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Pecha Kucha Presentation Design Document

Pecha Kucha Presentation Design Document

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Published by John Paul Sharp
Design document for a pecha kucha presentation I created.
Design document for a pecha kucha presentation I created.

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Categories:Types, School Work
Published by: John Paul Sharp on Oct 31, 2012
Copyright:Attribution Non-commercial

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07/11/2013

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INTE 6710 ~ Creative Designs for Instructional MaterialsProject 1: Pecha Kucha Presentation Design Document
John Paul Sharp
February 19, 2012
1. Significant Purpose
One of the most annoying problems I encountered during my four-year education as a vocalperformer was forgetting exercises and much of what my teachers told me about singing fromweek to week. This problem could be solved in a number of ways. Often students bring a pencilto make marks on their music and take notes from the instructor, but it can still be difficult toremember what all the notes mean. Students also bring in digital audio and video recorders sothey can experience their lesson as many times as they want. This isn't the most practicalsolution for many vocal students who are extremely busy and not always focused well enoughto integrate new information from week to week in their daily singing habits.The majority of students who enroll in undergraduate vocal performance training are stretchedthin with commitments to learning, commitments to performing in ensemble groups as well astheir private instruction. Even your regular, every-day, non-student person who decides to takeprivate voice lessons will more than likely have a busy schedule that distracts them fromremembering what they've learned about good vocal habits. Another issue affecting all types of singers is self-confidence. In academic settings, vocalstudents are routinely subjected to feedback in regard to all sorts of personal ways (e.g.,showing personality, using one's body a certain way, quality of using one's voice). Over time,this can infect a singer's attitude about themselves as well as towards singing in general. Thesituation is compounded by mainstream television shows (i.e., American Idol, X-Factor, etc.) thatpromote further requirements for singers that are, at best, superfluous and pertinent only to therealms of professionals attempting to attain a high-level commercial status. I've found in mywork with stage performers that many who sing have developed irrational attitudes about what itmeans to be a great singer, which can negatively affect their self-confidence and actuallyencourage them to harm their voices in the attempt to sound like mainstream music artists.The purpose of this presentation is to deliver the most important and practical information for living life as a great vocalist. Through breathing, relaxing, feeling and knowing, I will exploreeasy behaviors and ideas that, when applied over the course of several months, should improvethe quality and tone of a singer's voice, as well as their attitudes with, and self-confidence in,identifying as a singer.The audience for this presentation would most likely be students enrolled in a post-secondaryvocal performance program, but other potential stakeholders would be anyone who sings and isinterested in developing their voice to a higher, more professional level. These other stakeholders could be anyone from a stage performer to someone who mostly sings while
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showering. Individuals who will see this presentation will find it through an Internet search andwatch it from their desktops, laptops, or mobile phones on video content sites like, but notlimited to, YouTube.Using the power of storytelling and humor, I hope to take these simple behaviors and ideas andmake them memorable and relatable to the singing community. After experiencing thispresentation, learners will have the knowledge to expand their lung capacity and developbehaviors to allow them to control their ability to relax, which are both essential and immediatelyapplicable skills to have when singing on stage. Learners will be encouraged to explore their emotions and find strength in connecting to feelings while performing. If a learner adopts theinformation within the presentation, he or she should see a general improvement in their endeavors as singers within weeks to months.
2. A Picture of the Future
Ideally, a participant who takes this Pecha Kucha presentation to heart will become a more well-rounded and confident singer. This singer is not afraid to get on stage spontaneously or try newexperiences, like singing with a rotating jazz quartet. This singer has a thick-skin and is able totake overtly negative criticisms with a grain of salt. This singer is not afraid to explore vocalstyles and so she or he has a solid sense of who they are as a vocalist and can communicatethat well to others. This singer understands that he or she is a performer. Perhaps mostimportantly, this singer realizes that she or he can translate lessons learned as a singer into hisor her regular, daily life … and vice-versa! In other words, and perhaps most importantly,participants who take full advantage of this presentation will finally be able to call themselves asinger and truly mean it.This presentation address the following learning objectives:1.Given a two-part breathing exercise to try on their own, participants will expand their lung capacity and become more aware of what good breathing feels like. They will havemore strength to sing difficult songs with increased range of pitches.2.Given a relaxation exercise to try on their own, participants will become attuned to their muscles, body posture and mental state. They will use this ability to relax to help themagainst stage fright.3.Given a feeling exercise to try on their own, participants will explore how to change thesound of their voices based on the five basic feelings: joy, sadness, anger, fear and love.This activity will help them to become better, more dynamic performers with greater stage presence.4.Given a call-and-response activity, participants will have a phrase they can repeat tothemselves daily to increase and maintain their self-efficacy as singers striving toimprove their craft over a lifetime.To determine if participants have achieved these objectives, I will present my contactinformation and ask them to contact me after a few months and tell me their stories. Do they feel
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more confident as singers? Have they noticed their lung capacity has improved? Do they find iteasier to relax their muscles, body and mind? Have they increased awareness of their body,mind and heart? How have their lives as singers improved at all? These are the questions I willpropose at the end of the presentation to encourage participants to interact with me so I candetermine if my Pecha Kucha is effective in addressing these objectives.
3. Clear Design Values
 
My main creative design decisions are centered around 1) the use of storytelling, 2) creating amemorable experience that makes the listener forget they're learning, 3) using one-word verbsthat succinctly promote my core messages, 4) repeating those core messages as hooks for myideas and 5) using motion to specific graphics to emphasize points within my narration.
1) I will use music and sound effects throughout the presentation to make it seemas though I'm speaking to a live audience.
By creating an environment that resemblesa live audience (e.g., laugh tracks, boos, claps, sighs), I hope to provoke more emotionwithin the listener with the intent that they will better remember the presentation. In
BrainRules: 12 Principles for Surviving and Thriving at Work, Home, and School,
author J.Medina states that “emotionally arousing events tend to be better remembered thanneutral events.” (Medina, 2008, p. 79)
.
Rather than just presenting information that couldbe emotional, I will give the listener audible cues to enhance the emotional message.By integrating this virtual audience, I will create more of an interactive experience, rather than simply presenting information. More specifically, on
slide 17
, my virtual audienceparticipates in a call-and-response activity that should encourage the listener to join in.In
Presentation Zen Design: Simple Design Principles and Techniques to Enhance Your Presentations,
author Garr Reynolds encourages presenters to focus on the experienceof the design by examining how our real audience interacts with the informationpresented (Reynolds, 2009, p. 18). It is my intent to proactively encourage my realaudience to interact with the help of my virtual audience.Finally, in
Made to Stick: Why Some Ideas Die and Others Survive,
authors Chip andDan Heath make the point that in order to get people to care about our message, wemust “get them to take off their Analytical hats.” (Health & Health, 2008 p. 203). I believethat creating this virtual audience removes any type of analytical environment byproviding an experiences that entertains. In other words, my virtual audience shouldmake the listener forget that she or he is actually learning something, though, in fact, heor she is.
2) I will open the presentation with telling my own story and making myself a real-world example.
On
slides 2 – 4
, I will go into brief details about my childhood and teenyears and make the connection about the length of my journey into identifying as asinger. According to Medina, real world examples help the listener's brain to matchpatterns and “the more personal an example, the more richly it becomes encoded andthe more readily it is remembered.” (Medina, 2008, p. 115). Through the telling of myown story, I will make a personal connection to the listener which will inspire them toabsorb the actual information that follows.
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