The Convergence of Networked Technologies in Music Teaching and Learning

2017 ◽  
pp. 474-486
Author(s):  
Janice L. Waldron
Keyword(s):  
New Media ◽  
Music Education ◽  
Teaching And Learning ◽  
Ways Of Knowing ◽  
Music Teaching ◽  
Music Learning ◽  
Distant Future ◽  
Learning And Teaching ◽  
Recent Debate ◽  
The Subject

The convergence of the Internet and mobile phones with social networks—“networked technologies”—has been the subject of much recent debate. This chapter considers what new media researchers have already discerned regarding networked technologies; most important, that more significant than any given technology is how we use it, the effect(s) its use has on us, and the relationships we form through it and with it. Music education researchers and practitioners have tended to focus on technology as a knowable “thing”—that is, hardware and software with their “practical classroom applications”—and not the greater epistemological issues underlying its use. How will we engage musically in a meaningful way with a generation of students—“digital natives”—who have grown up technologically “tethered?” How will these different “ways of knowing” change music learning and teaching now and in the not-so-distant future?

Music Education in P-12 Schools to Learn From Each Other

2020 ◽  
pp. 176-196
Keyword(s):  
Social Interaction ◽  
Social Context ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Community Members ◽  
Music Learning ◽  
Technical Aspects ◽  
K 12

This chapter describes cases of music teaching and learning from Pre-K-12 schools. As a trait of book, instead of focusing on how-to instruction and technical aspects of music teaching, the author puts a special emphasis on music learning in a social context. Both music and music education consist of social interaction among learners, teachers, and community members. This process is especially unique to music because we always learn from each other and perceive music in a shared sense. The author wishes you also learn from these cases and implement the idea of your practice for students to learn from each other.

Commentary: Music Learning and Teaching During Adolescence: Ages 12–18

2012 ◽  
pp. 435-440
Author(s):  
Gary Spruce ◽  
Oscar Odena
Keyword(s):  
Young People ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teaching ◽  
Music Learning ◽  
Learning And Teaching ◽  
Key Issues ◽  
The Way

This article focuses on music teaching and learning during the adolescent years by identifying and exploring key issues, concepts, and debates that particularly impact on, or are significant for, the musical experiences and development of young people during this period of their lives. A number of key themes emerge from the discussions that cause us to question assumptions about the role of music in the lives of adolescents, including how young people use and relate to music, and the way music educators can best meet the challenges of addressing young people's musical and wider needs in the range of contexts in which their musical learning and experiences take place.

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.

Implications of Neurosciences and Brain Research for Music Teaching and Learning

2012 ◽  
pp. 204-224
Author(s):  
Donald A. Hodges ◽  
Wilfried Gruhn
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Brain Research ◽  
Music Teaching ◽  
Music Learning ◽  
General Overview ◽  
New Findings

Recent neuroscientific discoveries have created unprecedented opportunities in many fields, not the least in education, generally, and in music education, specifically. This article discusses ways these new findings influence our understanding of music teaching and learning, beginning with a general overview of neuroscience and its contributions to educational concerns. It continues with specific findings related to music learning, and concludes with implications for the field of music education.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

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.

Assessing Music Learning Through Composition

2019 ◽  
pp. 610-628
Author(s):  
Clint Randles
Keyword(s):  
United States ◽  
New Media ◽  
Music Education ◽  
The United States ◽  
First Century ◽  
Music Learning ◽  
The Past ◽  
The United Kingdom ◽  
The World ◽  
Summative Feedback

The proliferation of the use of new media and creativities are expanding the ways that humans engage creatively with music in the twenty-first century. As teachers and researchers, our methods of assessing these creativities need to expand as well. In this chapter the author points to some of the ways that music education has traditionally conceived of both creativity and the measurement of compositional activity in the classroom. However, it should be clear that formative, summative, feedback, diagnostic, and evaluative assessment are all necessary and vital to understanding and justifying the place of composition learning in music education, and that we as a profession have not done an adequate job of it in the past. Some countries, such as the United Kingdom, Finland, and Australia, have done a better job of creating curricular space for composition than the United States. The rest of the world can learn from these successes.

Nonregulated Assessment in Music Education

2019 ◽  
pp. 494-511
Author(s):  
Nasim Niknafs
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Top Down ◽  
Proactive Approach ◽  
Self Organized ◽  
Music Making ◽  
Local Activism ◽  
Do It Yourself

Without access to official state-sanctioned, public music education, Iranian youth, specifically rock and alternative musicians, follow a self-organized and anarchistic path of music making. Expertly negotiating between the act of music making and the unpredictable situations they face daily, they have become creative in finding new ways to propagate their music and learn the rules of their profession. Meanings attached to assessment in these circumstances become redefined and overshadow the quality of music being created. Assessment becomes a local activism that countervails the top-down, summative model. This chapter provides some characteristics of assessment in music teaching and learning in urban Iran that follow Nilsson and Folkestad’s (2005) ecocultural perspective, consisting of four elements: (a) Gibson’s (1979) concept of affordances, (b) orality, (c) theories of play, and (d) theories of chance. Consequently, assessment in urban Iranian music education can be categorized as follows: (1) do-it-yourself (DIY) and do-it-with-others (DIWO), (2) interactive and decentralized, (3) local anarchism, and (4) lifestyle. This chapter concludes that the field of music education should take a “slightly outside perspective” (Lundström, 2012, p. 652) and proactive approach toward assessment, rather than the reactionary approach to music teaching and learning in which assessment becomes an end goal rather than an approach embodied within learning.

Assessment and the Dilemmas of a Multi-Ideological Curriculum

2019 ◽  
pp. 446-463
Author(s):  
Sidsel Karlsen ◽  
Geir Johansen
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Core Curriculum ◽  
Progressive Education ◽  
Assessment Criteria ◽  
Moral Foundations ◽  
Music Teaching ◽  
Music Curriculum ◽  
Formal Curriculum ◽  
Education Foundations

The Norwegian compulsory school formal curriculum consists of two separate parts, implemented in 1993 and 2006. The older Core Curriculum provides guidelines for the broader aims of education and for its cultural and moral foundations. Ideologically, it is marked by the humanist Bildung tradition and progressive education ideas, emphasizing holistic development of the human being as the primary goal. The newer curriculum part, named Knowledge Promotion, consists of individual syllabi for all subjects, including music. While the first page of the music syllabus mirrors values expressed in the Core Curriculum, the latter part is an operationalization of a positivist-oriented ends-means approach to music education. This chapter explores this multi-ideological split of the music curriculum, pursuing a twofold interest: What are the consequences of ends-means related assessment criteria shaping the context of music teaching and learning? What other assessment criteria exist that would align better with the Bildung and progressive education foundations of the curriculum?

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