Accommodating Differences in the Classroom and Beyond
Jennifer Iverson (University of Chicago)
Friday, 13 April 2018
We are delighted to announce that the 2018 Graduate Student Workshop, held the evening before the conference, will be led by Professor Jennifer Iverson (University of Chicago). The topic of this year’s workshop is “Accommodating Differences in the Classroom and Beyond.”
Musically talented humans come in a range of bodies and abilities. Many or most of us have (or will) encounter students who need accommodations to succeed in our classes, spurring us to consider questions such as: What is essential about this skill, and what creates an unnecessary barrier? Are there various ways my students can demonstrate mastery? How can I create a more inclusive classroom environment? Jennifer Iverson, Assistant Professor of Music History and Theory at the University of Chicago, will lead a philosophical and practical workshop that considers several issues around dis/ability and accommodation. Participants will read and discuss the work of authors including Lennard Davis, Andrew Solomon, Joseph Straus, and Will Cheng, who interrogate the foundational beliefs that shape our principles and practices. Iverson will provide an overview of practical resources for making accommodations, as well as an introduction to Universal Design. Finally, participants will work together to develop responses to various real or hypothetical scenarios in which students need accommodations. Participants will leave with practical suggestions and tools, plus inspiration to continue adjusting their own attitudes, course policies, and pedagogies.
About Professor Iverson
“Jennifer Iverson is a scholar of twentieth-century music, with a special emphasis on electronic music, avant-gardism, sound studies, and disability studies. Jennifer’s research explores the interaction between bodies, technologies, and sound, drawing together music analysis, archival research, and cultural history. Jennifer’s book, Electronic Inspirations: Technologies of the Cold War Musical Avant-Garde, under contract with Oxford University Press, analyzes the cultural impact of mid-century electronic music produced in and around the WDR studio in Cologne, Germany. In particular, the electronic music studio provided a crucial space to reclaim wartime technology and ideas and put them to artistic use. The electronic studio also engendered a paradigm of invisible collaboration, where composers, technicians, scientists, and performers worked in a laboratory-like environment to develop a shared framework of ideas that applied to both electronic and acoustic musical compositions. Related articles appear in the journals Tempo, Mitteilungen der Paul Sacher Stiftung, Music Analysis, twentieth-century music, and Music Theory Spectrum.
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