Perceptions of values and influential sources of creativity, music types, and music activities in school music learning: a study of students in Changsha, China

2021 ◽  
pp. 1-17
Author(s):  
Wai-Chung Ho
Keyword(s):  
Music Learning ◽  
School Music ◽  
Music Activities

Equity and Access in Out-of-School Music Making

2017 ◽  
pp. 502-510
Author(s):  
Kylie Peppler
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Learning Spaces ◽  
Music Learning ◽  
Equity And Access ◽  
Music Making ◽  
School Music ◽  
Pathways Model ◽  
Recording Studios ◽  
Out Of School

This chapter focuses on the importance of community to both music education and the ways that youth shape their ideas, interests, and identities in music. Musical learning is rarely, if ever, about a learner operating a new musical technology-based tool in isolation. Music is inherently social, and these influences have a great impact upon the development of musical identities. This chapter explores the ways that out-of-school spaces like those in the Computer Clubhouse Network, YOUmedia, and Musical Futures support social music learning by providing private recording studios that allow youth to assume increasingly public roles as musicians, performers, and producers. The chapter also describes how mixing formal, nonformal, and informal learning spaces helps to develop a youth’s musical maturity through what is known as the “progression pathways model.”

From singular to over-crowded region: Curriculum change in senior secondary school music in New Zealand

2012 ◽  
Vol 29 (3) ◽  
pp. 317-330 ◽  
Author(s):  
Graham McPhail
Keyword(s):  
New Zealand ◽  
Music Curriculum ◽  
Music Learning ◽  
Diverse Range ◽  
Informal Music Learning ◽  
School Music ◽  
Recent Developments ◽  
Curriculum Construction ◽  
Senior Secondary ◽  
The Relationship

This paper discusses recent developments in the senior music curriculum in New Zealand. I suggest that school music is in transition from its clearly defined origins to its ‘regionalisation’ by new content and knowledge. The concepts of knowledge differentiation and verticality are considered in relation to the subject's now diverse range of curriculum segments, and I argue that the varied progression requirements of these segments combined with an ‘emptying out’ of significant aspects of knowledge within an outcomes-based curriculum presents significant challenges for curriculum construction and pedagogy. Also vying for space within the curriculum are elements of informal music learning. These challenges need to be carefully considered in light of recent social realist critiques which highlight the significance of the relationship between knowledge structures, curriculum, pedagogy and student access to powerful knowledge.

Heterogeneity of Thinking about Audiation in Terms of Scientific Exploration of the Status of Music Learning Theory by Edwin Elias Gordon

2020 ◽  
Vol 15 ◽  
pp. 219-246
Author(s):  
Maciej Kołodziejski
Keyword(s):  
Music Education ◽  
Learning Theory ◽  
Music Pedagogy ◽  
Music Learning ◽  
Music Learning Theory ◽  
Scientific Exploration ◽  
Early School ◽  
School Music ◽  
The Status ◽  
Educational Market

Taking into consideration the recent attempts made by scientific researchers to study the learning process as well as the process of learning music, it is assumed that both are subject to the same methodological rigour as the ones which originate from different backgrounds and subjects, espe- cially in the case of studies based upon quantitative strategy. There is a need for a thorough theo- retical analysis, which has been present in Polish educational market for over 20 years, of music learning theory by E.E. Gordon in terms of its functionality in research development. The author of the article outlines a thorough analysis of learning theory in terms of its scientific rationality, theo- retical and practical background. The author also conducts a selective description of its fundamental concepts in terms of undertaking research exploration. In these circumstances, the focus is placed upon projecting, conceptualisation and operationalisation of the attempts made by researchers in the subject of early school music education and widely understood music pedagogy.

Kinaesthesia in Music and its Implications for Developments in Microtechnology

1990 ◽  
Vol 7 (3) ◽  
pp. 223-229 ◽  
Author(s):  
Anthony Kemp
Keyword(s):  
Music Learning ◽  
Psychological Model ◽  
Essential Ingredient ◽  
Cognitive Awareness ◽  
Recent Developments ◽  
Music Activities

This paper takes the view that kinaesthesia, processes involving neuro muscular sensation, should be the central and unifying component in any psychological model for music learning. It maintains that engagement in music activities, which consciously encourages the processes of kinaesthesia, helps to bring about the closer association of thinking and feeling. The paper develops the notion that this form of musical ‘knowing’, which is based on the interrelationships between muscular, perceptual and cognitive awareness, is the essential ingredient of musically sensitive and imaginative behaviour. Having established these principles, the paper explores those recent developments in music microtechnology which appear to support and develop these processes.

Healing bruises: Identity tensions in a beginning teacher’s use of formal and informal music learning

2018 ◽  
Vol 42 (1) ◽  
pp. 3-18 ◽  
Author(s):  
Julie Derges Kastner
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Teacher Identity ◽  
Learning Processes ◽  
Music Teacher ◽  
Music Learning ◽  
Informal Music Learning ◽  
Formal And Informal Learning ◽  
School Music ◽  
Definition Of

The purpose of this narrative case study was to describe the developing teacher identity of Nicole Downing, a first-year teacher in the US, in her use of both formal and informal learning processes. As music education continues embracing approaches like informal music learning, it should also reflect on the voices of teachers in the field. Data collection included interviews, observations, and participant writings. Findings revealed that Nicole (a) questioned and eventually accepted her music teacher identity, (b) exhibited a dualism between her use of formal and informal music learning processes, and (c) broadened her community’s definition of school music. Nicole used the metaphor of a bruise to describe how she believed some in her undergraduate studies would judge her interest in popular music and creative musicianship, but as she became a music teacher she had agency to incorporate the informal learning she valued. Nicole exhibited a duality in her use of formal and informal learning processes, which were not integrated in her teaching. Ultimately, she developed a broadened definition of school music that she believed was beneficial for students but perceived negatively by other music teachers. Music teacher education should support teachers’ diverse identities and continue to explore the teaching strategies used in facilitating informal music learning experiences.

scholarly journals Building vibrant school–community music collaborations: three case studies from Australia

2012 ◽  
Vol 29 (1) ◽  
pp. 45-63 ◽  
Author(s):  
Brydie-Leigh Bartleet
Keyword(s):  
Case Studies ◽  
School Community ◽  
Social Outcomes ◽  
Community Music ◽  
Educational Settings ◽  
School Music ◽  
The Relationship ◽  
Music Activities

This paper explores the relationship between school music and community music in Australia. While many Australian schools and community music activities tend to exist in relative isolation from one another, a range of unique school–community collaborations can be found throughout the country. Drawing on insights from Sound Links, one of Australia's largest studies into community music, this paper explores three case studies of these unique school–community collaborations. These collaborations include a community-initiated collaboration, a school-initiated collaboration and a mutual collaboration. The author brings these collaborations to life for the reader through the words and experiences of their participants, and explores their structures, relationships, benefits, and educational and social outcomes. These descriptions feature important concepts, which could be transferred to a range of other cultural and educational settings in order to foster more vibrant school–community collaborations.

Aspiring to Music Making as Leisure through the Musical Futures Classroom

2017 ◽  
Author(s):  
Abigale D'Amore ◽  
Gareth Dylan Smith
Keyword(s):  
Young People ◽  
Secondary Schools ◽  
Leisure Activities ◽  
Music Learning ◽  
Pedagogical Approach ◽  
Music Classroom ◽  
Informal Music Learning ◽  
Music Making ◽  
School Music ◽  
Music Classrooms

The chapter discusses the centrality of music making to the lives of young people, framing teenagers’ out-of-school music making and attendant identity realization as leisure activities. It presents arguments for including in school music classrooms the music that students enjoy outside of school. It describes Musical Futures, an approach to informal music learning developed from understanding how popular musicians learn and adopting these practices for the music classroom. Citing examples of nationwide research on Musical Futures from secondary schools in England, the chapter balances benefits and challenges of adopting the approach, and considers implications of a focus in school on the process rather than the product of music making. The authors argue that framing and aspiring to music making as leisure through this particular pedagogical approach could stand to benefit students, teachers, schools, and society.

Inclusive Music Classrooms and Programs

2012 ◽  
pp. 64-80
Author(s):  
Judith A. Jellison
Keyword(s):  
Students With Disabilities ◽  
Music Teachers ◽  
Music Programs ◽  
Community Music ◽  
Typically Developing ◽  
School Music ◽  
Age Appropriate ◽  
Disability Categories ◽  
Music Classrooms ◽  
Music Activities

This article focuses on the musical development of students in inclusive music settings. Five broad guidelines for inclusive music programs are discussed: inclusive programs are those where (1) students with disabilities attend regular music classrooms in their schools, and are not isolated from their peers without disabilities; (2) students with disabilities interact with their same-age, typically developing peers and participate with them in regular music classes and other age-appropriate school music activities; (3) music and music-related goals are flexible and individualized and instruction is not solely based on disability categories; (4) progress is assessed in a variety of contexts; and (5) music teachers, professionals, and parents collaborate in determining what is important for students to learn and ways to incorporate special supports and services into age-appropriate school, home, and community music activities and experiences. The ultimate goal for inclusive music programs is to develop learning environments where students both with and without disabilities participate successfully and happily in meaningful music experiences.

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