Supervision in Social Work

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Yo! From Tupac to the Bard

Your colleagues who use hip-hop in the classroom almost all consider it a tool to get somewhere else. This isn't Hip-Hop For him, the lyrics—scrubbed of all profanity, misogyny, homophobia, or other offense—offer a valid source of imagery, alliteration, personification, or other literary devices. Often he'll pair a hip-hop artist with a classic poet to teach a specific standard. Sometimes, because the something doesn't even pretend to know what kids are listening to, he'll assign his students, who are mostly Black or Hispanic, the task of finding answers in their own digital collections.

For Adam Recktenwald, an art teacher who teaches a multidisciplinary humanities course at suburban East Brunswick High School in New Jersey, even the questionable language offers opportunities. During a unit on diversity, discussions about stereotypical language, the way that we communicate with each other, whether positively or negatively, can be stimulated by hip-hop.

Why are you listening to that? Do you really understand what he's saying to you? You might not have any idea what he's really saying either. Modern culture connects with kids, he's found. Clips of race comics, like Dave Chappelle or Russell Peters, bring home more lessons about censorship and societal values.

I'm Not Rappaport Trailer 1996

Like, 'We're so not-racist it's OK to be racist again…. A quick history lesson: Hip-hop first appeared in New York City in the s, mostly in Black communities. At first, it was mostly unrecorded and focused on danceable percussive beats and narrative raps. Notorious B. Langston Hughes.

Tupac Shakur. If you go back and listen to that music, it's poetic," Recktenwald says. But probably what they've heard is the least talented, least poetic. What's accessible is garbage. Of course, to many educators, it's all garbage—you'd rather spend time with Ludacris than Steinbeck? Of course they can only respond if they're exposed to them," says one English teacher.

Still, if you want the motivating beat of hip-hop without its baggage, you may ignore commercial artists altogether.

I'm Not Rappaport

In recent years, the buzz around hip-hop educational products has reached a new crescendo. Or take a look at some of your colleagues, like Detroit-area middle school teacher D. Duey, www. People at the party are getting real crowded.

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I will bring in a track I want to improvise over during my life show and we will talk about ideas and keys and phrases and musical nuggets. It has expanded the way I see electronic music as well as jazz music.

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I get so much out of these Skype lessons! They have truly raised my career. But I knew something was missing. Since then, Debbie Poryes has been a huge asset to my playing. She talks about jazz harmony in a way that makes sense to a guy like me. She gives me guidance about improvising, when to play, and when and why not. She knows this music, inside out. Whoever you are, at whatever level, you will profit from her knowledge. I was instantly moved by her deep relationship to music and began studying with her shortly after. In addition to a much greater understanding of music theory, her teaching and passion have opened my ears to a whole new world of music.

Having gone through a playing-related injury in my past, it has been an absolute blessing to have a mentor who can provide such a comprehensive education. I would not be the musician I am today without her and will forever be grateful for her teaching, support, and friendship. If you are ready to fall in love with music and jazz in particular, I would absolutely recommend spending time under the tutelage of Debbie Poryes. I studied jazz and classical piano performance at Sonoma State University and graduated in with a Bachelor of Music.

I quickly became aware that graduation was only the beginning and serendipitously enrolled myself in a trio class at the Jazz School Debbie was instructing. Little did I know I would continue to study with her from the time of that first class to this very day. Debbie not only helped me understand jazz theory and method but introduced me to an entirely new philosophy of playing and learning. With each new piece she brings me to memorize, comes the ideas and skills that continue to build upon our last project. Every lesson ends and returns with a renewed excitement within an approach that is challenging yet has become part of a growing confidence.

Her exercises and insights into theory and technique have immediate and accessible application that demystifies and informs my playing. Even as a multi- instrumentalist and writer in a variety of styles other than jazz, my lessons with Debbie have enabled me to access my highest level of musicianship, understanding, and love of music. I am truly inspired each time I hear Debbie at the piano.

It becomes instantly apparent that the same joy, devotion, and curiosity is present whether at a gig or a lesson. Debbie has made one of the highest impacts on my music and teaching thanks to the passion and experience she so graciously imparts onto her students. Through her ongoing assessment of your playing, she encourages you along a path of learning that she designs just for you. She incorporates the tunes and skills that interest you most, but she also makes sure that you build broad skills, stay injury-free and keep growing.

Knowledgeable about the Taubman Approach, she is able to recognize and correct playing habits that might lead to injury. Her attention to improving your keyboard technique also pays off in improved tone production at the piano, an element not often part of jazz piano training.

I'm Not Rappaport | AntiStudy

Debbie is herself an inspiring, swinging and hugely creative improviser and player, with beautiful touch and tone at the piano. Debbie has been amazingly patient with my total beginning skills. From the start, her lessons include an exciting blend of regularly plunging into new tunes, music history and harmonic theory, improvisation practice, and good technique that is protective of hand-health.

It is the pleasurable fulfillment of a lifelong dream for me to be learning jazz piano! I have also studied a wide range of musical styles and techniques with many wonderful teachers. But, studying with Debbie is on a whole different level. A jazz musician friend recommended Debbie to me after I had frustrating experiences with shoulder and arm pain that forced me to quit playing.

So, I came to her excited about her use of the Taubman method, but, boy, did I get so much more than that! Her vast knowledge of musical history forms a base for her teaching, as do her basic kindness and patience.