Youth Empowerment and Transformative Music Engagement

2015 ◽  
pp. 387-405
Author(s):  
Susan A. O'Neill
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Well Being ◽  
Learning Opportunities ◽  
Youth Empowerment ◽  
Learning Spaces ◽  
Music Learning ◽  
Social Justice Orientation ◽  
Key Features ◽  
Transformative Approach

As youth are increasingly braiding, blending, and blurring learning spaces, modes, structures and practices, they are transforming their music engagement in ways that are increasingly autonomous and self-directed. These are key features of the dynamic, interactive, and transformative approach to music learning that the author refers to as transformative music engagement. The aim is to enable and encourage youth empowerment in music education in ways that strengthen young people’s engagement in music learning, as well as their resiliency and capacity for well-being and musical flourishing. The chapter discusses this conceptualization and considers how educators might create expansive music learning opportunities within a social justice orientation that guide youth toward developing their distinctive voice and the capacity to express and redefine what matters to them in pursuit of social justice.

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.”

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.

The Oxford Handbook of Social Justice in Music Education

2015 ◽  
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Music Educators ◽  
Pedagogical Practices ◽  
Refugee Camps ◽  
Student Agency ◽  
Music Learning ◽  
Cultural Perspectives ◽  
Starting Point ◽  
Comprehensive Survey

This handbook seeks to present a wide-ranging and comprehensive survey of social justice in music education. Contributors from around the world interrogate the complex, multidimensional, and often contested nature of social justice and music education from a variety of philosophical, political, social, and cultural perspectives. Although many chapters take as their starting point an analysis of how dominant political, educational, and musical ideologies serve to construct and sustain inequities and undemocratic practices, authors also identify practices that seek to promote socially just pedagogy and approaches to music education. These range from those taking place in formal and informal music education contexts, including schools and community settings, to music projects undertaken in sites of repression and conflict, such as prisons, refugee camps, and areas of acute social disadvantage or political oppression. In a volume of this scope, there are inevitably many recurring themes. However, common to many of those music education practices that seek to create more democratic and equitable spaces for musical learning is a belief in the centrality of student agency and a commitment to the too-often silenced voice of the learner. To that end, this Handbook challenges music educators to reflect critically on their own beliefs and pedagogical practices so that they may contribute more effectively to the creation and maintenance of music learning environs and programs in which matters of access and equity are continually brought to the fore.

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.

Facing the Music

2015 ◽  
pp. 61-77
Author(s):  
Stephanie Horsley ◽  
Paul Woodford
Keyword(s):  
Social Justice ◽  
Music Education ◽  
Social Justice Education ◽  
Well Being ◽  
Democratic Participation ◽  
Alternative Approach ◽  
Positive Rights ◽  
Negative Rights ◽  
Market Practices ◽  
Individual Participation

Neoliberalism and its educational reforms are premised on the importance of individual participation in market practices in order to further one’s own well-being. Such pursuits are supported by a negative justice conception of social welfare. These practices, which stress equality over equity, have distinct implications for how systems of education and citizens are discursively constructed and positioned in society. This affects how music education is structured and perceived within the practices of neoliberal education. This chapter explores the tensions between a neoliberal education ideology based on negative rights and social justice education underpinned by positive rights, the latter of which can lead to greater democratic participation, empathy, and equity in schools. Music education can play a role in subverting or providing an alternative approach to neoliberal education systems that focus primarily on developing self-interested, economic individuals who may be limited in the ways in which they view democratic participation.

Improving Primary Teaching: Minding the Gap

2012 ◽  
pp. 624-628
Author(s):  
Sarah Hennessy
Keyword(s):  
Music Education ◽  
Teacher Educator ◽  
Learning Opportunities ◽  
Music Teacher ◽  
Music Learning ◽  
Policy And Practice ◽  
High Quality ◽  
Adequate Number ◽  
Music Making ◽  
Primary Teaching

This article assesses the discrepancies between policy and practice in primary music education, from the perspective of a music teacher educator. It argues that there is a need for generalists who can engage in the music learning of their classes, understand how to combine musical experiences and learning with other subjects, and lead and facilitate music making with imagination and enthusiasm; as well as an adequate number of specialists to provide support to generalists and develop high quality music learning opportunities for all children.

Writing a Different Story of Music Learning

2021 ◽  
pp. 104837132110124
Author(s):  
Chiao-Wei Liu
Keyword(s):  
United States ◽  
Social Justice ◽  
Music Education ◽  
The United States ◽  
Music Learning ◽  
School Music ◽  
The U.S

Recently, the United States has witnessed an uptick of racially and culturally motivated events that continue to challenge the role of our schools in creating a more socially just nation. In light of these issues, it is important that we consider what role school music education plays in addressing issues related to social justice. In this column, I started by sharing a class conversation on the analogies related to immigrants in the U.S. and then explored the implication of these analogies/stories. Inspired by Chinua Achebe’s analysis on literature and its relation to reality, I ask, not only what stories we tell about music learning at school, whose interest these stories serve, and whose voices/music are privileged? I propose that multiple stories of our students’ music learning may be enacted as forces to counter the dominate narrative. I end with some curriculum ideas for teachers to adapt in their classrooms.

An International Perspective on Music Education for Adults

2012 ◽  
pp. 302-316
Author(s):  
John Drummond
Keyword(s):  
Music Education ◽  
Social Interactions ◽  
Learning Experiences ◽  
Community Setting ◽  
Well Being ◽  
International Perspective ◽  
Music Learning ◽  
Group Settings ◽  
The Social ◽  
High Level

This article examines why and when adults participate in music learning experiences, and what, where, and how they study. Music learning in group settings helps adults attain a high level of personal well-being, both physically and psychologically, as a result of interaction with the music and the social interactions involved. Adults learn music for the same reasons that anyone learns music: to learn more about themselves, and to develop their sense of identity in a familiar or unfamiliar community setting.

Projects in music education: a bridge to well-being

2016 ◽  
Vol 72 (4) ◽  
Author(s):  
Diego Calderón-Garrido ◽  
Josep Gustems-Carnicer ◽  
Caterina Calderón-Garrido
Keyword(s):  
Music Education ◽  
Well Being
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