Thinking, being, teaching and learning with Spotify: Aspects of existential and essential musical bildung through listening in the classroom

2019 ◽  
Vol 12 (3) ◽  
pp. 279-296 ◽  
Author(s):  
Cecilia Ferm Almqvist

Streaming media seems to have become a natural part in teachers’ professional life. Streamed music, primarily distributed by the company Spotify, sounds in most music and dance classrooms, not least in Swedish schools. Hence, the concepts of digitalization and listening are accentuated within the area of music education. Within the frames of a larger border-crossing research project financed by Wallenbergstiftelsen ‐ ‘Evolving bildung in the nexus of streaming services, art and users: Spotify as a case’, which aims to explore the meaning and function of streaming media as a facilitator of bildung, using Spotify as a case ‐ this presentation takes two interviews regarding Spotify use as a starting point. One music teacher and one dance teacher, among sixteen participants, were interviewed about their use of Spotify. The aim with the specific analysis was to describe the phenomenon of bildung regionalized to relational school settings, where streamed music, teachers and students come together in intended learning situations. The interviews were stimulated by the teachers’ own Spotify interfaces, and documented by the virtual communication tool Zoom. They were transcribed and analysed in a phenomenological narrative manner. The narrative is shaped as a dialogue between the two teachers, to make similarities and differences regarding relations with Spotify in the classroom setting visible. The result shows aspects of existential and essential bildung through listening taking place as being, thinking and acting with Spotify in the spirit of Heidegger.

2021 ◽  
Vol 2 (1) ◽  
pp. 89-113
Author(s):  
Cecilia Ferm Almqvist

This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.


2015 ◽  
Author(s):  
Anne Green Gilbert

Creative Dance for All Ages, Second Edition, has had a long history of providing a dance curriculum to teachers and students preparing to teach creative dance. Author Anne Gilbert demystifies expectations when teaching creative dance and provides the theory, methods, and lesson ideas for success in a variety of settings and with students of all ages. This one-stop resource offers dance teachers everything they need, including a sequential curriculum, lesson plans, instructional strategies, assessment, and other forms. It’s like having a seasoned dance teacher at your side offering inspiration and guidance all year long. Internationally recognized master teacher and author Anne Gilbert Green presents creative dance for everyone and tips on meeting the challenges of teaching it. She offers a complete package for teaching creative dance that includes the theory, methodology, and lesson plans for various age groups that can be used in a variety of settings. Gilbert also offers an entire dance curriculum for sequential teaching and learning. The second edition of her classic text has been revised, reorganized, and updated to meet all the needs of dance teachers.


2016 ◽  
Vol 1 (3) ◽  
pp. 146
Author(s):  
Arina Restian

Abstract: Dance teacher have a very important role in improving the learning outcomes of students in schools in learning the art of dance with management in the classroom. The field of dance lessons more emphasis on aspects of psychomotor, and this is what distinguishes the field of dance lesson with other lessons. So the solution was also different. One form solution is to select or determine the learning approaches that enable learners to participate actively in the learning and learning goals can be achieved. One approach appropriate learning is active learning, creative, effective, and fun (PAKEM) which requires the activity of teachers and students in the learning process. PAKEM make students can be more creative and learning process can take place in an effective and enjoyable. This study aims to determine learning the art of dance at the junior high schools in Malang by using. Dance lesson with an art management approaches. The scope of the study include: (1) Dance Lessons Planning, (2) Implementation of learning the art of dance (3) The role of teachers and students in learning the art of dance, (4) The results of student learning. The results showed that the dance teacher has made the completeness or learning devices, one of which is learning implementation plan (RPP). When viewed from the implementation of the lesson plan in mind that the learning is in conformity with the characteristics of PAKEM namely making students active and creative in finding new ideas. In addition teachers are also active in managing the classroom so as to create effective learning in a pleasant atmosphere. Additionally supporting infrastructure PAKEM learning approach is sufficient in the implementation of learning the art of dance, especially in the optimal use of instructional media so as to support the teaching and learning process (PBM). The results of the second study found that learning the art of dance in Junior High School in Malang in addition to using PAKEM approach also uses the approach to CTL (Contexstual Teaching and Learning) in with the intent to be able to achieve the learning objectives and lesson plans that have been made previously. So as to create a more conducive learning environment in achieving optimal learning outcomes. Abstrak: Guru seni tari memiliki peranan yang sangat penting dalam meningkatkan hasil belajar peserta didik di sekolah dalam pembelajaran seni tari dengan menajemen di kelas. Pelajaran bidang seni tari lebih banyak menekankan pada aspek psikomotorik dan hal ini yang membedakan pelajaran bidang seni tari dengan pelajaran lainya. Sehingga penanganannya pun juga berbeda. Salah satu bentuk penanganannya adalah dengan cara memilih atau menentukan pendekatan pembelajaran yang memungkinkan peserta didik berpartisipasi secara aktif dalam pembelajaran dan tujuan pembelajaran bisa tercapai. Salah satu pendekatan pembelajaran yang tepat adalah pembelajaran aktif, kreatif, efektif, dan menyenangkan (PAKEM) yang menuntut keaktifan guru beserta siswa dalam proses pembelajaran. Dengan PAKEM siswa bisa lebih kreatif dan proses belajar mengajar dapat berlangsung secara efektif dan menyenangkan. Penelitian ini bertujuan untuk mengetahui pembelajaran seni tari pada SD di Malang dengan menggunakan pembelajaran seni tari dengan pendekatan menajemen seni. Ruang lingkup penelitian ini meliputi: (1) Perencanaan Pembelajaran Seni Tari, (2) Pelaksanaan pembelajaran seni tari (3) Peran serta guru siswa dalam pembelajaran seni tari, (4) Hasil belajar siswa. Hasil penelitian menunjukkan bahwa guru seni tari telah membuat kelengkapan atau perangkat pembelajaran, salah satunya adalah rencana pelaksanaan pembelajaran (RPP). Bila dilihat dari rencana pelaksanaan pembelajaran diketahui bahwa dalam pembelajaran sudah sesuai dengan karakteristik PAKEM yaitu membuat siswa aktif dan kreatif dalam menemukan ide baru. Selain itu guru juga aktif dalam mengelola kelas sehingga tercipta pembelajaran yang efektif dalam suasana yang menyenangkan. Selain itu sarana prasarana pendukung pembelajaran dengan pendekatan PAKEM sudah cukup dalam pelaksanaan pembelajaran seni tari khususnya dalam penggunaan media pembelajaran yang optimal sehingga mampu mendukung proses belajar mengajar (PBM). Hasil penelitian kedua ditemukan bahwa pembelajaran seni tari pada  di SD Negeri Malang selain menggunakan pendekatan PAKEM juga menggunakan pendekatan CTL (Contexstual Teaching and Learning) secara beriringan dengan maksud agar mampu mencapai tujuan pembelajaran serta rencana pembelajaran yang telah dibuat sebelumnya. Sehingga tercipta lingkungan belajar yang lebih kondusif dalam pencapaian hasil belajar secara optimal. Kata Kunci: Desain pembelajaran PAIKEM GEMBROT, seni tari


Author(s):  
Rosário Rito Chaves ◽  
Cristina Parente

The starting point for the analysis of entrepreneurial programs that are being introduced in schools is the “approach by competences” as an alternative paradigm in the orientation of teaching and learning. The article analyzes the program “A Empresa”, developed by Aprender a Empreender — Junior Achievement — Portugal, from its implementation in two high schools in Lisbon Metropolitan Area. It describes the process of implementation and operation of the program that operates in parallel to formal disciplinary curriculum, and wonder about the expectations, challenges and motivations created in teachers and students.


Author(s):  
Bengt Olsson

This article discusses the challenges of a research-based music education. Despite the need for new research-based approaches and teacher-student roles, this does not mean that all current research or praxis is useless or not valuable. The challenge for researchers, music teachers, and students of all kinds is to find new ways to integrate research, teaching, and learning practices.


2016 ◽  
Vol 4 (4) ◽  
pp. 76-80
Author(s):  
Angelina Kalinova

New curriculum in technology and entrepreneurship is the starting point to search for opportunities to justify the innovative approaches that would help conducting technological training. The subjects are innovative approaches as a consequence of the content and organizational changes in the teaching of technology and entrepreneurship. We assume that innovation approaches are determined by the idea of achieving unity between the teaching and the management of cognitive and practical activities for students - on the one hand and on the other - performed by trained educational staff. Innovative approaches should complement the traditional approaches used at the same time be equally useful for teachers and students.


Author(s):  
Guadalupe López-Íñiguez ◽  
Tuula Jääskeläinen

While quality development has an important role in higher education in Finland, its connection with equality and equity in teaching and learning music is not often mentioned. Most of the discussions about equality in education have focused on how to equalize access to and participation in education, but there are disagreements about what the very concepts of equality and equity mean in education. When striving to achieve equality in higher music education, the use of learner-centered pedagogies may promote an engaging and satisfying learning experience. We illustrate a more holistic approach in teaching and learning music by adapting the equality-equity model developed by Espinoza (2007) to give an overview of dimensions of equality and equity with reference to the different stages of the educational process at the music university level. Constructivist research and phenomenographic research in teaching and learning music suggest that the conceptions held by teachers and students about teaching and learning can be relevant factors in the pursuit of change in educational practices. On this basis, we develop a theoretical framework and suggest some remedies for the research of teaching and learning in music universities aimed at developing more holistic quality in higher music education.


1997 ◽  
Vol 14 (3) ◽  
pp. 251-269 ◽  
Author(s):  
Jane W. Davidson ◽  
Jonathan A. Smith

In recent times the types of teaching and learning strategies adopted within higher education in British music conservatoires have been reviewed and reformed. This paper provides a case study of some of the newer practices adopted by one such institution, the Guildhall School of Music and Drama. It focuses on the work of the Performance and Communication Skills Department, and, drawing on participant observations, makes a detailed analysis of the success of the implementation of the teaching and learning aims and objectives. The findings suggest that, not only are the changes adopted by the conservatoire useful, but also that they are beneficial to teachers and students at a number of levels.


2016 ◽  
Vol 4 (4) ◽  
pp. 76-80
Author(s):  
Angelina Kalinova

New curriculum in technology and entrepreneurship is the starting point to search for opportunities to justify the innovative approaches that would help conducting technological training. The subjects are innovative approaches as a consequence of the content and organizational changes in the teaching of technology and entrepreneurship. We assume that innovation approaches are determined by the idea of achieving unity between the teaching and the management of cognitive and practical activities for students - on the one hand and on the other - performed by trained educational staff. Innovative approaches should complement the traditional approaches used at the same time be equally useful for teachers and students.


Author(s):  
Carolyn Cooke

This chapter explores the potential of critical reflection as a tool for addressing issues of social justice and inclusion within the music classroom. It argues that critical reflection as an integral part of musical experiences can be utilized to develop awareness of injust and exclusionary practices in music, whether political, historical, or social. Drawing on the Social Justice Critical Reflection Model of Ingram and Walters, it offers a starting point for considering the conditions for learning and pedagogies in which critical reflection can provide teachers and students a vehicle for transforming their own musical understanding and learning within a more democratic and socially just framework.


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