Applications of Affinity Space Characteristics in Music Education

2020 ◽  
pp. 63-87
Author(s):  
Jared O’Leary
Keyword(s):  
Music Education ◽  
Communities Of Practice ◽  
Learning Spaces ◽  
Music Learning ◽  
Affinity Spaces ◽  
Music Making ◽  
Online Music ◽  
Potential Applications ◽  
Affinity Space

Affinity spaces are the physical, virtual, or combination of locations where people come together around a shared affinity (interest) (Duncan & Hayes, 2012). Online affinity spaces can act as a participatory hub for music making and learning through social networking and sharing. Although music affinity spaces exist in myriad informal spaces, little scholarship explores potential applications of affinity space characteristics within formalized learning spaces. This chapter introduces characteristics of an affinity space and questions the role of the framework in relation to another framework commonly used in online music learning communities: communities of practice. This chapter concludes with a discussion on practical and theoretical applications of affinity space characteristics within formalized educational contexts.

Equity and Access in Out-of-School Music Making

2017 ◽  
pp. 502-510
Author(s):  
Kylie Peppler
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Learning Spaces ◽  
Music Learning ◽  
Equity And Access ◽  
Music Making ◽  
School Music ◽  
Pathways Model ◽  
Recording Studios ◽  
Out Of School

This chapter focuses on the importance of community to both music education and the ways that youth shape their ideas, interests, and identities in music. Musical learning is rarely, if ever, about a learner operating a new musical technology-based tool in isolation. Music is inherently social, and these influences have a great impact upon the development of musical identities. This chapter explores the ways that out-of-school spaces like those in the Computer Clubhouse Network, YOUmedia, and Musical Futures support social music learning by providing private recording studios that allow youth to assume increasingly public roles as musicians, performers, and producers. The chapter also describes how mixing formal, nonformal, and informal learning spaces helps to develop a youth’s musical maturity through what is known as the “progression pathways model.”

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.

Commentary: Music Learning and Teaching through Technology

2012 ◽  
pp. 428-432 ◽  
Author(s):  
Evangelos Himonides
Keyword(s):  
Music Education ◽  
Music Learning ◽  
Learning And Teaching ◽  
Modus Vivendi

This article presents an overview of Section 5 of the Oxford Handbook of Music Education, Volume 2. The section commences a critical but also constructive discourse about the role of “any” technology within the broader fields of music and education. The contributors have chosen different perspectives and foci in instigating this discourse, all of them diverse but, arguably, all celebrating how essential technology is (or should be) in our music infused modus vivendi.

scholarly journals Pedagogical Fundamentalism versus Radical Pedagogy in Music

2017 ◽  
pp. 256-276
Author(s):  
Heidi Partti
Keyword(s):  
New Media ◽  
Music Education ◽  
Digital Citizenship ◽  
Cultural Changes ◽  
Radical Pedagogy ◽  
Media Technologies ◽  
Music Making ◽  
The Social ◽  
The Face

Due to the increasing media influence in society, the systematic development of media literacy in music education is a matter of the utmost importance. This chapter engages in an exploration of the role of the school in the face of the social-cultural changes that new media technologies have brought about in the wider culture of music making and learning. It is argued that it is equally unhelpful to adopt the strategy of “pedagogical fundamentalism,” according to which students are passive victims of harmful and damaging media, as that of “pedagogical populism,” which uncritically buys into utopian fantasies about social change autonomously produced by technology. Instead, the chapter argues for the importance of radical pedagogy in music education by suggesting that schools should aim to build balanced approaches to new media that will contribute to the development of the cultural competencies required for students’ growth into digital citizenship.

scholarly journals Jammin’ the Blues: Experiencing the “Good Life”

2021 ◽  
Vol 12 ◽  
Author(s):  
Ruth A. Debrot
Keyword(s):  
Music Education ◽  
Good Life ◽  
Well Being ◽  
Subjective Well Being ◽  
Active Engagement ◽  
Music Learning ◽  
Music Making ◽  
Research Questions ◽  
Musical Growth ◽  
Conceptual Foundations

The purpose of this study was to examine the characteristics, attitudes, and perceptions of older musicians who participated regularly in a local blues jam. Six core dimensions of eudaimonic well-being and their conceptual foundations provided a framework for examining the way that music-making contributes to subjective well-being during the lifespan of an individual. The following research questions guided this investigation: (1) In what ways do biographical factors and engagement with music influence the lives of older adult blues/rock musicians who participate in a local blues jam? (2) What implications for subjective well-being with regard to music learning might be used to inform music education practices? Interviews and observations over a 2-month period provided data for understanding how lived experiences impacted personal well-being, and musical growth and development over time. Findings suggested that eudaimonic well-being is the result of active engagement in human activities that are goal-directed and purposeful, and a good life involves the self-realization of individual dispositions and talents over a lifetime. Implications for music education include individualized pedagogical approaches that encourage learners to discover a sense of well-being in and through music.

Early childhood music making in educational settings: A comprehensive analysis of peer-reviewed research, 2000–17

2019 ◽  
Vol 14 (1) ◽  
pp. 35-69 ◽  
Author(s):  
Karen Salvador
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Communities Of Practice ◽  
Teaching And Learning ◽  
Comprehensive Analysis ◽  
Research Articles ◽  
Educational Settings ◽  
Music Making ◽  
Research Questions ◽  
Education Profession

In this article, I present a comprehensive analysis of peer-reviewed research articles published in English between 2000 and 2017 regarding active music making in early childhood (EC) educational settings. My specific research questions were: who was making music? Who else was present? What did the children and other persons do? In what kinds of educational settings did the music making take place? How did the researchers frame and design their studies, and how did they collect data? What did the researcher(s) seek to understand? What did the researchers find? The results of this review challenge the EC music education profession to support every child’s right to a musical childhood by telling the whole story, communicating across places and communities of practice and understanding teaching and learning as contextual, varied and nuanced.

Online music education for sustainable development: Analysis of music learning videos in e-Hakseupteo

2021 ◽  
pp. 025576142110588
Author(s):  
Young Joo Park
Keyword(s):  
Music Education ◽  
Educational Opportunities ◽  
Opportunities To Learn ◽  
Video Content ◽  
Music Learning ◽  
Learning Platform ◽  
Online Music ◽  
E Learning ◽  
Development Analysis ◽  
Specific Agent

This study investigates music learning video content at e-Hakseupteo, a government-supported e-learning platform utilized during the COVID-19 pandemic, and provides suggestions for remote music learning in the future. The data from music learning videos in e-Hakseupteo were extracted via each subject to statistically analyze the data in various aspects including provision regions, the content providers, target audiences, video titles, and contents of each music learning video. As a result, this analysis demonstrated that e-Hakseupteo offered students fewer opportunities to learn music than other subjects because of the significant lack of music learning videos. In addition, e-Hakseupteo has provided unequal music educational opportunities and regional discrepancy due to the unintentional access settings. Finally, the music learning videos at e-Hakseupteo were produced by specific agent groups in Seoul with limited experts. Implications and suggestions are provided for the sustainability of remote learning in music education.

A Model for Online Music Education

2018 ◽  
pp. 202-225
Author(s):  
Radio Cremata
Keyword(s):  
Music Education ◽  
Secondary Level ◽  
Music Teaching ◽  
Technological Advancement ◽  
Music Learning ◽  
Post Secondary ◽  
Online Music ◽  
Education Profession ◽  
Teaching Learning

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.

A Model for Online Music Education

2021 ◽  
pp. 193-216
Author(s):  
Radio Cremata
Keyword(s):  
Music Education ◽  
Secondary Level ◽  
Music Teaching ◽  
Technological Advancement ◽  
Music Learning ◽  
Post Secondary ◽  
Online Music ◽  
Education Profession ◽  
Teaching Learning

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.

On disintegration of the Emil Jaques-Dalcroze method in the Polish music education system. Reflections on the role of Dalcroze’s solfeggio in a 1st-level music school

2018 ◽  
Vol 5 (1(8)) ◽  
pp. 85-94
Author(s):  
Anetta Pasternak ◽  
Agata Trzepierczyńska
Keyword(s):  
Music Education ◽  
Primary School ◽  
Education System ◽  
Training Process ◽  
Music Learning ◽  
School Subject ◽  
Music School ◽  
Music Schools ◽  
Polish Music

The method of Emil Jaques-Dalcroze’s eurhythmics combines the three integral, equivalent aspects: eurhythmics, solfeggio and improvisation, which complement each other and thus constitute a coherent, comprehensive and multi-sensory method of music education. The method was successfully transplanted onto the Polish music education system and appeared in curricula for grades 1-3 of the 1st-level music schools in 1976 as an integrated subject named ‘music learning with eurhythmics.’ In 2nd-level music schools, eurhythmics faculties were opened as early as in the 1950s and initiated the training process of future specialists in the Dalcroze method. Finally, as a result of numerous reforms in music education system, the primary school subject was decomposed into ‘eurhythmics’ and ‘aural training.’ The decision on separating the subjects disturbed the concept of an integral training process, included within Dalcroze’s method. This was due to the fact that Dalcroze’s solfeggio took secondary priority to other methods used in aural training, as it is currently possible for music theorists and other specialists to give lessons in this subject. Therefore, two important questions should be asked: 1. Does the reduction of the solfeggio role undermine the entire concept of Dalcroze’s eurhythmics nowadays? 2. Is the use of movement in aural training still necessary?

Sign in / Sign up

Export Citation Format

Share Document