Reconnecting the music-making experience through musician efforts in instrument craft

2018 ◽  
Vol 36 (4) ◽  
pp. 560-573
Author(s):  
Alex Smith
Keyword(s):  
Music Education ◽  
Natural Resources ◽  
Ethical Issues ◽  
Participant Observation ◽  
Musical Instruments ◽  
Structured Interviews ◽  
Recycled Materials ◽  
Musical Settings ◽  
Music Making ◽  
Collegiate Level

Musical settings that require consumers to construct their own musical instruments serve as potential sites of reconnection between musicians, the musical instruments they make, the natural resources that comprise those instruments, and the labor required to produce them. When musicians reconnect in these ways, they are able to understand and appreciate their musical instruments in new and meaningful ways. This can allow for heightened efforts in instrument care and maintenance; it can also allow for a greater sensitivity to environmental and ethical issues surrounding musical instruments. Data are drawn from a collegiate-level academic percussion musical setting where the musicians composed for and performed on the instruments they made themselves from mostly recycled materials. Group and individual semi-structured interviews and participant observation conducted over the course of summer and fall 2014 reveal the ways these reconnections are possible. This paper is in response to Matsunobu’s (2013) call to further establish instrument craft as an area within music education curricula.

“Hay que Cantar con Ternura”: Baladas Románticas as a Site for Translingual Youth Convivencia

2021 ◽  
pp. 238133772110246
Author(s):  
Cati V. de los Ríos ◽  
Yared Portillo
Keyword(s):  
Music Education ◽  
Participant Observation ◽  
Cultural Knowledge ◽  
Mexican Origin ◽  
Bilingual Students ◽  
Video Recordings ◽  
Music Making ◽  
Schooling Experiences ◽  
K 12 ◽  
A Site

For many Mexican-origin bi/multilingual children, Mexican music education begins early in their home. Music is inextricably linked with the sociocultural context in which it is produced, consumed, and taught and the interrelationship between music, society, and culture. Using ethnographic methods, this article examines a small group of bilingual and emergent bilingual Mexican-origin students who regularly congregated in their English teacher’s classroom at lunchtime to recite and perform romance ballads, or what we refer to as baladas románticas, on a weekly basis. We use participant observation, plática-inspired interviews, focus groups, and video recordings to present ethnographic knowledge about how, for these young people, music was a way of being and a deliberate act to build community. Our findings describe the ways the bilingual students found themselves at the margins of their K–12 schooling experiences and, in turn, agentically fostered their own space for translingual expression and solace. This manifested in two primary ways: (a) how they collectively fostered their own form of convivencia (humanizing coexistence) anchored in their ancestral and cultural knowledge through their music-making and (b) how their music-making allowed them to release translingual and transmodal play and creativity that might have otherwise been suppressed at school. We end with a call for literacy researchers and educators to continue to recognize and honor students’ lived translingual experiences, identities, and musical gifts as resources for learning.

scholarly journals Vývoj a vliv tradiční a moderní hudby v každodennosti Kyrgyzů / The development and influence in traditional and modern music on the everyday life of the Kyrgyz people

2020 ◽  
Vol 2020 (2) ◽  
pp. 3-29
Author(s):  
Miloš Jodas ◽  
Keyword(s):  
Music Education ◽  
Everyday Life ◽  
Participant Observation ◽  
Field Research ◽  
Structured Interviews ◽  
Modern Music ◽  
National Pride ◽  
The Everyday ◽  
Relationship Of ◽  
The Relationship

The principal aim of this paper is to define Kyrgyz music in Kyrgyzstan ethnomusicology in order to assess whether the traditional Kyrgyz music has an essential impact on the identity of the Kyrgyz people and, if so, how does this impact manifest itself. In order to assess the impacts during research, the author was concerned with the influence of urbanization, globalization on processes related to music, the preference of either traditional or modern music, and how music is perceived in a cross-generational perspective. Furthermore, the thesis focuses on related phenomena including folk music instruments of the Kyrgyz or the Kyrgyz storytellers and musicians, who call themselves aqyns and manaschi. Additionally, the relationship of the national pride and music or the most common forms of music education of children and adolescents and its financial and spatial availability are being explored and scrutinized. The unifying theme of this thesis is music in everyday life of the Kyrgyz. The analytical part of this research mainly draws on the results of the author’s month-long field research from 2018 which took place in various diverse regions of Kyrgyzstan. The research includes a questionnaire, overt participant observation, and semi-structured interviews.

Canonized repertoire as conduit to creativity

2019 ◽  
Vol 37 (3) ◽  
pp. 407-424
Author(s):  
Julia Maurine West
Keyword(s):  
Music Education ◽  
Participant Observation ◽  
Art Music ◽  
Pedagogical Practices ◽  
Structured Interviews ◽  
Creative Development ◽  
Pedagogical Strategies ◽  
Creative Processes ◽  
Western European ◽  
Music Class

Evidence found throughout the history of Western European art music reveals traditions that encompassed improvisation. This furthers the idea that without improvisation, music education based on canonized works of Western European art music is incomplete. When the goal of music education is to preserve works exactly as notated, improvisation occupies a marginal role in representations and practices commonly associated with the canon. Drawing upon participant observation and semi-structured interviews, this ethnographic case study investigates narratives of experience and pedagogical strategies of two Dalcroze music teacher-participants who treat canonized repertoire as an impetus to creative thought. Field sites included a kindergarten and an adult music class. Several themes emerged from the data analysis, providing a basis for understanding how previous experiences influence classroom practices and pedagogical strategies for opening creative processes in interaction with canonical repertoire. Findings show that the teacher-participants consider improvisation as inextricably linked to other musical processes and conceive of teaching itself as improvisation, treating features of repertoire as material for creative development. By revealing pedagogical practices that offer exceptions to an established model, this study illuminates patterns of interaction that challenge a widespread view of music education based on Western European art music as enacting static preservation.

Peregrinação Acadêmica: A mulher Romeira do Bom Jesus da Lapa

2020 ◽  
Author(s):  
Sandra Célia Coelho Gomes da Silva
Keyword(s):  
Gender Identity ◽  
Social Reproduction ◽  
Participant Observation ◽  
Female Gender ◽  
Age Group ◽  
Structured Interviews ◽  
The West ◽  
Patriarchal Family ◽  
The Family ◽  
West Part

This work is the result of the doctoral thesis entitled Pilgrimage of Bom Jesus da Lapa: Social Reproduction of the Family and Female Gender Identity, specifically the second chapter that talks about women in the Pilgrimage of Bom Jesus da Lapa, emphasizing gender relations, analyzing the location of the pilgrimage as a social reproduction of the patriarchal family and female gender identity. The research scenario is the Bom Jesus da Lapa Pilgrimage, which has been held for 329 years, in that city, located in the West part of Bahia. The research participants are pilgrim women who are in the age group between 50 and 70 years old and have participated, for more than five consecutive years in the Bom Jesus da Lapa Pilgrimage, belonging to five Brazilian states (Bahia, Minas Gerais, São Paulo, Espírito Santo and Goiás) that register a higher frequency of attendance at this religious event. We used bibliographic, qualitative, field and documentary research and data collection as our methodology; we applied participant observation and semi-structured interviews as a technique. We concluded that the Bom Jesus da Lapa Pilgrimage is a location for family social reproduction and the female gender identity, observing a contrast in the resignification of the role and in the profile of the pilgrim women from Bom Jesus da Lapa, alternating between permanence and the transformation of gender identity coming from patriarchy.

TOURISM MOBILITY AT THE SUMMER OLYMPIC GAMES RIO 2016

2020 ◽  
Author(s):  
Amanda Cabral ◽  
Carolin Lusby ◽  
Ricardo Uvinha
Keyword(s):  
Olympic Games ◽  
Participant Observation ◽  
Field Research ◽  
Bus Rapid Transit ◽  
Rapid Transit ◽  
Structured Interviews ◽  
Tourist Attractions ◽  
Official Sources ◽  
The Relationship ◽  
The City

Sports Tourism as a segment is growing exponentially in Brazil. The sports mega-events that occurred in the period from 2007 to 2016 helped strengthen this sector significantly. This article examined tourism mobility during the Summer Olympic Games Rio 2016, hosted by the city of Rio de Janeiro, Brazil. This study expands the understanding of the relationship between tourism and city infrastructure, therefore being relevant to academics, professionals of the area and to the whole society due to its multidisciplinary field. The existence of a relationship between means of transportation and the Olympic regions as well as tourist attractions for a possible legacy was observed. Data were collected from official sources, field research and through participant-observation and semi structured interviews. Data were coded and analyzed. The results indicate that the city was overall successful in its execution of sufficient mobility. New means of transportation were added and others updated. BRT's (Bus Rapid Transit) were the main use of mass transport to Olympic sites. However, a lack of public transport access was observed for the touristic sites.

A Consumer Behavior-Influenced Multidisciplinary Transcendent Model of Motivation for Music Making

2017 ◽  
Author(s):  
Valerie L. Vaccaro
Keyword(s):  
Consumer Behavior ◽  
Music Education ◽  
Well Being ◽  
Social Needs ◽  
Self Identity ◽  
Music Making ◽  
Self Actualization ◽  
Psychic Energy ◽  
Self Transcendence

This chapter reviews multidisciplinary research from the fields of consumer behavior, humanistic and positive psychology, music education, and other areas to develop a new Transcendent Model of Motivation for Music Making. One’s “extended self” identity can be defined partly by possessions and mastery over objects, and objects can “complete” the self. Music making involves a person’s investment of “psychic energy,” including attention, time, learning, and efforts, and is a creative path which can lead to peak experiences and flow. Music making can help satisfy social needs, achieve self-actualization, experience self-transcendence, enhance well-being, strengthen spirituality, and improve the quality of life.

Could There Be Deleuzian Assessment in Music Education?

2019 ◽  
pp. 121-136
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Assessment Practices ◽  
Continuous Assessment ◽  
Education Policies ◽  
Philosophical Inquiry ◽  
Music Making ◽  
Musical Practices ◽  
Contemporary Education

Authors of contemporary education and arts education policies tend to emphasize the adoption of formal, summative assessment practices. Poststructuralist philosopher Gilles Deleuze’s emphasis on ongoing differing and imaginative possibilities may at first glance appear incompatible with these overarching, codified assessments. While Deleuze criticizes the increasing use of ongoing assessments as a form of control, he posits a more nuanced explanation of measurement. This philosophical inquiry examines four measurement-related themes from Deleuze’s writings and explores how they might inform concepts and practices of assessment in various music teaching and learning contexts. The first theme suggests that each group of connective relations, what Deleuze terms a “plane of immanence,” demands its own forms of measurement. Second, Deleuze emphasizes varieties of measurement. Third, those with power, what Deleuze terms the “majority,” always set the standard for measurement. Fourth, Deleuze derides continuous assessment. His writings suggest that music educators might consider that assessments created for one musical practice or style should not transcend their own “plane of immanence,” that a variety of nonstandardized assessments is desirable, that the effect of measurement on “minoritarian” musical practices must be examined carefully, and that it is essential to ponder the potentials of unmeasured music making.

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.

Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

Ethical Issues in Private Practice: A Phenomenological Investigation of Music Therapy Business Owners

2021 ◽  
Author(s):  
Kyle Wilhelm ◽  
Lindsey Wilhelm
Keyword(s):  
Music Therapy ◽  
Private Practice ◽  
Phenomenological Study ◽  
Ethical Issues ◽  
Ethical Dilemmas ◽  
The United States ◽  
Business Owners ◽  
Snowball Sampling ◽  
Structured Interviews ◽  
Music Therapists

Abstract As a music therapy private practice is both a business and a healthcare service, it should adhere to ethical standards from both disciplines. However, this topic has rarely been examined in the music therapy literature. The purpose of this phenomenological study was to explore ethical dilemmas experienced by music therapy business owners (MTBOs) in their private practice and how MTBOs avoid or address ethical dilemmas. Utilizing convenience and snowball sampling techniques, 21 MTBOs in the United States were interviewed using semi-structured interviews. To answer the two areas of inquiry, we identified three themes and 12 subthemes: (1) Ethical issues related to client welfare, (2) Ethical issues related to business relationships and operation, and (3) Strategies to address or avoid ethical dilemmas. MTBOs also shared how they ensure ethical behavior in themselves, with their employees or independent contractors, and when interacting with professionals outside the private practice. These findings provide a better understanding of MTBOs’ lived experiences of ethics in their private practice and may benefit other music therapists who are in private practice or are wanting to go into private practice. Limitations and recommendations for further research are provided.

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