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Extra info for A course of instruction in pure harmonic writing, vol.1: manual of harmony

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Using Warm-up Activities Because so much goes on in the students’ day, they need a little adjustment to get their minds and bodies ready to do good work with you. Your warm-up may be brief or more involved; it may be easy or hard. But use those few minutes to get the group focused and eager, and use this time to experientially introduce something central to the lesson that follows. A good warm-up activity is inherently playful and fast, includes everyone, is active, and experientially introduces the key artistic skills that are emphasized and developed in the rest of the class.

In their negative prejudice toward the other, community artists (CAs) assume TAs want art for art’s sake and promote the agendas and beliefs of arts institutions; conversely, TAs assume CA projects place artistic quality in a secondary position and produce less than the best possible art. There is a grain of truth in those prejudices, but reality and a growing arts field do much better if we build on the much larger common ground—TAs create healthier communities wherever they are allowed to work at any length, and CAs produce excellent artworks with their participants.

You must be a guest who is sensitive to and respectful of the patterns and practices set up by that teacher, even if you don’t like them. You may ask for help from teachers, and most will fully support you. Some teachers will not participate in the ways you would like; you may ask for specific things, but do not try to force the teacher to participate more fully. Always support the teacher in front of the students. Always try to engage the teacher to the maximum of his or her comfort level, and gently expand that participation just a little bit more with each visit.

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A course of instruction in pure harmonic writing, vol.1: manual of harmony by Jadasson S.


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