scholarly journals MERLOT: Belajar Musik di Era Digital

2020 ◽  
Vol 3 (1) ◽  
pp. 75-90
Author(s):  
Riyan Hidayatullah
Keyword(s):  
Information Literacy ◽  
Music Teachers ◽  
Digital Tools ◽  
Learning Needs ◽  
Music Pedagogy ◽  
Music Learning ◽  
Learning And Teaching ◽  
Educational Backgrounds ◽  
Multimedia Education ◽  
Online Music

This article is a literature review on MERLOT (Multimedia Education Resources for Online Learning and Teaching), an open-source multimedia-based learning resource for asynchronous music learning needs. Conventional music learning methods that deal with practical activities and theory classes. This activity is usually done in a classical or private class. In addition to general problems in music pedagogy and psychology, access to music materials in the form of music theory, music forms, and music literature is a problem that is specifically for music teachers in Indonesia. Access and publishing of music books are still minimal. These kinds of stuff carry out music teachers with non-music educational backgrounds to arrange music materials systematically, find out credible music learning resources, the latest issues about music learning and digital tools that can be used for online music courses. Various pieces of literature show that MERLOT is contributing to information literacy, digital, and supporting the learning of music nowadays.

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.

YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community

2012 ◽  
Vol 31 (1) ◽  
pp. 91-105 ◽  
Author(s):  
Janice Waldron
Keyword(s):  
Music Education ◽  
Online Community ◽  
Participant Observation ◽  
Computer Mediated Communication ◽  
Music Learning ◽  
Mediated Communication ◽  
Learning And Teaching ◽  
Informal Music Learning ◽  
Music Community ◽  
Online Music

In this paper I examine the music learning and teaching in the Banjo Hangout online music community ( www.banjohangout.org/ ) using cyber ethnographic methods of interview and participant observation conducted entirely through computer-mediated communication, which includes Skype and written narrative texts – forum posts, email, chat room conversations – along with hyperlinks to YouTube and other Internet music-learning resources. The Hangout is an example of an online community based on the pre-existing offline interests of its founding members and it is thus connected to and overlaps with the offline Old Time and Bluegrass music banjo communities. Although I focus on the Banjo Hangout online community, this study also provides peripheral glimpses – embedded in the participants’ narratives – into the offline Old Time and Bluegrass banjo communities of practice. As a cyber ethnographic field study, this research also highlights the epistemological differences between on- and offline community as reflected in music education online narrative qualitative research and research practice.

scholarly journals Culturally responsive and meaningful music education: Multimodality, meaning-making, and communication in diverse learning contexts

2021 ◽  
pp. 1321103X2110093
Author(s):  
Georgina Barton ◽  
Stewart Riddle
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Meaning Making ◽  
Music Learning ◽  
Cultural Contexts ◽  
Learning And Teaching ◽  
Learning Contexts ◽  
Diverse Learning ◽  
Musical Modes ◽  
Online Music

Music is learned and taught in multiple ways dependent on the socio-cultural contexts in which learning occurs. The processes employed by music teachers have been extensively explored by music educators and ethnomusicologists in a range of contexts, although there has been limited research into which modes are most predominantly used in different socio-cultural contexts. Further, it is unknown how students make meaning in these different contexts. This article presents three distinct music learning and teaching contexts—Carnatic music, instrumental music in Australian schools, and online music learning. Using a socio-cultural semiotic tool to identify musical modes, this article examines the ensembles of modes used during music learning events and considers how this knowledge may improve the learning and teaching of music for all students, particularly those whose culture and language differs from the majority of the population. It aims to identify how students make meaning in learning contexts through distinct modes of communication. Findings demonstrated that different “ensembles of modes” were used in diverse learning contexts and that these approaches were influenced by socio-cultural contexts. It is important for teachers to understand that varied combinations of modes of communication are possible because students may find learning more meaningful when related to their own personal frames of reference. Without this knowledge, music learning and teaching practices may continue to privilege some modes over others.

Dialogic Teaching and Translanguaging in Deaf Education

2018 ◽  
Author(s):  
Ruth Swanwick
Keyword(s):  
Language Learning ◽  
Learning Experience ◽  
Deaf Education ◽  
Deaf Children ◽  
Learning Needs ◽  
Learning And Teaching ◽  
Diverse Learning ◽  
Language Context ◽  
Pedagogical Framework

This chapter proposes a pedagogical framework for deaf education that builds on a sociocultural perspective and the role of interaction in learning. Pedagogical principles are argued that recognize the dialogic nature of learning and teaching and the role of language as “the tool of all tools” in this process. Building on established work on classroom talk in deaf education, the issues of dialogue in deaf education are extended to consider deaf children’s current learning contexts and their diverse and plural use of sign and spoken languages. Within this broad language context, the languaging and translanguaging practices of learners and teachers are explained as central to a pedagogical framework that is responsive to the diverse learning needs of deaf children. Within this pedagogical framework practical teaching strategies are suggested that draw on successful approaches in the wider field of language learning and take into account the particular learning experience and contexts of deaf children.

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.

Evaluation of teachers’ information literacy based on information of behavioral data in online learning and teaching platforms: an empirical study of China

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Yating Li ◽  
Chi Zhou ◽  
Di Wu ◽  
Min Chen
Keyword(s):  
Online Learning ◽  
Information Literacy ◽  
High Performance ◽  
Behavioral Data ◽  
Online Information ◽  
Process Data ◽  
Content Type ◽  
Information Behaviors ◽  
Learning And Teaching ◽  
Performance Group

PurposeAdvances in information technology now permit the recording of massive and diverse process data, thereby making data-driven evaluations possible. This study discusses whether teachers’ information literacy can be evaluated based on their online information behaviors on online learning and teaching platforms (OLTPs).Design/methodology/approachFirst, to evaluate teachers’ information literacy, the process data were combined from teachers on OLTP to describe nine third-level indicators from the richness, diversity, usefulness and timeliness analysis dimensions. Second, propensity score matching (PSM) and difference tests were used to analyze the differences between the performance groups with reduced selection bias. Third, to effectively predict the information literacy score of each teacher, four sets of input variables were used for prediction using supervised learning models.FindingsThe results show that the high-performance group performs better than the low-performance group in 6 indicators. In addition, information-based teaching and behavioral research data can best reflect the level of information literacy. In the future, greater in-depth explorations are needed with richer online information behavioral data and a more effective evaluation model to increase evaluation accuracy.Originality/valueThe evaluation based on online information behaviors has concrete application scenarios, positively correlated results and prediction interpretability. Therefore, information literacy evaluations based on behaviors have great potential and favorable prospects.

Divergent Perspectives on Musical Knowledge, Expertise, and Science

2020 ◽  
Vol 4 (2) ◽  
pp. 121-134
Author(s):  
Sandra E. Trehub
Keyword(s):  
Cognitive Neuroscience ◽  
Vocal Performance ◽  
Music Learning ◽  
Learning And Teaching ◽  
Skilled Performance ◽  
Musical Engagement ◽  
Musical Knowledge ◽  
Behavioral Responsiveness

Abstract I review two recent books on music, both inspired by cognitive neuroscience but differing in most other respects. Isabelle Peretz, an expert in the cognitive neuroscience of music, describes how we perceive and produce music, as reflected in neural and behavioral responsiveness. Her book is intended for general readers who are interested in music and curious about the science behind our musical nature—brains that are prepared for music and changed by active musical engagement. Lynn Helding, an expert in vocal performance and pedagogy, draws on findings from psychology and neuroscience to inform her approach to music learning and teaching. Aimed at musicians, aspiring musicians, and those who teach them, her book focuses largely on the means of optimizing learning and skilled performance.

scholarly journals Navigating Music Teaching in Uncertain Times

2020 ◽  
pp. 104837132096138
Author(s):  
Chiao-Wei Liu
Keyword(s):  
Peer Relationships ◽  
Classroom Climate ◽  
Music Teachers ◽  
Well Being ◽  
Thinking Skills ◽  
Virtual Classroom ◽  
Critical Thinking Skills ◽  
Music Teaching ◽  
Music Learning ◽  
Teacher Student

As schools reopen and students return back to the classrooms, music teachers are faced with the challenge of how and what we could do (and continue to do) to support the well-being and music learning of our students in crises. I suggest that teachers take into consideration the various elements involved in creating engaging learning experiences. Recognize the changing classroom climate and student-teacher/student-peer relationships in the virtual classroom, it is necessary that we consider how to spark students’ motivation and generate meaningful dialogue, what strategies we apply to help our students develop critical thinking skills; how we connect with our students and address their emotional well-being while being physically separated from each other. As trivial as these ideas may appear on the surface, I believe that only when we truly listen and attend to the needs of our students will we provide the space for our students to flourish.

Parent–teacher–pupil interactions in instrumental music tuition: a literature review

2003 ◽  
Vol 20 (1) ◽  
pp. 29-44 ◽  
Author(s):  
Andrea Creech ◽  
Susan Hallam
Keyword(s):  
Literature Review ◽  
Interpersonal Relationships ◽  
Instrumental Music ◽  
Future Research ◽  
Music Learning ◽  
Learning And Teaching ◽  
Effective Learning ◽  
Effective Parenting ◽  
Educational Literature ◽  
Teaching Conceptions

This paper considers the literature that may inform our understanding of parent–teacher–pupil interactions in instrumental music. It draws on research directly concerned with instrumental music learning and that from the wider psychological, sociological and educational literature concerned with conceptions of effective learning and teaching; conceptions of effective parenting; and dimensions of interpersonal relationships. Finally, a systemic, dynamic model is proposed which may serve to guide future research in the field.

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