Music teachers from Chaminade, Pinecrest vie for Grammy Foundation’s Music Educator Award
She credits those experiences with giving her the strong work ethic, inspired imagination and unflagging self-confidence she brings to Pinecrest. Music taught me that its important to just keep reaching, that creativity is so vast and infinite it can just keep going, she said. Music is also a big tool to help understand math and English. Its a different way to work the mind to get to the answer. Turpin teaches music theory and practice, with students learning to play the hand bells and recorder. She also leads three choirs that perform at community functions. And shes become an innovative fundraiser, organizing a student talent show that helped the school buy new microphones. Now she has her sights set on speakers. Beyond that, the nod is a realization of the dream she had as a youngster but with a slight twist. When I was a girl and I knew I was going to be a music artist, getting a Grammy was something I could only aspire to, she said. If I win the Educator Award, it will be that my music is out there but through the kids. I will be accepting a Grammy not as a music artist but as a music educator. The Educator Award will be presented in a special merit ceremony on Jan. 25, the day before the 56th Annual Grammy Awards. The winner will receive $10,000, with another $10,000 awarded to his or her school. The nine finalists will receive $1,000, plus a $1,000 match for their school.
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How film music shapes narrative
The specific effects of migrating a piece of music from diegetic to nondiegetic depend on the unique interplay of music and moving images. However, our study suggests that the diegetic/nondiegetic distinction is perceptually salient to a general film audience. In some cases, it may lead to dramatically different perceptions of the tension of a scene, the attitudes, motives, and relationships of characters, and other judgments fundamental to ones understanding of the unfolding film narrative. Further, we have demonstrated a case in which diegetic versus nondiegetic presentation of the same piece of music produced more powerful effects than switching to a different musical soundtrack of contrasting character. Looking to the horizon, we hope to inspire more discourse and inquiry on diegetic film music a topic largely neglected by researchers, who have strongly privileged nondiegetic music for analysis. What do you think are the most powerful moments of diegetic music in film? What makes them particularly compelling and memorable? And what questions would you encourage psychologists, neuroscientists, and other researchers to pursue on diegetic film music? Siu-Lan Tan is Associate Professor of Psychology at Kalamazoo College. She served as an editor and author of The Psychology of Music in Multimedia , newly published by Oxford University Press (2013). Born in Indonesia and raised in Hong Kong, she completed degrees in piano and music and attended Purdue University, Oxford University, and Georgetown University to complete an MA and PhD in psychology. The full, referenced version of this articleappears on the World Science Festival Blog . The author retains all rights to the content of this post. Subscribe to the OUPblog via email or RSS .