Dear 116,
I’ve been at UVic since 2010 and can say comfortably that I have enjoyed this class this term more than any other. And no, I don’t say that every year. I’m not alone as my colleagues also comment that there’s something open, curious, and generally warm about this current cohort. I barely teach at all. I just try to create a space where questions are asked and sometimes answered. That approach only works if there’s a shared trust and in my opinion, it’s there. Thanks for your big ideas and big ears.
WHAT IS LEFT
Many first year courses I teach slightly change shape as we progress and this one is no different. As you know, I have tweaked the “interview” assignment to be the “Local Music” assignment. As well, two concert responses (instead of the original three) are required. That’s it. So here’s how it all shapes up:
3 Prompts (pass/fail): 60%
2 Concert Responses: 2 x 10%
1 Local Music Assignment: 1 x 20%
SCHEDULE
Mon Nov 20 – I will finally talk about Velocity in music
Thu Nov 23 – You will offer your Local Music info (short and sweet, see the post below)
Mon Nov 27 – How to Apply for Graduate School, How to Write a Music Bio, How To Construct the Beginning of a Grant Proposal
Thu Nov 30 – I will talk about Closeness in music and you can hand in anything outstanding that you have missed so far. Consider it Assignment Amnesty Day. This is the final deadline for anything missed. You can also hand in anything for the Local Music Assignment that day.
Mon Dec 4 – Last class. OPEN MIC TWO: TOKYO DRIFT. Please e-mail me your info by Mon Nov 27 to take part. Folks who have already played can also play again but I am going to prioritize folks who haven’t if time is an issue. pboyle@uvic.ca
A (probably) FINAL WORD
This course is about ideas or at least starting to “think” about ideas. As you look at the evaluation for this course, you might think “wow, this is easy” and from a marks/grades perspective, perhaps it is. I do encourage you to hand things in. But thanks to you, the real value in the course (from my very privileged standpoint admittedly) is in the generation of those ideas and forging alternate perspectives on sound. No two sets of ears are the same. Understanding what you can hear and what you can’t involves a lot of self reflection and honesty. I took a ton of chances with you this term (e.g. does time exist? should you play at the old age home? how do you inhabit the music you play?) and I learned a lot and you’ve reshaped my own process. Thanks for sharing in whatever this is and let’s have a strong last couple of classes.