Leisure Grooves

2017 ◽  
Author(s):  
Roger Mantie
Keyword(s):  
Western Culture ◽  
Open Letter ◽  
Music Learning ◽  
Leisure Education ◽  
Learning And Teaching ◽  
Music Making ◽  
Blues Music ◽  
Participatory Music ◽  
Letter Format

Charles Keil enjoyed a long and illustrious self-styled career as an activist, musician, educator, and “applied sociomusicologist.” His many investigations included urban blues music, the Tiv people of Africa, polka musicians in Buffalo, and Balkan musicians in Greece. His work has focused on groove and participation, as a response to what he sees as a corrupt and overrationalized Western culture. In this unconventional “open letter” format, the author explores the richness of Keil’s life and work, encouraged by his call for vibrant, vernacular, participatory, nonmediated musics that nurture spontaneity, and by his call for music learning inspired by paideia and groove. The chapter finds excitement in the implications Keil’s practice might hold for music learning and teaching, participatory music making, and for conceptualizing all education as “leisure education.”

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.

Children's Ways of Learning Inside and Outside the Classroom

2012 ◽  
pp. 321-340
Author(s):  
Eve Harwood ◽  
Kathryn Marsh
Keyword(s):  
Popular Culture ◽  
Communities Of Practice ◽  
Popular Music ◽  
Music Learning ◽  
Learning And Teaching ◽  
Musical Play ◽  
Music Making ◽  
Child Centered

This article focuses on children's musical play, including that involving interactions with popular music and popular culture. It outlines features of musical play, especially as found in communities of practice in the playground, and the disjunction that may often occur between children's challenging, social, and participatory enactment of play and the pedagogical characteristics of classroom music. The article suggests a child-centered approach to music learning and teaching that endeavors to bridge the gap between children's external, informal music-making and musical experiences in the school.

Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures

2020 ◽  
pp. 39-63
Author(s):  
Evan S. Tobias
Keyword(s):  
Social Media ◽  
Music Educators ◽  
Participatory Culture ◽  
Music Pedagogy ◽  
Music Learning ◽  
Media Arts ◽  
Learning And Teaching ◽  
Musical Engagement ◽  
Musical Practices ◽  
Pedagogy And Curriculum

Contemporary society is rich with diverse musics and musical practices, many of which are supported or shared via digital and social media. Music educators might address such forms of musical engagement to diversify what occurs in music programs. Realizing the possibilities of social media and addressing issues that might be problematic for music learning and teaching calls for conceptualizing social media in a more expansive manner than focusing on the technology itself. Situating people’s social media use and musical engagement in a larger context of participatory culture that involves music and media may be fruitful in this regard. We might then consider the potential of social media and musical engagement in participatory cultures for music learning and teaching. This chapter offers an overview of how people are applying aspects of participatory culture and social media in educational contexts. Building on work in media studies, media arts, education, and curricular theory, the chapter develops a framework for translating and recontextualizing participatory culture, musical engagement, and social media in ways that might inform music pedagogy and curriculum. In this way, it may help music educators move from an awareness of how people engage with and through music and social media in participatory culture to an orientation of developing related praxis.

Divergent Perspectives on Musical Knowledge, Expertise, and Science

2020 ◽  
Vol 4 (2) ◽  
pp. 121-134
Author(s):  
Sandra E. Trehub
Keyword(s):  
Cognitive Neuroscience ◽  
Vocal Performance ◽  
Music Learning ◽  
Learning And Teaching ◽  
Skilled Performance ◽  
Musical Engagement ◽  
Musical Knowledge ◽  
Behavioral Responsiveness

Abstract I review two recent books on music, both inspired by cognitive neuroscience but differing in most other respects. Isabelle Peretz, an expert in the cognitive neuroscience of music, describes how we perceive and produce music, as reflected in neural and behavioral responsiveness. Her book is intended for general readers who are interested in music and curious about the science behind our musical nature—brains that are prepared for music and changed by active musical engagement. Lynn Helding, an expert in vocal performance and pedagogy, draws on findings from psychology and neuroscience to inform her approach to music learning and teaching. Aimed at musicians, aspiring musicians, and those who teach them, her book focuses largely on the means of optimizing learning and skilled performance.

Parent–teacher–pupil interactions in instrumental music tuition: a literature review

2003 ◽  
Vol 20 (1) ◽  
pp. 29-44 ◽  
Author(s):  
Andrea Creech ◽  
Susan Hallam
Keyword(s):  
Literature Review ◽  
Interpersonal Relationships ◽  
Instrumental Music ◽  
Future Research ◽  
Music Learning ◽  
Learning And Teaching ◽  
Effective Learning ◽  
Effective Parenting ◽  
Educational Literature ◽  
Teaching Conceptions

This paper considers the literature that may inform our understanding of parent–teacher–pupil interactions in instrumental music. It draws on research directly concerned with instrumental music learning and that from the wider psychological, sociological and educational literature concerned with conceptions of effective learning and teaching; conceptions of effective parenting; and dimensions of interpersonal relationships. Finally, a systemic, dynamic model is proposed which may serve to guide future research in the field.

Fostering singing agency through emotional differentiation in an inclusive singing environment

2020 ◽  
pp. 1321103X2093042
Author(s):  
Lauri A Hogle
Keyword(s):  
Narrative Analysis ◽  
Universal Design ◽  
Phenomenological Study ◽  
Universal Design For Learning ◽  
Constructivist Approach ◽  
Music Learning ◽  
Learning And Teaching ◽  
Design For Learning ◽  
Social Constructivist Approach ◽  
Insight Into

The purpose of this phenomenological study was to gain insight into experiences of adults who expressed personal discomfort with singing, either alone or when others might hear them. Singing agency in music learning, one’s belief in one’s own capacity to sing aloud, served as the guiding lens for the study. Narrative analysis of interview data, from 15 adults who self-identified as non-singers, provided understanding of experiences that they believed undermined their capacity for singing agency. Four initial themes emerged as participants described wounding incidents with resultant perceptions of deficit, disability, and shame; personal strategies to enhance or protect singing agency; perceived obstacles to singing agency; and personal definitions of good singing. Findings describe vocal skill development through emotional differentiation, linking singing agency with principles that underlie a social constructivist approach to music learning and teaching and a Universal Design for Learning.

scholarly journals COOL Music: a ‘bottom-up’ music intervention for hard-to-reach young people in Scotland

2019 ◽  
Vol 37 (1) ◽  
pp. 87-98 ◽  
Author(s):  
Stephen R. Millar ◽  
Artur Steiner ◽  
Francesca Caló ◽  
Simon Teasdale
Keyword(s):  
Young People ◽  
Lived Experience ◽  
Self Esteem ◽  
Small Scale ◽  
Music Intervention ◽  
Community Based ◽  
Collaborative Project ◽  
Music Making ◽  
Participatory Music

AbstractCommunity Orientated and Opportunity Learning (COOL) Music was a 12-month collaborative project between researchers at Glasgow Caledonian University and practitioners at the Edinburgh-based social enterprise Heavy Sound. The project began in October 2017 and involved 16 sessions of participatory music making with 32 ‘hard-to-reach’ young people (aged 12–17) aimed at increasing confidence and self-esteem and improving social skills. Using COOL Music as a case study, this article explores some of the challenges faced by community-based arts organisations tasked with delivering such interventions, contrasting COOL Music’s small-scale, targeted, community-based approach with prevailing top-down music interventions in Scotland. We argue that such programmes are particularly suitable in engaging those at the margins of society, reaching them on their own terms through music that resonates with their own lived experience. However, we acknowledge the short-term and transitory nature of such projects may prove problematic for some hard-to-reach groups who require more stability in their lives and may also lead to staff fatigue and burnout. We call for further research in these areas, and greater policy attention to be paid to the sustainability of such projects.

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