Improvisation in traditional music: learning practices and principles

2021 ◽  
pp. 1-14
Author(s):  
Mats Johansson
Keyword(s):  
Traditional Music ◽  
Music Learning ◽  
Learning Practices

scholarly journals Pengembangan Media Pembelajaran Berbasis Etnis Sumatera Utara

2020 ◽  
Vol 3 (2) ◽  
pp. 84
Author(s):  
Uyuni Widiastuti ◽  
Adina Sastra Sembiring ◽  
Mukhlis Mukhlis
Keyword(s):  
Traditional Music ◽  
Art Teachers ◽  
Instructional Media ◽  
Music Learning ◽  
Cultural Arts ◽  
The Arts ◽  
Musical Works ◽  
Arts And Culture ◽  
Development Approach ◽  
North Sumatra

The development of instructional media in this paper is the development of learning media used in learning Arts and Culture class X High School in Pangururan District, Samosir Regency. The learning media developed are invincible with the syllabus in class X, namely "presentation of musical works". The objectives of this study were to: (1) develop traditional Karo music learning videos; (2) Developing Karo traditional music learning textbooks. This research uses a Research & Development or research and development approach. The development of this learning media will be used by art teachers who are members of the MGMP (subject teacher deliberation) for Cultural Arts, especially art teachers in Pangururan District, Samosir Regency. The research conducted resulted in the development of instructional media in the form of learning videos for learning traditional Karo music and textbooks for learning traditional Karo music. The learning media developed in the form of learning videos for traditional Karo music includes the technique of playing Karo traditional music which is incorporated in the kulcapi drum ensemble whose instruments consist of kulcapi, keteng-keteng, and mangkuk. The next learning media is in the form of a textbook which contains the techniques for playing the kulcapi drum in the song Piso Surit and Terang Bulan. The two learning media that have been developed help the arts and culture teachers in carrying out the ethnicity of the ethnic North Sumatra.Keywords: Development, Learning Media, Ethnicity, North Sumatra 

Adult Music Learning in Formal, Nonformal, and Informal Contexts

2012 ◽  
pp. 242-256
Author(s):  
Kari K. Veblen
Keyword(s):  
Informal Learning ◽  
Skill Acquisition ◽  
Music Students ◽  
Music Learning ◽  
Research And Practice ◽  
Nonformal Learning ◽  
Learning Practices ◽  
Educational Structures ◽  
Informal Practices

This article examines current research and practice in formal, nonformal, and informal learning for adult music students. In a formal setting, the teacher controls the materials, pacing, and interactions in a structured environment. Nonformal learning practices involve systematic and deliberate but less regulated pursuits that occur outside of educational structures. Informal practices comprise aspects of knowledge and skill acquisition that are largely experiential.

The Violet experience: Social interaction through eclectic music learning practices

2017 ◽  
Vol 35 (1) ◽  
pp. 57-72 ◽  
Author(s):  
Jacob M. Dakon ◽  
Elene Cloete
Keyword(s):  
Social Interaction ◽  
Social Engagement ◽  
Personal Development ◽  
Qualitative Case Study ◽  
Participant Observation ◽  
Peer Learning ◽  
Formal Learning ◽  
Music Learning ◽  
Learning Practices

In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic music spaces allow for personal development and nurture self-appreciation. An eclectic ensemble space thus provides a rich alternative to more traditional forms of music ensemble instruction.

Bridging the gap: Informal learning practices as a pedagogy of integration

2010 ◽  
Vol 27 (1) ◽  
pp. 47-58 ◽  
Author(s):  
Heloisa Feichas
Keyword(s):  
Higher Education ◽  
Informal Learning ◽  
School Environment ◽  
Education Institution ◽  
Music Learning ◽  
Informal Music Learning ◽  
Learning Practices ◽  
Classical Training ◽  
Students Attitudes ◽  
The University

This work derives from a doctoral research study which looked at the differences in students' attitudes towards learning music in a Brazilian music higher education institution, while taking into account their different music learning backgrounds. The students' backgrounds (which consist of their set of musical experiences and music-learning processes that had been acquired and developed in their lives before entering the university course) are divided into three types: (i) those who have acquired their skills and knowledge mostly through informal learning experiences, particularly in the world of popular music; (ii) those who have only experienced classical training either within institutions such as music schools, or privately; and (iii) those whose backgrounds consist of both informal learning and classical training. These different backgrounds are termed here formal, informal and mixed. The research also discusses the gap between the way music is conceived and taught within the university and the reality students will have to face outside university. It further suggests that the traditional teaching approaches for music in higher education are possibly inadequate for educating university students from varied music learning backgrounds, especially those with informal music learning backgrounds. After examining some findings of the research, the paper proposes pedagogical strategies in which informal music learning practices might help the integration of students from different backgrounds, encouraging students' diversity and their inclusion in the university music school environment. The suggested strategies exemplify approaches that enable the students to bridge the gap between their own musical practices and those they are expected to learn in their institution. In this case, the students have more autonomy and the teacher becomes a facilitator of the process.

‘Get back to where you once belonged!’ The positive creative impact of a refresher course for ‘baby-boomer’ rock musicians

Popular Music ◽  
2012 ◽  
Vol 31 (2) ◽  
pp. 199-215 ◽  
Author(s):  
Helen O'Shea
Keyword(s):  
Rock Music ◽  
Women Musicians ◽  
Academic Research ◽  
Music Learning ◽  
Directed Group ◽  
Music Scenes ◽  
Learning Practices ◽  
Learning Pathways ◽  
Rock Musicians ◽  
And Gender

AbstractThis article reports on a study of participants in a Weekend Warriors Program for ‘lapsed’ rock musicians in Melbourne, Australia. It observes musicians over a six-week period that included a jam session, coaching sessions and a gig (concert). It examines the learning pathways of participants and their goals and experiences alongside those of the programme organisers within the comparative context of music learning practices among young and older musicians and in the light of academic research into the midlife ageing process. A question that arises from the data is the extent to which the experience and actions of middle-aged women musicians coincides with the literature on gender in youth rock music scenes and the literature on music, ageing and gender. The article concludes that the Weekend Warriors Program draws on the learning practices that the musicians involved had adopted in their youth and which act as a catalyst for their further musical and social participation and self-directed group learning. Age appeared to create no barrier to their enjoyment or their achievements; indeed in many ways it seemed to make them less inhibited and self-conscious in realising individual objectives that were further encouraged by working within a supportive if loosely bonded group.

Informal learning and musical performance

2017 ◽  
Author(s):  
Tim Smart ◽  
Lucy Green
Keyword(s):  
Informal Learning ◽  
Musical Performance ◽  
Music Learning ◽  
Informal Music Learning ◽  
Sources Of Knowledge ◽  
Learning Practices

If the adage ‘You live and learn’ reflects any truth, then the vast majority of living and learning must take place informally. This can range from unintentional and nonconscious processes such as enculturation, to intentional and conscious self-teaching. While the study of informal learning in music has tended to focus on popular and other vernacular musicians, this chapter adopts a wider approach, considering the perspectives of a range of musicians across several musical contexts, styles and genres. The authors review key sources of knowledge, skills and abilities relevant to these musicians and to their performance, and consider examples of how informal learning practices are valued in underpinning their work. They also examine the characteristics and prevalence of informal learning, how it interfaces with other practices, and how research in the field of informal music learning may serve to promote and champion a richer perspective on the learning of music for the benefit of all learners, intentional or not.

scholarly journals Jazz education in Western Switzerland in the 1970s and 1980s

2017 ◽  
Vol 16 (1) ◽  
pp. 60-80
Author(s):  
Monika Piecek ◽  
Angelika Güsewell
Keyword(s):  
Informal Learning ◽  
Structured Interviews ◽  
Music Learning ◽  
Skills Transfer ◽  
Jazz Education ◽  
Educational Models ◽  
Music Training ◽  
Documentary Analysis ◽  
Learning Practices ◽  
French Speaking

This article aims to complement the understanding of the implementation, expansion, and formalisation of jazz education as well as of how jazz was learnt and taught in the 1970s and 1980s in the Western, French-speaking, part of Switzerland. Focussing on this specific geographical context, it takes a close look at the transition from traditional, informal learning to what are considered as more formal realms of learning in jazz education. Drawing both on documentary analysis and in-depth, semi-structured interviews conducted with former students, directors, and teachers of the first jazz schools and jazz departments, it provides a description of the Swiss jazz educational landscape at its beginnings. Two educational models that emerged are compared in the light of the formal-informal spectrum. Finally, the music training trajectories of nine students who attended the newly created settings for jazz learning are analysed. Special attention is given to learning practices, skills transfer and the processes of access to and appropriation of music learning environments. These analyses provide evidence of the flexibility and shifting character of organisational boundaries and educational practices during the implementation of new patterns of music learning.

Constructing Informal Experiences in the Elementary General Music Classroom

2018 ◽  
Vol 104 (3) ◽  
pp. 46-53 ◽  
Author(s):  
Donna Hewitt
Keyword(s):  
Upper Elementary ◽  
General Music ◽  
Classroom Setting ◽  
Music Learning ◽  
Music Classroom ◽  
Informal Music Learning ◽  
Music Making ◽  
Learning Practices ◽  
Elementary General Music ◽  
Out Of School

Children often spontaneously yet purposefully sing songs or create rhythms outside the formal classroom setting to reflect the ways in which they naturally engage with music. Researchers have studied these informal music learning practices to incorporate these experiences into the classroom to offer lessons that are engaging and better reflective of children’s out-of-school musical worlds. This article offers strategies for teachers to incorporate these practices into an upper elementary general music classroom through combining elements of constructivism and the research of Lucy Green on informal music learning and popular musicians. Informal music learning offers another way of thinking about music learning and providing joyful and meaningful music-making experiences in the classroom.

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