Internationalizing Music Appreciation

2018 ◽  
pp. 100-118
Author(s):  
Marc Gilley
Keyword(s):  
Music Education ◽  
Curriculum Design ◽  
Teaching And Learning ◽  
Music Appreciation ◽  
Assessment Practices ◽  
Philosophy Of Music ◽  
Design Assessment ◽  
Aesthetic Experiences ◽  
The Arts

The process of internationalizing a music appreciation class is discussed. The role of music appreciation in an internationalized curriculum is examined and a philosophy of music education is developed. Curriculum design, assessment practices, and teaching and learning activities are viewed through the framework of Fink's Taxonomy of Learning, including descriptions of specific practices and assignments and their relationship to the taxonomy of learning the philosophy of music education. Special consideration is given to the power of music, the arts, and aesthetic experiences to cultivate knowledge of the self and of the other.

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.

Opportunities and Challenges of Connections, Trust, Diversity, and Conflict for Motivation, Volition, and Engagement in Online Learning

2021 ◽  
pp. 49-67
Author(s):  
Ramesh Chander Sharma
Keyword(s):  
Online Learning ◽  
Online Teaching ◽  
Teaching And Learning ◽  
Course Design ◽  
Assessment Practices ◽  
Design Assessment ◽  
Assessment And Evaluation ◽  
Computer Monitors ◽  
Teaching Learning ◽  
Online Facilitation

Motivation is an important parameter for successful completion of the course by the student. There are many factors that can mar such motivation like digital fatigue, poor instructional design, facilitator competency, course design, assessment practices, and student support. For online teaching learning, the authors spend a lot of time in front of computer monitors, keep typing on computer keyboard, listen to audio using headsets, etc. The students may be sitting in live meeting of their class and not understand what is expected of them. They may have a sense of being lost and demotivated. The students may not want to ask questions for fear of appearing foolish. This chapter looks into the factors related to motivation in online teaching and learning settings. It examines the factors related to motivation like deepening connections, dealing with diversity, managing conflict, teacher capabilities for online facilitation, providing feedback, providing educational resources to students, digital fatigue, assessment and evaluation practices for online learning, and conversing.

Preparing 21st Century Teachers for Teach Less, Learn More (TLLM) Pedagogies

2020 ◽  
pp. 1-9
Author(s):  
Pradeep Nair
Keyword(s):  
21St Century ◽  
Curriculum Design ◽  
Teaching And Learning ◽  
Independent Learning ◽  
University Graduates ◽  
Delivery Methods ◽  
Design Assessment ◽  
Face To Face ◽  
Transferable Skills ◽  
Industrial Age

Higher education institutions face much disruption in the Fourth Industrial Age. The rapid changes in the workplace demand that university graduates exhibit competencies beyond discipline-specific knowledge. To thrive in a complex world filled with rapid advancements in knowledge and technology, graduates must possess lifelong learning skills, think critically and creatively, be socially intelligent, resilient, and adaptive. The demand for these transferable skills requires universities to re-examine their curriculum design, assessment, and delivery methods to ensure learners know, develop, and culminate these skills upon graduation. This chapter explains how this can be achieved through a paradigm shift in the teaching and learning approach by reducing face-to-face teaching to enable greater interaction in the classroom, opportunities for expression, the building of character and other life skills whilst promoting more self-directed and independent learning. Lecturers should revolutionize the way they teach and develop the 21st century competencies skills among the students.

Community music-based structures of learning (CoMu-Based SL): Pedagogical framework for the nurturance of future-ready habits of mind

2019 ◽  
Vol 37 (3) ◽  
pp. 346-369 ◽  
Author(s):  
Pamela Costes-Onishi
Keyword(s):  
Music Education ◽  
21St Century ◽  
Teaching And Learning ◽  
Learning Processes ◽  
Habits Of Mind ◽  
Community Music ◽  
The Arts ◽  
New Challenges ◽  
Studio Thinking ◽  
Actual Teaching

The landscape in which music is experienced in the 21st century has dramatically changed and scholarship in music education calls for classrooms in which teaching and learning are responsive to the new challenges. Furthermore, within the broader concerns of the place of the arts in the curriculum, the literature calls for empirical evidences grounded in the actual teaching and learning processes in the arts, in order to support claims that they nurture future-ready habits of mind and enhance academic performance. This study responds to these gaps by: (a) adapting the studio thinking framework of Hetland, Winner, Veneema and Sheridan to extract, through grounded theory methods, community music-based structures of learning and observe their corresponding pedagogies to nurture artistic thinking; (b) providing evidence for specific claims of community music such as inclusiveness through evidence of engagement across learner abilities; (c) demonstrating partnerships between community musicians, teachers and researchers; and (d) showing community music’s potential to develop students’ critical musicality.

scholarly journals Music education for the 21st century: Epistemology and ontology as bases for student aesthetic education.

2004 ◽  
Vol 12 ◽  
pp. 54 ◽  
Author(s):  
José Luis Aróstegui ◽  
Robert Stake ◽  
Helen Simons
Keyword(s):  
Music Education ◽  
21St Century ◽  
Social Background ◽  
Cultural Environment ◽  
Music Curriculum ◽  
Aesthetic Experiences ◽  
Academic Knowledge ◽  
The Arts ◽  
Interpretive Understanding ◽  
Globalized World

We seek to understand why persons develop their musical preferences by identifying with a particular cultural group and social background. This identification is greatly shaped by experience in their environment. Resources employed for this identification are mostly different from those employed in schools to foster academic knowledge. We argue that there needs to be renewed attention to the epistemological and ontological bases of education to examine how we can most effectively educate for the 21st Century in a relativistic and globalized world. Our focus is on music education but with the entire curriculum near at hand, together seeking to bring about a better intellectual, sociological, and aesthetic process of education. Our interest in music stems from a perceived necessity that persons trained in the arts will have special answers to the challenges of this so-called postmodern world. We offer: (1) elements of epistemology, discussing how education and music education have traditionally been focused on propositional rather than interpretive knowledge; (2) a particular perspective on ontology, making evident the ways that individuals construct meanings, interacting with their cultural environment in the shaping of social identity; and (3) the need, today more than ever, for a music curriculum fostering aesthetic experiences that develop interpretive understanding of reality and personal self. Characteristics of postmodernism in cultural studies will be employed throughout the paper.

Twenty-First-Century Implications for Media Literacy and Music Education

2020 ◽  
pp. 131-152
Author(s):  
Daniel A. Walzer
Keyword(s):  
New Media ◽  
Music Education ◽  
Media Literacy ◽  
Digital Technology ◽  
Teaching And Learning ◽  
Participatory Culture ◽  
Theoretical Understanding ◽  
Music Classroom ◽  
The Arts ◽  
Collaborative Praxis

Digital media’s convergence continually influences teaching and learning in the arts and interdisciplinary fields through freely accessible technology. Similarly, the rise of democratized participatory communities of new media composers on the internet affords new collaborative opportunities for all levels of creation. This chapter examines media literacy’s relationship with participatory culture and digital technology in music education. Establishing a baseline theoretical understanding of media literacy and its possible implications for teaching and learning sheds light on how these tools advance collaborative praxis, creative expression, and thoughtful teacher-facilitators in the traditional and virtual music classroom. Key questions include: How can educators and students unpack challenging concepts by producing collaborative new media content with digital technology? In what ways do music and media educators advance critical thinking, reflective learning, and new modes of networked creativity through “making” philosophy and curriculum?

The Storytelling Project Model: A Theoretical Framework for Critical Examination of Racism through the Arts

2010 ◽  
Vol 112 (9) ◽  
pp. 2295-2319 ◽  
Author(s):  
Lee Anne Bell ◽  
Rosemarie A. Roberts
Keyword(s):  
Staff Development ◽  
Curriculum Design ◽  
Teaching And Learning ◽  
The United States ◽  
Future Research ◽  
Critical Examination ◽  
Post Secondary ◽  
The Arts ◽  
Project Model ◽  
Action Networks

Background/Context Research in Europe and the United States shows that racial position shapes and gives voice to the stories people tell about race and racism, and filters how such stories are perceived and understood by listeners. Although not uniformly the case, people from the majority White racial group tend to emphasize forward progress and the declining significance of race. Minoritized people of color more often note the enduring impact of racism as a barrier to racial progress. Purpose This article describes the evolution of a theoretical model for teaching critically about racism and racial stories utilizing the arts. We reflect on the collaborative theory-building process used to develop the model, our use of the arts to create spaces of teaching and learning where racial stories can be unsettled and reexamined, and the potential of this model to guide educational projects in which participants construct alternative stories geared toward social justice. Research Design This is an analytic essay that describes the development of a theoretical construct. Conclusions/Recommendations We discuss plans for future research on the relevance of the model for teachers, teacher staff development, and curriculum design in secondary and post-secondary classrooms and in community-based dialogues and collaborative action networks.

scholarly journals The 'go digital' Bristol experience

2021 ◽  
pp. 57-62
Author(s):  
Gloria Visintini
Keyword(s):  
Teaching And Learning ◽  
Assessment Practices ◽  
Digital Education ◽  
The Arts ◽  
Difficult Conversations ◽  
Education Agenda ◽  
University Of Bristol ◽  
The University ◽  
Work Done ◽  
Academic Year

This article describes the move to digital teaching and learning for the language team in the School of Modern Languages (SML) at the University of Bristol as a consequence of COVID-19 in March 2020. Topics discussed here include the educational guidelines the university put in place; how these were followed and implemented by colleagues in Modern Languages; the new digital teaching and assessment practices; how decisions were reached across languages; technologies that people used and the support available; challenges in delivering teaching; and, lastly, the opportunities created for staff and students. In describing our practice during the pandemic, I will also offer my personal take and observations as the person responsible for digital education in the Arts Faculty who assisted the language team in this transition. I will reflect on how this pandemic has accelerated our digital education agenda and how having a background in language teaching has helped and informed some of the – sometimes difficult – conversations I had with my language colleagues during these fast-moving and uncertain times. The article will end with a brief description of some of our remaining challenges and lessons learnt while the university has announced that next academic year will be delivered largely digitally. The work done so far will inform our planning.

scholarly journals Music as a Tool for Shaping the Growing Individual: A Review

2021 ◽  
pp. 24-32
Author(s):  
Ernest Francis Amparbin
Keyword(s):  
Music Education ◽  
General Education ◽  
Teaching And Learning ◽  
Educational Institutions ◽  
Ministry Of Education ◽  
Philosophy Of Music ◽  
Governmental Organizations ◽  
Non Governmental Organizations ◽  
Music Interpretation ◽  
The Individual

The paper is directed at contributing to the awareness of the need to emphasize the need for music education in schools. Music has largely been touted as a tool for training, however, it is practically being employed as a source of entertainment and a means of engaging learners in the classroom, thereby paying less attention to its evolving effect on the individual. Consequently, a number of literature emphasizing the importance of music as an instrument for the total development of the learner, has been thoroughly reviewed in this paper. This is to expose stakeholders of education particularly educators, policymakers, parents and heads of educational institutions to the inseparable benefits of music in the general education of the learner. It is therefore crucial for teachers and heads of schools to liaise with Parent-teacher associations, non-governmental organizations, School management boards and the Ministry of Education to help furnish schools with appropriate musical instruments and facilities such as sound laboratories, secluded rooms for audio-visuals to aid teachers and learners in the teaching and learning endeavour. Keywords: Music education, Philosophy of music, Interpretation of music education

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