Reading Takeaways

Readings Takeaways from Unit 1-3

Ableton. (2018). Katie Gately: How much can you feel? YouTube.

In this Ableton video, Katie Gately shows how she turns random, everyday noises into intense electronic music. Instead of just buying sample packs, Gately is out there recording stuff like old door hinges or machinery, then mangling those sounds in Ableton Live to create wild textures and beats. A massive part of Gately’s vibe is taking her own voice, layering it a million times, and processing it until it sounds more like an alien instrument than a human. I really enjoyed Gately’s whole approach when it comes to art to stop worrying about the "rules" of music and just get curious about sound. Be able to manipulate it until it makes you feel something weird or even heavy.

Oregon Writing Project at the University of Oregon (2011). Digital Storytelling in the Elementary Classroom. YouTube.

This video from the Oregon Writing Project basically says that digital storytelling is a game-changer for getting elementary students actually excited about writing. Instead of just scribbling on paper, students use digital tools to mix their own voiceovers, images, and music. This helps students find their own narratives and understand storytelling structure in a way that feels modern and personal. The video highlights how this approach boosts engagement for students who might usually struggle with traditional writing assignments because it bridges technical skills with creative expression. It shows that when kids feel like they are producing a polished media project, they become way more invested in the quality of their writing and more confident in their ability to communicate ideas.

Peppler, K. A. (2014). Intro and Chapter 2. New creativity paradigms: arts learning in the digital age. The Wallace Foundation.

Kylie Peppler’s parts of her book, Introduction and Chapter 2, “How are Youths' Creativity Using Digital Technology,” talk about how digital tech is flipping the script on arts education. How digital tech is making it way more about kids creating stuff themselves rather than just watching experts. In the intro and chapter two, Peppler highlights that instead of just sitting in a classroom doing traditional painting, youth are using tools like Scratch to remix media and learn through tinkering. This makes art a deeply social and digital experience. Peppler argues that we need to stop thinking of creativity as just a solo genius thing and recognize it as a collaborative, networked process that happens online. Peppler’s pushing educators to embrace these new platforms because they allow kids to engage with art on their own terms, blending technical skills with creative expression in a way that traditional schooling often misses.

Sarrazin, N. (2016). Chapter 2: Music: Fundamentals and educational roots in the U.S. In Music and the Child. Milne Publishing.

In this chapter, Sarrazin breaks down all the basic music theory stuff, like rhythm, melody, and harmony, but also keeps it practical for teachers. The main point that Sarrazin is making is that teachers need to understand this stuff, not just to lecture about it, but to actually help kids create and enjoy music themselves. Sarrazin explains that while U.S. music education has always been about learning technical skills, it should really be about helping kids form a lifelong connection to sound. For example, Sarrazin says that when we hear the Qur’an performed, it may sound like singing and music. However, the Muslim understanding of that sound is really heightened speech or recitation rather than music, where it belongs in a separate category. The reason for this is that in Muslim tradition, the idea of music as entertainment is looked upon as degrading. Therefore, the holy Qur’an cannot be labeled as music. Overall, Sarrazin takes the technical side of music and turns it into a fun blueprint for the classroom while also showing how cultural context changes how we define sound.

Readings Takeaways from Unit 6

Martinez and Stager’s first chapter reminds us that "making" isn't some shiny new trend; it’s actually how humans are wired to learn. By diving into the history of constructionism, they show that tinkering and getting your hands dirty are what turn passive students into active creators. It’s a way to move past boring worksheets and let kids invent and fail towards beautiful creations. In Gasek's book, his first chapter tells us to stop thinking stop-motion is just for Claymation or puppets. He opens up a whole world where literally anything, from a pile of sand to your best friend, can be animated. It’s all about the "magic of the frame." By manipulating ordinary objects and playing with timing, one can create these trippy, cinematic videos that CGI can’t replicate. Gasek, in his video interview, begins by saying, “Stop Motion is probably the most accessible technique in animation for people to try and the most difficult to master” (Gasek 2024). This really stood out to me because, when it comes to stop-motion animation, there is this otherworldly vibe you get. I saw this when watching Pee-wee's Playhouse. These models in the movie are not just models; they feel like people. They have the drama and change that comes with people that you can not pull off with CGI. Martinez, Stager, and Gasek all have in common that stop motion animation is not just a puppet, but a place where you can learn with your hands, and allow students to be active creators. 

Regalla, L. (2016). Developing a maker mindset. In K. Peppler, E. R. Halverson, & Y. B. Kafai (Eds.), Makeology: Makerspaces as learning environments (Volume 1) (pp. 257–272, Chapter 17). Routledge. 

And

Blikstein, P. (2013). Digital fabrication and “making” in education: The democratization of invention. FabLabs: Of Machines, Makers and Inventors, 1–21.

One takeaway I took from both Regalla and Blikstien's reading is that makerspaces represent a major shift in education, moving students from just consuming information to actively creating it. By fostering a “maker mindset”, these spaces prioritize traits like curiosity and resilience over simple technical skills. Instead of just learning technical skills for a job, students can use tools like 3D printers and lasers to express themselves and wrap their heads around tough math and science concepts. Both readings show that the best learning happens when you're messing around and building with art. Blikstein points out that we must avoid the "Keychain Syndrome," where students just make easy, flashy stuff instead of taking on messy projects that make students think. And Regalla explains that when we praise the effort rather than just being smart, kids will gain the confidence to fail and try again till they succeed. To me, these spaces turn students into innovators who combine different fields, like history and math, to solve real problems.