Creative Musical Practice in an Educational Context

2015 ◽  
pp. 143-160
Author(s):  
Anna Linge
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Educational Context ◽  
Cultural Activity ◽  
Doctoral Thesis ◽  
Musical Practice ◽  
Music Making ◽  
Creative Music ◽  
Creative Pedagogy ◽  
Creative Music Making

This chapter is based on the author's doctoral thesis. She provides an account of a project on creativity in music education, more specifically a musical classroom for developing creativity. The aim of the study is to find examples or mechanisms of creative pedagogy. This study complements the current tradition for studying methods in teaching and learning music. Creative, prescriptive, and communicative designs of teaching and learning interact during sessions of music making. The empirical findings enable a discussion of the conditions that define creative music making as art and/or play as a socio-cultural activity.

scholarly journals Teaching creative music in El Sistema and after-school music contexts

2021 ◽  
pp. 025576142199082
Author(s):  
Sean Corcoran
Keyword(s):  
Music Education ◽  
Sense Of Belonging ◽  
After School ◽  
Learning Context ◽  
Music Making ◽  
Creative Music ◽  
School Music ◽  
El Sistema ◽  
Teachers Perspectives ◽  
Creative Music Making

El Sistema music programmes have blossomed over the past decade, with the aim of fostering social development through intensive orchestral music instruction. Many scholars agree that creative music making can facilitate student agency development, increase a sense of belonging and promote creative expression by allowing students to bring their perspectives to the learning context. With these benefits apparent, it seems rational that El Sistema should incorporate creative music making into its curriculum. To build understanding of how creative music approaches function in some programmes, I used a multiple qualitative case study to examine eight teachers’ perspectives of creative music making within El Sistema and after-school music programmes in Canada and the United Kingdom. Findings revealed that teachers conceptualized creative music making as activities that develop agency through collaborative music creation, that have the benefit of creating a sense of belonging and that give students the opportunity to contribute to their community. Successful nurturing of creative music making seems to rely on connecting students to their wider community, which is achieved in part through incorporating students’ own musical tastes. Teachers’ experiences with creative music making in their own music education played a crucial role in preparing them to teach creative music.

scholarly journals Understanding Learners’ Perspective on Creative Music Making

2014 ◽  
Vol 2 (1) ◽  
Author(s):  
Dr. Durgesh K. Upadhyay
Keyword(s):  
Music Education ◽  
Creative Process ◽  
Cultural Context ◽  
New Music ◽  
Psychological State ◽  
Music Students ◽  
Creative Processes ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

Creative music making is one of the least studied aspects of music education. This may be partly due to our limited knowledge of the creative process. There is a need to explore and understand the creative process of music making by taking perspective of music students within a particular socio cultural context. Present study aimed to explore and analyze the creative process of music making (making variations in rāga’s contents and/or compositions) by considering the vocal students’ perspective in an institutional setup. 10 vocal students (2 from Diploma, 4 from B. Mus. and 4 from M. Mus.) from two prestigious institutions of UP were interviewed (4 in-person and 6 telephonically). Thematic analysis revealed three themes – causal forces, conscious music making, and natural process of music making. Findings suggest that the particular psychological state, occasion or situation which inspires music students to visualize and forces them to create new music. Two creative processes of music making identified (i.e., conscious and natural) follow different pathways.

‘There is a shark coming, then there is a du-du-du-du-du…’: Mediating cultural tools in a Norwegian creative music-making project

2019 ◽  
Vol 36 (02) ◽  
pp. 125-138 ◽  
Author(s):  
Tine Grieg Viig
Keyword(s):  
Substantial Part ◽  
Special Focus ◽  
Musical Practice ◽  
Final Performance ◽  
Music Making ◽  
Creative Music ◽  
Mediating Tools ◽  
Professional Artists ◽  
Cultural Tools ◽  
Creative Music Making

AbstractThis article reports on a case study in a Norwegian primary school where nearly 50 fifth-grade pupils took part in a creative music-making project. Facilitated by two professional artists, they created an original piece of music and performed their composition for an audience at the end of the project week. A substantial part of the data consisted of recorded sounds, notations, transcribed interviews and documentations of the process of music composition from the first ideas to the final performance. The analysis was conducted from a sociocultural perspective with a special focus on the mediating tools used in the community of creative musical practice. The findings suggest that the cultural tools used in the project were dynamic and interactive, employed by both the facilitators and the participants. The mediating tools found in the creative music making make up a complex toolbox the participants share and develop, consisting of both psychological and material tools. There were three main categories of mediating tools identified. First, the use of symbolic signs, such as graphic notation, was important from the initial stages when the participants developed musical ideas to the final performance. Second, the actions and interactions of music making, such as conducting gestures shared and developed through the project, were both founded on traditional conductor signs but also transformed and adapted to new ways of mediating musical meaning in this particular project. Third, the participants worked with ‘creative reworkings’ of experiences in this project. Through the transformation of previous experiences into the creation of new musical material, important mediating tools were identified as experiences and meaning in the creative musical practice.

Playing (in) the Digital Studio

2017 ◽  
pp. 382-396
Author(s):  
Ethan Hein
Keyword(s):  
Young People ◽  
Music Education ◽  
Hip Hop ◽  
Music Technology ◽  
Digital Tools ◽  
Dance Music ◽  
Electronic Dance Music ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

When schools address music technology, they tend to focus on the nuts and bolts of the technology itself, rather than its creative applications. But to truly engage new digital tools for creative music making, we must address their most culturally significant context: electronic dance music and hip-hop. This music falls well outside the canon of what is widely considered suitable music for the classroom. Nevertheless, such music should be included, and not (only) because young people enjoy it. Rather than “dumbing down” music education, the inclusion of popular dance music would significantly enrich the curriculum, particularly in areas traditionally neglected: groove, timbre, and space.

Creative Music Making at Your Fingertips

2021 ◽  
Keyword(s):  
Music Education ◽  
Mobile Devices ◽  
Mobile Technology ◽  
Pedagogical Change ◽  
Music Making ◽  
Creative Music ◽  
Daunting Task ◽  
Musical Thinking ◽  
Musical Engagement ◽  
Creative Music Making

Hand-held mobile devices such as iPads, tablets, and smartphones hold potential for creative music making experiences within P-12 and higher education contexts. Yet navigating this technology and associated apps while embracing pedagogical change can be a daunting task. The book explores the enormous potential of rather small technological devices to transform the music-making experiences of students. The authors provide evidence for, ideas about, and examples of the role that mobile technology such as an iPad, tablet, or other hand-held device plays in the development of musical thinking and musical engagement of our students—in or outside of school. The promise of mobile devices for music education lies in their possibilities. In this book and on the companion website, the authors share strategies that will spark your imagination to explore digital musicianship and the use of mobile devices for your students’ musical engagement.

Reflections on my time as a joint editor

2008 ◽  
Vol 25 (3) ◽  
pp. 245-252
Author(s):  
Piers Spencer
Keyword(s):  
Personal Experience ◽  
Teaching And Learning ◽  
Equal Opportunities ◽  
Musical Education ◽  
Music Making ◽  
Creative Music ◽  
Official Curriculum ◽  
The Uk ◽  
Creative Music Making

Piers Spencer and William Salaman edited the BJME between 1998 and 2002. During this period, a number of articles they published gave positive accounts of developments in instrumental teaching and learning, composing and creative music-making, and the increasing role of technology. Less happy findings emerged from investigations into singing and vocal work, into culture and the promotion of equal opportunities, and into the way the ‘official’ curriculum seemed to be increasingly at odds with students' experience of music outside schools. During his period as editor, Piers Spencer worked in a variety of institutions and his personal experience told him that, despite the highly critical tone of some contributions, there remains cause for optimism about the future of musical education, both in the UK and internationally.

Creative Music Education in Japan during the 1920's: The Case of the Elementary School Attached to Nara Women's Higher Teachers College

1994 ◽  
Vol 11 (2) ◽  
pp. 157-162 ◽  
Author(s):  
Kyoko Koizumi
Keyword(s):  
Elementary School ◽  
Great Britain ◽  
Music Education ◽  
Music Teachers ◽  
The United States ◽  
Historical Background ◽  
Teachers College ◽  
Music Making ◽  
Creative Music ◽  
Creative Music Making

‘Creative music-making’, as developed in recent years in Great Britain and other countries, has also become popular in Japanese music education; for many music teachers have come to think seriously about the significance of child-centred music education instead of teacher-centred music education. Such a trend seems to be new. However, as in the United States and Great Britain, child-centred music education has been implemented previously – during the 1920's, in Japan's case. This development began in the Elementary School Attached to Nara Women's Higher Teachers College. The author describes the ideas and practices of creative music education in this school, and its historical background, comparing them with creative music-making today.

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.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

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