Older/Younger Sibling Pairs in the Context of a Community Outreach Children’s Choir

2017 ◽  
Vol 36 (2) ◽  
pp. 32-37
Author(s):  
William E. Fredrickson ◽  
Suzanne R. Byrnes ◽  
Sylvia R. Aycock
Keyword(s):  
Music Education ◽  
Positive Impact ◽  
Community Outreach ◽  
Education Student ◽  
Anecdotal Evidence ◽  
Sibling Pairs ◽  
Sibling Interactions ◽  
Music Making ◽  
Children's Choir ◽  
Older Siblings

This article was designed to explore the behaviors observed and document the interactions of older and younger siblings in a children’s choir rehearsal environment. Observations by a music education student observer, the director/teacher of the group, and some parent recollections indicate that the sibling interactions do have a primarily positive impact on music and social behaviors in this children’s choir environment. Some younger siblings emulate older sibling behaviors, while some participate in independent ways including direct participation with the teachers. Observational and anecdotal evidence suggests that younger siblings are attracted to the music making and elect, or can be encouraged by older siblings, parents/caregivers, and others in the environment (children and adults), to actively participate in a variety of ways rather than simply watch and listen.

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.

“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.

Creating Virtual Ensembles: Common Approaches from Research and Practice

2021 ◽  
Vol 107 (3) ◽  
pp. 38-46
Author(s):  
Christopher Cayari
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Music Educators ◽  
The Internet ◽  
Research And Practice ◽  
Music Production ◽  
Music Making ◽  
Teachers And Students ◽  
Online Music ◽  
Education Courses

A virtual ensemble is a digital musical product that uses multiple recordings edited together to form a musical ensemble. Creating virtual ensembles can be a way for music educators to engage students through online music-making. This article presents eight steps for creating virtual ensembles in music education courses and classrooms. The steps are (1) identifying objectives and desired outcomes, (2) selecting repertoire, (3) developing learning resources, (4) creating an anchor for synchronizing, (5) choosing a recording method, (6) setting up a collection platform, (7) editing in postproduction, and (8) distributing the product. As online music production becomes more prevalent, projects like virtual ensembles can provide creative and exciting experiences for music teachers and students, whether produced in the classroom or through remote means on the Internet.

Perspectives of a Transgender Music Education Student

2018 ◽  
Vol 66 (4) ◽  
pp. 428-448
Author(s):  
Jason M. Silveira
Keyword(s):  
Identity Development ◽  
Music Education ◽  
Active Role ◽  
Teacher Preparation Programs ◽  
Education Student ◽  
Semistructured Interview ◽  
Preparation Programs ◽  
Interview Protocol ◽  
Gender Variant ◽  
Member Checks

The purpose of this study was to present a narrative account of one gender-variant music student and his experiences as a music education major at a small private college. The question guiding this study was as follows: In what ways can one transgender music education student’s lived experiences and identity development inform discourse in the music education community? A semistructured interview protocol was used, with approximately 14 weekly one-on-one meetings with the student. The student was allowed to share his perspectives as a transgender student throughout public school and leading to his decision to major in music education via the interview protocol. Data were coded based on recurring patterns that emerged from the interviews and participant-generated artifacts. Member checks and a peer examiner were used to ensure faithful interpretation of the data. The participant’s family interaction influenced his transgender identity development, his internalized transphobia gave way to self-acceptance, and he eventually took an active role in advocating for fellow transgender individuals. Implications for music teacher preparation programs and professional development are discussed, and future directions for research are recommended.

scholarly journals Making music, making language

2020 ◽  
Vol 1 (1) ◽  
pp. 44-65
Author(s):  
Ofelia Garcia ◽  
Angélica Ortega
Keyword(s):  
Social Change ◽  
Music Education ◽  
Meaning Making ◽  
Education Programme ◽  
Crack Open ◽  
Music Making ◽  
El Sistema

This article reframes how the making of music by minoritized bilingual Latinxchildren is interrelated to their languaging and their literacies’ performances.Taking a translanguaging approach, musicking/languaging/performing literacies are described here as holistic critical meaning-making processes. Focusing on the process by which students make meaning of texts, and not simply on the output or product of such meaning-making, this article shows how a music education programme based on El Sistema and designed for social change transforms minoritized children’s critical sense of their positions and subjectivities as producers of language and literacies. Through music education, long considered only an enrichment activity from which language minoritized students are often excluded, bilingual Latinx children are able to crack open a vision for themselves and others as competent, dignified, and valid meaning-makers—as performers of complex acts of language and literacies.

scholarly journals Understanding music’s therapeutic efficacy: Implications for music education

2014 ◽  
Vol 10 (2) ◽  
Author(s):  
Diane Thram
Keyword(s):  
Music Education ◽  
Cell Phone ◽  
Field Research ◽  
Well Being ◽  
Therapeutic Effects ◽  
Music Making ◽  
Biological Capacity ◽  
Average Person ◽  
Computer Addiction ◽  
Actual Participation

In the current era of electronic domination of human experience, be it via cell phone and/or computer addiction, or the ubiquitous television, actual participation in music- making is less and less common for the average person, child or adult. Passive participation through listening is most often cited by people as their major experience with music in their lives. When asked if listening has therapeutic effects, it is rare for anyone to respond in the negative. Likewise, for performers/active participants in music- making, be it solitary or as part of a group, invariably an enhanced sense of well-being from the act of making music is reported.This paper addresses therapeutic aspects of musical participation (singing, clapping, playing an instrument, dancing, listening) by providing a historical overview (12th c to present) of attitudes toward music’s therapeutic effects. It argues that music exists through the interaction of our biological capacity to make music with our cultural circumstances. How individuals benefit in all aspects their being – physical, mental and emotional – from engaging in the act of making music is illustrated with examples from field research in southern Africa. Finally implications for Music Education are explored which emphasize how more comprehensive integration of music into the curriculum can serve as an antidote to the increasing isolation and alienation of modern life.

At-Risk Youth: Music-Making as a Means to Promote Positive Relationships

2012 ◽  
pp. 184-202 ◽  
Author(s):  
Mary L. Cohen ◽  
Laya H. Silber ◽  
Andrea Sangiorgio ◽  
Valentina Iadeluca
Keyword(s):  
At Risk ◽  
Music Education ◽  
Deviant Behavior ◽  
At Risk Youth ◽  
Theoretical Frameworks ◽  
Practical Applications ◽  
Music Making ◽  
Reflective Questions ◽  
Youth Music ◽  
Key Terms

This article examines music programs for at-risk youth and their implications for music education and community music practices. It defines key terms, examines theoretical frameworks related to teaching at-risk youth, and describes practical applications of these frameworks. It discusses philosophies for addressing deviant behavior and controlling modes imposed from the outside to systems of cooperation. It is argued that cooperative systems are effective in facilitating music-making by for at-risk youth. The article concludes with implications for music education, suggestions for advocacy considerations, reflective questions, and a list of additional sources.

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