acoustics, and more. Students had previously studied molecules and transfer of energy, so sound waves and acoustics built on their prior knowledge.

The following experiment uses a marble as a model for a sound wave to learn about reflection, absorption and dispersion of sound.

Materials:

    • marbles
    • 3 different materials of similar dimensions (e.g. wood, squishy foam, corrugated cardboard)
    • Tape measure

Experiment:

Place the materials against a wall. Mark a spot on the floor to shoot marbles from, keeping the distance between marble-shooter and materials consistent. Shoot the marble three times against each of the materials, letting the marble roll to a stop after it bounces off the material. Measure the distance of each shot and record. Depending on the age of your students, crunch the data as you see fit.

Discussion:

Ask students for observations:

      • How did the marble bounce off the materials?
      • What were the similarities and differences between the different materials? Why might this be the case?
      • How does this relate to:
        • the room you are currently in and how it sounds?
        • a quiet environment like a library?
        • a loud environment like a cafeteria?

This experiment gave us a great hands-on beginning to discussing sound. Next up, we’ll visit the cafeteria in Music class and take a listen…

Let me tell you a story…

Peter and the Wolf is a simple fairy tale – or is it so simple? Fairy tales come out of traditions and cultures from around the world. They tell stories about everyday life for purposes of entertainment and jokes to teaching life lessons, values, culture and history. Like all stories, who tells the story, who it is being told to, and where and why it is being told is just as important as the story itself. Big questions when presenting Peter and the Wolf to today’s kids! CLICK HERE for the pedagogical guide I authored for the Orchestre symphonique de Montréal on Peter and the Wolf, featuring ideas for games, cultural mediation, cross-curricular competencies and more…

Circle games

The last post posed the question: what strategies can be used in creative music to focus on exploring potential rather than mistakes? To use current ed and tech buzzwords, ‘fostering a growth mindset’ is my primary task, whether as an Artist in Schools or Community Music facilitator with participants of all ages. For new groups, I jump in with a musical way of saying hello. A circle game, it’s really saying ‘hello… helloo… hellooo…ellooo…llooooo….’

Circle games are based on the simple musical principles of repetition and variation. First, form a circle. Then, play repeat-after-me: I make a sound and everyone repeats it as a group. The task is not exact repetition of the leader. Rather, the task is to make a sound similar to the leader. Start with simple sounds. Throw in a few silly ones for good measure. Laughter keeps things light, stretches peoples’ ears and ideas of ‘what goes’, and shifts focus from ‘right-wrong’ to simply playing with sound.

Once everyone is comfortable and knows what to do, you’re ready for a circle game. Here is a simple one:

Circle Games, by Louise Campbell

Sit or stand in a circle. One person makes a sound for the length of one breath. When you hear the person to your left make a sound, add your sound to theirs, imitating their sound in your own way.

This circle game is a great way to encourage listening. I’ve been in circles of 3 people to 60 people, featuring standard instrumentations to chaotic mixes of whatever people brought or could find. The magic happens when everyone is listening and playful and the circle takes on it’s own sound and rhythm. Now that you’ve said hello, the next post will feature suggestions for in-depth conversations in sound.

 

 

 

Notes from Knitting Lessons

‘If you make a mistake, do it twice. Then people think you did it on purpose. They won’t be any the wiser if you don’t tell them!’

Photo credit: Ben Hosking

This was my Nana’s advice when she was teaching me how to knit, one of the most awkward things I have ever learned. Combined with my penchant for following the gist of the instructions rather than actually following them, Nana and I had many mirth-filled knitting sessions turning mistakes into ‘design features’. Her words came back to me when I was recording a sketch of an open score for a friend and colleague. They apply beautifully to making creative music with amateurs.

Whether it’s knitting or making music, I prefer clear global direction to excruciating detail. Because of this, I write open scores that allow for a lot of wiggle room. This is a bonus when playing with loopers, because every loop comes out a little (or a lot) differently. When I sat down to record a sketch for my colleague, I had a plan – sections with pitch choices and processes for each.

And… recording!

Sketch for Knitting Lessons, for clarinet and loop station

Everything is going swimmingly until:

ME TO MYSELF: Bah. I made a mistake. (listens to 1:55 for a few loops and remembers Nana’s knitting advice)

Hmmm, actually that’s not bad, kind of foreshadows what I’m gonna do later.(continues process for section, building new loop)

Now to work in that mistake… (plays footsie with loopers 2:35-2:50)

… yeah, cool, that works…

Whoops! I didn’t mean that. (listens to new ‘mistake’ at 2:50)

Actually that’s pretty cool. I wonder if I can use that… (follows process to end)

If there is anything looping has taught me, it’s that unintended events are just as interesting, and sometimes more interesting, than intentional events. The two ‘mistakes’ in this recording were unintentional, but they became ‘design features’ to the point that they are now part of the final score. If I had stopped when I made the first mistake, I would never have found out where it would lead me.

That’s how Nana’s knitting advice applies to creative music making with amateurs. The greatest block to creativity and flow is right-wrong thinking. Sometimes mistakes are mistakes, in which case it is important to address the causes (just found where that pesky distortion sizzle came from…). More importantly, what strategies can be used to set up a creative music activity where right-wrong thinking doesn’t apply and mistakes are viewed as potential? More thoughts on that in the next blog posts. Welcome back to the new season and school year, everyone!