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.

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.

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.

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.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

Technology and the Historian

2021 ◽  
Author(s):  
Adam Crymble
Keyword(s):  
Social Media ◽  
Case Studies ◽  
Digital Humanities ◽  
Teaching And Learning ◽  
Scholarly Communication ◽  
Approaches To Teaching ◽  
The World ◽  
Digital Work ◽  
History Of ◽  
The Many

After nearly a decade of scholars trying to define digital work, this book makes the case for a need instead to understand the history of technology’s relationship with historical studies. It does so through a series of case studies that show some of the many ways that technology and historians have come together around the world and over the decades. Often left out of the historiography, the digital age has been transformative for historians, touching on research agendas, approaches to teaching and learning, scholarly communication, and the nature of the archive itself. Bringing together histories and philosophies of the field, with a genre of works including private papers, Web archives, social media, and oral histories, this book lets the reader see the digital traces of the field as it developed. Importantly, it separates issues relevant to historians from activities under the purview of the much broader ‘digital humanities’ movement, in which historians’ voices are often drowned out by louder and more numerous literary scholars. To allow for flexible reading, each chapter tackles the history of a specific key theme, from research, to communication, to teaching. It argues that only by knowing their field’s own past can historians put technology to its best uses in the future.

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.

Web 2.0

2011 ◽  
Vol 2 (4) ◽  
pp. 17-32
Author(s):  
Sumarie Roodt ◽  
Roberto Viola
Keyword(s):  
Social Media ◽  
Web 2.0 ◽  
Business Models ◽  
The Body ◽  
The Internet ◽  
Advantages And Disadvantages ◽  
Body Of Knowledge ◽  
User Centric ◽  
Use Of Social Media ◽  
The Way

With the emergence of Web 2.0, new online trends and technologies will continually emerge and play an increasingly important role in the way businesses operate. As Web 2.0 has revolutionised the internet by shifting from a published web to a user centric, user-generated web, businesses needed to understand how to change and adapt in order to benefit from these changes. This paper analyses organisations across a variety of industries, in order to determine how Web 2.0 is influencing the way companies conduct business – how they benefit, and what the advantages and disadvantages are. The authors will try to determine whether the traditional business models are changing or simply evolving through the utilisation of Web 2.0 technologies. This research contributes to the body of knowledge regarding the use of social media in commercial organisations.

scholarly journals Constructing a Buddhist-Inspired Framework for Examining Tulkus’ use of Cyberspace

2021 ◽  
Author(s):  
◽  
Catherine Elizabeth Soper
Keyword(s):  
Social Media ◽  
Virtual Reality ◽  
Case Studies ◽  
The Body ◽  
Buddhist Tradition ◽  
Social Media Platforms ◽  
General Potential ◽  
Presence And Absence ◽  
Use Of Social Media

<p>This thesis is both, an examination of tulkus’ use of cyberspace (with a particular focus on social media); and a methodological experiment. In this thesis I construct a framework for examining tulkus’ use of social media platforms, such as: Facebook, Twitter, and YouTube. However rather than using “alien” ideas to construct the framework (such as, the ideas of Virtual Reality, and telepresence), I draw on concepts and doctrines found within the Buddhist tradition. The four ideas I draw on are: nirmāṇakāya; the yamakaprātihārya; ideas surrounding presence and absence in the Buddhist tradition; and visualization meditation. The four ideas are then applied to case studies in order to demonstrate how these ideas could potentially offer a way to view tulkus’ use of cyberspace from a “Buddhist” perspective. One of the aims of this framework is to investigate the potential (from a Buddhist perspective) for cyberspace to be sacralised by the presence of a being such as a tulku, and consider how religious functions and activities seem to be carried out “in” cyberspace. This framework is also a methodological experiment. Rather than using an “off the shelf” theory I plan to construct my methodology using ideas from within the Buddhist tradition. As far as I’m aware, the method of considering material from within the tradition being studied is relatively rare. I hope that this project will demonstrate the general potential for such an approach being used more widely in academia. NB: When I submitted this thesis for examination, I was informed that I should have obscured the names of the Facebook users in the screenshots included in this work. I have done my best to rectify this problem, by obscuring all the names of the followers of the tulkus studied, and removed any reference to them by name in the body of the thesis.</p>

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