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Posted in Welcome
Indigenous Music To Hold the Space
I am thankful for Apple Music’s compilation of Indigenous music to help me pause and reflect on the deeply moving music and the lived experience of Indigenous musicians. So many styles, genres, such moving and deep truth. Peace Be.
Truth and Reconciliation Day.
Find these and other fabulous music on: Indigenous Now channel, Apple Music.
Tania Tagaq, “Tongues”
“I don’t want your shame; it doesn’t belong to me”
Snotty Nose Rex Kids, “No Jesus Piece,” from the album Life After
“I need some shades; it gets super ugly”
“I don’t believe in no one more than I believe in me”
Jayli Wolf, “Lead me”
“I won’t let you lead me”
Digging Roots, “Cut My Hair”
“When they cut my hair, I feel they tryin’ to cut down my roots”
Carson Gray, “Each Moment“
“All of us are children beneath the shining sun“
“Imagine a world where every one is free“
Crown Lands, “Inner Light,” from the album White Buffalo
Instrumental [thankful for the gift of deep listening]
Adrian Sutherland, “Magic Hits,” from the album, When the Magic Hits
“Must be more to life than this
standing on the sidelines
waiting for the highlights, yeah
Must be more to life than this
praying for the weekend,
waiting ’til the magic hits”
Don Amero, “My Poor Mama,” from the album, Nothing is Meaningless
“if savin’ my can was worth a million dollars
then nobody be richer than my poor mama”
N’we Jinan Artists, “Come Home,” from the album, Come Home
“Love is enough“
“I’ll bring you up when you’re down”
Arlette, “Midnight Mass Graves”
“I wept when I heard who they found”
“midnight mass graves, brutal execution,
not Afganistan, Kosovo, the Nazi solution
Oh Canada, thy church’s door,
where they remain buried for a century or more”
Shawnee Kish, “Burnin’ Love,” (featuring Jamie Fine”)
“you got some nerve
you think you deserve me”
iskwe & Tom Wilson, “Starless Nights”
“I always like my company,
in loneliness I felt truly free
of other peoples gazes in the mirror”
Ansley Simpson, “Witness”
“the white pines witness what we both know is at stake“
Cassidy Mann, “Election Night”
“it changed everything“
Raymond Sewell, “Over You” (featuring Eadsé)
“keep your eyes on the road,
your hands on the wheel,
and your memory a thousand miles away“
Noelle, “Seasons Change”
“the snow melts away, but I’m here to stay”
Rhonda Head, “500 Years”
“mother shared a story,
why were they so mean”
Riley Riot, “Tchutchu,” from the album, Almst
Instrumental [electronic dance trance]
Ziibiwan, “Two-Spirited”
Instrumental [atmospheric dance]
KeAloha, “Mahina”
“You’re in my element“
Jerry Sereda, “Classic Country Couple”
“you and me go together like a fiddle and steel guitar“
“he’s the only thing about you that I’d ever change“
Celeigh Cardinal, “There’s a Great Big Beautiful Tomorrow”
“tomorrow’s just a dream away“
Brenton David, “This House”
“we need the firemen, before its too late,
you’re smokin’“
Kyle McKearney, “Sweet Summer Rain”
“If God had mercy on my heart
He’d stop sending the sweet summer rain”
The Bloodshots, “Bad Moon Rising” (cover)
“There’s a bad moon on the rise..”
Ruby Waters, “Good Recipe”
“you electrify my body in a way that nothing else does”
Boslen and Dro Kenji, “NIGHTFALL,” from the album, DUSK to DAWN
“you been livin’ oh so far,
I can see your open scars”
T-Rhyme, “Revitalize”
“…We call Him The Creator, Grandfather…“
“the saddest thing in life is wasted talent”
“we need to teach and prevent”
“revitalize”
Nimkish, “Make Me a Drink,” from the album, Damage Control
“and it ain’t what it look like,
no love but it feel right“
Electric Religious, “Paralyzed”
“paralyzed by your own damn luck“
Kinnie Star, “Runnin’ Right Beside You”
“waitin’ on leadership that plays charades”
Morgan Toney, Emma Stevens, and The Shift, “Wela’lin” (Thank you)
thankful for the teachings
William Prince, “Run”
“Saw the need and let it take the lead in me”
Run
“though the road it narrows,
you won’t find me anywhere else til its done”
Run
“It could mean tomorrow for someone”
sunsetto, “downtown”
“you should come out cause I’m downtown“
Tyler Ogimaa, “Feeling Amazing”
“my path is sacred“
“every moment I go all in“
“got my eyes on my goals“
“Feel Amazing“
The Halluci Nation, “R.E.D.,” from the album, We Are the Halluci Nation
“R.E.D”
“A tribe called“
“I’m in“
Drezus and Dakota Bear, “Circles”
“We more than just arrows and bows“
“Someone go teach ’em respect“
“I love my community more“
*Jon Lootz, “Old Problems”
“like old watches, I don’t got the time“
“I just found my sound“
“I be on my own shadow problems”
“I do not compete”
*love it
Noah Crawford, “Oh Well”
[my head on his shoulder]
Ahsley Ghostkeeper, “Try Me One More Time”
“Who’s at my door
said the shame from yesterday“
“You keep tryin’ to break me
but you cannot take me tonight”
Handsome Tiger, “Burn Babylon,” from the album, Yardman
Electronic Atmospheric Experiential
DJ Shub and GDubz, “Smoke Dance Four”
Traditional Chant Remix [awesome with goosebumps]
Tracy Bone and Shawn Hogan, “Like We Never Had to Say Good-bye”
“I’m lovin’ the feelin
make belivin,
like we never had to say good-bye”
“A moment lasts forever when it feels like this“
Joey Nowyuk, “Sikungilunga” (When I Close My Eyes”), from the Album, Tumitit
Sung in the Inuit language, from Nunavut
Nadine Gagné and the Star Nation, “All Nations”
“Calling all nations this world is one”
Indian City, “Smile”
“I thought love would never take me alive“
Indigo, “Lost in You”
“What a life you live,
run away and come back again.
I feel ruined
every time I tell you I’m lost in you”
Kyle McKearney, “Tough or Die”
“Daddy said, son, you better get tough or die“
The Rez Boys, “Tennessee Whiskey”
“you’re a smooth Tennessee Whiskey,
a sweet strawberry wine,
as warm as a glass of brandy
and I stay stoned on your love all the time.”
C-Weed Band, “Love of the Game”
“I know its not the losing or the winning”
“we’re fighting the good fight”
PIQSIQ and VILD´A, “Ovddos/Hivumuuniq“
Time travel
Joshua Haulli, “Uummatinni,” from the Album, Tukimut
Inuit language from Nunavut
As I sign off, I listen to Aasiva (Colleen Nakashuk) singing in Inuit, and I wonder if I shall ever be so lucky to see a day when Indigenous musicians have full representation in music schools in Canada. At all levels, from leadership, to instruction, to students. We have so much to gain from embracing musicality in of its styles and genres, with all of the richness of culture.
I am writing and reflecting in Kitsilano, B.C., the unceded traditional territories of the Coast Salish People including the Musqueam, Tsleil-Waututh, and Squamish people, and the Urban Indigenous people who call this place home today.
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Posted in Welcome
Gender Disparity
Not long ago a student wrote a paper for me studying gender disparity in the music profession. Her project stunned me and left me shaken. I work hard to understand statistical findings, but she presented a statistic that simply took my breath away: 0 women conducting major symphony orchestras in Canada. That’s right,
Zero.
When she presented this work to the class, I felt sad. I know how devastating that non-statistic is for a young woman in musical training. For the record, Wikipedia’s list of female conductors includes one female conductor in Canada, Lisette Canton of the Ottawa Bach Choir (1). And no one else. Why is it that all over the world there are women conducting symphony orchestras, but not in Canada? I would love to be corrected here. Really. Show me I’m wrong. I would love to write a supplemental post that profiles women conductors in Canada.
This is one of those situations that I have no control over. However, what I can do is raise the profile of women who appear in my own research. This afternoon I have gathered some statistics on the women in my book (excluding me, of course).
Works cited:
13 citations of single authored works by 8 women:
Carpenter (1967) (ch. 6)
Cumming (2000) (ch. 6)
Goldin Meadow (2003) (ch. 4, ch. 5)
Monson (1996) (ch. 4, ch. 6)
Saslaw (1996) (ch. 3)
Schmalfeldt (2011) (ch. 6)
Stevens (2012) (Intro, ch. 3, ch. 6, Concl.)
Winget (2008) (ch. 4)
Multiple authored works including women as they appear in the chapters:
Introduction:
Perri 6 & Bellamy (2012)
Chaffin, Imreh, & Crawford (2002)
Chapter one:
Ginsborg & Chaffin (2011)
Chaffin, Lisboa, Logan, Begosh (2009)
Chaffin, Imreh, Crawford (2002)
Chapter 2:
Coffey & Atkinson (1996)
Ginsborg & Chaffin (2011)
Chaffin, Lisboa, Logan, Begosh (2009)
Chaffin, Imreh, Crawford (2002)
Demos, Lisboa, Begosh, Logan, Chaffin (2018)
Perri 6 & Bellamy (2012)
Chapter 5:
Perri 6 & Bellamy (2012)
Chapter 6:
Davidson & Goode (2002)
Williamon & Davidson (2002)
Zamm, Pfordresher, & Palmer (2014)
Clark & Marshall (1981)
Clark & Brennan (1991)
Clark & Krych (2003)
Loehr & Palmer (2011)
Conclusion:
Varela, Thompson, & Rosch (2016)
The performing musicians who appear in my book are not identified for privacy reasons. However, the music duo whose rehearsals I studied is gender balanced, and the orchestra whose master class series I studied had the following gender distribution:
Male: 2nd violin, bassoon, contrabassoon, trombone, bass trombone, clarinet, tuba, flute/piccolo, oboe, percussion, French horn, viola, trumpet, double bass, timpani
Female: cello, harp, cor anglais, 1st violin, harp
There you have it. Fifteen men and five women from one orchestra produced the masterclasses that were analyzed in my research. They are all fabulous musicians.
When I do research, I don’t use gender as part of the decision-making on whether or not to cite a work, or to measure how I might position myself with respect to the ideas in those works. I include research that helps me think carefully about the issues I am interested in, sometimes in agreement, sometimes in disagreement. One of the male authors I have cited quite a bit is someone whose work I disagree with often – not because I do not like him, but because the way he presents his ideas helps me articulate why I think about my topic differently than he does. However, I do notice that single authored works by men make up the bulk of the synthesized material for the conceptual framework I have designed for the study of cognition in musical activity.
Sometimes when I create a syllabus with readings for a class, I do use gender as a criteria for selecting readings because I would like to normalize female authorship for my students. Discourse studies of gender norms in scholarly positioning is worth pursuing, but that is for another post.
1. https://en.wikipedia.org/wiki/List_of_female_classical_conductors
2. The digital radio station Classic FM has some more graphs that demonstrate gender inequality in the music business: https://www.classicfm.com/discover-music/latest/gender-inequality-american-orchestras/
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Posted in Welcome
A short guide to reviewing
- The other person is not writing your paper. Do not fall into the trap of looking for the things you would have written on that topic. Too many reviewers begin with “what’s missing in this paper is…”. You write that paper. Then read this one.
- Acknowledge what this author has written. Summarize important sections of the paper and reflect the author’s ideas back to them – without judgment or interpretation. Simply reflect the content back to the writer.
- Give the author something in return. This should be a gift – an additional reading (with a reason for mentioning it), a question that will help the writer develop or unlock new ideas, a story that relates to their work.
- Contextualize any feedback you provide by using attribution for your criteria. Provide more than one lens on the work. If for example, the research perspective challenges a certain assumption in a field, mention the field (and some important authors) with the assumptions. The writer can decide whether to address that or not.
- If you are reviewing a paper for a scholarly conference, ask yourself whether the scholarly community could do with some diversity of viewpoints. If a research community has a diversity statement – follow up on that claim by including diverse research perspectives and encouraging authors to join in the conversation.
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Posted in Peer Review
Research Design for the Study of Cognition in Music Performance
If you have 53 minutes of spare time, please watch my recently recorded lecture on research design for the study of cognition in music performance, a targeted reading of my recent book, “Grounding the Analysis of Cognitive Processes in Music Performance” Routledge/Taylor & Francis, 2021. Just cut and paste this into your browser to view the lecture: vimeo.com/514458399
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Posted in Welcome
A brief reflection on some words from M. C. Escher
This surface was intended for walking
Tessellated tiles
A wonder turning on itself wonders
Not by stepping down
But in shifting up each movement to a
Permeated gaze
After Visiting A
surface that was intended for walking
tessellated tiles surface that were intended for
walking tessellated surfaces
intent for wondering by turning on itself
not by stepping down I wonder
if turning on is wondering
not by stepping down itself but shifting
as it wonders on its turn
to stepping on its permeated gaze
but in shifting up each movement
to a permeated wonder that steps onto a
surface that was intended for walking
https://mcescher.com/about/quotes/
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Posted in Poems
Toying With Words Online
Here we are toying with words together
That’s all it is really, until it’s not
Gone are the days of ephemeral interactions
When a person rehearsed what they said yesterday, over and over, until it resolved
When the statement and the resolution were figments of imagination
When perspective and context constrained and freed them
Every word, uttered here, is spun, reflected, and shattered in this new landscape
Let loose, the shards reduce “good people” to ruin
Ruinous ideologies pasted over fragmented souls longing for someone to talk to
Talking, how quaint
I reminisce about a time when your eyes met mine as you spoke to my posture
Your hand reached out to rest on my slumped shoulder
I gave honestly from a place no one can reach anymore
You say we have evolved
The way we have become, gaze torn from its role in our greeting
Gestures all askew, emPHA’sis on the wrong sylLA’ble
Joint participants playing different games
Arriving at outcomes far beyond our evolutionary aims
Audience, Listen.
In this landscape you see no authenticity
You identify with content, Your identity is manufactured
We no longer trust each other
On the basis of this realization, I “divorce” this place
I no longer feel the pull of s/he who has read my words
The manipulative pressure to follow or be followed
On my own experience, I own it. Right now.
I hope to meet you somewhere beyond the screen
Stopping six feet away, bubbles touching
Eyes-only smiles peering over masks
To perform co-presence in a novel way, defining our new normal
A performative concept of harmony
September 9, 2020
For musicians, the concept of harmony is typically defined with reference to musical materials. Roughly speaking, harmony refers to the quality achieved in the sounding of more than one note. Expanding on this, Dictionary.com says the term harmony has four components: a social component, an organizing component, a musical component, and a religious component. I would like to explore a performative component of the concept of harmony, and in doing so, I reflect upon the first of Master Xu’s 24 Virtues, “He,” as interpreted by linguist and musicologist Adrian Tien (2015, pp. 192-5).
“He” – harmonious self-cultivation, seems to me to describe a manner of participating. It seems to be the cultivation of the self and the recognition of others doing the same. There is a recognition that others, by engaging a similarly understood musical practice, are experiencing a self-cultivation brought about through musical skill. It is this self-cultivation that is heard when one listens to music. Harmony then, is not bound to musical materials (intervals, chords), but to a multi-faceted experience of being, shaped by musical practice and shared by others who practice similar things. To sing or play together can be a musical expression of harmony, yes. But playing alone can also be a musical expression of harmony. Harmony is not automatic when two or more people play together; it is an attitude of listening in order to fully engage the musical content, whether playing alone or with other musicians. When we play together harmoniously, we have a deep appreciation of where we have both been, the acts and actions that have led to the moment we now share. According to Tien, this concept/practice has an ancient origin in the communication between humans and the gods (2015, p. 194).
But what is harmony when one plays alone? Is harmony achievable on a melodic instrument such as the flute?
Part of Master Xu’s instruction on harmony, if I understand it correctly, includes how one feels or thinks when hearing someone play, which can include hearing oneself. This seems to be a harmonious attitude more than anything else. What is in my mind upon hearing my music? Many years ago, my yoga teacher told me, “make your own music and listen to it.” This was a transformative moment for me as a classically trained musician. Prior to that my perfectionist approach had been to engage absolute technical control, to demonstrate mastery. My yoga teacher forced me to listen to myself differently – to achieve a state of harmony in my approach to my own skill. I approach sound production differently in a state of harmony than I do in a state of achievement. What I hear in my own sound, I can also hear in the sounds of others. What I can hear of myself, I can hear in the world around me. This musical attitude is non-violent. It allows. It melts. It transforms. It listens. It resonates.
For solitary music, the practice of harmony is an attitude of full participation and a deep appreciation for the aspects of self that are cultivated through music, whatever the music itself may “represent.” For me, adding the performative concept of harmony to my technical practice has proven very satisfying. It adds an audience to my solitary work.
References:
Adrian Tien (2015), “Interpreting Guqin Master Xu’s “24 Virtues” with NSM,” John Benjamins Publishing Company, (pp. 192-5).
Dictionary.com: https://www.dictionary.com/browse/harmony
Dr. Kaastra is the author of: “Grounding the Analysis of Cognitive Processes in Music Performance: Distributed Cognition in Musical Activity” Explorations in Cognitive Psychology Series, Routledge/Taylor & Francis, 2021
ISBN: 978-0-367-56864-1 (pbk)
ISBN: 978-0-429-05560-7 (ebk)
ISBN: 978-0-367-15192-8 (hbk)
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Posted in Welcome
What does it mean to take an “instrumentalist’s (or vocalist’s) research perspective”?
In WRDS 150, we learn how to identify research perspectives and discourse features of disciplinary areas in the scholarly research on music. We read articles written by performers, theorists, musicologists, and psychologists to explore what makes a good research question in these areas, and how researchers adopt scholarly moves and practices that reflect their writing situation. In addition, students are encouraged to become apprentice researchers and to identify topics and research interests that feed their musical goals. To this end, I encourage students to ground their research in their musical practice. Grounding research in practice asks musicians to understand what is important about instrumental practice for the purposes of research.
Why should musicians learn to take an instrumentalist’s (or singer’s) research perspective? Isn’t it challenging enough just to learn how to play? Shouldn’t I let researchers be researchers and performers be performers? Good questions. Let me think this through with you for a minute.
There are sharp distinctions to be drawn between an instrumentalist’ or singer’s perspective and other research perspectives on music performance. Consider this rather extreme example: if a neuroscientist wants to study music performance, they will use a neuroscience perspective. They will study the structural and functional aspects of the brain to make knowledge claims related to music. There are various functional imaging technologies used to study these things – electroencephalography (to measure electrical activity), magnetoencephalography (to pick up magnetic fields created by electrical activity), positron emission tomography (to identify changes in glucose absorption), and functional magnetic resonance imaging (to monitor blood-flow). Each of these measurement techniques comes with a research methodology built on assumptions about the sorts of things that can be observed and what those things mean (ontology). In a nutshell, a neuroscientist is studying the concepts and ideas of neuroscience, not music.
It is not clear that the knowledge claims of neuroscience naturally extend to matters of music performance without careful translation. Translational research is a relatively new idea in medical research that seeks to create bridges between research worlds so that, to continue the previous example, neuroscience on music performance might develop explanatory power for performance, and not just neuroscience. The idea is that researchers who understand music performance can collaborate on the research design so that the questions, data gathering, and observations are properly bounded. This requires open and transparent collaboration between disciplinary perspectives.
For this to happen, there has to be a perspective to articulate on the side of music performance.
Finding musicians to collaborate on research design in neuroscience is not as easy as it sounds. It is not enough to force a scientist to listen to live music or that a scientist should to learn to sing! Similarly, we don’t want to throw away everything we know about music and simply observe music through the concepts of science. Much of what is important in musical activity is tacit – it requires a deep understanding of the management of skill in processes of attention and awareness. The musician researcher must be capable of understanding music making in a way that organizes it into a proper research question. Similarly, the scientist must understand and anticipate how the research methods will constrain and influence the findings. From the perspective of situated cognition, music made in a lab differs greatly from music made in the concert hall; sight reading is very different than playing from memory. How are those differences accounted for in the research? The researchers must understand how to properly bound their explanations to avoid major explanatory blunders.
This neuroscience example is an extreme case of fields so far apart that they require a process of translation. In many cases, the scientific methodology merely dominates – it observes its own concepts for its own purposes and leaves its readers to question the relevance of the findings.
Because we currently lack a coherent instrumental/vocal research perspective, this happens in other areas of research much closer to home – music theory studies its own concepts for its own purposes, music history tells its own story for its own goals, and so on. There are very few researchers who have attempted to take an instrumentalist’s research perspective. Far more common is the research that aims to inform the performer from another point of view.
As a result, many performing musicians question the relevance of research for their musical goals.
Over the years, I have come to see how important it is that instrumentalists and vocalists learn to understand their work in more formal ways. If we want to learn from research (and many of us do), we need to understand what is relevant to us and what isn’t. We need to understand what our interests and perspectives are so that we can properly investigate them through appropriate research methodologies. The best place to start this work is to curate the knowledge we gain from lessons, rehearsals, master classes, and performances. If we properly curate our knowledge, we will know how to select research practices that will deepen our understanding of ourselves and our work as musicians.
Further Reading:
Cook, N. (2001). “Between Process and Product: Music and/as Performance.” MTO: a journal of the Society for Music Theory 7(2):np. Available online: http://www.mtosmt.org/issues/mto.01.7.2/mto.01.7.2.cook.pdf
Hewitt, A. (2009). “Student musicians’ self- and task-theories of musical performance: the influence of primary genre affiliation”, British Journal of Music Education 26:3, 293-314.
Kaastra, L. (2008). “Performance Inquiry and Cognitive Science: A Search for Common Ground.” College Music Symposium, 48: 131-156.
Parmer, D. (2014). “Musicology, Performance, Slavery: Intellectual Despotism and the Politics of Musical Understanding.” Intersections: Canadian Journal of Music 34(1-2): 59-90.
Payne, E. (2018). “The craft of musical performance: skilled practice in collaboration.” cultural geographies 25(1):107-122.
Schnare, B., MacIntyre, P., & Doucette, J. (2011). “Possible selves as a source of motivation for musicians,” Psychology of Music 40(1): 94-111.
Also visit the Music Research Lab of Roger Chaffin and colleagues at the University of Connecticut, they have designed a tool, “SYMP,” Study Your Music Practice. This tool allows you to gather and analyze aspects of your music practice to better understand what happens there.
You can find it here: https://musiclab.uconn.edu/introduction/
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Posted in Welcome
Tagged discourse practices, music making, music practice research, research design, research methodology
A situated perspective on form in writing
In WRDS 150, we think of writing as a situated activity. When we study published journal articles, we think of them as scholarly conversations. To say these articles are situated means that aspects of the content and presentation of ideas respond to the expectations of the field or publication venue. We analyze discourse features as we determine the conventions of research in a field.
But we can also think about writing as a situated activity in which we engage certain tools and technologies for taking notes, organizing ideas, creating written conversations, and communicating ideas. Researchers in situated cognition describe how the technology of writing not only supports but changes thought (Norman 1993, Kirsh 2010). From this perspective, writers use technologies to focus awareness on some information in a way that allows certain types of links and connections to occur. Information can be organized in ways that make it easier for us to make inferences and see connections. Gopen and Swan (1990) have built upon these ideas to offer principles for organizing written text. They offer a theory of reader expectation that can help us think in a new way about form in scholarly writing.
This was the topic of today’s class: how to take a situated perspective on form in scholarly writing. Our approach to thinking about form is not focused on identifying modes of development like description, narration, exposition, persuasion, comparison, or cause/effect. Rather, we were interested in learning about how readers interact with written information to understand how to organize and create patterns out of our ideas and improve coherence.
Gopen and Swan (1990) tell us that readers expect information in two key positions: the “topic position” and the “stress position.” These positions scale up and down to different discourse units (e.g. sentence, paragraph). At different units and levels in the paper, we establish a context for ideas and position new information with respect to that context. Failing to do so may result in a failure of communication between writer and reader.
- “If these structural expectations are continually violated, readers are forced to divert energy from understanding the content of a passage to unraveling its structure. As the complexity of the context increases moderately, the possibility of misinterpretation or noninterpretation increases dramatically” (Gopen & Swan (1990) p. 552).
In the scholarly literature review, we are using reporting expressions to give context and positioning to the ideas in the sentence. *It is important to remember that your scholarly conversation should be emphasized throughout the paper. Put the ideas together for others. Give your ideas a context, a pattern, a shape.
To revise your scholarly literature review, keep in mind these structural principles from Gopen & Swan (1990):
- Follow a grammatical subject as soon as possible with its verb.
- Place in the stress position the “new information” you want the reader to emphasize.
- Place the person or thing whose “story” a sentence is telling at the beginning of the sentence, in the topic position.
- Place appropriate “old information” (material already stated in the discourse) in the topic position for linkage backward and contextualization forward.
- Articulate the action of every clause or sentence in its verb.
- In general, provide context for your reader before asking that reader to consider anything new.
- In general, try to ensure that the relative emphases of the substance coincide with the relative expectations for emphasis raised by the structure.
References:
Gopen, George D. and Swan, Judith A. (1990). “The Science of Scientific Writing.” American Scientist, Volume 78 (Nov-Dec 1990): 550-558.
Kirsh, David. (2010). “Thinking with external representations.” AI & Society. Volume 25, Issue 4: 441-454. https://doi.org/10.1007/s00146-010-0272-8
Norman, Donald A. (1993). Things That Make Us Smart: Defining Human Attributes in the Age of the Machine. Addison-Wesley Publishing Company.
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Posted in Teaching
Tagged situated activity, writing activity