Cultivating Meaningful Personal Learning Networks in an Era of Multimodal and Globalized Music Learning and Education

2020 ◽  
pp. 335-356
Author(s):  
Deanna C. C. Peluso
Keyword(s):  
Music Education ◽  
Classroom Practices ◽  
Music Educators ◽  
Learning Networks ◽  
Online Forums ◽  
Music Learning ◽  
Personal Learning Networks ◽  
Personal Learning ◽  
Informal Music Learning ◽  
Musical Knowledge

A continual ebb and flow of technological progressions provide diverse contexts in which music learning, participation, and education can occur. Youth are deeply immersed within a culture of globalized and multimodal knowledge-sharing, through which music learning occurs within formal, nonformal, and informal contexts, both in the physical and online worlds. These interconnected environments provide learners with a diverse collection of tools and resources that enable them to take charge of their own musical learning. Further, they can connect and share with other learners, educators, and experts through their own digitally mediated personal learning networks (PLNs). In these PLNs, extensive repertoires of formal music education combined with informal music learning practices that provide self-directed forums for musical experiences can enable music learners to flourish and adapt to globalized and diverse contexts. Learners cultivate, in their own personally relevant ways, networks of musical knowledge by drawing on the resources and tools available both on- and offline. By examining PLNs supported by multimodal social media resources as well as online forums for sharing and exploring music knowledge, this chapter presents practical examples and applications to inform music educators and classroom practices.

scholarly journals Informal and Participatory Cultures in Music Education

2014 ◽  
Vol 5 ◽  
Author(s):  
Deanna C. C. Peluso
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Cultural Context ◽  
Contemporary Music ◽  
Music Educators ◽  
Human Condition ◽  
Music Learning ◽  
Self Identity ◽  
Informal Music Learning ◽  
Self Knowledge

Music provides a forum to explore knowledge, creativity, collaboration and expression as a part of the human condition, in which we relate self-identity, self-knowledge and a socio-cultural context for our experiences (Hodges, 2005). Many youth are able to be involved in participatory cultures, where musical learning occurs easily and without formal intervention, through the development of complex technologies that allow interaction and sharing across the world without the limitations of geographical boundaries. Musical activities are a significant part of many young people’s everyday lives, as they are musically encultured from a young age, yet the majority of their musical participation occurs outside of formalized music education (O’Neill, 2005), through informal learning within popular music (Green, 2007). Contemporary music educators are faced with finding ways for youth to strengthen the connections between music education at school and their musical experiences outside the school walls; and I posit that an understanding of participatory and informal music learning practices might help this challenging endeavour.

Maschine-itivity: How I found my creativity using a digital sampling device to compose music

2016 ◽  
Vol 9 (3) ◽  
pp. 289-313
Author(s):  
Jonathan Kladder
Keyword(s):  
Music Education ◽  
Learning Strategies ◽  
Creative Process ◽  
Contemporary Music ◽  
Music Learning ◽  
Sampling Device ◽  
Digital Sampling ◽  
Informal Music Learning ◽  
Contextual Understanding ◽  
Auto Ethnography

The ubiquity of digital music technology has prompted researchers and scholars to examine how music educators might support music learning that encourages creativity through the use of these mediums. Infusing technology into current curricular offerings offers one avenue in fostering a diversity of music learning experiences for students when teachers are interested in developing creativity in their students. Research examining current practising teachers and their experiences with digital sampling and beat making technology is limited. The purpose of this research was to offer my experiences learning, writing and sharing music using a sampling and beat-making device called the Maschine. This auto-ethnography uses Sawyer’s eight stages of the creative process as the theoretical framework to guide analysis of my creativity. The aims of this research were to: (1) reflect on the creative process involved in making music on a digital sampling and beat-making device; (2) provide a contextual understanding of my challenges and successes along the way; and (3) suggest implications for both current and future music teachers interested in learning to use this type of technology in their music teaching to provide contemporary music making experiences for their students. Results suggest that vernacular and informal music learning strategies were common over the 14-week semester, as YouTube tutorials supported my learning. My creativity occurred in small incremental steps and yielded three completed compositions at the culmination of the project. A conceptual model of the creative process is proposed, outlining the non-linearity of my creative process. Implications for music education are offered in conclusion.

scholarly journals Podcasts for Nonformal Learning: Using Social Media for Creating Personal Learning Environments, Personal Learning Networks

2020 ◽  
Vol 88 ◽  
pp. 46-65
Author(s):  
Marija Stonkienė ◽  
Erika Janiūnienė
Keyword(s):  
Social Media ◽  
Informal Learning ◽  
Learning Environments ◽  
Media Content ◽  
Learning Networks ◽  
Personal Learning Networks ◽  
Personal Learning ◽  
Personal Learning Environments ◽  
Collaborative Interaction ◽  
The Creation

The use of second-generation web technology (WEB2) in education is emphasising the role of social media as educational sources. Researchers that are analysing personal learning environments (Schaffert, Kalz, 2009; Dabbagh, Kitsantas, 2012), personal learning networks (Couros, 2010) suggest the importance of social media, although this emphasis is attributed to the collaborative interaction of learners. To comprehensively assess the potential of podcasts as social media in the creation of personal learning environments, personal learning networks, the research described in this article does not restrict the definition of podcasts as the potential of collaboration provided by social media. In this article, attention is directed towards the potential of podcasts in the creation of personal learning environment and personal learning networks. By using integrated information behaviour module analysis to determine if the students of Lithuanian higher education institutions value the potential of informal learning provided by podcasts. To determine if these technologies are used for the formation of personal learning environments, personal learning networks, a discussion group research was conducted. During the research the analysis of participant podcast usage showed there is interaction between media content used for recreation and media content used for formal and informal learning. This means that the participants of the research use podcasts to create personal learning environments. On the other hand, this interaction is minimal, created only by the learners and reasoned by the search of educational podcasts. The analysis of the experiences of the discussion participants revealed that the collaborative interaction between learners involved in the research in searching, sharing and using podcasts in the process of learning is not intensive, it is typically fragmented. This allows to point out that the communities that use podcasts for informal learning are not forming. This shows that the potential of podcasts in creating a learning network is not fulfilled, and that podcasts don’t inspire participatory learning.

“I Love Being Able to Have my Colleagues Around the World at my Fingertips:”

2013 ◽  
pp. 110-126
Author(s):  
Jennifer L. Branch ◽  
Joanne de Groot
Keyword(s):  
Professional Learning ◽  
Learning Networks ◽  
Personal Learning Networks ◽  
Online Distance Education ◽  
Personal Learning ◽  
Online Networks ◽  
Face To Face ◽  
Life Long Learning ◽  
Online Distance ◽  
Teacher Librarians

Teacher-librarians are often “lone wolves” in schools. This chapter explores how Canadian teacher-librarians are participating in life-long learning in the 21st century using Web 2.0 technologies. It also explores how one online distance education program implemented changes to help prepare teacher-librarians to participate in local and global personal learning networks. Findings from a Canadian survey on this topic found that teacher-librarians often seek out other teacher-librarians for advice and support, as well as relying on regular interaction (both face-to-face and online) with their colleagues. Other informal professional learning occurs through listservs, online networks, Elluminate sessions, webinars, TED talks, podcasts, Nings, blogs, and Twitter. New and emerging technologies are helping teacher-librarians connect to one another locally and, more importantly, globally. It is this combination of both local and global personal learning networks that helps teacher-librarians move from being lone wolves to members of the pack.

Advocacy for Students with Autism in Music Education

2020 ◽  
pp. 143-160
Author(s):  
Alice M. Hammel ◽  
Ryan M. Hourigan
Keyword(s):  
Learning Environment ◽  
Music Education ◽  
Special Educators ◽  
Music Educators ◽  
Classroom Teachers ◽  
Special Education Administrators ◽  
Music Learning ◽  
Educational Support ◽  
Students With Autism ◽  
Education Administrators

Music students with autism are frequently placed in music learning environments not conducive to their needs. Music educators must advocate for the most appropriate learning environment for their students. This chapter focuses on establishing relationships with parents, special educators, special education administrators, and classroom teachers to advocate for the most appropriate learning environment. In addition, this chapter focuses on understanding the necessary components of the musical learning environment for students with ASD and reaching out to community organizations for educational support.

Personal Learning Networks

2010 ◽  
pp. 226-240
Author(s):  
Teresa J. Carter ◽  
Jeffrey S. Nugent
Keyword(s):  
Digital Media ◽  
Virtual Communities ◽  
Communication Technologies ◽  
Learning Goals ◽  
Learning Networks ◽  
Self Directed Learning ◽  
Personal Learning Networks ◽  
Personal Learning ◽  
Directed Learning ◽  
Virtual Communities Of Practice

Twenty-first century information communication technologies are enabling learners to create personal learning networks (PLNs) tailored to individual learning goals, needs, and interests, with implications for self-directed learning in the digital age. New, readily available digital media tools, open courseware, and other Web 2.0 technologies are changing how learners interact online, creating a participatory culture of knowledge sharing and content creation that is very different from early uses of the Web for accessing content. As learners participate in the multiple virtual communities of practice that comprise a PLN, they require new skills that merit reconsideration of the role of the educator in helping learners to become self-directed in both formal and informal learning contexts.

Informal music learning, improvisation and teacher education

2010 ◽  
Vol 27 (1) ◽  
pp. 71-87 ◽  
Author(s):  
Ruth Wright ◽  
Panagiotis Kanellopoulos
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Student Teachers ◽  
Music Learning ◽  
Teachers Perceptions ◽  
Free Improvisation ◽  
Informal Music Learning ◽  
The Social ◽  
Narrative Methodology ◽  
Communicative Context

This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming ‘an act of transcendence’ (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy.

Developing Self-Efficacy to Improve Music Achievement

2020 ◽  
Vol 107 (2) ◽  
pp. 42-50
Author(s):  
Michael S. Zelenak
Keyword(s):  
Learning Environment ◽  
Music Education ◽  
Self Efficacy ◽  
Positive Relationship ◽  
Music Educators ◽  
Music Achievement ◽  
Self Perception ◽  
Music Learning ◽  
Albert Bandura

Albert Bandura identified self-efficacy as the dominant self-perception shaping action, effort, and achievement. In music education, researchers have identified a positive relationship between self-efficacy and achievement, but how can music educators develop self-efficacy to improve achievement? This article offers a description of self-efficacy and provides practical strategies to promote its development in music education. These strategies can be applied in any music learning environment so that music educators may be more fully prepared to integrate activities that build self-efficacy into their instruction, enabling their students to reach higher levels of achievement.

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