Intergenerational Music Learning

1993 ◽  
Vol 6 (3) ◽  
pp. 22-24
Author(s):  
Barbara Pressley Hammond
Keyword(s):  
Music Learning

MENINGKATKAN KEMAMPUAN KOGNITIF MELALUI AKTIVITAS SENI MUSIK TERHADAP ANAK KELOMPOK B DI TK. ADINDA CAHAYA CIMAHI

2018 ◽  
Vol 1 (3) ◽  
pp. 14
Author(s):  
Nurpuri Waraswati ◽  
Rini Andriani
Keyword(s):  
Cognitive Ability ◽  
Cognitive Abilities ◽  
Present Method ◽  
Evaluation Research ◽  
Music Learning ◽  
Learning Time ◽  
Childhood Education ◽  
Research Questions ◽  
Art Activities ◽  
Basic Ability

Early Childhood Education (PAUD) implements education that refers to all the basic aspects or abilities that are developing in the child. The basic ability of children is very interesting to be studied, one of them cognitive abilities of children. It is raised in connection with the lack of cognitive abilities in Adinda Cahaya kindergarten with the present method mainly through the activity of the art of music. The existing formulation in this study is "The activity of music art that can improve the cognitive abilities of children". The purpose of this study is to describe the cognitive abilities of children in music art activities.. There are six levels of cognitive ability: knowledge, understanding, application of analysis, synthesis and evaluation. Research questions are 1). How does music activity and music learning time to support the development of children's cognitive abilities? 2. How does the child's memory of what the teacher has taught in music art activities? 3) How are children's development related to cognitive ability? The conclusion is that the study of music art gives a positive and influential effect on the child's cognitive development that will stimulate brain development and emotional intelligence.

Creating Multiple Sites of Engagement for Music Learning

2020 ◽  
pp. 87-104
Author(s):  
Jonathan Savage
Keyword(s):  
Social Media ◽  
Music Education ◽  
Careful Consideration ◽  
Music Learning ◽  
The Core ◽  
The United Kingdom ◽  
Teachers And Students ◽  
Meaningful Relationships ◽  
Mindful Teaching ◽  
Specific Technology

Music education exists in multiple spaces. Within formal approaches to music education in academic institutions, there has been an acknowledgment that more informal pedagogical approaches can be useful (as evidenced in the work of movements such as Musical Futures). However, constructive links between formal and informal contexts for music education remain difficult to navigate for many teachers. Within the United Kingdom, the newly defined roles for music education hubs have made some headway in recasting these relationships in a more productive direction. Similarly, social media has an important role to play in developing new relationships between key agencies within music education. Like any specific technology, there are positive affordances and more negative limitations to such approaches. People have a complex relationship with technology, but they are not gadgets! Lanier’s (2010) thesis argues strongly that recent cultural developments can deaden personal interaction, stifle genuine inventiveness, and change people. Within an educational setting, careful consideration needs to be given to the affordances and limitations of social media. For teachers and designers of learning spaces and opportunities, pedagogy should be underpinned by careful, mindful choices—including wise choices about the tools that teachers and students are using. It is about a focus on the core, asking: What is the key learning that this music lesson is facilitating? Is this tool the best one for the job? Does this tool or approach allow one to teach music musically? Done skillfully and conscientiously, social media can help develop collaborative approaches to music education that provide teachers with pedagogical strength and security. They result in mindful teaching and mindful learning that will last a lifetime. They can also help teachers develop meaningful relationships with students that help them make sense of their musical experiences in whatever context they have emerged through: a truly, “joined-up” approach to music education with the student at the core.

Envisioning Pedagogical Possibilities of Social Media and Sonic Participatory Cultures

2020 ◽  
pp. 39-63
Author(s):  
Evan S. Tobias
Keyword(s):  
Social Media ◽  
Music Educators ◽  
Participatory Culture ◽  
Music Pedagogy ◽  
Music Learning ◽  
Media Arts ◽  
Learning And Teaching ◽  
Musical Engagement ◽  
Musical Practices ◽  
Pedagogy And Curriculum

Contemporary society is rich with diverse musics and musical practices, many of which are supported or shared via digital and social media. Music educators might address such forms of musical engagement to diversify what occurs in music programs. Realizing the possibilities of social media and addressing issues that might be problematic for music learning and teaching calls for conceptualizing social media in a more expansive manner than focusing on the technology itself. Situating people’s social media use and musical engagement in a larger context of participatory culture that involves music and media may be fruitful in this regard. We might then consider the potential of social media and musical engagement in participatory cultures for music learning and teaching. This chapter offers an overview of how people are applying aspects of participatory culture and social media in educational contexts. Building on work in media studies, media arts, education, and curricular theory, the chapter develops a framework for translating and recontextualizing participatory culture, musical engagement, and social media in ways that might inform music pedagogy and curriculum. In this way, it may help music educators move from an awareness of how people engage with and through music and social media in participatory culture to an orientation of developing related praxis.

New Materiality and Young People’s Connectedness Across Online and Offline Life Spaces

2020 ◽  
pp. 487-502
Author(s):  
Susan O’Neill
Keyword(s):  
Social Media ◽  
Music Education ◽  
Educational Outcome ◽  
Music Learning ◽  
Time Space ◽  
The Social ◽  
New Learning ◽  
Musical Resources ◽  
Meaningful Connections ◽  
Digital Cultures

This chapter examines new materiality perspectives to explore the influence of social media on young people’s music learning lives—their sense of identity, community and connection as they engage in and through music across online and offline life spaces. The aim is to provide an interface between activity, materiality, networks, human agency, and the construction of identities within the social media contexts that render young people’s music learning experiences meaningful. The chapter also emphasizes what nomadic pedagogy looks like at a time of transcultural cosmopolitanism and the positioning of youth-as-musical-resources who “make up” new musical opportunities collaboratively with people/materials/time/space. This involves moving beyond the notion of music learning as an educational outcome to embrace, instead, a nomadic pedagogical framework that values and supports the process of young people deciphering and making meaningful connections with the world around them. It is hoped that implications stemming from this discussion will provide insights for researchers, educators, and policymakers with interests in innovative pedagogical approaches and the creation of new learning and digital cultures in music education.

Reports From the Field: “Vini Ansanm” Come Together for Inclusive Community Music Development in Port-au-Prince, Haiti

2020 ◽  
pp. 273-289
Author(s):  
Donald DeVito ◽  
Gertrude Bien-Aime ◽  
Hannah Ehrli ◽  
Jamie Schumacher
Keyword(s):  
Social Media ◽  
Inclusive Education ◽  
Children With Disabilities ◽  
Small Population ◽  
Significant Loss ◽  
Community Music ◽  
Music Learning ◽  
Loss Of Life

Haiti has experienced a series of catastrophic natural disasters in recent decades, resulting in significant loss of life and long-term damage to infrastructure. One critical outcome of these disasters is that there are approximately 400,000 orphans in the small population of just over 10 million. Throughout Haiti, children with disabilities are often considered cursed, and thus are rejected by the community in which they live. Haitian children with disabilities need creative and educational activities that will help them grow, develop, enjoy their lives, and become accepted members of the community. This chapter on the Haitian Center for Inclusive Education presents a case study of social media engagement and music learning, with an emphasis on social justice that has contributed to sustainable efforts.

scholarly journals Indigenous music learning in contemporary contexts: Nurturing learner identity, agency, and passion

2021 ◽  
pp. 1321103X2095454
Author(s):  
James Isabirye
Keyword(s):  
The Elderly ◽  
Transfer Of Knowledge ◽  
Contributing Factors ◽  
Music Learning ◽  
Learner Identity ◽  
School Settings ◽  
Indigenous Music ◽  
The Social ◽  
Musical Interactions ◽  
Successful Transfer

I studied the revival project that involved teaching and (re)learning of a nearly extinct music tradition of the Basoga people from Uganda, to find out what might be learnt about and from those learning processes, and insights that might be applicable in formal educational settings. The revival project activities were documented (with participants’ permission) and publicized through a large number of audio and audiovisual recordings, photographs, and reports from community and school settings. Treating this documentation as extant data, I engaged in a qualitative analysis of the social and musical interactions between and among the two surviving master musicians and the youths to understand the nature and meaning of these learning experiences. Emergent themes reflected that nurturing identity, agency, and joy-filled passion among the learners were the main contributing factors that facilitated a successful transfer of knowledge and skills from the elderly master musicians to multitudes of youths.

John Philip Sousa’s Historic Resistance to Technology in Music Learning

2021 ◽  
pp. 153660062110339
Author(s):  
Matthew D. Thibeault
Keyword(s):  
Music Education ◽  
Music Technology ◽  
Digital Music ◽  
Washington Dc ◽  
Music Learning ◽  
Sound Recordings ◽  
Us Congress ◽  
The Us

In this article, I explore John Philip Sousa’s historic resistance to music technology and his belief that sound recordings would negatively impact music education and musical amateurism. I review Sousa’s primary arguments from two 1906 essays and his testimony to the US Congress from the same year, based on the fundamental premise that machines themselves sing or perform, severing the connection between live listener and performer and thus rendering recordings a poor substitute for real music. Sousa coined the phrase “canned music,” and I track engagement with this phrase among the hundreds of newspapers and magazines focused on Sousa’s resistance. To better understand the construction of Sousa’s beliefs, I then review how his rich musical upbringing around the US Marine Band and the theaters of Washington DC lead to his conception of music as a dramatic ritual. And I examine the curious coda of Sousa’s life, during which he recanted his beliefs and conducted his band for radio, finding that in fact these experiences reinforced Sousa’s worries. The discussion considers how Sousa’s ideas can help us better to examine the contemporary shift to digital music by combining Sousa’s ideas with those of Sherry Turkle.

Move … to Music Learning

1977 ◽  
Vol 63 (9) ◽  
pp. 39-43
Author(s):  
Hope Heimann
Keyword(s):  
Music Learning

Book review: Richard Colwell & Peter R. Webster (Eds.), MENC Handbook of Research on Music Learning Volume 1: Strategies

2014 ◽  
Vol 42 (4) ◽  
pp. 637-639
Author(s):  
Monica Esslin-Peard
Keyword(s):  
Music Learning
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