Ethnomusicology, Music Education, and the Power and Limitations of Social Media

2020 ◽  
pp. 466-487
Author(s):  
David G. Hebert ◽  
Sean Williams
Keyword(s):  
Social Media ◽  
Music Education ◽  
Teaching And Learning ◽  
Musical Experience ◽  
Music Production ◽  
Production And Consumption ◽  
Musical Knowledge ◽  
Popular Representations ◽  
And Performance ◽  
Shed Light

This chapter looks at the field of ethnomusicology and its unique contributions to music education, with specific attention to how both fields are impacted by social media. It explores relationships between them and demonstrates both how social media have transformed musical experience and the ways that “glocalization” theory helps shed light on the diverse impacts of social media on music production and consumption. In addition, the chapter explores how the popularization of social media has changed notions of ethnomusicological fieldwork, access to music for teaching and learning, and popular representations of musical knowledge and performance.

The Role of Bodily Movement in Learning and Performing Music: Applications for Education

2012 ◽  
pp. 768-782 ◽  
Author(s):  
Jane W. Davidson
Keyword(s):  
Body Movement ◽  
The Body ◽  
Musical Experience ◽  
Performance Skills ◽  
Music Production ◽  
Bodily Movement ◽  
Musical Knowledge ◽  
And Performance

This article explores the fundamental role of bodily movement in the development of musical knowledge and performance skills; in particular, how the body can be used to understand expressive musical material and to communicate that meaning to coperformers and audience. The relevance to the educator is explored (whether working with a child or adult beginner, or a more advanced learner). The article is divided into six main sections, tracing the role of body movement skill in music production, expressive musical performance, developing learners to play their musical instruments with technical and expressive appropriateness, coperformer coordination, and projection for audience perception. The work builds on a growing interest in the embodied nature of musical experience. The article concludes with case study observations of practical insights and applications for the teacher.

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.

Toward a Creative Music Curriculum

2021 ◽  
pp. 3-11
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Project Based Learning ◽  
Philosophy Of Music ◽  
Technology Program ◽  
Music Production ◽  
Creative Music ◽  
School Music ◽  
And Performance ◽  
Support Students

Research has shown the need for new types of music classes that emphasize amateur music production and popular music. The new types of programs contrast with traditional classical and performance-based music programs. Digital audio production offers an unprecedented opportunity to support students in active, culturally authentic music-making. A successful music technology program requires a change from the teacher-led ensemble model to a creative workshop structure. Furthermore, it requires the recognition that current popular styles have their own distinct aesthetics and creative approaches. Project-based learning also requires teachers to develop their own pedagogical creativity. This approach can attract students who do not currently participate in or identify with school music, but who nevertheless consider themselves to be musicians. The constructivist philosophy of music education, using teaching strategies that support students’ agency in their own learning, fosters self-motivation and a critical stance toward popular culture.

Mental Preparation for the Performer

2014 ◽  
pp. 666-688
Author(s):  
Alma Thomas
Keyword(s):  
Music Education ◽  
Goal Setting ◽  
Performing Arts ◽  
Teaching And Learning ◽  
Mental Skills ◽  
Mental Preparation ◽  
Self Confidence ◽  
Key Concepts ◽  
And Performance ◽  
Regular Practice

Mental skills are integral to success in practice and performance. Prominent educators in sport and in the performing arts have advocated their use for years. This chapter provides voice educators and singers with illustrative mental skills that are based on recent research, supplies further background on mental training, and provides examples of key concepts. Teachers, coaches and singers are encouraged to apply the exercises presented and, if necessary, adapt them through experimentation to meet individual needs. Mental skills require regular practice and commitment, and should be an integral part of all teaching and learning. The literature in sport, and more recently in music education and performance, is full of the benefits of using mental skills, and full of ways in which mental skills guide and enhance performances at all levels. The key mental skills covered in this chapter are commitment and motivation, goal-setting, managing anxiety, relaxation, imagery, and developing self-confidence.

A Content Analysis of Creating and Curating Musical Identity on Social Media

2020 ◽  
pp. 312-335
Author(s):  
Julie Derges Kastner
Keyword(s):  
Social Media ◽  
Content Analysis ◽  
Music Education ◽  
Social Networking ◽  
Social Networking Sites ◽  
Online Community ◽  
Teaching And Learning ◽  
Empirical Studies ◽  
Future Research ◽  
Musical Identity

Social networking sites have emerged as a way for musicians to connect, create, and collaborate, and, as a result, they have become important spaces for identity expression and formation. This chapter reveals the findings of a content analysis of 23 empirical studies focusing on social media, identity, and music or music education in order to explore the types of research methods and identity frameworks they employed, emergent themes, and possible avenues for future research. Results of this content analysis revealed three themes: (1) personal expressions of identity, as individuals sought to curate their online identities; (2) identity through social interactions, which often featured a convergence of musical and nonmusical roles; and (3) identity through teaching and learning as individuals participated and found support and encouragement in an online community. Additionally, these studies most commonly used qualitative methods, with several using a cyber ethnographic approach, and a variety of identity frameworks. The chapter closes with suggestions for future research to further explore the evolving expressions of musical identity on social networking sites.

scholarly journals The use of metaphorical musical terminology for verbal description of music

2018 ◽  
Vol 44 (2) ◽  
pp. 627-641
Author(s):  
Milena Petrović ◽  
Marija Golubović
Keyword(s):  
Music Education ◽  
Cognitive Processing ◽  
Verbal Description ◽  
Musical Experience ◽  
Melodic Contour ◽  
Associative Thinking ◽  
Music Experience ◽  
And Performance

The aim of this paper is to indicate the importance of the metaphorical terminology and verbal description of music in education and performance due to inevitable role of emotions and embodiment in music experience. Metaphorical music terminology should follow the interpretative maturity, such as for the term scherzo, which would be joke for younger, but forced joke or all but prank for older musicians. For music beginners we can use extramusical verbal symbols: the pulse is represented as the stickman; major with the symbol of sun and minor with the symbol of rain; sequencing is presented with the picture of stairs; the picture of butterfly implies image-schematicity in interpreting the wave melodic contour; children understood duple meter through the picture of a soldier, while triple meter appreciated through the picture of a ballerina; staccato is experienced as a movement, but also as a visual and auditory metaphor. Multimodality plays an important role in music education, because it implies the integration of movement, sound, picture and verbal metaphors. Therefore, the musical experience is described and performance interpreted by following the direction from the emotional sound experience to its cognitive processing. Mul- timodal approach would increase associative thinking and enlarge individual associations on musical terms, which gives a better understanding of music and widens perspective in music education.

Art of the Constructive Academic Social Brag to Improve Competition and Performance for Social-Shared Teaching and Learning

2022 ◽  
pp. 316-336
Keyword(s):  
Social Media ◽  
Digital Libraries ◽  
Teaching And Learning ◽  
Image Sharing ◽  
Video Sharing ◽  
Content Sharing ◽  
Learning Content ◽  
The Social ◽  
Social Sharing ◽  
And Performance

If social media is about the social brag and the pose, academic social media has dedicated platforms that enable such shares: learning content sharing platforms (educational channels on social video sharing sites and social image sharing sites, learning object referatories, digital libraries, slideshow sharing sites), research sharing sites, publications and review metrics platforms, social learning sites (MOOCs, LMSes), and others. The academic social brag does not have to be negative or offending; it can be designed and harnessed to improve competition and performance among peer academics (in their social sharing), given the reliance on learner/user numbers to justify the original creation and sharing. This work explores academic social bragging across various academic social sharing platforms, dimensions for how these are judged (positively or negatively), and ways to turn academic social brags into something constructive for social-shared teaching and learning.

scholarly journals ‘McDonald’s Music’ Versus ‘Serious Music’: How Production and Consumption Practices Help to Reproduce Class Inequality in the Classical Music Profession

2017 ◽  
Vol 11 (3) ◽  
pp. 283-301 ◽  
Author(s):  
Anna Bull ◽  
Christina Scharff
Keyword(s):  
Middle Class ◽  
Classical Music ◽  
Empirical Studies ◽  
Class Inequality ◽  
Class Culture ◽  
Music Production ◽  
The United Kingdom ◽  
Production And Consumption ◽  
Consumption Practices ◽  
Shed Light

This article draws on two empirical studies on contemporary engagements with classical music in the United Kingdom to shed light on the ways in which class inequalities are reproduced in practices of production and consumption. It discusses three ways in which this occurs. First, classical music was ‘naturally’ practiced and listened to in middle-class homes but this was misrecognised by musicians who labelled families as ‘musical’ rather than as ‘middle class’. Second, the practices of classical music production and consumption such as the spaces used, the dress, and the modes of listening show similarities with middle-class culture. Third, musicians made judgements of value where classical music was seen as more valuable than other genres. This was particularly visible in studying production. In data on consumption, musicians were careful about making judgements of taste but described urban genres as illegible to them, or assessed them according to the criteria that they used to judge classical music, such as complexity and emotional depth. This hierarchy of value tended to remain unspoken and uncontested. Studying production and consumption together allows these patterns to emerge more clearly.

On ‘Listening’ in Music Education Brian Loane

1984 ◽  
Vol 1 (1) ◽  
pp. 27-36 ◽  
Author(s):  
Brian Loane
Keyword(s):  
Music Education ◽  
The Other ◽  
Musical Experience ◽  
Crucial Difference ◽  
Musical Activity ◽  
Supportive Role ◽  
Explicit Analysis ◽  
And Performance ◽  
The One ◽  
Musical Activities

The article suggests that ‘Composing / Performing / Listening’ may be an inadequate way to categorise musical activities, particularly because any musical activity is a sort of listening. There is a discussion of the educationally crucial difference between ‘audience-listening’ on the one hand, and ‘composition-listening’ and ‘performance-listening’ on the other. It is suggested that musical experience is itself thinking embodied in sound, and that explicit ‘analysis-of-listening’ plays a supportive role.In this light, the article proposes an alternative way to categorise musical activities, and indicates some possible conclusions for the curriculum and for assessment.

A Case for Integrative Assessment from a Freirian Perspective

2019 ◽  
pp. 256-274
Author(s):  
Frank Abrahams
Keyword(s):  
Music Education ◽  
Student Learning ◽  
Standardized Tests ◽  
Teaching And Learning ◽  
Teaching Performance ◽  
Teacher Student ◽  
Integrative Assessment ◽  
And Performance ◽  
Student Grades ◽  
The Impact

This chapter argues for the efficacy of integrative assessment to help teachers know if students have learned what they intended to teach them and how the teaching and learning have changed both student and teacher. Considering teaching and learning as a partnership between students and their teacher, integrative assessment focuses on the teacher, providing both formative and summative opportunities for teachers to be self-reflective and assess their teaching performance and its impact on student learning. Adding this component to the general discussion of assessment links the student/teacher and teacher/student paradigms in positive ways. Integrative assessment is framed by the ideas of Paulo Freire that teaching and learning are a partnership—and that learning takes place only when both teacher and student are changed. This type of assessment is different from the models of teacher evaluation that focus on quantitative analysis of formative and summative data and measures. These models connect outcomes to student grades and performance on standardized tests and are factored into teacher performance. The chapter argues that the most important goals of music education are to promote musical agency among students, empower musicianship, and foster the acquisition of what Freire labeled a critical consciousness. It then discusses four types of validity from the qualitative research tradition and uses them to inform questions teachers might ask themselves about the impact their teaching had on student learning.

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