A Case Study of PBL Convergence Content Production for Applied Music Students

2021 ◽  
Vol 43 (5) ◽  
pp. 713-729
Author(s):  
Hyunsik Yoo
Keyword(s):  
Music Students ◽  
Applied Music

Contemporary Music Students and Mobile Technology

2012 ◽  
pp. 1390-1414 ◽  
Author(s):  
Thomas Cochrane
Keyword(s):  
New Zealand ◽  
Learning Environments ◽  
Mobile Technology ◽  
Real World ◽  
Contemporary Music ◽  
Music Students ◽  
The Internet ◽  
Tertiary Institutions ◽  
Personalised Learning

Five billion songs, and counting, have been downloaded (completely legally) through Apple Computer’s online iTunes Store. The iTunes University links free educational content from over seventy tertiary institutions worldwide, and is now available to New Zealand tertiary institutions. The Internet has revolutionised the delivery and access of media and education – making access to a worldwide audience or market merely a Google (or iTunes Store) search away! But, what are the real-world practicalities of this for contemporary music students and teachers today? How can these tools be utilised to facilitate personalised learning environments. Within this context, this chapter presents and evaluates a mobile learning case study at Unitec in the Diploma of Contemporary Music on the Waitakere campus.

Control before shape - on mastering the clarinet: A case study on commonsense teaching

1994 ◽  
Vol 11 (3) ◽  
pp. 223-238 ◽  
Author(s):  
Roland S. Persson
Keyword(s):  
Teacher Training ◽  
Exploratory Study ◽  
Teaching And Learning ◽  
Participant Observation ◽  
Tertiary Level ◽  
Music Teaching ◽  
Applied Music ◽  
Traditional Performance

This article reports an exploratory study into applied music teaching at a tertiary level. The study was staged as a case study where the case comprises one performance lecturer of clarinet and eight of her students. The focus of the study is how a performance teacher with no formal teacher training fares in the training of musical performers, how students respond, and what are the particular successful or unsuccessful issues in ‘commonsense teaching’. The data were gathered through participant observation and questionnaires. The findings suggest that the distinction between the role of the pedagogue (skilled in the dynamics and principles of teaching and learning) and the role of the expert performer (skilled mainly in the domain of performance) is an essential distinction to make. However, it is also a distinction that traditional performance teaching at a tertiary level seldom makes. The article concludes by tentatively proposing some pedagogical considerations for applied music teaching, as drawn from the case study.

Contemporary Music Students and Mobile Technology

2010 ◽  
pp. 429-454 ◽  
Author(s):  
Thomas Cochrane
Keyword(s):  
New Zealand ◽  
Learning Environments ◽  
Mobile Technology ◽  
Real World ◽  
Contemporary Music ◽  
Music Students ◽  
The Internet ◽  
Tertiary Institutions ◽  
Personalised Learning

Five billion songs, and counting, have been downloaded (completely legally) through Apple Computer’s online iTunes Store. The iTunes University links free educational content from over seventy tertiary institutions worldwide, and is now available to New Zealand tertiary institutions. The Internet has revolutionised the delivery and access of media and education – making access to a worldwide audience or market merely a Google (or iTunes Store) search away! But, what are the real-world practicalities of this for contemporary music students and teachers today? How can these tools be utilised to facilitate personalised learning environments. Within this context, this chapter presents and evaluates a mobile learning case study at Unitec in the Diploma of Contemporary Music on the Waitakere campus.

High-Impact Experiences through Commissioned Works and Composer Residencies

2019 ◽  
Vol 105 (3) ◽  
pp. 30-35
Author(s):  
Micah Ewing
Keyword(s):  
Relevant Literature ◽  
Music Educators ◽  
High Impact ◽  
Music Students ◽  
Educational Context ◽  
School Communities ◽  
Music Making ◽  
Musical Works ◽  
Commissioned Works

Music students, their teachers, composers, and school communities experience deep, long-lasting growth in music-making and artistic perspective when provided with opportunities to engage in the commissioning of new musical works in conjunction with composer residencies. Through consideration of relevant literature and case-study examination, the article defines and articulates possible formats for commissioned works projects with composer residencies. A discussion of the beneficial outcomes of such projects for student musicians, music educators, composers, and constituent communities addresses reasons for coordinating projects of this nature. The article concludes with a step-by-step guide that lays out how educators can organize a commissioned work and composer residency project for their students that is appropriate for their specific educational context.

Brilliant performers as teachers: A case study of commonsense teaching in a conservatoire setting

1996 ◽  
Vol os-28 (1) ◽  
pp. 25-36 ◽  
Author(s):  
Roland Persson
Keyword(s):  
Content Analysis ◽  
Exploratory Study ◽  
Instructional Strategy ◽  
Participant Observation ◽  
Formal Training ◽  
Tertiary Level ◽  
Music Teaching ◽  
Applied Music

This article reports an exploratory study into applied music teaching at a tertiary level. The study was staged as a case study where the case comprises one performance teacher of piano and nine students. The focus of the study is how a performance teacher with no formal training fares in the training of musical performers, how students respond, and what are the particular successful or unsuccessful issues in what could feasibly be termed ‘commonsense teaching’. The data were gathered through participant observation, informal interviews and questionnaires. The findings suggest, after content analysis, that the distinction between the role of the instrumental teachers and the role of the expert performer is an essential distinction. In spite of good intentions the participating teacher failed to provide a successful instructional strategy. The article concludes by tentatively proposing some instructional considerations for applied music teaching, as drawn from the case study.

scholarly journals 'Putting on a Show' Non-Placement WIL in the Performing Arts: Documenting Professional Rehearsal And Performance Using Eportfolio Reflections

2020 ◽  
Vol 17 (4) ◽  
pp. 62-79
Author(s):  
Narelle Yeo ◽  
◽  
Jennifer Rowley ◽  
Keyword(s):  
Performing Arts ◽  
Teaching And Learning ◽  
Career Readiness ◽  
Music Students ◽  
Innovative Teaching ◽  
Direct Benefit ◽  
And Performance ◽  
Creative Artists ◽  
Study Participants

his study explores the utility of employing a student-created experiential narrative ePortfolio as a multimodal tool for reflective practice in WIL. It does so by examining a case study situated within the performing arts, where WIL discourses are rarely adopted, and few examples are present in the literature. This paper introduces a circular mentoring framework that extends Kolb’s experiential learning model, whereby learning is facilitated through the interchange of roles through rehearsal and reflection. In this study, participants prepared and performed an opera in a professional venue over a five-day period of intense creative studio work. The 2017 and 2018 Inclusion Project is an innovative teaching and learning opportunity that offered authentic industry-based experience to undergraduate music students in a closely monitored, non-placement WIL setting. Participants (n=18) undertaking a semester long elective, reported their experience through online journaling in an ePortfolio allowing them to create narrative responses. A qualitative analysis using narrative inquiry on the ePortfolio reflections indicated a direct benefit for student’s career readiness as creative artists.

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