The Cloud of Musical Knowledge

2018 ◽  
pp. 165-182
Author(s):  
Paul Smith
Keyword(s):  
Critical Pedagogy ◽  
Music Theory ◽  
Teaching Online ◽  
Online Platform ◽  
Online Music ◽  
Musical Knowledge ◽  
Teaching Music ◽  
The Way

This chapter positions the teaching of music theory in the online sphere as a powerful and unlikely site for critical pedagogy. Teaching music theory in the online platform should not ask questions of how best to digitally recast music theory classes, but to consider how teaching online can change the way students approach, explore, and respond to theory content. This happens in what the author labels “the cloud of musical knowledge,” which is mutable, accessible, and democratic. Music theory suffers from being largely considered separate from political and cultural discussion, and as a result is a hidden bullet of neoliberalism and conservativism that reminds students from minorities that their opinions do not matter and similarly it does not remind other students to consider their own privileged perspective. By exploring the intersections of critical pedagogy and music theory and detailing the structure of online music theory lessons, the author argues for an open and inviting space in which students do not think of music theory as being other than themselves and their experience.

Philosophy and Mindset for Online Education

2019 ◽  
pp. 27-50
Author(s):  
Bethanie L. Hansen
Keyword(s):  
Online Education ◽  
Music Education ◽  
Online Teaching ◽  
Music Appreciation ◽  
Teaching Online ◽  
Teaching Philosophies ◽  
Learner Centered ◽  
Online Music ◽  
Teaching Music ◽  
Personal Philosophy

This chapter introduces teaching philosophies that apply to music appreciation and online education, and ways in which music appreciation instructors might develop or refine a philosophy for teaching the course online that can withstand various inherent challenges. Developing a philosophy for teaching music appreciation online can support instructors by giving them purpose and clarity about instructional choices and daily online teaching. The philosophy traditionally associated with music appreciation classes, an aesthetic philosophy, is introduced, alongside the learner-centered, participatory praxial music education philosophy. Readers are provided with example philosophy statements that have guided some instructors’ approaches to teaching music appreciation and questions that can guide one’s development of a personal philosophy for teaching online music appreciation. Additional considerations for attitudes and assumptions are provided that promote success when teaching online. The idea that one’s philosophy and mindset drive the choice of methods and teaching strategies is core to this chapter. This chapter ends with a brief summary of important points and an infographic designed to visually highlight philosophical questions, mindset tips, and ways in which online music appreciation instructors can find satisfaction and identity in their roles.

Teaching Music Theory

2020 ◽  
Author(s):  
Jennifer Snodgrass
Keyword(s):  
Music Theory ◽  
Classroom Environment ◽  
Teaching And Learning ◽  
Undergraduate Research ◽  
Real Life ◽  
Aural Skills ◽  
New Faculty ◽  
Music Therapist ◽  
Starting Point ◽  
Teaching Music

Many innovative approaches to teaching are being used around the country, and there is an exciting energy about the scholarship of teaching and learning. But what is happening in the most effective music theory and aural skills classrooms? Based on 3 years of field study spanning 17 states, coupled with reflections from the author’s own teaching strategies, Teaching Music Theory: New Voices and Approaches highlights teaching approaches with substantial real-life examples from instructors across the country. The main premise of the text focuses on the question of “why.” Why do we assess in a particular way? Why are our curricula designed in a certain manner? Why should students master aural skills for their career as a performer, music educator, or music therapist? It is through the experiences shared in the text that many of these questions of “why” are answered. Along with answering some of the important questions of “why,” the book emphasizes topics such as classroom environment, undergraduate research and mentoring, assessment, and approaches to curriculum development. Teaching Music Theory: New Voices and Approaches is written in a conversational tone to provide a starting point of dialogue for students, new faculty members, and seasoned educators on any level. The pedagogical trends presented in this book provide a greater appreciation of outstanding teaching and thus an understanding of successful approaches in the classroom.

scholarly journals Our Varying Histories and Future Potential: Models and Maps in Science, the Humanities, and in Music Theory

2011 ◽  
Vol 29 (1) ◽  
pp. 1-21 ◽  
Author(s):  
Eugene Narmour
Keyword(s):  
Music Theory ◽  
Music Cognition ◽  
Human Mind ◽  
Top Down ◽  
Bottom Up ◽  
Social Transformations ◽  
Parent Organization ◽  
Musical Knowledge ◽  
Future Potential ◽  
Intellectual Potential

part 1 briefly recounts the influence of social unrest and the explosion of knowledge in both psychology and the humanities circa 1970-1990. As the sciences rely on explicit top-down theories connected to bottom-up maps and models, and whereas the humanities build on bottom-up differences within malleable top-down “theories” (approaches, themes, theses, programs, methods, etc.), the changes in the sciences during this period contrasted sharply with the changes in the humanities. Part 2 discusses in detail how these two social transformations affected the histories of music theory and cognitive music theory. The former fractiously withdrew from its parent organization (AMS), whereas the latter was welcomed into SMPC. Inasmuch as both music theory and cognitive music theory rely on maps and models, Part 3 examines the metatheoretical importance of these terms for music cognition, music theory, and cognitive music theory. Part 4 speculates about the future—how music cognition, cognitive music theory, and music theory contribute to the structure of musical knowledge. The intellectual potential of this unique triadic collaboration is discussed: psychology provides a commanding empirical framework of the human mind, while music theory and cognitive music theory logically model moment-to-moment temporal emotions and the auditory intellections at the core of musical art.

Sharing Our Narratives on Developing Our Practice in Online Music Pedagogy

2018 ◽  
pp. 244-262
Author(s):  
Carol Johnson ◽  
Virginia Christy Lamothe ◽  
Flávia Motoyama Narita ◽  
Imogen N. Clark ◽  
Joseph E. Mulholland ◽  
...  
Keyword(s):  
Institutional Support ◽  
Appropriate Technology ◽  
Future Research ◽  
Music Pedagogy ◽  
Entry Points ◽  
Online Music ◽  
Reflection In Action ◽  
Contexts Of Teaching ◽  
Reflection On Action ◽  
Teaching Music

This chapter begins with an introduction focused on the importance of instructor's reflection on his/her teaching practices and pedagogy through the theoretical lens of Schön's work on reflection-in-action and reflection-on-action. Five case narratives are presented that highlight instructors at different entry points into their experiences of teaching music online. The narratives outline significant learning processes that took place as instructors continued on their journey in teaching music online. The implications raised from the narratives identify the need for effective online learning systems for music, institutional support for instructors teaching music online, and a need for online music instructors to have resilience and adaptability when teaching music online. Additionally, the various contexts of teaching music online signals a need for future research in the areas of: active learning for online music courses, appropriate technology tools available with a LMS, and collaborative online music tasks for effective student learning outcomes.

Teaching Music Online in Higher Education: 2020 conference report

2020 ◽  
Vol 13 (1) ◽  
pp. 95-108
Author(s):  
Brad Merrick ◽  
Carol Johnson
Keyword(s):  
Higher Education ◽  
Learning Strategies ◽  
Conference Report ◽  
Live Streaming ◽  
Communication Structure ◽  
Travel Restrictions ◽  
Online Music ◽  
Face To Face Learning ◽  
Teaching Music ◽  
Online Format

Faced with the state of emergency restrictions due to the global COVID-19 pandemic, the 2020 Teaching Music Online in Higher Education conference was adaptively modified to exist as a synchronous, online event. Embracing the opportunity to model online music pedagogy in its online format, organizers transformed the conference to utilize live-streaming, video recordings and other online active learning strategies. A total of 143 tertiary music instructors and graduate students from 66 institutions located around the world took part in the conference at a time of unprecedented restriction on face-to-face learning and travel restrictions. This report is both important and timely, as it provides insights into components that were found to be both necessary and fundamental to the success of the event for music researchers, teachers and other delegates in attendance. Key areas related to organization, communication, structure, protocols and activities were explored through learning analytics and a conference evaluation. Strategies and recommendations are included to assist others who wish to create and present an online conference that exemplifies online pedagogy principles.

Teaching Music Theory: The European Conservatory

1974 ◽  
Vol 18 (1) ◽  
pp. 111
Author(s):  
Per-Gunnar Alldahl ◽  
Bo Alphonce
Keyword(s):  
Music Theory ◽  
Teaching Music
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