Institutional Music Education and Ranking as a Form of Subjectification

2019 ◽  
pp. 26-50
Author(s):  
Lise C. Vaugeois
Keyword(s):  
Young People ◽  
Music Education ◽  
External Validation ◽  
Formal Schooling ◽  
Music Learning ◽  
Actual Material ◽  
Mental Space ◽  
Material Conditions ◽  
Relations Of Power

This chapter addresses what might appear to be disparate themes: evaluation as ranking; ongoing colonial processes that in order to maintain their force are dependent on an internalization of hierarchies of who counts as human; and structures of formal schooling as processes of subjectification that produce docile, obedient subjects. The intention is to generate “thoughts of the outside” by taking seriously the rejection of evaluation practices and associated priorities of authorized schooling by young people pursuing music learning in “abject spaces.” These young people, often labeled as “at risk” within the school system, not only reject the label but also reject the role of schooling in preparing them to become part of dominant social, political, and economic structures that they experience as hostile and oppressive. By exploring the fault lines made visible by looking from the outside at existing dominant educational frameworks, the chapter seeks to highlight structural relations of power that are not as easily seen from within dominant locations. Specifically, it illustrates how the large amount of mental space taken up with the discipline of ranking can constrain imaginative possibilities, leave learners with a potential lack of resilience when notions of the self are tied to external validation, keep them focused on obedience to existing systems, and keep them engrossed in individual accomplishments and therefore less likely to notice contradictions between claimed conditions of equality and actual material conditions for differently situated populations.

scholarly journals Street-connectedness and education in Kenya: Experiences of formal schooling as rationale for inclusive pedagogies of practice

Prospects ◽  
2020 ◽  
Vol 49 (3-4) ◽  
pp. 265-280
Author(s):  
Su Lyn Corcoran ◽  
Lillian Aoko Awimbo ◽  
Kelvin Mugwanga ◽  
Irene Atieno Aluoch
Keyword(s):  
Young People ◽  
Empirical Evidence ◽  
Inclusive Education ◽  
Formal Education ◽  
Original Research ◽  
Data Generation ◽  
Formal Schooling ◽  
Research Findings ◽  
Insight Into

AbstractThis article contributes to the literature on street-connectedness and inclusive education, presenting original research findings from two Kenyan studies. Both studies aim to understand street-connected young people’s experiences of education. The first focused on transitioning from the street into education or training, to explore the challenges of making that transition. The second focused on young people who had lived on the street for extended periods of time and were still there at the time of data generation. Both studies generated significant insight into (a) education as motivating initial migrations to the street, (b) the role of fear, embarrassment, and shame in preventing young people from going (back) into formal education, and (c) how acceptance and support are key to overcoming feelings of not belonging and other challenges when transitioning from the street into school. The article provides empirical evidence that should be considered when planning inclusive education provision for street-connected young people globally.

Commentary: Music Learning and Teaching through Technology

2012 ◽  
pp. 428-432 ◽  
Author(s):  
Evangelos Himonides
Keyword(s):  
Music Education ◽  
Music Learning ◽  
Learning And Teaching ◽  
Modus Vivendi

This article presents an overview of Section 5 of the Oxford Handbook of Music Education, Volume 2. The section commences a critical but also constructive discourse about the role of “any” technology within the broader fields of music and education. The contributors have chosen different perspectives and foci in instigating this discourse, all of them diverse but, arguably, all celebrating how essential technology is (or should be) in our music infused modus vivendi.

Commentary: Music Learning and Teaching During Adolescence: Ages 12–18

2012 ◽  
pp. 435-440
Author(s):  
Gary Spruce ◽  
Oscar Odena
Keyword(s):  
Young People ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teaching ◽  
Music Learning ◽  
Learning And Teaching ◽  
Key Issues ◽  
The Way

This article focuses on music teaching and learning during the adolescent years by identifying and exploring key issues, concepts, and debates that particularly impact on, or are significant for, the musical experiences and development of young people during this period of their lives. A number of key themes emerge from the discussions that cause us to question assumptions about the role of music in the lives of adolescents, including how young people use and relate to music, and the way music educators can best meet the challenges of addressing young people's musical and wider needs in the range of contexts in which their musical learning and experiences take place.

On disintegration of the Emil Jaques-Dalcroze method in the Polish music education system. Reflections on the role of Dalcroze’s solfeggio in a 1st-level music school

2018 ◽  
Vol 5 (1(8)) ◽  
pp. 85-94
Author(s):  
Anetta Pasternak ◽  
Agata Trzepierczyńska
Keyword(s):  
Music Education ◽  
Primary School ◽  
Education System ◽  
Training Process ◽  
Music Learning ◽  
School Subject ◽  
Music School ◽  
Music Schools ◽  
Polish Music

The method of Emil Jaques-Dalcroze’s eurhythmics combines the three integral, equivalent aspects: eurhythmics, solfeggio and improvisation, which complement each other and thus constitute a coherent, comprehensive and multi-sensory method of music education. The method was successfully transplanted onto the Polish music education system and appeared in curricula for grades 1-3 of the 1st-level music schools in 1976 as an integrated subject named ‘music learning with eurhythmics.’ In 2nd-level music schools, eurhythmics faculties were opened as early as in the 1950s and initiated the training process of future specialists in the Dalcroze method. Finally, as a result of numerous reforms in music education system, the primary school subject was decomposed into ‘eurhythmics’ and ‘aural training.’ The decision on separating the subjects disturbed the concept of an integral training process, included within Dalcroze’s method. This was due to the fact that Dalcroze’s solfeggio took secondary priority to other methods used in aural training, as it is currently possible for music theorists and other specialists to give lessons in this subject. Therefore, two important questions should be asked: 1. Does the reduction of the solfeggio role undermine the entire concept of Dalcroze’s eurhythmics nowadays? 2. Is the use of movement in aural training still necessary?

The Role of “Place” and Context

2017 ◽  
pp. 64-70
Author(s):  
Janice L. Waldron
Keyword(s):  
Music Education ◽  
Technology Use ◽  
Local Context ◽  
Music Learning ◽  
Cultural Assumptions ◽  
Learning And Teaching ◽  
Musical Genre ◽  
Use Of Technology ◽  
Local Contexts

In our eagerness to embrace the virtues of the “new,” we sometimes fail to critically examine the a prioris of the thing we are extolling—which, in the case of this book, is the use of technology in music learning and teaching. Advocates of technology use in the field usually begin by raising relevant issues based on personal but localized narratives. Although this is a good place to start—people rarely argue for change not grounded in their own experiences—building arguments for technology use requires a nuanced interpretation of what technology in music learning and teaching means to and for practitioners and researchers in specific local contexts. How does technology’s evolution from “thing” to “thing and place” change our perceptions of its use(s) in music learning and teaching? How do the roles of local context, cultural assumptions, and musical genre fit into a discussion of what constitutes technology and technology in music education?

scholarly journals The church organist’s rappers: Redefining roles and strategies in music education

2014 ◽  
Vol 10 (2) ◽  
Author(s):  
Rosa Van As ◽  
Jaco Kruger
Keyword(s):  
Music Education ◽  
Formal Schooling ◽  
Project Coordinator ◽  
The Social ◽  
School Music ◽  
And Performance ◽  
Reflective Group ◽  
The Church ◽  
Musical Preferences

Arts and culture teachers often are ill-equipped to meet the requirements of school music programmes. They labour especially to accommodate the diverse musical preferences of learners. This discussion accordingly describes the implementation of a once-off rap programme at an inner-city secondary school in Pretoria. It shows the programme evolving fitfully into a remarkably effective synergy between a teacher (trained as a church organist), the formal schooling system, school learners as well as community musicians. However, this synergy was dependent on the teacher relinquishing her cultural and musical preferences in favour of a popular music programme linked to the social experiences of learners. The successful unfolding of this programme demanded that the teacher surrender the conventional status of omniscient, authoritative educator in accordance with the principles of learner-centered approaches. The role of the teacher consequently became that of project coordinator and facilitator, while the needs, goals and actions of learners were central to, and motivated experiential and reflective group learning. Learners applied theoretical knowledge in musical creation and performance, continuously assessed their progress, and redefined their objectives as required. The consequent development by them of a combination of communicative, cognitive, emotional and social skills reveals the value in music education of oral processes of learning, as well as the role of community musicians. It also underscores the value of the school as formal setting of social interaction and education, as well as the indispensable – if redefined – role of the educator.

Applications of Affinity Space Characteristics in Music Education

2020 ◽  
pp. 63-87
Author(s):  
Jared O’Leary
Keyword(s):  
Music Education ◽  
Communities Of Practice ◽  
Learning Spaces ◽  
Music Learning ◽  
Affinity Spaces ◽  
Music Making ◽  
Online Music ◽  
Potential Applications ◽  
Affinity Space

Affinity spaces are the physical, virtual, or combination of locations where people come together around a shared affinity (interest) (Duncan & Hayes, 2012). Online affinity spaces can act as a participatory hub for music making and learning through social networking and sharing. Although music affinity spaces exist in myriad informal spaces, little scholarship explores potential applications of affinity space characteristics within formalized learning spaces. This chapter introduces characteristics of an affinity space and questions the role of the framework in relation to another framework commonly used in online music learning communities: communities of practice. This chapter concludes with a discussion on practical and theoretical applications of affinity space characteristics within formalized educational contexts.

Social and Informational Affordances of Social Media in Music Learning and Teaching

2020 ◽  
pp. 425-442
Author(s):  
Anabel Quan-Haase
Keyword(s):  
Social Media ◽  
Music Education ◽  
Future Research ◽  
Positive Outcomes ◽  
Music Learning ◽  
Learning And Teaching ◽  
The Social ◽  
21St Century Learners ◽  
The Many

This chapter examines the role of social media in music learning and teaching with the aim of discerning the affordances created by specific features and functions. While much scholarship has outlined the many merits and possibilities of including social media in formal and informal music education, not much is known about what aspects of social media lead to positive outcomes. Music education is defined broadly here and includes both learning about music and learning with the purpose of achieving classroom goals. The majority of research either tends to focus on single platforms or discusses social media more generally. The present chapter starts with a close look at the affordance concept, tracing its historical roots and problematizing its definition. The chapter then discusses how various affordances can contribute to different aspects of music education. Much of the literature on social media has examined the social affordances of social media and neglected to consider the informational affordances. The chapter argues that both social and informational affordances are important in investigations of social media for music education. Finally, conclusions are discussed for 21st-century learners, and the advantages of employing the affordances framework in studies of music education and social media are outlined. Future research based on the affordances framework that could examine what features and functions of social media are beneficial for music learning and teaching are examined, including discussion of a series of constraints placed on learners and teachers by the technology.

Inclusion of a music learner with ASD through play-full intersubjectivity

2020 ◽  
pp. 1321103X2093520
Author(s):  
Lauri A Hogle
Keyword(s):  
Music Education ◽  
Autism Spectrum ◽  
Shared Understanding ◽  
Music Learning ◽  
Choral Ensemble ◽  
Education Experience ◽  
Peer Scaffolding ◽  
Entire Ensemble

Through a case study of Jad (pseudonym), a music learner with autism spectrum disorder (ASD), I sought to understand his experiences as he engaged in peer scaffolding activities of a choral ensemble. The study illuminated the role of intersubjectivity (or shared understanding) in socially mediated music learning within an environment of inclusion. Through inclusive, play-full, intersubjective attunement of younger children to Jad, he increasingly took on a role as an empathetic teacher-helper, initially with his younger sister, then with other young children, then with the entire ensemble. Jad also increasingly displayed musical agency through physical movement during music-making, contributing to others’ understanding and musical agency. The findings describe intersections of play with intersubjectivity, focusing on learner attunement to affect and emotion in fostering an inclusive music education experience. Making space for peer scaffolding and playfulness within this music learning environment fostered shared understanding and empathy among all learners, including one with ASD.

Commentary: Music Learning and Teaching During Childhood: Ages 5–12

2012 ◽  
pp. 316-321
Author(s):  
Kathryn Marsh
Keyword(s):  
Music Education ◽  
Age Group ◽  
Formal Schooling ◽  
Educational Settings ◽  
Music Learning ◽  
Middle Years ◽  
Learning And Teaching ◽  
Age Range ◽  
Geographical Locations

This article focuses on issues pertinent to the learning and teaching of music during what might be termed the middle years of childhood, basically equating with the first stages of formal schooling. It relates to a period of childhood from ages 5–12, while acknowledging that localized practices may mean that the boundaries of this age range could be slightly extended in formal educational settings in different geographical locations. Although formal provision of music education is not universal in schools for this age group, it endeavors to offer a glimpse of varied and innovative forms of musical learning and teaching from a range of international locations.

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