Spartan Daily March 7, 2012

Volume 138, Issue 22https://scholarworks.sjsu.edu/spartandaily/1021/thumbnail.jp

The Commercial Music Industry in Atlanta and the State of Georgia: An Economic Impact Study

This study was prepared to ascertain the magnitude of the commercial music industry's economic impact on Atlanta and its surrounding areas. Report #8

Kresge Foundation 2010-2011 Annual Report

Contains an introduction to Kresge's strategy; board chair's letter; president's letter; foundation timeline; program information; grant summary, including geographic distribution; grants lists; financial summary; and lists of board members and staff

The George-Anne

Single people are feeling the pressure from social media Juwan Smith resigns as SGA president Women in Technology to host first GS Hackathon Search for Associate VP for Inclusive Excellence Narrowed Down to Three The Widow Maker Collective brings a dream to Georgia Southern Bulloch County holds annual parade honoring Martin Luther King Jr. Music program gets down to business at Georgia Southern Players to watch Southern vs. Stat

Designing an Immersive Experience Using Georgia O\u27Keeffe\u27s Works and Effects

This project aimed to design an immersive experience for the Georgia O’Keeffe Museum, to improve visitorship and to showcase more museum holdings and collections unable to be displayed due to space limitations. Our team sought to do this by extending the museum experience to the landscapes in Northern New Mexico that Georgia O’Keeffe made famous in her paintings. We did extensive research in the O’Keeffe library and archives, documented sites around Northern New Mexico where she painted, and designed an app prototype as an immersive experience that incorporated our findings in a user-friendly format

Teacher and Student Perspectives on Songwriting Pedagogy in Middle School

A song is a form of musical composition that involves a marriage between words and melody. In music education, songwriting often belongs to the sphere of popular music. Although songs are omnipresent in adolescents’ lives, less than 7% of the secondary schools in the United States offer songwriting. The present study focused on an after-school songwriting course in a middle school in the Southern U.S., a 21st-century learning environment where music and technology walked hand in hand, and adolescents composed, produced, and distributed original songs while finding their voices as songwriters. Five broad interrelated themes emerged from the literature review: songwriting is a place for inclusion, a music technology laboratory, it does not need traditional music notation, the teacher as facilitator, and conceptual teaching. The purpose of this study was to explore middle school songwriting pedagogy, how the teacher designed, implemented, and evaluated the songwriting course, and the students’ perspectives on their experiences. Ethnographic methods of data collection were employed, comprising interviews, field notes and participant observation, documents, and creative writing as research. Thematic and structural narrative analytical approaches suggested that teachers succeeded in forging a 21st-century popular music laboratory where students pursued their interests facilitated by a safe and collaborative environment in which teacher and peer feedback enriched trial-and-error in sound. Teachers’ strategies ranged from modeling to fading and the formulation of scaffolding where students interacted with music technology in a recording studio the size of their hands, resituating play at the center of music-making. Consequently, students learned from eliminating their mistakes and solving real-world musical problems that emerged from and within the processual products of their songwriting. The teacher described her pedagogic approach as focused on constant feedback, modeling, and scaffolding toward small projects that strengthened students’ musicianship. In her view, songwriting was personal. In addition, it offered the opportunity to pull students into large ensembles. Students expressed ease in using Digital Audio Workstations (DAWs) on tablet-based devices to facilitate music participation since most did not play a musical instrument. They believed songwriting enabled them to learn to collaborate, take risks, and improve their musical skills through constructive feedback