Nonregulated Assessment in Music Education

2019 ◽  
pp. 494-511
Author(s):  
Nasim Niknafs
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Top Down ◽  
Proactive Approach ◽  
Self Organized ◽  
Music Making ◽  
Local Activism ◽  
Do It Yourself

Without access to official state-sanctioned, public music education, Iranian youth, specifically rock and alternative musicians, follow a self-organized and anarchistic path of music making. Expertly negotiating between the act of music making and the unpredictable situations they face daily, they have become creative in finding new ways to propagate their music and learn the rules of their profession. Meanings attached to assessment in these circumstances become redefined and overshadow the quality of music being created. Assessment becomes a local activism that countervails the top-down, summative model. This chapter provides some characteristics of assessment in music teaching and learning in urban Iran that follow Nilsson and Folkestad’s (2005) ecocultural perspective, consisting of four elements: (a) Gibson’s (1979) concept of affordances, (b) orality, (c) theories of play, and (d) theories of chance. Consequently, assessment in urban Iranian music education can be categorized as follows: (1) do-it-yourself (DIY) and do-it-with-others (DIWO), (2) interactive and decentralized, (3) local anarchism, and (4) lifestyle. This chapter concludes that the field of music education should take a “slightly outside perspective” (Lundström, 2012, p. 652) and proactive approach toward assessment, rather than the reactionary approach to music teaching and learning in which assessment becomes an end goal rather than an approach embodied within learning.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

Reflective Practice in Music

2020 ◽  
pp. 1-26
Keyword(s):  
Music Education ◽  
Reflective Practice ◽  
Teaching And Learning ◽  
Community Schools ◽  
Music Listening ◽  
Music Teaching ◽  
Music Practice ◽  
Perceived Environment ◽  
Music Making ◽  
Confucian Philosophy

This chapter proposes that music-making is a reflective practice and critically examines the issues of reflective practice in music listening, performing, and creating in P-12 and community schools. The author illustrates the framework of reflective practice embedded in music practice followed by proposing how music teaching and learning can be shared reflectively. Next, as a trait of this book, the author also adds an Asian perspective to understand reflective practice in music teaching and learning with a comparative and international topic in music education. Confucian philosophy of learning and Suzuki's philosophy that every child reflectively learns from the perceived environment.

A Consumer Behavior-Influenced Multidisciplinary Transcendent Model of Motivation for Music Making

2017 ◽  
Author(s):  
Valerie L. Vaccaro
Keyword(s):  
Consumer Behavior ◽  
Music Education ◽  
Well Being ◽  
Social Needs ◽  
Self Identity ◽  
Music Making ◽  
Self Actualization ◽  
Psychic Energy ◽  
Self Transcendence

This chapter reviews multidisciplinary research from the fields of consumer behavior, humanistic and positive psychology, music education, and other areas to develop a new Transcendent Model of Motivation for Music Making. One’s “extended self” identity can be defined partly by possessions and mastery over objects, and objects can “complete” the self. Music making involves a person’s investment of “psychic energy,” including attention, time, learning, and efforts, and is a creative path which can lead to peak experiences and flow. Music making can help satisfy social needs, achieve self-actualization, experience self-transcendence, enhance well-being, strengthen spirituality, and improve the quality of life.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

The educational backgrounds of DIY musicians

2021 ◽  
Author(s):  
Nicholas Patrick Quigley ◽  
Tawnya D. Smith
Keyword(s):  
Music Education ◽  
Exploratory Study ◽  
Self Care ◽  
The United States ◽  
Individualized Instruction ◽  
Music Participation ◽  
Educational Backgrounds ◽  
Music Making ◽  
Do It Yourself ◽  
Mainstream Society

In this qualitative, exploratory study we examined the music education backgrounds and current creative practices of thirteen self-described do-it-yourself (DIY) musicians from around the United States. A growing community of scholars within and outside of education have noted the relative inclusionary nature of DIY communities as compared to mainstream society. Several themes have emerged in DIY music participation literature, including social influences and isolation, and music making for self care and self expression. DIY music-making can offer a potentially liberating space for those marginalized by traditional schooling, providing students with social, educational and musical opportunities they could not find or participate in at school. Through an analysis of interviews and participation-observations of creative practices such as band rehearsals and improvisation sessions, we found that similar themes emerged in our own data. Implications for music education include the importance of more individualized instruction and opportunities for self care and self expression.

Epilogue

2021 ◽  
pp. 158-162
Keyword(s):  
Teaching And Learning ◽  
Music Teachers ◽  
Emotional Health ◽  
Music Teaching ◽  
Social Emotional ◽  
Music Making ◽  
The Arts ◽  
Global Pandemic ◽  
The One ◽  
Music And The Arts

The epilogue addresses the observations of the editors and authors of this volume regarding their observations of the pedagogical shifts needed to address music teaching and learning during a global pandemic such as the one unleashed by Covid-19. When a great deal of musicking, teaching, and learning needed to happen remotely, having access to technology and understanding how to employ it for supporting creative and collaborative music making and remote instruction was of paramount importance for many music teachers and musicians. Yet for too many students and school districts around the globe, the digital divide heightened the lack of educational equity in countless communities. While many districts merely focused on content delivery though whatever digital or non-digital means were available, the authors noted the crucial role that a focus on social-emotional learning plays in the lives of our students, with a particular emphasis on how music and the arts can support our emotional health and sense of connection.

Music Education in P-12 Schools to Learn From Each Other

2020 ◽  
pp. 176-196
Keyword(s):  
Social Interaction ◽  
Social Context ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Community Members ◽  
Music Learning ◽  
Technical Aspects ◽  
K 12

This chapter describes cases of music teaching and learning from Pre-K-12 schools. As a trait of book, instead of focusing on how-to instruction and technical aspects of music teaching, the author puts a special emphasis on music learning in a social context. Both music and music education consist of social interaction among learners, teachers, and community members. This process is especially unique to music because we always learn from each other and perceive music in a shared sense. The author wishes you also learn from these cases and implement the idea of your practice for students to learn from each other.

Assessment and the Dilemmas of a Multi-Ideological Curriculum

2019 ◽  
pp. 446-463
Author(s):  
Sidsel Karlsen ◽  
Geir Johansen
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Core Curriculum ◽  
Progressive Education ◽  
Assessment Criteria ◽  
Moral Foundations ◽  
Music Teaching ◽  
Music Curriculum ◽  
Formal Curriculum ◽  
Education Foundations

The Norwegian compulsory school formal curriculum consists of two separate parts, implemented in 1993 and 2006. The older Core Curriculum provides guidelines for the broader aims of education and for its cultural and moral foundations. Ideologically, it is marked by the humanist Bildung tradition and progressive education ideas, emphasizing holistic development of the human being as the primary goal. The newer curriculum part, named Knowledge Promotion, consists of individual syllabi for all subjects, including music. While the first page of the music syllabus mirrors values expressed in the Core Curriculum, the latter part is an operationalization of a positivist-oriented ends-means approach to music education. This chapter explores this multi-ideological split of the music curriculum, pursuing a twofold interest: What are the consequences of ends-means related assessment criteria shaping the context of music teaching and learning? What other assessment criteria exist that would align better with the Bildung and progressive education foundations of the curriculum?

Building a Broad View of Technology in Music Teacher Education

2017 ◽  
pp. 122-128
Author(s):  
Heidi Partti
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Holistic Approach ◽  
Music Teacher ◽  
Music Teaching ◽  
Music Teacher Education ◽  
Use Of Technology ◽  
Musical Practices ◽  
Collaborative Skills

In addition to innovative policy schemes, program visions, and curricular changes, the transformation of the school classroom necessitates also the development of teacher education. Inspired by the Core Perspective chapters in this section of the handbook, this chapter discusses issues related to the use of technology in supporting the cultivation of creative and collaborative skills in music teaching, particularly from the viewpoint of music teacher education. The chapter argues that there is a gap between the potential that technology could provide for music teaching and learning processes and the cultivation of this potential in schools. To bridge this gap, a holistic approach to technology and its use in music education is required. According to this approach, technology is viewed as a powerful way to facilitate more possibilities to participate in different musical practices and to use musical imagination.

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