scholarly journals Music Teachers’ and Administrators’ Perspectives on Entrepreneurship in Norwegian Higher Music Education: An Exploratory Pilot Study

2021 ◽  
pp. 323-350
Author(s):  
Benjamin Toscher
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Qualitative Content Analysis ◽  
Entrepreneurship Education ◽  
Pilot Survey ◽  
Self Employment ◽  
The Subject ◽  
Definition Of ◽  
Teacher's Perspective ◽  
Pedagogical Approaches

Arts entrepreneurship education has been increasingly offered in Norwegian Higher Music Education (HME) since 2011 (Watne & Nymoen, 2017). I argue that a teacher’s perspective and definition of entrepreneurship influences how they teach the subject. Using a qualitative content analysis approach (Elo & Kyngäs, 2008; Mayring, 2000), this article explores a small (n=37) pilot survey of administrators and teachers from four institutes of HME in Norway. In addition to mapping respondents’ definitions of entrepreneurship to the most influential definitions of entrepreneurship from the literature, I explore their perceptions of the need for entrepreneurship in HME and their prescriptive changes for entrepreneurship education’s integration into the curriculum. Respondents most commonly defined entrepreneurship in the “opportunity creation, recognition, and exploitation” sense, with definitions related to “self-employment” and “innovation” being the second and third most common response, respectively. 95% of respondents perceive a need for entrepreneurship education in HME. Prescribing curricular changes, 57% of respondents see a need for a more market oriented and entrepreneurial focus in the current curriculum to “some extent”, 19% to a “large extent”, 16% to “a little extent”, and 8% to a “very little extent.” Rationale for such changes is further analyzed using Bridgstock’s (2013) typology of arts entrepreneurship pedagogical approaches. I conclude by guiding educators and readers to existing knowledge and tools in the literature as they relate to each arts entrepreneurship pedagogical approach – an organization of knowledge that is important given the field’s diversity of perspectives and the power an educator has in the subject’s implementation.

scholarly journals An Evaluation of Educational Music in Turkey Based on Composers’ Opinions

2019 ◽  
Vol 8 (5) ◽  
pp. 106
Author(s):  
Hatice Celiktas ◽  
Sezen Ozeke
Keyword(s):  
Content Analysis ◽  
Music Education ◽  
Music Teachers ◽  
Present Situation ◽  
Early Years ◽  
Harmonic Structure ◽  
Resultant Data ◽  
The Subject ◽  
Essential Skills ◽  
The Republic

There are various studies concerning the present situation of the phenomenon of educational music, which dates back to the early years of the Republic i.e. which emerged 90 years ago, the problems in the area, and solutions to these problems as well as the concept of “educational music” which is used to define the songs that are part of music education. The objective of the present study is to evaluate the area of educational music based on composers’ opinions, in other words, on the opinions of the creators of the subject music, and to determine the present situation of the area in the light of these evaluations. For these purposes, 7 composers, all of whom had contributed to educational music, were interviewed. The resultant data were analyzed under three themes by means of content analysis. The themes were the concept of educational music, educational music compositions and educational music composing. As a result, composers indicated that songs composed as educational music pieces should have a content that children can relate to. They also said that music teachers and prospective music teachers who had the ability to compose should engage in the composition of educational music. According to composers, in order for songs to be of good musical quality; easy and catchy melodies and lyrics, prosody, melodic sequence, harmonic structure and form components were important. Composers also expressed their opinions regarding “the points to be considered and the method to be followed in the process of composition”, “essential skills and knowledge in addition to the ability to compose”, and “types of music preferred in compositions”. In addition to this research, further studies, which take opinions of music teachers, who are the appliers of educational music, and those of students, who are the receivers and consumers of educational music, into account, can be undertaken so as to be able to evaluate the area of educational music from different perspectives.

scholarly journals Value-based orientations as a normative-regulatory mechanism for the formation of professional worldview of future music teachers

2021 ◽  
Vol 5 (S2) ◽  
pp. 522-536
Author(s):  
Mariia M. Tkach ◽  
Olga M. Oleksiuk
Keyword(s):  
Music Education ◽  
Music Teachers ◽  
Transition Period ◽  
Modern Society ◽  
Structural Components ◽  
Philosophy Of Music ◽  
Subject Field ◽  
The Subject ◽  
The Individual ◽  
Pedagogical Discourses

The transition period of modern society can be observed in various aspects, particularly in the value-normative one. The study of the Genesis of the formation of personality’s value-based orientations in the current conditions of reforming educational sector in Ukraine and its integration into the European Higher Education Area are becoming prioritized. The research methodology is complex, combining theoretical and empirical methods. Theoretical study of the problem of values in philosophical-historical and psychological-pedagogical discourses creates a methodological basis for expanding the subject field of interdisciplinary branches of scientific knowledge: pedagogical axiology and philosophy of music education. The interdisciplinary context of the conceptual range of these disciplines makes it possible to modernize the value-based orientation in the content of art education. The problem of spiritual and value-based formation of the personality by means of music is actualized, which creates the prerequisites for the formation of a phenomenon of holistic professional worldview of future music teachers. The analysis of structural components of the outlined phenomenon shows that the normative and regulatory basis of professional worldview is a system of value-based orientations of the individual.

Sustaining Cultures in the Music Classroom

2020 ◽  
Vol 33 (3) ◽  
pp. 58-60
Author(s):  
Chiao-Wei Liu
Keyword(s):  
Music Education ◽  
Cultural Diversity ◽  
Music Teachers ◽  
Culturally Sustaining Pedagogy ◽  
Crucial Question ◽  
Music Classroom ◽  
Ways Of Being ◽  
Pedagogical Approaches

Cultural diversity is not a new concept in the field of music education. Yet minoritized groups continue to face systematic discrimination. Given the shifting cultural realities, how we as music teachers move beyond recognizing diversity but sustain the various cultural and linguistic ways of being of our students becomes a crucial question. I explore the concept, culturally sustaining pedagogy, as coined by H. Samy Alim and Django Paris and offer some pedagogical approaches for music teachers to consider in this column.

Strategies for the Development of Music Education Philosophy for Preservice Music Teachers: A Literature Review

2021 ◽  
pp. 875512332110495
Author(s):  
Julie Myung Ok Song
Keyword(s):  
Literature Review ◽  
Music Education ◽  
Teacher Educators ◽  
Music Teachers ◽  
Teaching Practice ◽  
Music Teacher ◽  
Constructive Feedback ◽  
Education Philosophy ◽  
Stage Process ◽  
Pedagogical Approaches

The purpose of this literature review was to analyze and synthesize pedagogical approaches related to developing music education philosophy for preservice music teachers. The literature that I identified covered procedures and strategies that preservice music teachers could apply to their teaching practice. On my analysis of the existing literature, I categorized the development of a philosophy into a four-stage process of (1) discovery, (2) articulation, (3) application, and (4) reflection and revision. Results found in the literature included clear expectations and practical tools for each stage, such as dialogues, reading, writing, and constructive feedback, providing a critical view of music education philosophy and guidelines for effective teaching. Understanding the four-stage process may help preservice music teachers and music teacher educators to establish a concrete plan for the development of music education philosophy, allowing preservice music teachers to acquire more confidence in their transition to inservice teaching.

A New Definition of Music Literacy: What, Why, and How?

2021 ◽  
Vol 107 (3) ◽  
pp. 15-21
Author(s):  
Paul Broomhead
Keyword(s):  
Music Education ◽  
Literacy Instruction ◽  
Music Teachers ◽  
Instructional Planning ◽  
Music Literacy ◽  
Definition Of

The purpose of this article is to articulate clear definitions of music literacy and text, explain what impact they may have on music education generally, and describe their application to day-to-day teaching. The broadened definitions are intended to unite music professionals’ understanding of music literacy and help them more clearly approach music literacy instruction while simultaneously fulfilling curricular expectations of administrators and other stakeholders. Specific benefits of the new definitions include (1) aiding conversations between music teachers and literacy administrators, (2) providing clarity in the examination of broad issues and general approaches in music education, and (3) enhancing clarity and effectiveness in day-to-day instructional planning and delivery.

scholarly journals Improvisation i musikundervisningen: Tre lärares didaktiska förhållningssätt

2020 ◽  
Vol 1 (1) ◽  
pp. 81-102
Author(s):  
Christina Larsson ◽  
Eva Georgii-Hemming
Keyword(s):  
Music Education ◽  
Thematic Analysis ◽  
Music Teachers ◽  
General Music ◽  
School Year ◽  
Pedagogical Choices ◽  
Process Oriented ◽  
Educational Orientations ◽  
Swedish School ◽  
Pedagogical Approaches

This article draws on interviews with three music teachers. It is part of a larger study that explores improvisation in general music education in the Swedish school year 4. The article focuses teachers’ pedagogical approaches to improvisation and how this effect the teaching. This study reveals that music teachers incorporate improvisation in their teaching. They do, however, lack a professional language in order to reflect on content, methods, aim and purpose of improvisation in education. Through thematic analysis, we demonstrate that pedagogical points of departure and attitudes are implicitly present in the teachers’ practices and have implications for their educational orientation. Three diverse but overlapping educational orientations are discerned: a process-oriented, a subject-oriented and a Bildung-oriented. The educational orientations are reflected in these teachers’ approaches to improvisation and are related to pedagogical choices of activities, how activities are conducted and to what aim.

scholarly journals Dziecięcy repertuar muzyczny w procesie elementarnej edukacji muzycznej

2021 ◽  
pp. 43-50
Author(s):  
Adam Korzeniowski
Keyword(s):  
Music Education ◽  
Elementary Music ◽  
The Subject ◽  
Definition Of ◽  
Elementary Music Education ◽  
Musical Activities

Children’s musical repertoire in the process of elementary music education The aim of the article is the initial/preliminary systematization of the types of children’s musical repertoire. The definition of the repertoire and its forms were analyzed and interpreted. Based on the analysis of the literature on the subject, the categories of children’s repertoire were described in correlation with musical activities. An attempt was also made to describe the structure of the children’s musical repertoire.

Typologization of security regulation

2020 ◽  
pp. 20-27
Author(s):  
Denis Tikhomirov
Keyword(s):  
Social Relations ◽  
Scientific Literature ◽  
Legal Regulation ◽  
Procedural Understanding ◽  
Limited Ability ◽  
Methodological Basis ◽  
Wide Range ◽  
The Subject ◽  
Definition Of ◽  
Legal Understanding

The purpose of the article is to typologize terminological definitions of security, to find out the general, to identify the originality of their interpretations depending on the subject of legal regulation. The methodological basis of the study is the methods that made it possible to obtain valid conclusions, in particular, the method of comparison, through which it became possible to correlate different interpretations of the term "security"; method of hermeneutics, which allowed to elaborate texts of normative legal acts of Ukraine, method of typologization, which made it possible to create typologization groups of variants of understanding of the term "security". Scientific novelty. The article analyzes the understanding of the term "security" in various regulatory acts in force in Ukraine. Typological groups were understood to understand the term "security". Conclusions. The analysis of the legal material makes it possible to confirm that the issues of security are within the scope of both legislative regulation and various specialized by-laws. However, today there is no single conception on how to interpret security terminology. This is due both to the wide range of social relations that are the subject of legal regulation and to the relativity of the notion of security itself and the lack of coherence of views on its definition in legal acts and in the scientific literature. The multiplicity of definitions is explained by combinations of material and procedural understanding, static - dynamic, and conditioned by the peculiarities of a particular branch of legal regulation, limited ability to use methods of one or another branch, the inter-branch nature of some variations of security, etc. Separation, common and different in the definition of "security" can be used to further standardize, in fact, the regulatory legal understanding of security to more effectively implement the legal regulation of the security direction.

Antonio Negri

2018 ◽  
Author(s):  
Ingrid Diran
Keyword(s):  
Critical Distance ◽  
Middle Voice ◽  
The Subject ◽  
Definition Of ◽  
Antonio Negri

Agamben describes his posture as a reader as one of seeking a text’s Entwicklungsfähigkeit, or capacity for elaboration.1 In examining Agamben’s practices of reading, we can attend to the opposite phenomenon: the counter-elaboration that a text, in having being read by the philosopher, performs upon Agamben’s own thought. This reciprocal elaboration might constitute a paradigm for Agamben’s use of reading, according to his own idiosyncratic definition of use as an event in the middle voice, in which (according to a definition of Benveniste) the subject ‘effects an action only in affecting itself (il effectue en s’affectant)’ (UB 28). With this definition in mind, we could say that Agamben effects a text (he writes) only to the extent that he is also affected by another text (he reads). This is why Agamben’s position as a reader proves particularly important to any assessment of his work, quite aside from the problem of influence or intellectual genealogy. For this same reason, however, assessing Agamben’s relation to Antonio Negri – a figure with whom, by most measures, he is at odds – poses an unexpected challenge: how can Agamben’s thought be a use of Negri? Answering this question means not only assessing the critical distance between the two thinkers, but also taking this distance as a measure, in the Spinozan sense, of mutual affection.

The Autobiographical Subject and the Death Penalty

2013 ◽  
Vol 35 (2) ◽  
pp. 165-187
Author(s):  
E. S. Burt
Keyword(s):  
Death Penalty ◽  
First Person ◽  
Philosophical Investigation ◽  
The Subject ◽  
Definition Of ◽  
The Individual

Why does writing of the death penalty demand the first-person treatment that it also excludes? The article investigates the role played by the autobiographical subject in Derrida's The Death Penalty, Volume I, where the confessing ‘I’ doubly supplements the philosophical investigation into what Derrida sees as a trend toward the worldwide abolition of the death penalty: first, to bring out the harmonies or discrepancies between the individual subject's beliefs, anxieties, desires and interests with respect to the death penalty and the state's exercise of its sovereignty in applying it; and second, to provide a new definition of the subject as haunted, as one that has been, but is no longer, subject to the death penalty, in the light of the worldwide abolition currently underway.

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