Educating Musical Prosumers for the Economic Conditions of the 21st Century

2020 ◽  
pp. 644-666
Author(s):  
Lauri Väkevä
Keyword(s):  
Social Media ◽  
Education Research ◽  
Music Education ◽  
21St Century ◽  
Music Educators ◽  
Economic Conditions ◽  
Cultural Consumption ◽  
New Learning ◽  
Economic Landscape ◽  
Learning Ecologies

Social media has introduced complex learning ecologies that have raised interest among music education scholars in recent years. However, the economic conditions of these new learning ecologies remain largely unexplored in music education research. To understand such conditions, we need to examine how music learners seek, find, produce, share, and exchange musical meanings in digitally mediated value networks. Using Jacques Attali’s political economy of music, literature on musical prosumption, and YouTube as a concrete example, this chapter explores the implications of the commodification of music-related practices and identities in social media, highlighting the need for music educators to understand the complexity of cultural consumption and production in such environments. In this way, the author suggests, music educators can best answer the needs of learners who need to be able to navigate the 21st-century musical-economic landscape.

New Materiality and Young People’s Connectedness Across Online and Offline Life Spaces

2020 ◽  
pp. 487-502
Author(s):  
Susan O’Neill
Keyword(s):  
Social Media ◽  
Music Education ◽  
Educational Outcome ◽  
Music Learning ◽  
Time Space ◽  
The Social ◽  
New Learning ◽  
Musical Resources ◽  
Meaningful Connections ◽  
Digital Cultures

This chapter examines new materiality perspectives to explore the influence of social media on young people’s music learning lives—their sense of identity, community and connection as they engage in and through music across online and offline life spaces. The aim is to provide an interface between activity, materiality, networks, human agency, and the construction of identities within the social media contexts that render young people’s music learning experiences meaningful. The chapter also emphasizes what nomadic pedagogy looks like at a time of transcultural cosmopolitanism and the positioning of youth-as-musical-resources who “make up” new musical opportunities collaboratively with people/materials/time/space. This involves moving beyond the notion of music learning as an educational outcome to embrace, instead, a nomadic pedagogical framework that values and supports the process of young people deciphering and making meaningful connections with the world around them. It is hoped that implications stemming from this discussion will provide insights for researchers, educators, and policymakers with interests in innovative pedagogical approaches and the creation of new learning and digital cultures in music education.

scholarly journals Mapping visions of improvisation pedagogy in music education research

2019 ◽  
Vol 42 (1) ◽  
pp. 113-139
Author(s):  
Eeva Siljamäki ◽  
Panagiotis A. Kanellopoulos
Keyword(s):  
Education Research ◽  
Literature Review ◽  
Music Education ◽  
Systematic Literature Review ◽  
Methodological Approach ◽  
Music Educators ◽  
Learning Tool ◽  
Musical Improvisation ◽  
Definition Of ◽  
Improvisation Pedagogy

This systematic literature review aims to identify and critically examine the prevailing general trends of music education research that addresses issues of improvisation from 1985 to 2015. The study examined the main features of studies with impact that focus on musical improvisation and have been published in peer-reviewed music education journals. Data were organised on the basis of the following: 1) General publication features; 2) Topic; 3) Methodological approach; 4) Participant features; 5) Type of improvisation; 6) Definition of improvisation; 7) Findings; 8) Suggestions for practice. The study also takes a close look at the construction of the discourses through which improvisation has been framed in the field of music education, providing insights on how such discourses create particular pedagogical visions of improvisation. To this end, we have created a map of the different visions of improvisation pedagogy that the studied works point towards. These visions have been clustered in the following five categories: (i) from rupture of certainties to creative problematisation; (ii) return to the “natural” beginning—in search of humanness; (iii) improvisation as a learning tool; (iv) conserving and enlivening traditions; (v) improvisation as an impetus for creativity. The map proposed in this study is meant as a possible representation of the general trends that underpin music education research focusing on improvisation. This map can also be seen as a “tool” through which music educators can situate their practice and reflect on their particular ways of working with improvisation, possibly envisioning alternative ways forward.

Research In Australian Music Education: A Review and Analysis

1988 ◽  
Vol 5 (2) ◽  
pp. 141-156 ◽  
Author(s):  
Warren R. Lett
Keyword(s):  
Education Research ◽  
Music Education ◽  
Research Priorities ◽  
Music Educators ◽  
Early History ◽  
Organisational Structure ◽  
Research Issues ◽  
Australian Society ◽  
Research Orientation ◽  
History Of

A review is made of the contents of the Australian Journal of Music Education from 1969, and of conferences in the early history of the Australian Society of Music Education. The categories of music education theses 1936–78 are described. A review of the research presentations is made from reports of the conferences of the Association of Music Education Lecturers. The paper identifies seminal summaries of music education research issues over a twenty-five-year period. It traces the lines of reported research, distinguishing standards for identification of research. It is concluded that although awareness of research issues has been consistently present amongst music educators in Australia, a lack of research orientation, together with inadequate planning and organisational structure has left the field to haphazard individualism. Proposals for current research priorities and procedures for their pursuit are made.

The Oxford Handbook of Social Media and Music Learning

2020 ◽  
Keyword(s):  
Social Media ◽  
New Media ◽  
Music Education ◽  
Network Connectivity ◽  
Music Educators ◽  
International Perspective ◽  
Music Learning ◽  
Rapid Pace ◽  
Media Communications ◽  
Networked Society

The rapid pace of technological change over the last decade, particularly in relation to social media and network connectivity, has deeply affected the ways in which individuals, groups, and institutions interact socially: This includes how music is made, learned, and taught globally in all manner of diverse contexts. The multiple ways in which social media and social networking intersect with the everyday life of the musical learner are at the heart of this book. The Oxford Handbook of Social Media and Music Learning opens up an international discussion of what it means to be a music learner, teacher, producer, consumer, individual, and community member in an age of technologically-mediated relationships that continue to break down the limits of geographical, cultural, political, and economic place. This book is aimed at those who teach and train music educators as well as current and future music educators. Its primary goal is to draw attention to the ways in which social media, musical participation, and musical learning are increasingly entwined by examining questions, issues, concerns, and potentials this raises for formal, informal, and non-formal musical learning and engagement in a networked society. It provides an international perspective on a variety of related issues from scholars who are leaders in the field of music education, new media, communications, and sociology in the emerging field of social media.

Optimizing Optimal Experiences: Practical Strategies to Facilitate Flow for 21st-Century Music Educators

2020 ◽  
Vol 107 (2) ◽  
pp. 35-41
Author(s):  
Leonard Tan ◽  
Hui Xing Sin
Keyword(s):  
Music Education ◽  
21St Century ◽  
Flow Theory ◽  
Music Educators ◽  
Flow Experience ◽  
Research Findings ◽  
Theory Research ◽  
Flow Experiences ◽  
Music Classrooms ◽  
Mihaly Csikszentmihalyi

In 1990, psychologist Mihaly Csikszentmihalyi warned against an excessive emphasis on how well music learners perform rather than on the experiential aspect of music in and of itself. Whereas the former approach is, in his words, “a source of psychic disorder,” the latter approach offers access to “flow”: the optimal, enjoyable, meaningful, and happy state. What might an approach to music education that aims to optimize optimal experiences (i.e., flow) look like? This article presents concrete strategies to facilitate flow experiences in music classrooms and rehearsal halls by drawing on flow theory, research findings, and the authors’ own professional and applied experiences. The authors clarify the nature of the flow experience, sketch the benefits of flow, and propose ten strategies to facilitate flow for music educators.

scholarly journals What if Freire Had Facebook? A Critical Interrogation of Social Media Woke Culture Among Privileged Voices in Music Education Discourse

2021 ◽  
Vol 20 (1) ◽  
pp. 16-52
Author(s):  
William J. Coppola
Keyword(s):  
Social Media ◽  
Music Education ◽  
Paulo Freire ◽  
Music Educators ◽  
Ivory Tower ◽  
Education Professionals ◽  
Alive Today ◽  
Shared Humanity ◽  
Education Discourse

In this paper, I critique the ways in which music education professionals—especially the privileged voices within our field—engage in dialogue through social media outlets such as Facebook. While social media has become a valuable and ubiquitous discursive tool within our field, especially in that it theoretically removes the “ivory tower” of dialogue in academia, here I critique its darker side. Were he alive today, I question how philosopher Paulo Freire would respond to the dialogical opportunities afforded by social media and the emergence of “woke culture.” Particularly when engaging in the work of antiracism, I highlight how privileged music educators can silence any dialogue through their hostility or fragility alike through various forms of call-out culture, cancel culture, virtue signaling, and tone policing. I draw upon the full corpus of Freire’s works to examine the overall veracity of these approaches to antiracist efforts and offer that Freire’s pedagogy was interminably rooted in humility, love, and the pursuit of shared humanity.

Nurturing Vulnerability to Develop Pedagogical Change Through MOOC Participation and Public Blogging

2020 ◽  
pp. 589-617
Author(s):  
James Humberstone ◽  
Catherine Zhao ◽  
Danny Liu
Keyword(s):  
Social Media ◽  
Critical Thinking ◽  
Music Education ◽  
Art Music ◽  
Music Educators ◽  
Pedagogical Change ◽  
Western Art ◽  
Massive Open Online Course ◽  
Worldview Transformation ◽  
The University

Despite several decades of ground-breaking achievements in music education research and practice, the discipline’s status continues to stagnate, especially among our children and our governments. To address this stagnation, in 2016 the University of Sydney launched an internationally available Massive Open Online Course (MOOC) titled “The Place of Music in 21st-Century Education.” The intent of offering this course was to provoke critical thinking among music educators in order to break the cultural cycle that centers curricular music education around teachers’ (most likely Western art music) experience, and ask them to grapple with social and technological changes in education more broadly. To address concerns with authenticity in learning and the MOOC model, the MOOC integrated social media use into every main assessment. Participants—over 1,600 educators, students, artists, and the general public—were asked to publicly blog their responses to provocations on these topics and then to read each other’s posts and respond. In this study, we analyze funneled (Clow, 2013) data from the blogs and MOOC interactions. We find evidence for critical thinking and worldview transformation from a number of participants, and conclude that the experience of engaging publicly via social media engendered a vulnerability that may have made those new to the field and experienced professionals alike more open to change. The blogging-feedback loop prompted the formation of a social structure reminiscent of a community of practice or affinity space.

A feminine and poststructural extension of cosmopolitan ethics in music education

2016 ◽  
Vol 35 (3) ◽  
pp. 414-424 ◽  
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
21St Century ◽  
Music Educators ◽  
Ethical Principles ◽  
Ethical Considerations ◽  
Music Making ◽  
Historical Factors ◽  
Starting Point ◽  
Teachers And Students

The interconnected nature of 21st-century life demands that music educators and students consider those beyond their immediate communities in their ethical deliberations. While Appiah’s cosmopolitan ethical principles of universal concern and respect for legitimate difference may serve as a starting point for global ethical considerations in music education, they are potentially problematic for three reasons: their abstract nature can lead to the dehumanization of those about whom one claims concern; they can reinforce existing hegemonic divides between “legitimate” and “deviant” music-making; and they can lead to fixed understandings of practices and people. A feminine and poststructural extension of cosmopolitan ethics may assist music educators and students in addressing these issues. First, through a synthesis of the principle of universal concern and Noddings’ feminine ethics, music educators and students can resist dehumanizing others by aiming to “care for” and “care with” them. Second, teachers and students can use Foucault’s writings to consider how power-laden, socio-historical factors produce conceptions of legitimacy. Finally, drawing inspiration from Deleuzian ethical writings, music educators and students can challenge stagnant worldviews by promoting “legitimate differing” and imagining creative, evolving ethical futures.

scholarly journals “It Depends:” From Narration Sickness to Wide Awake Action in Music Education

2021 ◽  
Vol 20 (1) ◽  
pp. 53-83
Author(s):  
Cara Faith Bernard ◽  
Matthew Rotjan
Keyword(s):  
Professional Development ◽  
Social Media ◽  
Music Education ◽  
Paulo Freire ◽  
Music Educators ◽  
Definition Of ◽  
Taking Action ◽  
Maxine Greene ◽  
Wide Awake

In this article, we query how action is contextualized and used in music education, centering the discussion around problems of calling for change without taking action, what Paulo Freire terms “narration sickness.” Narration sickness manifests in social media, conferences, and professional development sessions—where words convey ideas as grand narratives, devoid of context, causing a division between those who present ideas from those who enact them in practice. We describe how music educators may become unintentional slacktivists, “woke” to the need for action, attempting to improve the field with limited (if any) action at all. We invite music educators to counter “wokeness” with what Maxine Greene calls being “wide awake,” offering examples of educators who demonstrate change. We seek to expand the definition of action, drawing upon what Freire and Marx term as praxis, seeking actionable approaches in teaching, researching, and learning across age levels, settings, and contexts.

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