A toe-tapping good time: Informal musicking through critical pedagogy in inclusive settings

2019 ◽  
Vol 3 (3) ◽  
pp. 497-511 ◽  
Author(s):  
Verne Hélène Lorway
Keyword(s):  
Critical Pedagogy ◽  
Music Education ◽  
Learning Process ◽  
Teaching And Learning ◽  
Music Educators ◽  
Western Society ◽  
Good Time ◽  
Student Voices ◽  
Inclusive Settings ◽  
Music Class

This article draws upon the experiences of the author as a music educator creating inclusive music programmes over the past 24 years. She describes how informal learning gleaned from the approaches of popular musicians, combined with musicking as a means of building powerful relationships and critical pedagogy to infuse student voices into the teaching and learning process is a potent recipe for building an inclusive music class. Such a method needs to be guided by music educators throughout the learning process. Examining inclusive music education leads to further questions regarding what constitutes musicality and non-musicality in western society. When persons of all ages are involved in musicking in school and community contexts, music educators need to be involved in the challenges surrounding notions of musicality and non-musicality to steer processes that can create spaces for learning and growth.

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.

scholarly journals Critically Assessing Forms of Resistance in Music Education

2019 ◽  
pp. 81-100
Author(s):  
Brent C. Talbot ◽  
Hakim Mohandas Amani Williams
Keyword(s):  
Critical Pedagogy ◽  
Music Education ◽  
Paulo Freire ◽  
Music Educators ◽  
Multiple Forms ◽  
Consciousness Raising ◽  
The World ◽  
Music Classrooms

In their classrooms, music educators draw upon critical pedagogy (as described by Freire, Giroux, and hooks) for the express purpose of cultivating a climate for conscientização. Conscientização, according to Paulo Freire (2006), “refers to learning to perceive social, political, and economic contradictions and to take action against the oppressive elements of reality” (p. 35). This consciousness raising is a journey teachers pursue with students, together interrogating injustices in communities and the world in order to transform the conditions that inform them. Learning to perceive social, political, and economic contradictions often leads to multiple forms of resistance in and out of music classrooms. This chapter explores the following question: What do critical forms of assessment look like in music classrooms that use critical pedagogy and embrace resistance to foster conscientization?

Naming Moral-Political Discourses in Music Education: A Philosophical Investigation

2021 ◽  
pp. 002242942110199
Author(s):  
Lauren Kapalka Richerme
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teacher ◽  
Music Teacher Education ◽  
Political Discourses ◽  
Political Beliefs ◽  
Balanced Approach ◽  
Nurturant Parent ◽  
Main Ideas

Given the contemporary polarized political landscape and the elective nature of much music teaching and learning, it is important that music educators understand how they reinforce or undermine stakeholders’ political beliefs. The purpose of this inquiry is to investigate alignment between Lakoff’s moral-political metaphors and Allsup’s main ideas and to consider the value of certain moral-political discourses for music education. I demonstrate that Allsup favors concepts that align with Lakoff’s liberal nurturant-parent metaphor, while his ideas work in tension with the conservative strict-parent metaphor. When conservative moral discourse goes unacknowledged, discussions about what kind of ethics should inform music education get misrecognized as arguments about whether ethical concerns should inform music education. I also examine the potential implications of practices aligning with music educators’ individual moral-political beliefs, a community’s moral-political preferences, or a balanced approach to the two metaphors. Yet, nurturant-parent values and associated practices often remain unarticulated and peripheral in music teacher education. I propose that music educators might name the role that conservative ethics play within the profession, provide increased attention to practices aligning with the nurturant-parent moral-political metaphor, and experiment with discourse and actions not directly invoking either moral-political metaphor.

scholarly journals RELAÇÕES ENTRE PEDAGOGIA HISTÓRICO-CRÍTICA, PSICOLOGIA HISTÓRICO-CULTURAL E O CONCEITO DE ATIVIDADE DE LEONTIEV

Revista Labor ◽  
2017 ◽  
Vol 1 (17) ◽  
pp. 27
Author(s):  
Clarice Gonçalves Rodrigues Alves ◽  
Lana Cristina Barbosa de Melo ◽  
Virgínia Marne da Silva Araújo dos Santos
Keyword(s):  
Critical Pedagogy ◽  
Learning Process ◽  
Social Practice ◽  
Teaching And Learning ◽  
Cultural Psychology ◽  
Educational Practices ◽  
Practice Activity

RELATIONS BETWEEN Historical Critical Pedagogy, Historical Cultural Psychology and Leontiev Activity ConceptO objetivo deste artigo é apresentar a Teoria da Atividade desenvolvida pelo psicólogo russo Leontiev e suas contribuições para o processo de aprendizagem. Valendo-se de reflexões de autores da Pedagogia Histórico-crítica e da Psicologia Histórico-cultural, pretende-se relacionar política, didática e aprendizagem, uma vez que estes elementos são indissociáveis para compreender o panorama educacional contemporâneo. Buscou-se compreender o significado de educação, prática social, atividade, atividade pedagógica para, posteriormente, associá-las com práticas educativas que promovam mudanças significativas nos sujeitos.ABSTRACTThe purpose of this article is to present the Theory of Activity from the Russian psychologist Leontiev and its contributions to the learning process. Taking advantage of various author reflections on the Historical Critical Pedagogy and Historical Cultural Psychology, in order to link policy, teaching and learning, as these elements areinextricably linked to understanding the contemporary educational scene. We sought to understand the meaning of education, social practice, activity and pedagogical activity to, later associate them with educational practices that promote significant changes in the subjects.Key-words: Historical Critical Pedagogy –Historical Cultural Psychology –Activity – Leontiev

scholarly journals Challenging exclusionary paradigms in the traditional musical canon: Implications for music education practice

2011 ◽  
Vol 29 (4) ◽  
pp. 374-386 ◽  
Author(s):  
Marsha Kindall-Smith ◽  
Constance L. McKoy ◽  
Susan W. Mills
Keyword(s):  
Social Justice ◽  
Critical Pedagogy ◽  
Music Education ◽  
Culturally Responsive ◽  
Teaching And Learning ◽  
Three Dimensions ◽  
Music Teaching ◽  
Education Practice ◽  
Public Middle School ◽  
Responsive Instruction

The authors propose that best practices in music education require a conceptual understanding of music teaching and learning based on a perspective of social justice and equitable access for all students. Examinations of the relationship between the tenets of culturally-responsive teaching and three dimensions of music teaching and learning (musical content, instruction, and context) are presented: (1) historically, through the identification of neglected African American contributions to Appalachian music; and (2) pedagogically, through the chronicling of social justice content and culturally-responsive instruction as taught in an urban university and public middle school. The implications of issues of power and social justice for music education are further contextualized within the lens of critical pedagogy to uncover possibilities for a 21st century canon of music teacher preparation that will maximize the potential to transform music education practice.

The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education

2019 ◽  
Keyword(s):  
Critical Thinking ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
Qualitative Assessment ◽  
Community Music ◽  
Music Teaching ◽  
Education Assessment ◽  
Wide Range ◽  
The World

The Oxford Handbook of Philosophical and Qualitative Assessment in Music Education offers global, comprehensive, and critical perspectives on a wide range of conceptual and practical issues in music education assessment, evaluation, and feedback as these apply to various forms of music education within schools and communities. The central aims of this Handbook focus on broadening and deepening readers’ understandings of and critical thinking about the problems, opportunities, “spaces and places,” concepts, and practical strategies that music educators and community music facilitators employ, develop, and deploy to improve various aspects of music teaching and learning around the world.

International Perspectives

2012 ◽  
pp. 39-62
Author(s):  
Marie McCarthy
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Geographical Location ◽  
Music Educators ◽  
Cultural Transformation ◽  
First Century ◽  
Instructional Programs ◽  
International Perspectives ◽  
Common Purpose ◽  
New Generation

Music educators are united by a common purpose: To engage children and youth in music and to develop their artistic life and their humanity. To achieve that purpose, they advocate the values of music, develop instructional programs that are comprehensive and dynamic, and expand what is known about music teaching and learning through reflective practice and participation in research and inquiry. In these and other ways, music educators serve to build on past traditions and open the way to cultural transformation through the imaginative and creative contributions of a new generation of music-makers. The process of music education is manifest uniquely in each national context, based on political, social, and cultural histories; geographical location; and economic circumstances. This article provides a historical perspective on how music education has developed into a global community during the twentieth century. It examines trends and challenges that confront music educators at the beginning of the twenty-first century and makes projections about the future course of music education.

scholarly journals Promoting African Music and enhancing intercultural understanding in Teacher Education

2015 ◽  
Vol 12 (2) ◽  
pp. 108-121
Author(s):  
Dawn Joseph ◽  
◽  
Kay Hartwig ◽  
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Participant Observation ◽  
Music Educators ◽  
African Music ◽  
Multicultural Music Education ◽  
Culture Bearers ◽  
Multicultural Music ◽  
The Rich

Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.

scholarly journals UTILIZING PRAGMATISM PRINCIPLES IN LEARNING JAZZ GUITAR REHARMONIZATION TECHNIQUE USING MALAY ASLI SONG

2020 ◽  
Vol 3 (1) ◽  
pp. 54-66
Author(s):  
Chamil Arkhasa Nikko Mazlan ◽  
Mohd Hassan Abdullah
Keyword(s):  
Content Analysis ◽  
Music Education ◽  
Teaching And Learning ◽  
Qualitative Content Analysis ◽  
Traditional Music ◽  
Music Educators ◽  
Western Music ◽  
Context Of Learning

This article proposes a pragmatism approach useful in explaining the logic of learning jazz guitar reharmonization techniques. Music and practices are both unseparated and unified in the field of music education. This poses challenges for traditional and western music consolidation because reharmonization technique is only known in western music repertoires while traditional music normally utilizes old-style repertoires. Some practitioners rooted in dogmatic thinking still maintain authenticity and traditions. In this study, our data is gathered using qualitative content analysis. We then identified similarity of pragmatism principles along with the interpretation of jazz reharmonization techniques. We suggest that pragmatism approach is a useful pathway for music educators to reconceptualize teaching and learning of traditional music using jazz reharmonization technique and then, recreate and innovate a new sound and context of learning jazz harmony rather than using jazz standards repertoires.

Should there be a universal philosophy of music education?

1997 ◽  
Vol os-29 (1) ◽  
pp. 4-21 ◽  
Author(s):  
Bennett Reimer
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Educators ◽  
International Community ◽  
Coherent System ◽  
Philosophy Of Music ◽  
Do So

The four themes of the Conference focus on the universal dimension of music, claiming that music speaks universally to all generations, times, cultures, and nations. if that is the case, it should also be the case that a universal philosophy of music education – a coherent system of beliefs about the nature and value of music and its role in education and in life, applicable to all generations, times, cultures, and nations – should exist or can exist or does exist. However, no such universal philosophy has been articulated and has been recognized by the world's music educators to be universally acceptable. In fact, many would claim that a universally persuasive philosophy is unlikely if not undesirable. Lacking such a philosophy, claims for the universality of music have no firm foundation. Yet the intuition that there is, indeed, a universal dimension of music and of music education remains persuasive or at least attractive. Is it possible to identify universally accepted values of music and the teaching and learning of music? Would it be useful for the international community of music educators if attempts were made to do so? This paper will argue that it would be extremely useful to make such an attempt, and will suggest some of the strategies by which the attempt might prove fruitful.

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