Relationship, Rescue, and Culture

2015 ◽  
pp. 566-581
Author(s):  
Eric Shieh
Keyword(s):  
Music Education ◽  
Large Scale ◽  
Classical Music ◽  
Music Educators ◽  
Social Program ◽  
Simon Bolivar ◽  
El Sistema ◽  
Strategic Implementation ◽  
Cultural Colonialism ◽  
Western Classical Music

In recent years, Venezuela’s anti-poverty El Sistema program (officially named the Fundación Musical Simón Bolívar) has roared onto the international music scene, offering a rare, large-scale example of the participation of music education in social policy. Yet El Sistema’s socioeconomic effects are neither assured nor fully understood, much less easily adaptable abroad. Reading El Sistema’s complex engagements with an eye to how it works as a social program, the author examines in particular its decentralization and capacity to function as a space of care, its discourse and structures around creating a space of “rescue” for youth, and its curricular focus of Western classical music. While these areas raise several cautions, including charges of deficit thinking and cultural colonialism, the program’s own tensions and negotiations also suggest paths for strategic implementation. In this, El Sistema offers music educators and policymakers some possibilities for entering critically into oftentimes familiar practices.

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

scholarly journals Interdisciplinary Interaction between Music Education and History: Shaping the Musical Preferences in Classical Music of the 20th Century

2021 ◽  
Author(s):  
Jerneja Žnidaršič
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Primary Schools ◽  
Classical Music ◽  
Control Group ◽  
History Teachers ◽  
Contemporary Classical Music ◽  
Interdisciplinary Interaction ◽  
Western Classical Music ◽  
Experimental Group

The purpose of the current study was to investigate whether an experimental programme, based on interdisciplinary interactions between music education and history and the implementation of arts and cultural education objectives, could influence pupils’ interest in Western classical music of the 20th century. The programme was designed on the basis of collaborating with music education and history teachers at two Slovenian primary schools and a Slovenian composer. Classes of pupils, aged fourteen and fifteen, were divided into an experimental and a control group. According to the outcome, the pupils in the experimental group showed a higher level of interest in contemporary classical music after the experiment than their peers in the control group. Furthermore, the pupils in the experimental group reported having listened on their initiative, to more classical compositions after the experiment than the pupils in the control group had.

When theory and practice meet: Avenues for entrepreneurship education in music conservatories

2020 ◽  
Vol 38 (3) ◽  
pp. 352-369
Author(s):  
Margarita Lorenzo de Reizabal ◽  
Manuel Benito Gómez
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Entrepreneurship Education ◽  
Theory And Practice ◽  
Entrepreneurial Spirit ◽  
Professional Success ◽  
The Hague ◽  
Classical Musicians ◽  
Western Classical Music ◽  
Music Entrepreneurship

In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.

scholarly journals Classical Music and the Subject of Modernity1

2008 ◽  
Author(s):  
JOHN BUTT
Keyword(s):  
Music Education ◽  
Teaching Methods ◽  
Classical Music ◽  
The Subject ◽  
Western Classical Music ◽  
Tonal System

This lecture presents the text of the speech about classical music and modernity delivered by the author at the 2007 Aspects of Art Lecture held at the British Academy. It discusses the development of notation and the tonal system and suggests they seldom engaged with western classical music. The lecture also explores the works of Lloyd Webber and the views of Tina Redford about music education and teaching methods.

Popular music in preservice music education: Preparedness, confidence and implementation

2020 ◽  
Vol 4 (1) ◽  
pp. 41-60 ◽  
Author(s):  
Sandra Hamilton ◽  
Jennifer Vannatta-Hall
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Teacher Educators ◽  
Classical Music ◽  
The United States ◽  
Music Educators ◽  
Music Teacher ◽  
Students Attitudes ◽  
Training Programmes ◽  
K 12

This study examined popular music in preservice music teacher training programmes in the United States. The researchers explored types of courses and programmes offered in undergraduate music education programmes to prepare future music teachers to teach popular music. Quantitative data revealed trends in the inclusion of popular music within undergraduate music education programmes, determined music teacher educators’ perceptions of their students’ attitudes towards using popular music in the general music classroom, and examined the types of popular music pedagogy needed for preservice music educators. Qualitative data ascertained perceived confidence levels of graduates to utilize popular music. Results revealed that western classical music is the focus for the majority of music educators’ undergraduate degree programmes and that often music teacher preparation programmes ignore popular music study. Bridging the gap between western classical and popular music would help prepare teachers to include and value all types of music in K-12 music education.

Embracing identity: An examination of non-Western music education practices in British Columbia

2019 ◽  
Vol 37 (2) ◽  
pp. 286-297
Author(s):  
Beth Tuinstra
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Classical Music ◽  
Traditional Music ◽  
Music Educators ◽  
Music Programs ◽  
Classroom Culture ◽  
Western Music ◽  
K 12 ◽  
To Receive

Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.

Swanwick puts music education back in its western prison – a reply

1998 ◽  
Vol os-31 (1) ◽  
pp. 59-65 ◽  
Author(s):  
Robert Walker
Keyword(s):  
Music Education ◽  
Cognitive Functioning ◽  
Human Mind ◽  
Music Educators ◽  
Cultural Pluralism ◽  
The West ◽  
Modus Operandi ◽  
Cognitive Differences ◽  
Cultural Colonialism

Swanwick (1996) failed to provide a credible challenge to Walker's (1996) suggested ‘New praxis freed from Colonialism’ and instead offered yet more cultural colonialism with his concept of music as ‘discourse’. This term has a long and deep western lineage and therefore is inadequate as a descriptive modus operandi for music education in all cultures. Its efficacy relies on unsupported assumptions about a universality in human mind processes irrespective of culture. While waving the musical flag of cultural pluralism, Swanwick simultaneously suggests a universal cognitive functioning for all humans. He cannot have it both ways: pluralism and universalism are incommensurate. Unless Swanwick abandons his commitment to universal cognitive functioning he has little to say to the world's music educators outside the western traditions. Pluralism means cognitive differences, which in turn suggest many different and diverse ways of expression in what the West calls music than the term ‘discourse’ can possibly accommodate.

scholarly journals The conditions for learning musical interpretation in one-to-one piano tuition in higher music education

2020 ◽  
Vol 1 (1) ◽  
pp. 103-131
Author(s):  
Carl Holmgren
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Classical Music ◽  
Qualitative Interviews ◽  
Piano Students ◽  
Conditions For Learning ◽  
Musical Interpretation ◽  
One To One ◽  
High Level ◽  
Western Classical Music

Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.

scholarly journals Classical Music as an Instrument to Foster Leadership Skills for Social Change: The Case of Venezuela’s El Sistema

2017 ◽  
Vol 9 (1) ◽  
Author(s):  
Marco Aponte Moreno ◽  
Lance Lattig
Keyword(s):  
Social Change ◽  
Leadership Development ◽  
Music Education ◽  
Classical Music ◽  
Leadership Skills ◽  
Social Change Model ◽  
Youth Orchestras ◽  
El Sistema ◽  
Free Network ◽  
To Receive

<em>El Sistema</em>, the Venezuelan system of youth orchestras, is a program aimed at teaching and performing classical music through the development of a free network of symphony orchestras and choruses nationwide. Since its creation in 1975 by its founder José Antonio Abreu, <em>El Sistema</em> has given thousands of Venezuelan children, who often come from unprivileged socioeconomic backgrounds, the opportunity to receive free classical music education while promoting their personal, intellectual, spiritual, social, and professional development. The purpose of this article is to analyze <em>El Sistema</em>’s potential to foster leadership skills for social change. After providing an overview of the program, we will apply Astin & Astin’s social change model of leadership development to shed light on <em>El Sistema</em>’s capacity to foster leadership skills for social change among its young musicians.

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