Music and Music Education: Theory and praxis for ‘making a difference’

2005 ◽  
Vol 37 (1) ◽  
pp. 7-27 ◽  
Author(s):  
Thomas A. Regelski
2017 ◽  
Vol 34 (3) ◽  
pp. 259-276
Author(s):  
Ana Luísa Veloso

This study aims to provide new insights on the nature of the embodied and collaborative processes related to the emergence of new musical ideas that occur when children are composing in groups.Data was obtained by participant observation of the teacher/researcher and by ten videotaped one-hour musical sessions dedicated to the development of a music composition by two groups of children, all of whom were eight years old.It was found that when composing in groups a) children use embodied processes to transform what they experience on diverse realms of their existence into musical ideas, and that b) while creating music, children engage in several improvisatory moments where new ideas emerge through the diverse ways they enact the surroundings where the activity is occurring. Findings suggest a conception of music composing as a multidimensional phenomenon that entails cognitive processes that are distributed across and beyond the physical body. Findings also suggest that composing music in collaboration with others nurtures a set of creative possibilities that would otherwise, not occur. Considerations for music education theory and practice are addressed in the last section of the article.


2021 ◽  
pp. 135-161
Author(s):  
Alexandra Kertz-Welzel

This chapter applies the ideas developed in the previous chapters to music education theory and practice. It presents utopia as method in music education, emphasizing its meaning as a hermeneutic, visionary, and exploratory tool. This leads to reconceptualizing music education as utopian theory and practice regarding two different approaches of music education: politically or socially responsive music education and esthetic music education. They represent two sides of music and music education, which need each other regarding political engagement and musical autonomy, being based on music as social fact or as existing for its own sake. This reconceptualization helps to overcome a long-standing dichotomy in international music education.


2009 ◽  
Vol 26 (1) ◽  
pp. 5-6
Author(s):  
PAMELA BURNARD ◽  
GARY SPRUCE

On 1st November 2008, more than 50 people gathered in the Faculty of Education, University of Cambridge to celebrate the 25th anniversary of the BJME. The attendees represented the whole spectrum of the music education community including teachers, researchers, students and teacher-educators as well as BJME past editors. We were delighted to welcome colleagues not only from the UK but also from Ireland, Norway, Italy and the USA.


2021 ◽  
Vol 12 ◽  
Author(s):  
Aiqin Wang

Higher education is undergoing a paradigm move from passive learning toward active learning. Student engagement is assumed to be a significant criterion and gauge for the quality of the student skill for higher education; however, in the literature, the term engagement remains to be vague to delineate, and it is construed in different ways. Since institutions accentuate preparing alumnae for life further than their education, student engagement has turned out to be a priority for music education, and within the last 5 years, the attention was drawn to “Students as Partners” as a response to “students as consumers” construct manipulating higher education theory. Concerning the literature review, the meaning of student engagement, determinants influencing it, and its merits are brought together. In conclusion, the implications of student engagement are presented, and new guidelines for future research are depicted.


2021 ◽  
pp. 1-17
Author(s):  
Alexandra Kertz-Welzel

The chapter introduces the topic of music education and social change and shows the need for an interdisciplinary study. It discusses research related to social change and music education critically and shows possible directions for new investigations. It develops the theoretical framework of utopia and utopian thinking as an innovative approach to music education and social change. It offers a much-needed scholarly foundation for music education and social change. Furthermore, this chapter presents the purpose of the present study, and the specific contribution this book will make to music education theory and practice. Finally, it offers a brief overview of the book chapters.


2020 ◽  
pp. 102986491989608
Author(s):  
Kim Burwell

The purpose of this paper is to explore authoritative discourses in advanced studio lessons. Authoritative approaches have been described variously as systematic instruction, direct teaching and teacher-centred, and they appear to be widely accepted in music education, and sought by advanced students. Concerns have been raised in general education theory about the limitations of such approaches, but they have been little researched in the context of studio teaching. This qualitative case study seeks evidence of authority in advanced studio behaviour, through Bakhtin’s account of dialogism and authoritative discourse and theories related to direct instruction. Specifically, an analysis is made of a single studio lesson given by an expert saxophone teacher to an undergraduate student. The terms of inquiry are focused on features of lesson dialogue, including representations of others as emblems of authority, the teacher’s initiation of tasks, student responses and teacher feedback. The study identifies internally consistent patterns of behaviour that provide abundant evidence of teacher-centred approaches to advanced studio tuition, which draw attention to the teacher’s personal expertise, privilege her perspective and convey a sense of her authority. However, the observed studio practices are found to be complex and sophisticated, with features of cognitive scaffolding that are inconsistent with authoritative discourse. It is argued that authoritative approaches are contingent on the subject matter, with their productivity contingent on the balance and match between participants’ expertise, commitment and purpose.


2019 ◽  
Vol 37 (1) ◽  
pp. 71-85 ◽  
Author(s):  
Katja Sutela ◽  
Marja-Leena Juntunen ◽  
Juha Ojala

AbstractIn this article, we describe the agency development in one student with special needs through Dalcroze-based music-and-movement activities. The case study was conducted in the context of classroom music education in a special school. The data were produced via a teaching experiment (from August 2015 to March 2016), in which a group (n = 13) of 15- to 16-year-old students participated in added lessons (one lesson per week) provided by the first author. The lessons included a variety of Dalcroze-based activities, such as singing with movement, quick reaction and follow exercises, movement improvisation, body percussion exercises, dances, and relaxation exercises. The data consist of video-recordings of the lessons, a research diary, and interviews with teachers, teaching assistants, a therapist, and a specialist of special education. During the teaching experiment, the case student’s agency developed from being a passive outsider to being an active participant and leader. The change in agency was noticed also outside the classroom. The study suggests that using music-and-movement in a music classroom offers possibilities for nonverbal embodied interaction and thereby opportunities for the development of students’ agency and autonomy foremost by developing their body and social skills. On a more general level, the article contributes to developing such music education theory and practice that acknowledges the significance of experience in learning music and in embodied interaction, where individuals interact and make sense of the world through nonverbal communication. In addition, this study highlights the strength of such education in supporting the development of the whole human being.


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