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.

scholarly journals Intercultural Competence as a Premise for Professional and Personal Teacher Development: the Case of Master Degree Studies in Music Education

Pedagogika ◽  
2017 ◽  
Vol 125 (1) ◽  
pp. 81-96
Author(s):  
Jolanta Lasauskienė ◽  
Xiangou Wang ◽  
Yiwei Zhang
Keyword(s):  
Content Analysis ◽  
Foreign Language ◽  
Music Education ◽  
Intercultural Competence ◽  
Foreign Students ◽  
Qualitative Content Analysis ◽  
Language Skills ◽  
Music Educators ◽  
Educational Sciences ◽  
Foreign Language Skills

The aim of the article is to analyse intercultural experience of foreign students enrolled in Master study programmes of Music Education, revealing tendencies in expression of intercultural competence and possibilities of its development in the university. The sample of the research included 27 foreign Master’s degree students (Chinese) of the Department of Music of the Faculty of Education at Lithuanian University of Educational Sciences. The research problem is determined by the question how intercultural competence of foreign Master students – future music educators – is expressed and what possibilities of its development at university are observed. Research methods. The data was collected in accordance with the method of written student reflections. The analysis of qualitative data was done through qualitative content analysis. The following conclusions are drawn in the article: Contemporary music educators have to be ready to conduct research, to critically evaluate and creatively improve current educational environment in terms of cultural, artistic and educational needs. Intercultural competence of music educators is determined as a person’s quality, an aggregate of knowledge, skills and attitudes that are necessary for successful activity of music educators in the context of interaction among different cultures. The results of the qualitative content analysis revealed that the foreign Master’s degree students in Lithuanian University of Educational Sciences relate music educator’s intercultural competence with knowledge and understanding of cultural phenomena, foreign language skills, involvement in musical cultural activities, ability to communicate with representatives of other cultures as well as with attitudes and personal qualities that facilitate music educator’s activities. Foreign students envisage a significant importance of intercultural knowledge, cultural identity and learning from other cultures to intercultural competence of music educators. Studies abroad are considered to be a priority factor in music educator’s intercultural competence, which encourages learning of other cultures, confirms importance of foreign language skills and opens a path towards personal and professional improvement. The results of the qualitative content analysis highlighted that the academic environment (study content and methods, relations between university teachers and students) has the most considerable impact on intercultural competence development.

Embracing identity: An examination of non-Western music education practices in British Columbia

2019 ◽  
Vol 37 (2) ◽  
pp. 286-297
Author(s):  
Beth Tuinstra
Keyword(s):  
Music Education ◽  
Teaching Practices ◽  
Classical Music ◽  
Traditional Music ◽  
Music Educators ◽  
Music Programs ◽  
Classroom Culture ◽  
Western Music ◽  
K 12 ◽  
To Receive

Although traditional music programs and university music and music education training programs have mostly incorporated Western classical music, British Columbia’s new curriculum signifies a shift from the Western classical framework to one that is more inclusive of the cultural diversity that exists in Canada. Using the frameworks of decolonization, non-Western music education, and music education and identity, I researched the current practices, experiences, and attitudes of British Columbian kindergarten to Grade 12 (K–12) music educators. I used a mixed-methods questionnaire to gain an understanding of the practices, experiences, and attitudes of these educators ( N = 80). Through this examination, I discovered that although 84% of respondents felt that it was important for students to receive a diverse, non-Western music education, only 63% currently utilized non-Western musics in their teaching practices. Respondents included the benefits or difficulties that they have experienced while including non-Western musics in their teaching practices, but they also talked about the barriers that have prevented them from including non-Western musics into their teaching practices. However, educators reported that by including non-Western musics, students showed greater joy, self-expression, engagement, open-mindedness, and empathy for others, causing a positive shift in classroom culture.

scholarly journals Utilizing Pragmatism Approach in Learning Jazz Guitar Reharmonization Technique using Malay Asli Song

2020 ◽  
Vol 9 (1) ◽  
pp. 50-57
Author(s):  
Chamil Arkhasa Nikko Mazlan
Keyword(s):  
Music Theory ◽  
Teaching And Learning ◽  
Document Analysis ◽  
Traditional Music ◽  
Music Educators ◽  
Western Music ◽  
Modern Music ◽  
Universal Language ◽  
Result Show

Details of developing jazz guitar reharmonization learning book using Malay Asli song will not discuss here, however, this article divulges pragmatism approach that can be transcending in explaining logic between learning jazz guitar reharmonization techniques using Malay Asli Song. Although music is a universal language, traditional music and western music educators do not come to an agreement diffusing learning western music elements such in traditional music or vice versa. As a result, reharmonization technique only become known on western music repertoires. While traditional music practitioners presenting the same old repertoires, with deep-rooted dogmatic excuses to maintain what they called traditional authentic values. To conduct this study, relevant data on pragmatism was done through document analysis. The result show pragmatism approach can help music educators to reconceptualize teaching and learning traditional music using jazz reharmonization technique to recreate and innovate a new sound and contextual of learning jazz harmony, not just using on jazz standards repertoires, in making music theory beneficial to both traditional and modern music educators and students.

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 Technology in Music Education in England and across Europe

2017 ◽  
pp. 30-48
Author(s):  
Marina Gall
Keyword(s):  
Music Education ◽  
Secondary Students ◽  
English Education ◽  
Traditional Music ◽  
Music Educators ◽  
Music Technology ◽  
Primary School Children ◽  
Information Communications Technology ◽  
Wide Range ◽  
Technological Developments

In this chapter, adopting an autobiographical perspective, I reflect upon the use of music technology within English school classrooms during the last 50 years. The chapter illustrates that this has become so important—particularly for creative work—that formal music technology examination syllabi for older students now exist alongside courses that focus on “traditional” music skills. The chapter also discusses the less positive position of information communications technology within the music curricula for primary school children and secondary students aged 11–14, and offers thoughts on the future of music technology within the English education system. As a backdrop to the discussion the chapter presents a short reflection on music technological developments in society during the twentieth and twenty-first centuries. The chapter also includes the perspectives of music educators from a wide range of European countries, during the period 2008–2011, on the position of music technology within their own educational contexts.

scholarly journals Opetuksen ja oppimisen digiloikka kieltenopiskelijoiden silmin

2018 ◽  
pp. 61-76
Author(s):  
Anne Huhtala
Keyword(s):  
Content Analysis ◽  
Digital Technology ◽  
Teaching And Learning ◽  
New Technologies ◽  
Sedentary Lifestyle ◽  
Qualitative Content Analysis ◽  
Open Questions ◽  
Technology In Teaching ◽  
Digital Skills

This article focuses on how university language students reflect on digitalisation and their own digital skills, and what kinds of benefits and risks they see in the increasing use of digital technology in teaching and learning. The data used for this study are of two kinds: 25 students filled in a questionnaire consisting of open questions about digitalisation, and 10 students wrote an essay where they reflected on the role of digital technology in their lives. The data were analysed by using qualitative content analysis. According to the results, university students experience their digital skills as good, and rely on their ability to learn new skills when needed. They describe the role of ICT in their lives as important, but seem to use digital technology with deliberation. They see several benefits in the use of new technologies, e.g., versatility, but also many risks, including problems caused by a sedentary lifestyle.

Effects of Chinese popular music familiarity on preference for traditional Chinese music: Research and applications

2019 ◽  
Vol 3 (2) ◽  
pp. 329-358 ◽  
Author(s):  
Yunshu Tan ◽  
Lauren Conti
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Undergraduate Students ◽  
Teaching And Learning ◽  
Traditional Music ◽  
World Music ◽  
Chinese Music ◽  
Short Term Exposure ◽  
Post Test ◽  
Music Research

Teaching and learning popular music and world musics are prominent topics in music education but often play a supplement role in the classroom. The main purpose of this quantitative experimental study was to investigate the effects of Chinese popular music on students’ familiarity and preference for its traditional version. Participants were undergraduate students from a university in the northeastern United States who completed a pre-test, minimum four weekly treatments and post-test. Results suggest participation in a world music course may contribute to preference for Chinese traditional music, but short-term exposure to popular versions of Chinese traditional music does not seem to contribute to preference for Chinese traditional music. A reason for this may be that popular music has its own cultures and characteristics that are not necessarily transferable to music from other music genres. In addition, the personality traits of open-mindedness or closed-mindedness showed significant influence over preference for traditional or popular music, respectively.

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.

Education Through Music: Towards A South African Approach

1993 ◽  
Vol 10 (3) ◽  
pp. 255-261
Author(s):  
Elizabeth Oehrle
Keyword(s):  
South Africa ◽  
Music Education ◽  
South African ◽  
Present Situation ◽  
Music Educators ◽  
Intercultural Education ◽  
Western Music ◽  
African Music ◽  
Paradoxical Situation ◽  
Music Making

Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.

A Content Analysis of Creating and Curating Musical Identity on Social Media

2020 ◽  
pp. 312-335
Author(s):  
Julie Derges Kastner
Keyword(s):  
Social Media ◽  
Content Analysis ◽  
Music Education ◽  
Social Networking ◽  
Social Networking Sites ◽  
Online Community ◽  
Teaching And Learning ◽  
Empirical Studies ◽  
Future Research ◽  
Musical Identity

Social networking sites have emerged as a way for musicians to connect, create, and collaborate, and, as a result, they have become important spaces for identity expression and formation. This chapter reveals the findings of a content analysis of 23 empirical studies focusing on social media, identity, and music or music education in order to explore the types of research methods and identity frameworks they employed, emergent themes, and possible avenues for future research. Results of this content analysis revealed three themes: (1) personal expressions of identity, as individuals sought to curate their online identities; (2) identity through social interactions, which often featured a convergence of musical and nonmusical roles; and (3) identity through teaching and learning as individuals participated and found support and encouragement in an online community. Additionally, these studies most commonly used qualitative methods, with several using a cyber ethnographic approach, and a variety of identity frameworks. The chapter closes with suggestions for future research to further explore the evolving expressions of musical identity on social networking sites.

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