Playing (in) the Digital Studio

2017 ◽  
pp. 382-396
Author(s):  
Ethan Hein
Keyword(s):  
Young People ◽  
Music Education ◽  
Hip Hop ◽  
Music Technology ◽  
Digital Tools ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

When schools address music technology, they tend to focus on the nuts and bolts of the technology itself, rather than its creative applications. But to truly engage new digital tools for creative music making, we must address their most culturally significant context: electronic dance music and hip-hop. This music falls well outside the canon of what is widely considered suitable music for the classroom. Nevertheless, such music should be included, and not (only) because young people enjoy it. Rather than “dumbing down” music education, the inclusion of popular dance music would significantly enrich the curriculum, particularly in areas traditionally neglected: groove, timbre, and space.

scholarly journals Teaching creative music in El Sistema and after-school music contexts

2021 ◽  
pp. 025576142199082
Author(s):  
Sean Corcoran
Keyword(s):  
Music Education ◽  
Sense Of Belonging ◽  
After School ◽  
Learning Context ◽  
Music Making ◽  
Creative Music ◽  
School Music ◽  
El Sistema ◽  
Teachers Perspectives ◽  
Creative Music Making

El Sistema music programmes have blossomed over the past decade, with the aim of fostering social development through intensive orchestral music instruction. Many scholars agree that creative music making can facilitate student agency development, increase a sense of belonging and promote creative expression by allowing students to bring their perspectives to the learning context. With these benefits apparent, it seems rational that El Sistema should incorporate creative music making into its curriculum. To build understanding of how creative music approaches function in some programmes, I used a multiple qualitative case study to examine eight teachers’ perspectives of creative music making within El Sistema and after-school music programmes in Canada and the United Kingdom. Findings revealed that teachers conceptualized creative music making as activities that develop agency through collaborative music creation, that have the benefit of creating a sense of belonging and that give students the opportunity to contribute to their community. Successful nurturing of creative music making seems to rely on connecting students to their wider community, which is achieved in part through incorporating students’ own musical tastes. Teachers’ experiences with creative music making in their own music education played a crucial role in preparing them to teach creative music.

scholarly journals Understanding Learners’ Perspective on Creative Music Making

2014 ◽  
Vol 2 (1) ◽  
Author(s):  
Dr. Durgesh K. Upadhyay
Keyword(s):  
Music Education ◽  
Creative Process ◽  
Cultural Context ◽  
New Music ◽  
Psychological State ◽  
Music Students ◽  
Creative Processes ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

Creative music making is one of the least studied aspects of music education. This may be partly due to our limited knowledge of the creative process. There is a need to explore and understand the creative process of music making by taking perspective of music students within a particular socio cultural context. Present study aimed to explore and analyze the creative process of music making (making variations in rāga’s contents and/or compositions) by considering the vocal students’ perspective in an institutional setup. 10 vocal students (2 from Diploma, 4 from B. Mus. and 4 from M. Mus.) from two prestigious institutions of UP were interviewed (4 in-person and 6 telephonically). Thematic analysis revealed three themes – causal forces, conscious music making, and natural process of music making. Findings suggest that the particular psychological state, occasion or situation which inspires music students to visualize and forces them to create new music. Two creative processes of music making identified (i.e., conscious and natural) follow different pathways.

Music for All: Including young people with intellectual disability in a university environment

2017 ◽  
Vol 22 (3) ◽  
pp. 279-293 ◽  
Author(s):  
Daphne Rickson ◽  
Penny Warren
Keyword(s):  
Intellectual Disability ◽  
Young People ◽  
Higher Learning ◽  
University Environment ◽  
Music Making ◽  
Creative Music ◽  
The Social ◽  
The University ◽  
Creative Music Making ◽  
University Setting

We investigated a continuing education course in creative music making, initiated to promote the inclusion of young people with intellectual disability in a university setting. Despite organizers’ attempts to foster diversity within the student cohort, enrolments were almost exclusively from students who had intellectual disability. Being in the university environment, and in a place of higher learning, seemed to be valued by some. However, students’ main focus was on group musicking in a dedicated music room rather than interacting with the wider university community. Those who did not identify as disabled believed it was important to continue to address the barriers to wider inclusion. While acknowledging the risks around mediating the social interactions of young people with intellectual disability, we argue that future courses should include activities specifically designed to bring them to classes with typical students and to the wider activities of the university.

Creative Musical Practice in an Educational Context

2015 ◽  
pp. 143-160
Author(s):  
Anna Linge
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Educational Context ◽  
Cultural Activity ◽  
Doctoral Thesis ◽  
Musical Practice ◽  
Music Making ◽  
Creative Music ◽  
Creative Pedagogy ◽  
Creative Music Making

This chapter is based on the author's doctoral thesis. She provides an account of a project on creativity in music education, more specifically a musical classroom for developing creativity. The aim of the study is to find examples or mechanisms of creative pedagogy. This study complements the current tradition for studying methods in teaching and learning music. Creative, prescriptive, and communicative designs of teaching and learning interact during sessions of music making. The empirical findings enable a discussion of the conditions that define creative music making as art and/or play as a socio-cultural activity.

Creative Music Making at Your Fingertips

2021 ◽  
Keyword(s):  
Music Education ◽  
Mobile Devices ◽  
Mobile Technology ◽  
Pedagogical Change ◽  
Music Making ◽  
Creative Music ◽  
Daunting Task ◽  
Musical Thinking ◽  
Musical Engagement ◽  
Creative Music Making

Hand-held mobile devices such as iPads, tablets, and smartphones hold potential for creative music making experiences within P-12 and higher education contexts. Yet navigating this technology and associated apps while embracing pedagogical change can be a daunting task. The book explores the enormous potential of rather small technological devices to transform the music-making experiences of students. The authors provide evidence for, ideas about, and examples of the role that mobile technology such as an iPad, tablet, or other hand-held device plays in the development of musical thinking and musical engagement of our students—in or outside of school. The promise of mobile devices for music education lies in their possibilities. In this book and on the companion website, the authors share strategies that will spark your imagination to explore digital musicianship and the use of mobile devices for your students’ musical engagement.

Creative Music Education in Japan during the 1920's: The Case of the Elementary School Attached to Nara Women's Higher Teachers College

1994 ◽  
Vol 11 (2) ◽  
pp. 157-162 ◽  
Author(s):  
Kyoko Koizumi
Keyword(s):  
Elementary School ◽  
Great Britain ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Historical Background ◽  
Teachers College ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

‘Creative music-making’, as developed in recent years in Great Britain and other countries, has also become popular in Japanese music education; for many music teachers have come to think seriously about the significance of child-centred music education instead of teacher-centred music education. Such a trend seems to be new. However, as in the United States and Great Britain, child-centred music education has been implemented previously – during the 1920's, in Japan's case. This development began in the Elementary School Attached to Nara Women's Higher Teachers College. The author describes the ideas and practices of creative music education in this school, and its historical background, comparing them with creative music-making today.

Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes

2007 ◽  
Author(s):  
Tammy L. Anderson ◽  
Philip R. Kavanaugh ◽  
Ronet Bachman ◽  
Lana D. Harrison
Keyword(s):  
Hip Hop ◽  
Dance Music ◽  
Electronic Dance Music
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