scholarly journals Introduction

2021 ◽  
pp. 1-17
Author(s):  
Alexandra Kertz-Welzel

The chapter introduces the topic of music education and social change and shows the need for an interdisciplinary study. It discusses research related to social change and music education critically and shows possible directions for new investigations. It develops the theoretical framework of utopia and utopian thinking as an innovative approach to music education and social change. It offers a much-needed scholarly foundation for music education and social change. Furthermore, this chapter presents the purpose of the present study, and the specific contribution this book will make to music education theory and practice. Finally, it offers a brief overview of the book chapters.

Author(s):  
Alexandra Kertz-Welzel

The arts and particularly music are well-known agents for social change. They can empower, transform, or question. They can be a mirror of society’s current state and a means of transformation. They are often the last refuge when all attempts at social change have failed. But are the arts able to live up to these expectations? Can music education cause social change? This book offers timely answers to these questions. It presents an imaginative, yet critical approach. It is optimistic and realistic. It rethinks music education’s relation to social change and offers a new vision in terms of music education as utopian theory and practice. This allows one to unearth the utopian energy of the music education profession and to openly imagine how the world could be otherwise—while at the same time critically scrutinizing respective conceptions. Utopia, being an important topic in sociology and political science, offers a new tradition of thinking and a scholarly foundation for music education’s relation to social change. However, music education is not only a means for social transformation. It also has artistic and aesthetic dimensions. Thus, connecting music education with utopia leads to two approaches in terms of politically or socially responsive music education and “esthetic” music education. Rethinking music education and social change within the framework of utopia offers much-needed opportunities for reconceptualizing music education in the 2020s.


2021 ◽  
pp. 64-103
Author(s):  
Alexandra Kertz-Welzel

This chapter develops a notion of utopia and utopian thinking which is useful for reconsidering music education and social change. The first section analyzes what utopia is. It shows the ambivalence of this concept, as both literary genre and method. It emphasizes its relatedness to various fields of research such as sociology and thus opens possible links for music education. The second section is concerned with utopia and political thinking, critically discussing the significance of utopia for political theory and philosophy. Their connection is much deeper than thought, but also needs a differentiated and critical perspective. The third section approaches utopia and the arts, elaborating their significance for artists of various times and genres.


2017 ◽  
Vol 34 (3) ◽  
pp. 259-276
Author(s):  
Ana Luísa Veloso

This study aims to provide new insights on the nature of the embodied and collaborative processes related to the emergence of new musical ideas that occur when children are composing in groups.Data was obtained by participant observation of the teacher/researcher and by ten videotaped one-hour musical sessions dedicated to the development of a music composition by two groups of children, all of whom were eight years old.It was found that when composing in groups a) children use embodied processes to transform what they experience on diverse realms of their existence into musical ideas, and that b) while creating music, children engage in several improvisatory moments where new ideas emerge through the diverse ways they enact the surroundings where the activity is occurring. Findings suggest a conception of music composing as a multidimensional phenomenon that entails cognitive processes that are distributed across and beyond the physical body. Findings also suggest that composing music in collaboration with others nurtures a set of creative possibilities that would otherwise, not occur. Considerations for music education theory and practice are addressed in the last section of the article.


2021 ◽  
pp. 135-161
Author(s):  
Alexandra Kertz-Welzel

This chapter applies the ideas developed in the previous chapters to music education theory and practice. It presents utopia as method in music education, emphasizing its meaning as a hermeneutic, visionary, and exploratory tool. This leads to reconceptualizing music education as utopian theory and practice regarding two different approaches of music education: politically or socially responsive music education and esthetic music education. They represent two sides of music and music education, which need each other regarding political engagement and musical autonomy, being based on music as social fact or as existing for its own sake. This reconceptualization helps to overcome a long-standing dichotomy in international music education.


2021 ◽  
pp. 104-134
Author(s):  
Alexandra Kertz-Welzel

To transform society and to assess the role music education could play, it is crucial to know how society works. When discussing music education and social change, the mechanism of society and the dynamics of transformation are rarely discussed. Thus, this chapter presents three perspectives on how society can be transformed, namely the sociology of social change, the politics of change, and the utopian power of education. The notion of utopia is present in these three viewpoints, connecting the various perspectives on society’s transformative processes. The last section explicitly raises the issue of the utopian power of education which has often been forgotten in education, even though it is of vital importance.


2021 ◽  
pp. 162-168
Author(s):  
Alexandra Kertz-Welzel

The final chapter summarizes the ideas presented in the previous chapters, highlights important issues, and opens up new perspectives for music education research. It discusses the utopian energy of music education and presents ideas about how to reconceptualize music education in view of social change. It reconnects the concepts developed in the previous chapters with significant notions in utopian studies to highlight the potential of this new music education approach, particularly in view of global crises. This final chapter tries to encourage utopian thinking to refine music education’s societal mission, but without forgetting or marginalizing its artistic and aesthetic dimensions.


2019 ◽  
Vol 37 (1) ◽  
pp. 71-85 ◽  
Author(s):  
Katja Sutela ◽  
Marja-Leena Juntunen ◽  
Juha Ojala

AbstractIn this article, we describe the agency development in one student with special needs through Dalcroze-based music-and-movement activities. The case study was conducted in the context of classroom music education in a special school. The data were produced via a teaching experiment (from August 2015 to March 2016), in which a group (n = 13) of 15- to 16-year-old students participated in added lessons (one lesson per week) provided by the first author. The lessons included a variety of Dalcroze-based activities, such as singing with movement, quick reaction and follow exercises, movement improvisation, body percussion exercises, dances, and relaxation exercises. The data consist of video-recordings of the lessons, a research diary, and interviews with teachers, teaching assistants, a therapist, and a specialist of special education. During the teaching experiment, the case student’s agency developed from being a passive outsider to being an active participant and leader. The change in agency was noticed also outside the classroom. The study suggests that using music-and-movement in a music classroom offers possibilities for nonverbal embodied interaction and thereby opportunities for the development of students’ agency and autonomy foremost by developing their body and social skills. On a more general level, the article contributes to developing such music education theory and practice that acknowledges the significance of experience in learning music and in embodied interaction, where individuals interact and make sense of the world through nonverbal communication. In addition, this study highlights the strength of such education in supporting the development of the whole human being.


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