Behind Different Walls

2015 ◽  
pp. 553-566
Author(s):  
Mary L. Cohen ◽  
Stuart Paul Duncan
Keyword(s):  
Music Education ◽  
Learning Communities ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Public Awareness ◽  
Social Needs ◽  
Transformative Justice ◽  
Choral Singing ◽  
The Past ◽  
The Social

Over the past few years, restorative justice and transformative justice have taken on greater research importance in the scholarly community. These two forms of social justice offer ways of dealing with harms that result from conflict. The claim of this chapter is that these two types of justice can be used to structure and shape pedagogy in music education. Research suggests that choral singing within a prison context and the particular pedagogies employed therein can be shaped positively through restorative and transformative justice. Prison choir performances humanize prisoners and bring greater public awareness to their lives. If one accepts the premise that the use of restorative and transformative justice in musical teaching and learning enacts forms of healing, then their application has great potential to create encouraging learning environments and provide tools for music teachers to support the social needs of their learning communities.

scholarly journals “Where the Social Stigma Has Been Overcome”: The Politics of Professional Legitimation in Nepali Music Education

2021 ◽  
pp. 119-132
Author(s):  
Danielle Shannon Treacy ◽  
Sapna Thapa ◽  
Suyash Kumar Neupane
Keyword(s):  
New York ◽  
Music Education ◽  
Appreciative Inquiry ◽  
Music Teachers ◽  
Social Stigma ◽  
Professional Responsibility ◽  
Music Teacher ◽  
New Horizons ◽  
The Social ◽  
Collective Imagination

AbstractThis chapter explores the actions musician-teachers in the extremely diverse and complex context of the Kathmandu Valley imagine that might hold potential for contesting and altering processes of marginalisation and stigmatisation in Nepali society. The empirical material was generated in 16 workshops involving 53 musician-teachers and guided by the Appreciative Inquiry 4D model (e.g. Cooperrider et al. Appreciative inquiry handbook: for leaders of change. Crown Custom, Brunswick, 2005). Drawing upon the work of Arjun Appadurai, we analysed the ways in which engaging the collective imagination (1996) and fostering the capacity to aspire (2004) can support musician-teachers in finding resources for changing their terms of recognition. We identified five actions that musicians and musician-teachers take to legitimise their position in Nepali society: (1) challenging stigmatised identities, (2) engaging foreignness, (3) advocating academisation, (4) countering groupism, and (5) promoting professionalisation. We argue that these actions suggest the need for music teachers to be able to ethically and agentively navigate both the dynamic nature of culture and questions of legitimate knowledge, which may be fostered through an emphasis on professional responsibility (Solbrekke and Sugrue. Professional responsibility: new horizons of praxis. Routledge, New York, 2011) in music teacher education.

Trans Voices Speak: Suggestions from Trans Educators about Working with Trans Students

2021 ◽  
Vol 108 (1) ◽  
pp. 50-56
Author(s):  
Christopher Cayari ◽  
Felix A. Graham ◽  
Emma Joy Jampole ◽  
Jared O’Leary
Keyword(s):  
Identity Development ◽  
Music Education ◽  
Music Educators ◽  
Gender Nonconforming ◽  
The Past ◽  
Music Making ◽  
Trans People ◽  
The Social ◽  
And Gender ◽  
Music Classrooms

The social climate in the past decade has seen a rise in visibility of trans students in music classrooms and ensembles, leading to a need for scholarship on how to serve this growing population. Literature is being published to address this topic; however, the lack of scholarship by trans educators might lead many music educators to conclusions and practices that can be, at the very least, discouraging to some trans students and may disrupt their learning experiences. This article was written by four educators who identify as part of the trans community (a genderfluid and gender-nonconforming individual, a trans man, a trans woman, and a gender-nonbinary person) to fill this gap in the literature by illuminating some of the pitfalls inherent in the lack of discussion on (and by) trans people in music education. In addition, this article provides five actionable suggestions for working with trans students: (1) Learn about the trans community, (2) inspect your language and biases, (3) represent the diversity of trans people in your teaching, (4) promote healthy music-making and identity development, and (5) model allyship.

Open Video Repositories for College Instruction

2018 ◽  
Author(s):  
Michael Miller ◽  
Anna CohenMiller
Keyword(s):  
Social Sciences ◽  
Political Science ◽  
Significant Variation ◽  
Teaching And Learning ◽  
College Instruction ◽  
The Past ◽  
Production Values ◽  
The Social ◽  
Key Features ◽  
Wealthy Donors

Key features of open video repositories are outlined, followed by brief description of specific sites relevant to the social sciences. Although most were created by instructors over the past 10 years to facilitate teaching and learning, significant variation in kind, quality, and number per discipline were discovered. Economics and Psychology have the most extensive sets of repositories, while Political Science has the least development. Among original-content websites, Economics has the strongest collection in terms of production values, given substantial support from wealthy donors to advance political and economic agendas. Sociology stands out in having the most developed website in which found-video is applied to teaching and learning. Numerous multidisciplinary sites of quality have also emerged in recent years.

Musical Pedagogy for Social Goals

2020 ◽  
pp. 27-53
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Social Aspect ◽  
Music Teaching ◽  
Contemporary Society ◽  
Music Learning ◽  
The Social ◽  
Musical Works ◽  
Orchestral Musicians ◽  
Personal Feeling

This chapter introduces a vision of music education that aims towards enjoyable music learning in a shared sense. When we discuss the social aspect of music teaching and learning, we need to pay special attention in several different ways to pass the tradition of music simply because music is the live tradition. The music transcends and transforms and melts into our contemporary society. At the same time, at a different level, professional orchestral musicians and conductors devote their lives to understanding the music more deeply, in order to recreate the composers' message by adding their own interpretation and personal feeling. There is no single stance towards music, and our children may need to experience and know various musical works from the originals and arrangements, and even replicate some of the works themselves to learn how to compose. By remaining tolerant in our views to perceive various types of music, we can expand the possibilities of the music of our time, and music of all communities.

What History is good for: Service-learning and studying the past

2009 ◽  
Vol 2 (3) ◽  
pp. 50-73 ◽  
Author(s):  
Michael Smith
Keyword(s):  
Service Learning ◽  
Liberal Arts ◽  
Teaching And Learning ◽  
Liberal Arts College ◽  
Scholarship Of Teaching ◽  
Reflective Process ◽  
Social Sciences And Humanities ◽  
The Past ◽  
The Social ◽  
Rich Data

Many disciplines in the social sciences and humanities can offer profound insights into what it means to be human. History, however, encompasses the totality of human experience: economics, politics, philosophy, art, ethics, sociology, science - all of it becomes part of history eventually. Therefore, the opportunities for incorporating service-learning (carefully integrating community service with academic inquiry and reflecting on insights derived from such integration) into history courses abound. Many historians have taken advantage of this opportunity. Few historians have undertaken a scholarly investigation of the learning taking place in their service-learning courses, however. Indeed, despite the fact that the reflective process so central to service-learning lends itself remarkably well to the scholarship of teaching and learning (it generates very rich data on both the affective and content-based learning students are experiencing), there has been little published SoTL research from any discipline about service-learning. Drawing on qualitative evidence from an honours course comprised of 16 students at a private liberal arts college in the northeastern United States, I argue that not only does service-learning in history lead to more active citizenship, but that it also leads to deeper appreciation of an historical perspective as a key ingredient for being an engaged citizen.

Embracing New Digital Technologies: Now and into the Future

2012 ◽  
pp. 670-673
Author(s):  
Bradley Merrick
Keyword(s):  
Music Education ◽  
Learning Communities ◽  
Music Teachers ◽  
Digital Technologies ◽  
The Future ◽  
The Impact ◽  
Innovative Approaches

This article assesses the impact of new digital technologies on music education. It argues that music teachers have an obligation to understand and integrate the technologies that students bring into their classrooms. New digital technologies must be seen as instruments in their own right, and used to facilitate the development of knowledge and innovative approaches to exploring and understanding music among various emerging learning communities.

Challenges for Research and Practices of Music Education

2012 ◽  
pp. 673-677
Author(s):  
Bengt Olsson
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Teacher Student ◽  
Learning Practices ◽  
Teachers And Students ◽  
New Research ◽  
Integrate Research

This article discusses the challenges of a research-based music education. Despite the need for new research-based approaches and teacher-student roles, this does not mean that all current research or praxis is useless or not valuable. The challenge for researchers, music teachers, and students of all kinds is to find new ways to integrate research, teaching, and learning practices.

Ubiquitous Creativity, Imagination in Dialogue, and Innovative Practice-in-Action

2015 ◽  
Vol 117 (10) ◽  
pp. 1-10 ◽  
Author(s):  
Lori A. Custodero
Keyword(s):  
Social Change ◽  
Research Design ◽  
Physical Environment ◽  
Teaching And Learning ◽  
Ways Of Knowing ◽  
Past Century ◽  
The Past ◽  
The Social ◽  
Social And Physical Environment

Background Over the past century, the role of creativity in teaching and learning has been interpreted in many ways, leading to often conflicting discipline-specific definitions, measurements, and pedagogical applications. Purpose/Objective This issue takes on the perspective of creativity as ubiquitous, and follows that line of inquiry in its psycho-social manifestations, its application in innovative educational settings, and the persistence through which ideas and imagery become active forces for transformation and social change. Research Design As an introduction to the issue, this article summarizes and articulates the relatedness between scholars within a variety of educational fields. Conclusions/Recommendations When viewed as ubiquitous, creativity can be a lens through which to interpret learning as a transformational experience, where the learner resources the social and physical environment to move from not knowing to knowing. Motivating such transformation are (a) the ability to identify what is not known, (b) the juxtaposition of difference to reveal alternate ways of knowing, and (c) the openness to possibility and willingness to explore.

scholarly journals Editorial

2011 ◽  
Vol 28 (3) ◽  
pp. 245-246
Author(s):  
GARY SPRUCE ◽  
PAMELA BURNARD
Keyword(s):  
Professional Development ◽  
New Zealand ◽  
Music Education ◽  
Everyday Life ◽  
Teaching And Learning ◽  
Research And Practice ◽  
The Past ◽  
Knowing That ◽  
Education Community

The past 20 years have seen ongoing changes to the musical landscape of everyday life and growing evidence of the power of music and its ubiquity in our lives. The music education community, both academic and professional, are becoming increasingly aware of the need to rethink and change practices of teaching and learning that are likely to be beneficial to all. Knowing that across nations and cultures music accompanies the lives of 3.5-year-olds to 85-year-olds for over 80% of the time makes it all the more important that the topics of research that are featured in this final issue for 2011 reflect an international line up of studies originating from Spain, China, New Zealand, Africa, Australia and Britain. Echoing BJME's original aims ‘to strengthen connections between research and practice’ several articles reflect the rise in prominence of practitioners who undertake research as a means of informing practice and professional development.

Looking Back to Move Forward: Charles Fowler and His Reconstructionist Philosophy of Music Education

2020 ◽  
pp. 153660062093797
Author(s):  
Craig Resta
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Sociological Perspective ◽  
Philosophy Of Music ◽  
Philosophical Beliefs ◽  
The Past ◽  
Teacher Researcher ◽  
History Of ◽  
Modern Context

Charles Fowler (1931–1995) was an important thinker whose reconstructionist philosophy of music education represents an untold view worthy of examination in the modern context. Fowler described the philosophy in his dissertation completed in 1964, based on the reconstructionist theory of Theodore Brameld. He outlined seven major objectives stating how music education can impact students, schools, and communities, and can serve as an agent of social change. This perspective was the basis for Fowler’s pragmatic and progressive outlook throughout his 45-year career as teacher, researcher, writer, and arts advocate. His philosophy is presented here as another critical viewpoint of music teaching and learning, and for its impact on those who experience it. Following an introduction to Fowler and his connections to reconstructionism, his seven objectives for music education are presented, along with samples of writing showing his consistent philosophical beliefs over time, concluding with a review of his thinking while considering the future through a lens of the past. While prevailing viewpoints center on aesthetic, praxial, and pedagogical views, Fowler’s reconstructionist philosophy is worthy of inclusion in the history of music education as he argued for a sociological perspective that predates most viewpoints commonly read in the field today.

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