In the night or the early morning when all the other Tuckers are asleep, I often awaken wanting to read or exercise or watch an old show or write music or write a blog or simply go out on the front porch, provided the weather permits, and watch the stars or listen to the sounds of the darkness, or get a drink of water. I then reach for my glasses, roll out of bed very carefully so as not to disturb my wife, and begin my trek through the maze, the obstacle course, toward the kitchen, hoping to reach the small light under the cabinets that will permit me an unimpeded reach toward a glass. But my hopes are usually in vain, for inevitably something is in the way.
It could be the piano which has not moved an inch in nearly 10 years, or the rug which is very low to the ground, or perhaps the coffee table, or the little rocking chair, or maybe a Yahtzee game or maybe the television remote or a piece of candy. Whatever it is, whether soft or hard, I somehow hurt my toe everytime, and it is not fun.
When I was growing and would hurt my toe on an object, my dad would always say, "Ouch, you stubbed your toe." The word stub is usually used as a noun, but can be an intransitive verb meaning "to strike accidentally against a small object" (http://dictionary.reference.com/browse/stub). So my dad's usage of the word stub was correct, and it is always nice to learn a new word, but it did not change the pain of the situation and in fact sort of exacerbated it in the way that all dads seem to frustrate their children at times with brutally honest statements. Yes, Dad, I stubbed my toe and yes it hurts and yes I feel very dumb not to mention the throbbing pain in my toe.
Now, you would think that the whole stubbing of the toe problem would disappear as a person matures. For example, I no longer have acne the way I did when a teenager, and I no longer have loose teeth (loose hair, yes, but not loose teeth). I have outgrown many negative behaviors and no longer run everywhere I go (okay, I do walk briskly). So why can I not outgrow this stubbing toe problem? Could it be I have long toes? Or could it be that I am simply clumsy? Or just not very careful? Or have I always insisted on trying to walk in the darkness?
But I have decided to solve the problem in this way: house shoes. I will not walk around in bare feet again since I have received house shoes as a Christmas gift. I now awaken, reach for my glasses, roll out of bed, put the house shoes on, and walk gracefully to kitchen without screaming in agony. Stamp out stubbed toes I say. Happy New Year to pain free toe existence.
Wednesday, December 31, 2008
Tuesday, December 30, 2008
It's all about the harmony
Please excuse the limited inclusiveness of this blog as I pontificate on harmony in music. Most musicians are drawn to some particular element of music be it rhythm, sound, melody, bass, instrument timbre, text, volume, or tempo. As musicians become more trained in these elements, they inevitably become more selective and more knowledgeable about how the elements operate congruently in a piece of music. Yet, it seems that knowledge, education, and training do not necessarily alter one's preference for music, or one's attraction to a specific element. Since preference rarely is fastidious, it is probably stretching to say one's attraction to a single element is solely responsible for one's judgment or criterion for excellence. But for the sake of clarity, I am merely explaining how I hear music.
I am always curious as to what element is most fascinating or preferred in people's attraction to music. I have a friend who tends to judge music, at least initially, based on the vocal quality of the singer. When the singer has a harsh, strained quality regardless of the style of the music, whether country, rock, Christian, art, or folk, my friend simply rejects it outright. His initial reaction is negative due to the painful vocal quality being presented. Another friend is a text guru. He seeks out quality poetry and relates the internal qualities of the text to the performance of the music, being emotionally and musically satisfied when the music matches the text, and being less sanguine when the music is not well matched with the text.
I know people who are attracted to slower music with smooth, non-percussive timbres, still others who prefer a clean presentation such as found in cultivated chamber music or solo sonatas. Melody is always an attraction and many are drawn to how a melody is shaped and what it means. Rhythm and/or the beat is yet another element that elicits strong reactions and in fact tends to govern the popular world of rock and country/western music. Of course this discussion of preference and musical responses is unending with the parameters being limited to the number of people on the planet. It is further complicated by the setting in which particular music resides. At a formal church service, some people prefer certain elements over others that may be found at an athletic event or a dance. Yes, this is a complex issue, that's for sure!
But for me, given my personality, learning style, priorities, and training, I am comfortable assessing music through its harmony. This is not to say that I reject melody, for melody is what I remember more than anything else; and this is not to say that I think rhythm is not important, for rhythm is what pushes music forward, giving it the energy, drive, and passion we seek for an emotional experience. But at the end of the day (I can't believe I just used this worn-out cliche'. I won't ever use it again, promise!), I love the harmony of the music. I am thrilled by the music that goes beyond three or four chords, music that shifts in and out of the key, music that has chromatic alterations, and music that experiments with new land, explores, examines, and teases, but then returns to the origins of the piece.
Because of my interest in harmony, I find myself fascinated with certain composers over others, and certain genres over others, and certain sounds over others. This makes my musical world of preferences a little elite at times but also fairly accepting of variety within the parameters of my harmonic world. In this world, I tend to compare the music of Vivaldi with its limited harmonic interest to the music often found in modern praise choruses. I also tend to reject the less innovative composers in favor of those who tried new and creative harmonic alterations.
So by my oddly narrow definition of excellence based on harmony and its creative application, in the area of art music, I am less interested in the music of Vivaldi, Haydn, Schubert, Mendelssohn, Dvorak, and Verdi than I am in Bach, Mozart, Beethoven, Schumann, Wagner, and Brahms. In jazz, I prefer Duke Ellington over Count Basie and Chick Corea over Dave Brubeck. I like show tunes more than rock music, but in rock music I prefer Stevie Wonder and Chicago over Paul McCartney and the Bee Gees. Using my evaluative system of examining harmony, Lead On, O King Eternal is a stronger hymn that Leaning on the Everlasting Arms. Of course, I tend to like whatever I am hearing or studying at the time, so it is difficult to remain consistent, but in general I prefer music with harmonic interest over music that is simplistic. This makes for a rocky musical existence in that I have to know something about the harmony before passing judgment, but one which is fun and different. Ah, to be different, perhaps that is the preference!
I am always curious as to what element is most fascinating or preferred in people's attraction to music. I have a friend who tends to judge music, at least initially, based on the vocal quality of the singer. When the singer has a harsh, strained quality regardless of the style of the music, whether country, rock, Christian, art, or folk, my friend simply rejects it outright. His initial reaction is negative due to the painful vocal quality being presented. Another friend is a text guru. He seeks out quality poetry and relates the internal qualities of the text to the performance of the music, being emotionally and musically satisfied when the music matches the text, and being less sanguine when the music is not well matched with the text.
I know people who are attracted to slower music with smooth, non-percussive timbres, still others who prefer a clean presentation such as found in cultivated chamber music or solo sonatas. Melody is always an attraction and many are drawn to how a melody is shaped and what it means. Rhythm and/or the beat is yet another element that elicits strong reactions and in fact tends to govern the popular world of rock and country/western music. Of course this discussion of preference and musical responses is unending with the parameters being limited to the number of people on the planet. It is further complicated by the setting in which particular music resides. At a formal church service, some people prefer certain elements over others that may be found at an athletic event or a dance. Yes, this is a complex issue, that's for sure!
But for me, given my personality, learning style, priorities, and training, I am comfortable assessing music through its harmony. This is not to say that I reject melody, for melody is what I remember more than anything else; and this is not to say that I think rhythm is not important, for rhythm is what pushes music forward, giving it the energy, drive, and passion we seek for an emotional experience. But at the end of the day (I can't believe I just used this worn-out cliche'. I won't ever use it again, promise!), I love the harmony of the music. I am thrilled by the music that goes beyond three or four chords, music that shifts in and out of the key, music that has chromatic alterations, and music that experiments with new land, explores, examines, and teases, but then returns to the origins of the piece.
Because of my interest in harmony, I find myself fascinated with certain composers over others, and certain genres over others, and certain sounds over others. This makes my musical world of preferences a little elite at times but also fairly accepting of variety within the parameters of my harmonic world. In this world, I tend to compare the music of Vivaldi with its limited harmonic interest to the music often found in modern praise choruses. I also tend to reject the less innovative composers in favor of those who tried new and creative harmonic alterations.
So by my oddly narrow definition of excellence based on harmony and its creative application, in the area of art music, I am less interested in the music of Vivaldi, Haydn, Schubert, Mendelssohn, Dvorak, and Verdi than I am in Bach, Mozart, Beethoven, Schumann, Wagner, and Brahms. In jazz, I prefer Duke Ellington over Count Basie and Chick Corea over Dave Brubeck. I like show tunes more than rock music, but in rock music I prefer Stevie Wonder and Chicago over Paul McCartney and the Bee Gees. Using my evaluative system of examining harmony, Lead On, O King Eternal is a stronger hymn that Leaning on the Everlasting Arms. Of course, I tend to like whatever I am hearing or studying at the time, so it is difficult to remain consistent, but in general I prefer music with harmonic interest over music that is simplistic. This makes for a rocky musical existence in that I have to know something about the harmony before passing judgment, but one which is fun and different. Ah, to be different, perhaps that is the preference!
Monday, December 29, 2008
Autism and Cell Phones, Pt. II
After writing the blog on Autism and Cell Phones I discovered the same title had been used for an entirely different purpose. To that end, I am writing a follow-up addressing the same topic but for a new reason, the reason being that I do not believe that cell phones are causing a rise in autism in our culture as proposed by many. The argument in favor of such posturing is that autism increased at approximately the same rate and at the same time we saw a rise in cell phone usage http://www.internalbalance.com/CELL%20PHONE%20USE%20AND%20AUTISM%20RESEARCH.htm
I am not a scientist and have little to substantiate my beliefs other than years of study of findings plus many years of searching for causes as well as cures for autism. We have examined pollutants, allergies, enzymes, food, weather, animals, vitamins and minerals, water, medicines and homeopathy, and experimented with all known forms of cures that are within our limited budget. Obviously there are other cures outside of our resources that we are still considering. Yet with the thousands of suggestions for causes and cures, and much research, and devotion to the problem, and absolute commitment to finding a cure, much of, but not all of, autism remains a mystery.
Not that I am suggesting we give up. No, in fact, I continue to hope and pray for the magic dust that will fix all of the problems with autism and autistic students. Some of the mystery, indeed, involves the proliferation of autism or at least the identification of children with that particular disability over the last ten years, matching that of the rise of the cell phone. During the last ten years we have also seen the decline of the base stealer in baseball, an awareness of steriod use in sports, the rise of the mp3 player, an increase in Starbucks coffee houses, an increase in body piercings, the stunning success of google, and the spectacular popularity of pre-teen idol Hannah Montana. All this to say that any extended period of time usually demonstrates a marked ebb and flow of ideas, people, objects, inventions, events, and circumstances. It is possible and in some cases likely that such growth in one is related to or even causes another or that a decline leads to a rise in something else. But it is also just as likely the events are totally unrelated.
I have no irrefutable proof for what I believe and only time with careful data will determine the truth, but for now I will stand firm that cell phones are not causing autism, and to think such a thing, detracts from where the truth will be found. The truth to the causes and cure for autism will be found in the DNA, from the millions of strands being studied at this very moment, in the thousands of laboratories across the country, by the scientists and mathematicians looking for the abnormality we know as autism. Meanwhile, parents and physicians continue to try different approaches to help--and virtually every technique is beneficial.
Good nutrition, vitamins, breathing, therapy, behavior techniques, more sleep, order, quiet, organization, and deliberation, are all appropriate and productive in helping the autistic. And no doubt allergies, pollutants, stress, disease, and various other problems have contributed to the increase in Autism. Yet there is also no doubt we are identifying the disability, which has become quite broad in scope, earlier and more accurately, in an effort to help these children adapt better in an educational environment.
Back to our issue: Is it possible cell phones with their electromagnetic radiation have added to the rise of autism? I suppose it is possible. Is it likely? I think not. Meanwhile, let's continue to help the disabled and let's continue to search for a cure. Until that time occurs, however, we should avoid blaming outside sources for this problem and focus our attentions on improvement.
I am not a scientist and have little to substantiate my beliefs other than years of study of findings plus many years of searching for causes as well as cures for autism. We have examined pollutants, allergies, enzymes, food, weather, animals, vitamins and minerals, water, medicines and homeopathy, and experimented with all known forms of cures that are within our limited budget. Obviously there are other cures outside of our resources that we are still considering. Yet with the thousands of suggestions for causes and cures, and much research, and devotion to the problem, and absolute commitment to finding a cure, much of, but not all of, autism remains a mystery.
Not that I am suggesting we give up. No, in fact, I continue to hope and pray for the magic dust that will fix all of the problems with autism and autistic students. Some of the mystery, indeed, involves the proliferation of autism or at least the identification of children with that particular disability over the last ten years, matching that of the rise of the cell phone. During the last ten years we have also seen the decline of the base stealer in baseball, an awareness of steriod use in sports, the rise of the mp3 player, an increase in Starbucks coffee houses, an increase in body piercings, the stunning success of google, and the spectacular popularity of pre-teen idol Hannah Montana. All this to say that any extended period of time usually demonstrates a marked ebb and flow of ideas, people, objects, inventions, events, and circumstances. It is possible and in some cases likely that such growth in one is related to or even causes another or that a decline leads to a rise in something else. But it is also just as likely the events are totally unrelated.
I have no irrefutable proof for what I believe and only time with careful data will determine the truth, but for now I will stand firm that cell phones are not causing autism, and to think such a thing, detracts from where the truth will be found. The truth to the causes and cure for autism will be found in the DNA, from the millions of strands being studied at this very moment, in the thousands of laboratories across the country, by the scientists and mathematicians looking for the abnormality we know as autism. Meanwhile, parents and physicians continue to try different approaches to help--and virtually every technique is beneficial.
Good nutrition, vitamins, breathing, therapy, behavior techniques, more sleep, order, quiet, organization, and deliberation, are all appropriate and productive in helping the autistic. And no doubt allergies, pollutants, stress, disease, and various other problems have contributed to the increase in Autism. Yet there is also no doubt we are identifying the disability, which has become quite broad in scope, earlier and more accurately, in an effort to help these children adapt better in an educational environment.
Back to our issue: Is it possible cell phones with their electromagnetic radiation have added to the rise of autism? I suppose it is possible. Is it likely? I think not. Meanwhile, let's continue to help the disabled and let's continue to search for a cure. Until that time occurs, however, we should avoid blaming outside sources for this problem and focus our attentions on improvement.
Saturday, December 27, 2008
Autism and Homework
Now that school is over for our autistic son, I would like to give some helpful hints to parents and teachers about ideas to help the educational process.
Homework assigned to students will always be a controversial topic in education especially given the schedules that many students keep after school, but also the pressure to keep standardized test scores at a high rate causes schools to remain committed to constant improvement. While a certain degree of homework can supplement the in school process or, in the case of students unable to complete assigned work during the day, homework can keep slower students caught up, it can also be a great burden to both the student and the parents. When homework causes serious emotional duress and becomes a time-consuming project to the exclusion of family time, personal endeavors, or positive support, then the gain is actually a loss, a bear market with little hope for a rebound. This is often the case with autistic students.
Autism is a difficult disability to define partly due to its complexity and diversity, and partly due to the often accompanying disabilities such as speech problems, reading disorders, behavior problems, and various learning challenges. Since these problems may or may not attend during the day, it should come as no surprise when a teacher assigns work to be done at home, assuming the student would benefit from the supplemental learning experience or stay caught up on the work required. But, sadly, unless the instructions are very explicit, and unless the required work is prepared to accommodate the disability, most likely the homework will take several hours and be a combined effort, or combined torture, of student and parent.
Educating the autistic, as has been discussed in earlier entries, requires a thorough and precise process to include modeling, pictures, limited sequencing, and opportunities for practice. While homework can include these elements, most likely, unless the teacher has provided some of this, and unless the parent has received the proper training, the homework will be missing some these necessary ingredients for success, making it a hardship for everyone and most likely a moving target for any kind of winning benefit. This probably becomes compounded as the autistic student progresses through the grade levels, and in having several teachers and several subjects, all of which are committed to the finest in education for all students. It then becomes a difficult arena for even the most advanced student to deal with 5 or 6 different homework expectations, with the difficulty multiplied several times for the autistic and his parents.
So how do we solve this problem? We do not necessarily advocate zero homework, for there is no question that study time and supplemental work can be constructive when handled judiciously. And we certainly do not advocate lower expectations in the classroom, for many autistic students can learn at or sometimes beyond that of other students. But the system has to be different from the norm, with great preparation, and exact deliberation of presentation, allowing for time, minimal distractions, and fewer problems on each page. Mostly, it is necessary to provide a thorough education to teachers and parents that will prevent any kind of stressful home situation including excess homework time, emotional strain, and negative educational dividends.
To teachers I suggest coordinating the homework assignments with the other teachers to prevent too many subjects being dealt with at home. This may require a bit of centralization through the system but is definitely worth the challenge. I also recommend that when homework is necessary, the teacher give very specific instructions as to the expectation, including minor recommendations such as pencil or pen or time suggestions. Furthermore, make sure that no homework assignment would take more than 30 minutes. Remember a rule of thumb of doubling the time: a 30 minute assignment will probably take an autistic student 60 minutes.
To the parent, don't allow the total homework to exceed 60 minutes and 30 minutes is much preferred. Avoid any kind of emotional duress or excess tension during the process. Help your child to think critically by encouraging the responses rather than providing the answers for him. Remember that our goal is independence,with the ability to make informed, responsible decisions. Mostly, remain committed to the educational process, knowing that teachers and schools have the best interest of the student at heart, but also be firm in your convictions to develop a healthy, loving, and patient environment both at school and at home.
Homework assigned to students will always be a controversial topic in education especially given the schedules that many students keep after school, but also the pressure to keep standardized test scores at a high rate causes schools to remain committed to constant improvement. While a certain degree of homework can supplement the in school process or, in the case of students unable to complete assigned work during the day, homework can keep slower students caught up, it can also be a great burden to both the student and the parents. When homework causes serious emotional duress and becomes a time-consuming project to the exclusion of family time, personal endeavors, or positive support, then the gain is actually a loss, a bear market with little hope for a rebound. This is often the case with autistic students.
Autism is a difficult disability to define partly due to its complexity and diversity, and partly due to the often accompanying disabilities such as speech problems, reading disorders, behavior problems, and various learning challenges. Since these problems may or may not attend during the day, it should come as no surprise when a teacher assigns work to be done at home, assuming the student would benefit from the supplemental learning experience or stay caught up on the work required. But, sadly, unless the instructions are very explicit, and unless the required work is prepared to accommodate the disability, most likely the homework will take several hours and be a combined effort, or combined torture, of student and parent.
Educating the autistic, as has been discussed in earlier entries, requires a thorough and precise process to include modeling, pictures, limited sequencing, and opportunities for practice. While homework can include these elements, most likely, unless the teacher has provided some of this, and unless the parent has received the proper training, the homework will be missing some these necessary ingredients for success, making it a hardship for everyone and most likely a moving target for any kind of winning benefit. This probably becomes compounded as the autistic student progresses through the grade levels, and in having several teachers and several subjects, all of which are committed to the finest in education for all students. It then becomes a difficult arena for even the most advanced student to deal with 5 or 6 different homework expectations, with the difficulty multiplied several times for the autistic and his parents.
So how do we solve this problem? We do not necessarily advocate zero homework, for there is no question that study time and supplemental work can be constructive when handled judiciously. And we certainly do not advocate lower expectations in the classroom, for many autistic students can learn at or sometimes beyond that of other students. But the system has to be different from the norm, with great preparation, and exact deliberation of presentation, allowing for time, minimal distractions, and fewer problems on each page. Mostly, it is necessary to provide a thorough education to teachers and parents that will prevent any kind of stressful home situation including excess homework time, emotional strain, and negative educational dividends.
To teachers I suggest coordinating the homework assignments with the other teachers to prevent too many subjects being dealt with at home. This may require a bit of centralization through the system but is definitely worth the challenge. I also recommend that when homework is necessary, the teacher give very specific instructions as to the expectation, including minor recommendations such as pencil or pen or time suggestions. Furthermore, make sure that no homework assignment would take more than 30 minutes. Remember a rule of thumb of doubling the time: a 30 minute assignment will probably take an autistic student 60 minutes.
To the parent, don't allow the total homework to exceed 60 minutes and 30 minutes is much preferred. Avoid any kind of emotional duress or excess tension during the process. Help your child to think critically by encouraging the responses rather than providing the answers for him. Remember that our goal is independence,with the ability to make informed, responsible decisions. Mostly, remain committed to the educational process, knowing that teachers and schools have the best interest of the student at heart, but also be firm in your convictions to develop a healthy, loving, and patient environment both at school and at home.
Autism and Cell Phones
It was with some reservation and curiosity that we finally purchased our 19 year old autistic son a cell phone this Christmas. Our reservations were primarily based on his ability to manipulate the sequence and order required to make and answer calls, to set up contacts, and to send text messages, plus the responsibility of keeping up with it. But the need to have ease of communication, knowing where he is, and giving him a sense of security, all added up to his having a cell phone. I went to the cell phone store to pick one out with the typical concerns of price, size, style, color, screen, and all those things that make each phone unique. After a confusing 30 minutes of a salesman explaining the differences, I landed on a little flip phone with a choice of red, black, or blue. Settling on the blue one and picking the contract system for the next year, I took it home and gift wrapped it (okay, my wife actually wrapped it), and placed it under the tree.
Christmas morning he opened it up and with his typical stoic reaction, said thank you and proceeded to some other gifts. After all was done, I turned to Joel and asked him if he liked his new cell phone. He of course said yes and in his customary, understated manner mentioned that he liked all his gifts equally and was glad it was Christmas. I knew I would need to show him some things about the phone but wasn't entirely sure how to go about teaching him the basics. Luckily, his younger brother who is 16 decided to take it on himself to teach Joel. Remember that virtually every behavior and action must be taught to autistics. This is due to their lack of perception of social behavior and their general lack of creative curiosity. In addition, while they enjoy new things, they usually do not have an innate desire to explore and discover, or at least the knowledge needed for such endeavors.
But Joel's brother, Jordan, jumped in and created family contacts plus a few friends, taught him how to answer the phone, and taught him how to send a text message. I then showed Joel how to place the phone in the holster and how to attach it to the belt. He now walks around with his phone on his side, wearing a tie, and a slight swagger, with a kind of pride demonstrating that he has arrived in the world! When we call him or send him a message, he is a bit slow at responding but in his cautious way, does get the job done.
I realize now that given the right instructions, the right circumstances, and mostly lots of patience, Joel can learn how to navigate through a cell phone. I also recognize how much security this gives him and mostly us as we prepare him for the working world. If he will keep it with him, we will always know where he is and how is doing. At the same time, it is also our continued goal and responsibility to help him be as independent as possible and make his own decisions. The cell phone is an ideal way for us to monitor his activities a little, yet give him room to make his own mistakes and his own successes. But we are only a call away from helping him if he is in a predicament, or lost, or frightened. Obviously, more teaching of when to use it is needed, but in general my comfort level about this new item for Joel is quite high.
In conclusion, I believe that autistic adults need and deserve a cell phone, but they also need careful teaching on appropriate usage. Mostly, autistic adults and children must have someone or many someone's who love and care about them. Sometimes loving and caring takes the form of allowing effort and encouraging independence. In our case, the cell phone just may be the right tool for this delicate yet joyful balance.
Christmas morning he opened it up and with his typical stoic reaction, said thank you and proceeded to some other gifts. After all was done, I turned to Joel and asked him if he liked his new cell phone. He of course said yes and in his customary, understated manner mentioned that he liked all his gifts equally and was glad it was Christmas. I knew I would need to show him some things about the phone but wasn't entirely sure how to go about teaching him the basics. Luckily, his younger brother who is 16 decided to take it on himself to teach Joel. Remember that virtually every behavior and action must be taught to autistics. This is due to their lack of perception of social behavior and their general lack of creative curiosity. In addition, while they enjoy new things, they usually do not have an innate desire to explore and discover, or at least the knowledge needed for such endeavors.
But Joel's brother, Jordan, jumped in and created family contacts plus a few friends, taught him how to answer the phone, and taught him how to send a text message. I then showed Joel how to place the phone in the holster and how to attach it to the belt. He now walks around with his phone on his side, wearing a tie, and a slight swagger, with a kind of pride demonstrating that he has arrived in the world! When we call him or send him a message, he is a bit slow at responding but in his cautious way, does get the job done.
I realize now that given the right instructions, the right circumstances, and mostly lots of patience, Joel can learn how to navigate through a cell phone. I also recognize how much security this gives him and mostly us as we prepare him for the working world. If he will keep it with him, we will always know where he is and how is doing. At the same time, it is also our continued goal and responsibility to help him be as independent as possible and make his own decisions. The cell phone is an ideal way for us to monitor his activities a little, yet give him room to make his own mistakes and his own successes. But we are only a call away from helping him if he is in a predicament, or lost, or frightened. Obviously, more teaching of when to use it is needed, but in general my comfort level about this new item for Joel is quite high.
In conclusion, I believe that autistic adults need and deserve a cell phone, but they also need careful teaching on appropriate usage. Mostly, autistic adults and children must have someone or many someone's who love and care about them. Sometimes loving and caring takes the form of allowing effort and encouraging independence. In our case, the cell phone just may be the right tool for this delicate yet joyful balance.
Monday, December 22, 2008
The Joys of the Beginning Band
Having taught music to all ages of students including older adults and small children, and having taught every type of music from folk songs to rock, sacred, contemporary, art, experimental, and having used a wide variety of resources including theory, history, recordings, power point, visual aid, and models of excellence, and having been personally rewarded with watching and hearing success in terms of love of music and enjoyment of the musical experience, plus being involved in choral, instrumental, academic, and popular styles, I am concluding that of all these events, the greatest and most rewarding teaching occurs when guiding and directing a beginning band. Furthermore, beginning band epitomizes the value, purpose, and process of education by being a direct and ubiquitous example of growth, development, and product.
Rarely in the educational process is there a more stunning and dramatic occurrence than the improvement of a beginning band from the first day to the last. The learning of a musical instrument in a group setting is so pronounced, individually and collectively, that teachers and students alike find themselves on an adventure of affirmation and success. Not that all moments are like Disneyland, but taken as a whole, there are few educational experiences that can claim such obvious growth. Beginning with virtually no knowledge or ability, a student in a relatively short time, can make sounds, play notes, play songs, feel a musical phrase, read music, and have a powerful emotional connection to what it means to perform.
Driving through our fair city a couple of years ago, I was shocked to see that a local Sonic restaurant had disappeared. The day before it existed, but the next day it was gone, having been destructed and everything removed in a shocking example of efficiency and decision making. Even more stunning, however, was that about 2 weeks later, there stood another newer and improved Sonic in the same location! The system in place for creating a new Sonic is remarkable and demonstrates how goals and commitment can have quick and positive results.
Obviously, people do not suddenly become educated in a matter of days or weeks, and life-long learning cannot be capsulized nor described in terms of bricks and mortar, yet in many ways, a beginner band exemplifies the same creation and the process of a new Sonic. With resources and materials, a teacher has all the elements in front of him each to render a band that while questionable on day one, can be aesthetically and musically solid by the end of the school year. Like a building, a solid foundation, thorough adherence to excellence, and dedication to the process leads to objectives and outcomes that are both desirable and measurable. But the musical result is only part of the story.
The true rewards of the beginning band do not come from the concluding musical excellence alone, but rather from the joy and satisfaction that playing in a music ensemble produces. The old adage of "teach a child to blow a horn and he'll never blow a safe" is obviously simplistic and a gross generalization, but also, when considered symbolically, contains more than a grain of truth, for playing an instrument is so psychologically and emotionally fulfilling that it can focus attention on the benefits, the rewards of discipline, the gain of group excellence, the sense of belonging that a music ensemble provides. In many and sundry ways, playing in a band is a microcosm of the independent yet synchronized lives we lead.
Each person applies musical knowledge, skill, and sensitivity to the printed page to make music. But in an ensemble, the music that is made is full, complete, and includes all members, making the rewards feel team oriented and serving the greater good. The selfish application of excellence in an ensemble, can, when handled correctly, produce selfless outcomes. This teaches and embodies the concept of acting individually but thinking globally.
But even this idea does not tell the full story, for the story is really about the joy that both students and teachers experience on a daily basis. Teaching a group of students replete with eagerness and anticipation on what they can accomplish that day is the highest in affirmation for a teacher, and the rewards for such endeavors are infinite. That is why I loved my time teaching beginning band.
Rarely in the educational process is there a more stunning and dramatic occurrence than the improvement of a beginning band from the first day to the last. The learning of a musical instrument in a group setting is so pronounced, individually and collectively, that teachers and students alike find themselves on an adventure of affirmation and success. Not that all moments are like Disneyland, but taken as a whole, there are few educational experiences that can claim such obvious growth. Beginning with virtually no knowledge or ability, a student in a relatively short time, can make sounds, play notes, play songs, feel a musical phrase, read music, and have a powerful emotional connection to what it means to perform.
Driving through our fair city a couple of years ago, I was shocked to see that a local Sonic restaurant had disappeared. The day before it existed, but the next day it was gone, having been destructed and everything removed in a shocking example of efficiency and decision making. Even more stunning, however, was that about 2 weeks later, there stood another newer and improved Sonic in the same location! The system in place for creating a new Sonic is remarkable and demonstrates how goals and commitment can have quick and positive results.
Obviously, people do not suddenly become educated in a matter of days or weeks, and life-long learning cannot be capsulized nor described in terms of bricks and mortar, yet in many ways, a beginner band exemplifies the same creation and the process of a new Sonic. With resources and materials, a teacher has all the elements in front of him each to render a band that while questionable on day one, can be aesthetically and musically solid by the end of the school year. Like a building, a solid foundation, thorough adherence to excellence, and dedication to the process leads to objectives and outcomes that are both desirable and measurable. But the musical result is only part of the story.
The true rewards of the beginning band do not come from the concluding musical excellence alone, but rather from the joy and satisfaction that playing in a music ensemble produces. The old adage of "teach a child to blow a horn and he'll never blow a safe" is obviously simplistic and a gross generalization, but also, when considered symbolically, contains more than a grain of truth, for playing an instrument is so psychologically and emotionally fulfilling that it can focus attention on the benefits, the rewards of discipline, the gain of group excellence, the sense of belonging that a music ensemble provides. In many and sundry ways, playing in a band is a microcosm of the independent yet synchronized lives we lead.
Each person applies musical knowledge, skill, and sensitivity to the printed page to make music. But in an ensemble, the music that is made is full, complete, and includes all members, making the rewards feel team oriented and serving the greater good. The selfish application of excellence in an ensemble, can, when handled correctly, produce selfless outcomes. This teaches and embodies the concept of acting individually but thinking globally.
But even this idea does not tell the full story, for the story is really about the joy that both students and teachers experience on a daily basis. Teaching a group of students replete with eagerness and anticipation on what they can accomplish that day is the highest in affirmation for a teacher, and the rewards for such endeavors are infinite. That is why I loved my time teaching beginning band.
Wednesday, December 17, 2008
The Economics of Joel in Education
The students wore ties, the faculty were moved, and there was a general out-pouring of love and support for Joel as he concluded his last day in school. What to Joel might have seemed unusual, and I have little doubt that he never understood what the tears were all about, nevertheless he was aware that he was being honored and while he may have been confused by all the attention, he also responded with hugs and sincere appreciation. Why all the fuss? Isn't Joel simply one of thousands of students who graduate from high school?
The show of warm affection mingled sweetly and nostalgically with sadness as the students and faculty gathered around Joel to demonstrate what he has meant to them through the years. Joel's disability, autism mixed with learning problems, could have resulted in rejection, loneliness, and alienation as he did his best to fit in to a public school system whose prime concern is to meet or exceed academic expectations on standardized examinations, but somehow instead resulted in unconditional acceptance. Never mentioned, but maybe foremost in an administrator's mind, has to be the cost of educating a student so far away from the model needed for institutional success. Joel, in his thirteen years, cost the district time, money, and to a small degree academic reputation. Not only that, there is the peripheral curiosity that the time Joel required may have taken away from other childrens' educational needs. His need for specialized classes, teacher's aids, almost constant attention, modified grades, meetings, individualized teaching, and unique scheduling had to have been a serious drain on the resources of the district.
But, ironically, the cost of educating Joel was much less than the gain. Economically, when I spend money on an item, I hope to gain more than I spend whether it is a car, computer, clothes, or food. If I buy something that quickly breaks, then I realize I spent more than I gained. Yet if the car I purchase helps me make a living, then it is my contention I have gained more than I lost (unless of course fuel and upkeep costs keep escalating!). Obviously people are worth the investment and should not be considered objects or commodities for consumer consumption. Yet, even from an economic standpoint, is it possible that Joel was worth more than he cost? I believe the answer is yes.
The surface explanation is that any cost that leads to the education of a child to make him a productive, contributing member of society is beneficial to the common good. And, no doubt, in spite of his disability, Joel's education has helped him to cope, to adjust, to think critically, and to make his own decisions at least to an extent. The relentless commitment to Joel's improvement, the concerted effort of teachers, other students, administration, and yes even custodians and maintenance workers, all came together in a glorious chorus of dedication to helping a disabled child.
But returning to the question, what did they gain? Why invest so much effort into one person? Were they simply doing their jobs or was there more to it? As I watched the myriad of reactions to Joel's departure from school, I realized for not the first time that it was not Joel who was being honored but rather it was Joel who had done the honoring for the last thirteen years. Joel was simply being thanked, thanked for all he had done for everyone else.
Thanked for the smiles, the handshakes, the hugs, the encouragement, the support for everyone, for everything. Thanked for the consistently good attitude, the effort, the adherence to looking his best, the absence of ugliness, or bad language, or unkind words. He was thanked for being true to himself without malice, without pretensions, and without the lies that often accompany students trying to make themselves look better. He was thanked for his unceasing and transparent honesty. He was thanked for making their world a better place. His value was and is immeasurable and in economic terms the demand for Joel is far greater than the supply. Maybe if we had more Joels, the world would be a better place.
The show of warm affection mingled sweetly and nostalgically with sadness as the students and faculty gathered around Joel to demonstrate what he has meant to them through the years. Joel's disability, autism mixed with learning problems, could have resulted in rejection, loneliness, and alienation as he did his best to fit in to a public school system whose prime concern is to meet or exceed academic expectations on standardized examinations, but somehow instead resulted in unconditional acceptance. Never mentioned, but maybe foremost in an administrator's mind, has to be the cost of educating a student so far away from the model needed for institutional success. Joel, in his thirteen years, cost the district time, money, and to a small degree academic reputation. Not only that, there is the peripheral curiosity that the time Joel required may have taken away from other childrens' educational needs. His need for specialized classes, teacher's aids, almost constant attention, modified grades, meetings, individualized teaching, and unique scheduling had to have been a serious drain on the resources of the district.
But, ironically, the cost of educating Joel was much less than the gain. Economically, when I spend money on an item, I hope to gain more than I spend whether it is a car, computer, clothes, or food. If I buy something that quickly breaks, then I realize I spent more than I gained. Yet if the car I purchase helps me make a living, then it is my contention I have gained more than I lost (unless of course fuel and upkeep costs keep escalating!). Obviously people are worth the investment and should not be considered objects or commodities for consumer consumption. Yet, even from an economic standpoint, is it possible that Joel was worth more than he cost? I believe the answer is yes.
The surface explanation is that any cost that leads to the education of a child to make him a productive, contributing member of society is beneficial to the common good. And, no doubt, in spite of his disability, Joel's education has helped him to cope, to adjust, to think critically, and to make his own decisions at least to an extent. The relentless commitment to Joel's improvement, the concerted effort of teachers, other students, administration, and yes even custodians and maintenance workers, all came together in a glorious chorus of dedication to helping a disabled child.
But returning to the question, what did they gain? Why invest so much effort into one person? Were they simply doing their jobs or was there more to it? As I watched the myriad of reactions to Joel's departure from school, I realized for not the first time that it was not Joel who was being honored but rather it was Joel who had done the honoring for the last thirteen years. Joel was simply being thanked, thanked for all he had done for everyone else.
Thanked for the smiles, the handshakes, the hugs, the encouragement, the support for everyone, for everything. Thanked for the consistently good attitude, the effort, the adherence to looking his best, the absence of ugliness, or bad language, or unkind words. He was thanked for being true to himself without malice, without pretensions, and without the lies that often accompany students trying to make themselves look better. He was thanked for his unceasing and transparent honesty. He was thanked for making their world a better place. His value was and is immeasurable and in economic terms the demand for Joel is far greater than the supply. Maybe if we had more Joels, the world would be a better place.
Tuesday, December 09, 2008
Master composer--Jean Sibelius
The study of music history can also be a study of cultures, progress, development, and perhaps most importantly, a study of the human spirit and creativity. The life and work of Finnish composer Jean Sibelius embodies this idea of a study of music history being akin to the study of native culture, creativity, and progress or rather, in his case, refusal to progress. For Sibelius rejected, not an unusual path for composers of that era, the temptation to alter his personal approach to music making and was not tantalized in the least to jump on the serial or avant garde or experimental train that so many others joined.
That stated, and there is more to come on Sibelius, I must say that I am not a proponent against modernism in music. I have a great love for the experimentalists of the latter half of the twentieth century and attribute much of the mounting success of music to the unusual and creative spark in those who carved their own path against the pressures of traditionalism. While much of their music has been relegated to peripheral academic settings or small cultish coffee houses, there is no denying the vast influence that their music has had on today's world. The first half of the twentieth century is more difficult to label in that composers and the world in general seemed to vacillate between the old and the new, in an attempt to learn from the past but make a forward statement. As we look back on this important time in music, we find ourselves entranced by those writing in a Romantic vein and fascinated by those pushing the envelope of modernity. More on that at another time however!
Returning to Sibelius, he was born in 1865 in the country of Finland where he spent his entire career devoting much of his music to the nationalistic spirit of the country. His music is distinctly Finnish, with folk idioms, and powerful images causing the listener to visualize the stunning landscape of the country. From orchestral suites, symphonies, chamber music, concertos, and songs, Sibelius music covers the gamut of musical output, and all of it within a traditional framework yet distinctly Sibelius with rich chorale writing, vibrant, relentless string writing, long transitions, variety of tempo, and colorful orchestration without resorting to trickery and extreme excess. Although his musical canvas is tonal, his melodies romantic, and his texture complex, Sibelius' sound is a unique, personal expression of his own majestic optimism and powerful energy.
My personal favorite work, at least as of this writing (I tend to be drawn to whatever piece I happened to be studying at the time), is the Violin Concerto with its beautiful 2nd movement orchestrated with 4 horns serving as accompaniment to the soloist. The harmonic suspension of this movement gives a tension and relief that almost causes a physiological reaction in the listener. Each movement is vibrant, rich, and musically demanding on the players as well as the audience, with the last movement being a fireball of rhythm and excitement http://www.youtube.com/watch?v=wXYXUd_N2YI.
Other enjoyable works are the symphonies with the most popular being the 2nd symphony, Finlandia Suite, and the rarely heard but quite engaging Lemminkäinen Suite which includes The Swan of Tuonela. In truth, I enjoy everything Jean Sibelius wrote and expect to continue to champion his music and what he represented as one of the finest nationalistic composers of the 1st half of the 20th century. A traditionalist? Yes, but certainly one of the best of that genre.
That stated, and there is more to come on Sibelius, I must say that I am not a proponent against modernism in music. I have a great love for the experimentalists of the latter half of the twentieth century and attribute much of the mounting success of music to the unusual and creative spark in those who carved their own path against the pressures of traditionalism. While much of their music has been relegated to peripheral academic settings or small cultish coffee houses, there is no denying the vast influence that their music has had on today's world. The first half of the twentieth century is more difficult to label in that composers and the world in general seemed to vacillate between the old and the new, in an attempt to learn from the past but make a forward statement. As we look back on this important time in music, we find ourselves entranced by those writing in a Romantic vein and fascinated by those pushing the envelope of modernity. More on that at another time however!
Returning to Sibelius, he was born in 1865 in the country of Finland where he spent his entire career devoting much of his music to the nationalistic spirit of the country. His music is distinctly Finnish, with folk idioms, and powerful images causing the listener to visualize the stunning landscape of the country. From orchestral suites, symphonies, chamber music, concertos, and songs, Sibelius music covers the gamut of musical output, and all of it within a traditional framework yet distinctly Sibelius with rich chorale writing, vibrant, relentless string writing, long transitions, variety of tempo, and colorful orchestration without resorting to trickery and extreme excess. Although his musical canvas is tonal, his melodies romantic, and his texture complex, Sibelius' sound is a unique, personal expression of his own majestic optimism and powerful energy.
My personal favorite work, at least as of this writing (I tend to be drawn to whatever piece I happened to be studying at the time), is the Violin Concerto with its beautiful 2nd movement orchestrated with 4 horns serving as accompaniment to the soloist. The harmonic suspension of this movement gives a tension and relief that almost causes a physiological reaction in the listener. Each movement is vibrant, rich, and musically demanding on the players as well as the audience, with the last movement being a fireball of rhythm and excitement http://www.youtube.com/watch?v=wXYXUd_N2YI.
Other enjoyable works are the symphonies with the most popular being the 2nd symphony, Finlandia Suite, and the rarely heard but quite engaging Lemminkäinen Suite which includes The Swan of Tuonela. In truth, I enjoy everything Jean Sibelius wrote and expect to continue to champion his music and what he represented as one of the finest nationalistic composers of the 1st half of the 20th century. A traditionalist? Yes, but certainly one of the best of that genre.
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