Living at the Intersection of Tablets, Music, and Disability

2021 ◽  
pp. 29-42
Author(s):  
Alice Hammel ◽  
Jesse Rathgeber
Keyword(s):  
Disability Studies ◽  
Music Learning ◽  
Music Making ◽  
Theoretical Perspectives

The chapter considers potential possibilities and pitfalls encountered by music learners and scholar-practitioners when using tablet-based technologies for music making and learning. The authors address this question by providing a nuanced, anti-ableist, and balanced discussion of issues that arise at the intersection of adaptive and tablet-based technologies, music learning and making, and disability. First, the chapter highlights applications and approaches discussed elsewhere in the volume, addressing their potentials for fostering adaptive, inclusive, equitable, and meaningful music learning and making with and for disabled musickers/musickers with disabilities (DM/MwD) that can include tablets. Then the authors draw on theoretical perspectives indigenous to discourses about disability studies to problematize these resources, calling attention to potentially negative implications related to autonomy, extracurricular advancement, and othering rooted in and affirming ableism. The chapter concludes with questions and suggestions to assist music learners and scholar-practitioners in navigating the intersections and interactions of tablet-based technologies, use of apps, music learning and making, and disability.

scholarly journals We Made This Song. The Group Song Writing Processes of Three Adolescent Rock Bands

2021 ◽  
Author(s):  
◽  
Vicki Thorpe
Keyword(s):  
Young People ◽  
Community Of Practice ◽  
Group Communication ◽  
Music Learning ◽  
The Third ◽  
Music Making ◽  
Theoretical Perspectives ◽  
Rock Bands ◽  
Working Together ◽  
Song Writing

<p>In garages, practice rooms and classrooms, young people are composing music in rock and pop bands; engaged in working together in the shared enterprise of group music making. This study aims to contribute to scholarly knowledge through describing, analysing and interpreting the collaborative compositional processes (song writing) of three teenage rock bands. A theoretical model was developed and is applied to an analysis of the compositional processes of each group. Communication within each of the bands is analysed in terms of musical, nonverbal and verbal communication. The teaching and cooperative learning that occurred within each of the bands is presented, and each band is described in terms of a community of practice. An analysis of the compositional processes reveals that the three bands employed similar methods to generate ideas and construct their songs. However, when the data are viewed from a number of other theoretical perspectives, it is clear that two of the bands composed collaboratively, working together within mutually supportive, highly focussed and respectful communities; and that the third band’s songs were the work of a single composer, achieved through the cooperation and participation of the other band members. The young people in all three bands were highly engaged in selfdirected music learning, finding meaning and identity in the process.</p>

Can The Disabled Musician Sing?

2020 ◽  
pp. 567-589
Author(s):  
Adam Patrick Bell ◽  
Jesse Rathgeber
Keyword(s):  
Social Media ◽  
Assistive Technology ◽  
Disability Studies ◽  
Critical Case ◽  
Music Learning ◽  
Viral Video ◽  
Music Making ◽  
The Disabled ◽  
Critical Case Study

This chapter investigates uses of social media by disabled musicians/musicians with disabilities (DM/MwD). It first frames social media as assistive technology, examining how the platforms SingSnap, Bandhub, and Facebook are used by disabled musicians/musicians with disabilities to connect with others and create content. The discussion proceeds with an examination of how this content is perceived and may be (mis)represented and (mis)appropriated by nondisabled audiences. Using a viral video of Julia Maritza Ceja Medina as a critical case study, the analysis applies disability studies literature by examining how content generated by disabled musicians/musicians with disabilities can become inspiration pornography. The authors conclude by noting both the positive and problematic potentials of social media in the music learning and music making of disabled musicians/musicians with disabilities.

scholarly journals We Made This Song. The Group Song Writing Processes of Three Adolescent Rock Bands

2021 ◽  
Author(s):  
◽  
Vicki Thorpe
Keyword(s):  
Young People ◽  
Community Of Practice ◽  
Group Communication ◽  
Music Learning ◽  
The Third ◽  
Music Making ◽  
Theoretical Perspectives ◽  
Rock Bands ◽  
Working Together ◽  
Song Writing

<p>In garages, practice rooms and classrooms, young people are composing music in rock and pop bands; engaged in working together in the shared enterprise of group music making. This study aims to contribute to scholarly knowledge through describing, analysing and interpreting the collaborative compositional processes (song writing) of three teenage rock bands. A theoretical model was developed and is applied to an analysis of the compositional processes of each group. Communication within each of the bands is analysed in terms of musical, nonverbal and verbal communication. The teaching and cooperative learning that occurred within each of the bands is presented, and each band is described in terms of a community of practice. An analysis of the compositional processes reveals that the three bands employed similar methods to generate ideas and construct their songs. However, when the data are viewed from a number of other theoretical perspectives, it is clear that two of the bands composed collaboratively, working together within mutually supportive, highly focussed and respectful communities; and that the third band’s songs were the work of a single composer, achieved through the cooperation and participation of the other band members. The young people in all three bands were highly engaged in selfdirected music learning, finding meaning and identity in the process.</p>

Commentary: Music Learning and Teaching in Infancy and Early Childhood

2012 ◽  
pp. 226-228
Author(s):  
Margaret S. Barrett
Keyword(s):  
Oral Tradition ◽  
Oral Traditions ◽  
Music Learning ◽  
Early Music ◽  
Learning And Teaching ◽  
Music Making ◽  
Musical Cultures ◽  
Characteristic Features ◽  
The Moment ◽  
Infancy And Early Childhood

This article, which presents an overview by exploring the characteristic features of a range of musical beginnings and the possibilities for learning that are evidenced, demonstrates that much of young children's early music-making is improvised in the moment as a means to communicate with others and self. Such communications, from responses and exchanges in “motherese” or “parentese” to young children's independent invented song-making, may be regarded as the first “oral tradition.” Oral traditions draw on the power of repetition and the human urge to generate and create. Their musical outputs feature elaboration and ideational fluency as well as the acknowledgment of the musical cultures from which the tradition arises.

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.”

scholarly journals Enacting Equity in Higher Education through Critical Disability Studies: A Critical Community Self-Study

2019 ◽  
Vol 39 (2) ◽  
Author(s):  
Leyton Schnellert ◽  
Pamela Richardson ◽  
Earllene Roberts ◽  
Sara McDonald ◽  
Carolyn MacHardy ◽  
...  
Keyword(s):  
Disability Studies ◽  
Social Relations ◽  
Research Needs ◽  
Critical Disability Studies ◽  
University Of British Columbia ◽  
Theoretical Perspectives ◽  
The Social ◽  
Self Study ◽  
The University ◽  
Constant Comparative Analysis

In this critical community self-study, we describe the development of the Interdisciplinary Disability and Inclusion Research Collaborative (IDIRC) at the University of British Columbia Okanagan. IDIRC is a self-organizing collective involving eleven faculty, students and staff devoted to Critical Disability Studies (CDS) and the relationships between CDS, practice and social change. We ask: What are the social relations, commitments, activities, and research needs of this university's researchers, students and staff in relation to disability and inclusion? Through a constant comparative analysis of interview data we surfaced themes related to the social relations, commitments, activities and research needs of our members. Our findings and discussion illustrate how similar cross-disciplinary groups might build inclusive spaces, which unite staff, graduate students and faculty towards disrupting normativity, interdisciplinarity, and praxis within and beyond academia. IDIRC attends to the embodiment of values and theoretical perspectives that are relational, diversity-positive, intersectional and advocacy-oriented.

scholarly journals Jammin’ the Blues: Experiencing the “Good Life”

2021 ◽  
Vol 12 ◽  
Author(s):  
Ruth A. Debrot
Keyword(s):  
Music Education ◽  
Good Life ◽  
Well Being ◽  
Subjective Well Being ◽  
Active Engagement ◽  
Music Learning ◽  
Music Making ◽  
Research Questions ◽  
Musical Growth ◽  
Conceptual Foundations

The purpose of this study was to examine the characteristics, attitudes, and perceptions of older musicians who participated regularly in a local blues jam. Six core dimensions of eudaimonic well-being and their conceptual foundations provided a framework for examining the way that music-making contributes to subjective well-being during the lifespan of an individual. The following research questions guided this investigation: (1) In what ways do biographical factors and engagement with music influence the lives of older adult blues/rock musicians who participate in a local blues jam? (2) What implications for subjective well-being with regard to music learning might be used to inform music education practices? Interviews and observations over a 2-month period provided data for understanding how lived experiences impacted personal well-being, and musical growth and development over time. Findings suggested that eudaimonic well-being is the result of active engagement in human activities that are goal-directed and purposeful, and a good life involves the self-realization of individual dispositions and talents over a lifetime. Implications for music education include individualized pedagogical approaches that encourage learners to discover a sense of well-being in and through music.

Music facilitation for promoting well being through the lifecourse

2021 ◽  
Vol 14 (1) ◽  
pp. 81-101 ◽  
Author(s):  
Maria Varvarigou ◽  
Lee Willingham ◽  
Vicky Abad ◽  
Jonny Poon
Keyword(s):  
Well Being ◽  
Community Music ◽  
Music Learning ◽  
Quality Of Life Research ◽  
Music Making ◽  
Growing Body ◽  
Diverse Community ◽  
Community Contexts

A growing body of research is concerned with how lifelong music learning and participation in community contexts may support well being and quality of life. Research focused on how non-formal community music learning and participation can be supported and facilitated is more limited. This article sets out three case study examples of the ways in which facilitators of music learning in diverse community contexts (including the home) can be supported and trained. Following these examples, a model for music facilitation is presented and discussed, highlighting key tools for supporting active music-making across the lifecourse.

The Oxford Handbook of Music Making and Leisure

2017 ◽  
Keyword(s):  
Leisure Activity ◽  
Human Condition ◽  
Music Learning ◽  
Policy Makers ◽  
Vital Part ◽  
Everyday Lives ◽  
Music Making ◽  
The Everyday ◽  
The Rich ◽  
The Human Condition

Music has been a vital part of leisure activity across time and cultures. Contemporary commodification, commercialization, and consumerism, however, have created a chasm between conceptualizations of music making and numerous realities in our world. From a broad range of perspectives and approaches, this handbook explores avocational involvement with music (i.e., amateur, recreation) as an integral part of the human condition. The chapters in The Oxford Handbook of Music Making and Leisure present a myriad of ways for reconsidering—refocusing attention on—the rich, exciting, and emotionally charged ways in which people of all ages make time for making music through music learning and participation. The contexts discussed are broadly Western, including a diversity of voices from scholars across fields and disciplines, framing complex and multifaceted phenomena that may be helpfully, enlighteningly, and perhaps provocatively framed as music making and leisure. The book is structured in four parts: (I) Relationships to and with Music; (II) Involvement and Meaning; (III) Scenes, Spaces, and Places; and (IV) On the Diversity of Music Making and Leisure. This volume may be viewed as an attempt to reclaim music making and leisure as a serious concern for, among others, policy makers, scholars, and educators, who perhaps risk eliding some or even most of the ways in which music, so central to community and belonging, is integrated into the everyday lives of people. As such, this handbook looks beyond the obvious (of course music making is leisure!), asking readers to consider anew, “What might we see when we think of music making as leisure?”

Resonating Bodies Online: Social Justice, Social Media, and Music Learning

2020 ◽  
pp. 547-567
Author(s):  
Joseph Michael Abramo
Keyword(s):  
Social Media ◽  
Social Justice ◽  
Media Literacy ◽  
Identity Politics ◽  
White Male ◽  
Market Forces ◽  
Music Learning ◽  
Black Feminist ◽  
Music Making ◽  
Democratic Practice

This chapter examines issues surrounding social justice in social media and music making. The first part of the chapter frames social media as holding the potential to enact democratic practice. Using the work of Jean-Luc Nancy’s concept of “listening” and Peter Szendy’s concept of “arrangement,” the author explores how viral videos and their user-generated covers might be a form of communication and sharing of ideas. This is investigated particularly through the different iterations of the 2012 hit song and video “Call Me Maybe” and the ways users created and circulated parodies. The second part of the chapter undoes this sanguine reading of democracy through social media. It does this, first, by exploring how market forces of profit seeking work to intervene in this process. Through this exploration, the author notes how market forces form the desires and subjectivity of users so that practices that feel like expression of desires are urged on by market forces for the benefit of the market. Then, the chapter looks at how viral videos are constrained by identity politics, and it explores this through covers of Beyoncé’s “Formation,” particularly what happens when this song and video—which is an articulation of black feminist identity—were (mis)appropriated and covered by a white male. Finally, the author addresses the implications for music learning both in and out of school by borrowing from media literacy to develop what he deems “musical social media literacy.”

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