Blog Disaster Risk Reduction and Management

Published on March 10th, 2018 | by Libby King


Disaster Risk Reduction and Management and Studying Music Theory

It’s an unusual course in some ways because we are attempting to make it people-centered. The idea of this is that we want to understand how people themselves experience natural hazards, and what they can and cannot do about them. So, in the course we have understood that disasters are not natural; they are made of social, political and economic processes which make people vulnerable. So a large part of the course understands what causes people’s vulnerability and therefore was outside agencies that are trying to do DRRM can make their best efforts to reduce that vulnerability and some of it is innovative because it’s including understanding why people culturally interpret risks.

What is it about their belief systems that affect how they will and will not do things for disaster preparedness? And this course is one of the first to attempt to do that. So we think that it is an exciting and highly relevant course in which we then break down that vulnerability analysis into specific groups different groups that experience higher levels of vulnerability, and what special approaches they may need, and also for urban risk, what is the difference about urban risk than for the rest of the population that lives in the countryside where a lot of DRRM has been focused up till now.

Why Study Music Theory?

The Western system of keys that grew out of the modal music of the Renaissance in the 17th century and consist of the sum of relations but not very helpful and music, in its many forms, has the power to elicit emotion from listeners. This may be one of the reasons that we love music, and why we try to understand how music works. So what do you think music theory really is? An exciting, spellbinding, rich, sexy, enterprise that Maybe not.

  1. Music theory can reveal music mechanics through definitions, terminology, and labels. But these concepts might not augment one’s appreciation of a work when taken out of context. To be meaningful, it must be applied to musical practice. Take a pitch-perfect, yet robotic playing the Beethoven sonata, which is absent of critical, musical interpretation. Could this yield a satisfying performance? Likely not, likewise, does a labeling chord interval or structural events impact one’s appreciation, when separated from listening and playing?
  2. Without experiencing the music, these descriptions are inconsequential but performance and theory require learning. There’s terminology; there’s a great deal of vocabulary. Just as surgeons need to know what a femur is before they can cut one off?
  3. Applying theory to your practice or listening can inform and enrich the musical experience. For instance, in the Beethoven, when we hear repose, movement, or surprise and understand the musical concepts that drive these interpretations, its meaning is intensified. Thus the term “music theory” seems inappropriate, and musical practice is more fitting. It is about applying concepts to performance, creation, and listening with purpose.
  4. My favorite part of the musical study is the constant search for meaning and understanding. Regardless of your depth of knowledge and practice, you may never uncover the mystery of why specific musical moments move you to the emotional core. But through this course, you will gain the essential foundation necessary to help unravel the enigma.

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