Musical Pedagogy for Social Goals

2020 ◽  
pp. 27-53
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Social Aspect ◽  
Music Teaching ◽  
Contemporary Society ◽  
Music Learning ◽  
The Social ◽  
Musical Works ◽  
Orchestral Musicians ◽  
Personal Feeling

This chapter introduces a vision of music education that aims towards enjoyable music learning in a shared sense. When we discuss the social aspect of music teaching and learning, we need to pay special attention in several different ways to pass the tradition of music simply because music is the live tradition. The music transcends and transforms and melts into our contemporary society. At the same time, at a different level, professional orchestral musicians and conductors devote their lives to understanding the music more deeply, in order to recreate the composers' message by adding their own interpretation and personal feeling. There is no single stance towards music, and our children may need to experience and know various musical works from the originals and arrangements, and even replicate some of the works themselves to learn how to compose. By remaining tolerant in our views to perceive various types of music, we can expand the possibilities of the music of our time, and music of all communities.

Music Education in P-12 Schools to Learn From Each Other

2020 ◽  
pp. 176-196
Keyword(s):  
Social Interaction ◽  
Social Context ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teaching ◽  
Community Members ◽  
Music Learning ◽  
Technical Aspects ◽  
K 12

This chapter describes cases of music teaching and learning from Pre-K-12 schools. As a trait of book, instead of focusing on how-to instruction and technical aspects of music teaching, the author puts a special emphasis on music learning in a social context. Both music and music education consist of social interaction among learners, teachers, and community members. This process is especially unique to music because we always learn from each other and perceive music in a shared sense. The author wishes you also learn from these cases and implement the idea of your practice for students to learn from each other.

Implications of Neurosciences and Brain Research for Music Teaching and Learning

2012 ◽  
pp. 204-224
Author(s):  
Donald A. Hodges ◽  
Wilfried Gruhn
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Brain Research ◽  
Music Teaching ◽  
Music Learning ◽  
General Overview ◽  
New Findings

Recent neuroscientific discoveries have created unprecedented opportunities in many fields, not the least in education, generally, and in music education, specifically. This article discusses ways these new findings influence our understanding of music teaching and learning, beginning with a general overview of neuroscience and its contributions to educational concerns. It continues with specific findings related to music learning, and concludes with implications for the field of music education.

The Convergence of Networked Technologies in Music Teaching and Learning

2017 ◽  
pp. 474-486
Author(s):  
Janice L. Waldron
Keyword(s):  
New Media ◽  
Music Education ◽  
Teaching And Learning ◽  
Ways Of Knowing ◽  
Music Teaching ◽  
Music Learning ◽  
Distant Future ◽  
Learning And Teaching ◽  
Recent Debate ◽  
The Subject

The convergence of the Internet and mobile phones with social networks—“networked technologies”—has been the subject of much recent debate. This chapter considers what new media researchers have already discerned regarding networked technologies; most important, that more significant than any given technology is how we use it, the effect(s) its use has on us, and the relationships we form through it and with it. Music education researchers and practitioners have tended to focus on technology as a knowable “thing”—that is, hardware and software with their “practical classroom applications”—and not the greater epistemological issues underlying its use. How will we engage musically in a meaningful way with a generation of students—“digital natives”—who have grown up technologically “tethered?” How will these different “ways of knowing” change music learning and teaching now and in the not-so-distant future?

New Materiality and Young People’s Connectedness Across Online and Offline Life Spaces

2020 ◽  
pp. 487-502
Author(s):  
Susan O’Neill
Keyword(s):  
Social Media ◽  
Music Education ◽  
Educational Outcome ◽  
Music Learning ◽  
Time Space ◽  
The Social ◽  
New Learning ◽  
Musical Resources ◽  
Meaningful Connections ◽  
Digital Cultures

This chapter examines new materiality perspectives to explore the influence of social media on young people’s music learning lives—their sense of identity, community and connection as they engage in and through music across online and offline life spaces. The aim is to provide an interface between activity, materiality, networks, human agency, and the construction of identities within the social media contexts that render young people’s music learning experiences meaningful. The chapter also emphasizes what nomadic pedagogy looks like at a time of transcultural cosmopolitanism and the positioning of youth-as-musical-resources who “make up” new musical opportunities collaboratively with people/materials/time/space. This involves moving beyond the notion of music learning as an educational outcome to embrace, instead, a nomadic pedagogical framework that values and supports the process of young people deciphering and making meaningful connections with the world around them. It is hoped that implications stemming from this discussion will provide insights for researchers, educators, and policymakers with interests in innovative pedagogical approaches and the creation of new learning and digital cultures in music education.

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.

‘Built-in variety’: David and Mary Medd and the Child-Centred Primary School, 1944-80

2012 ◽  
Vol 55 ◽  
pp. 321-367 ◽  
Author(s):  
Geraint Franklin
Keyword(s):  
Teaching And Learning ◽  
School Design ◽  
Social Aspect ◽  
Ministry Of Education ◽  
Creative Collaboration ◽  
The Social ◽  
Post War ◽  
Architectural Modernism ◽  
The Welfare State

Children are the basis of school design.(Ministry of Education Building Bulletin 1,1949, David and Mary Medd)Connections between ideas of ‘child-centred’ primary education and the design of schools were arguably closer in post-war Britain than any period before or since. These relationships provide a commentary on the role of public architecture within a British post-war social democracy that combined the social objectives of architectural Modernism with an awareness of, and continuity with, preceding reformist movements for the advancement of public health and education. The ‘social’ aspect of the post-war school-building programme stemmed not so much from the application of labour or technology to processes of building, nor even the equitable distribution of common resources, but rather from the ability of the designer to shape and articulate processes of teaching and learning within the locus of the welfare state. Social and pedagogical ends were often pursued to the almost total exclusion of architectural self-expression. If this ‘humane functionalism’ was rooted in an understanding of the activities and experiences of learning, it was dependent on a multi-disciplinary, investigative and creative collaboration between architect and educational ‘client’.

Informal music learning, improvisation and teacher education

2010 ◽  
Vol 27 (1) ◽  
pp. 71-87 ◽  
Author(s):  
Ruth Wright ◽  
Panagiotis Kanellopoulos
Keyword(s):  
Music Education ◽  
Informal Learning ◽  
Student Teachers ◽  
Music Learning ◽  
Teachers Perceptions ◽  
Free Improvisation ◽  
Informal Music Learning ◽  
The Social ◽  
Narrative Methodology ◽  
Communicative Context

This paper1 explores firstly the sense in which improvisation might be conceived of as an informal music education process and, secondly, the effects of a course in free improvisation on student teachers' perceptions in relation to themselves as musicians, music as a school subject and children as musicians. The results of a study conducted in two Greek universities are presented. Using a narrative methodology, examples of data from the reflective diaries or learning journals which 91 trainee teachers kept as part of their participation in an improvisation module are presented and discussed. The argument is made that improvisation, as a particular type of informal music learning process, has an important role to play in fostering the qualities required of teachers to work with informal pedagogies in music education. Furthermore, we would suggest that such musical experiences might gradually lead to the development of a critical perspective on both music education theories and practices. Improvisation might emerge as a moment and a practice of rupture with linearity of progress, working against reification of knowledge and glorification of received information. The findings suggest that improvisation might offer a route for creating an intimate, powerful, evolving dialogue between students' identities as learners, their attitudes towards children and their creative potential, and the interrelationships of the notions of expressive technique and culture, thus becoming ‘an act of transcendence’ (Allsup, 1997, p. 81). We propose that the issue of connecting informal learning and improvisation might be resolved by regarding improvisation as an exemplary case of creating a communicative context where most representations/conceptualisations/struggles to solve problems are left implicit. Such experiences for pupils and teachers alike might further extend the social and personal effectiveness of informal learning as music pedagogy.

scholarly journals THE SOCIAL ASPECT OF THE USAGE OF PUPILS' SELF-EXPRESSION SKILLS ACQUIRED WITHIN MUSIC EDUCATION

2020 ◽  
Vol 11 (2) ◽  
pp. 101-113
Author(s):  
Iveta Kepule ◽  
AINA STRODE
Keyword(s):  
Music Education ◽  
Data Processing ◽  
Informal Learning ◽  
Social Performance ◽  
Rank Correlation ◽  
Social Contexts ◽  
Theoretical Research ◽  
Social Aspect ◽  
The Social ◽  
Formal And Informal Learning

Aim. The aim of the research is to study the usage of primary school pupils’ self-expression skills acquired within music education in various social contexts. Methods. Theoretical research method – the analysis of literature, empirical data acquisition method – questionnaire. Statistical data processing has been carried out in IBM SPSS 23 programme, using the following data processing methods: frequency analysis; Mann-Whitney U test for the comparison of two independent groups; Kruskal-Wallis test for the comparison of three or more independent groups; Kendall rank correlation coefficient for the assessment of associations between two variables. Results. In the development of self-expression skills, an important aspect is the social performance criterion that is based on pupils’ need for self-expression in a social environment of practising music. Age and gender-based correlations in the assessment of a self-expression skill criterion "Social performance" indicate that with age pupils become more independent and engaged in music-related social activities. Girls are socially more active and emotional and engage in artistic activities more often. The research confirms the role of teachers in the development of pupils’ self-expression skills, promoting integration of formal and informal learning process and transformation in formal and informal learning environment. Conclusions. The dynamics and interactions of self-expression skills’ development factors (social, emotional and intellectual) defines pupils’ individual self-expression skills and development tendencies. Self-expression is important for pupils in social aspect, as it is related to socialisation in microenvironment (family) and macroenvironment (friends) and affects cooperation and communication.

scholarly journals Serious games in the context of people with cognitive disabilities: a case study (Preprint)

2017 ◽  
Author(s):  
William Manoel Menezes ◽  
Jorge Correia Neto ◽  
Moacyr Cunha Filho ◽  
Guilherme Villar
Keyword(s):  
Learning Process ◽  
Serious Games ◽  
Teaching And Learning ◽  
Cognitive Disabilities ◽  
Relevant Information ◽  
Educational Game ◽  
Social Aspect ◽  
The Social ◽  
Teaching Learning

BACKGROUND While traditional video games provide amusement, with the advent of serious games (SG), it has raised the potential and the results that can be achieved from the games, these artifacts, whose main differentials are the fact that they are naturally playful and motivators. While in the 1990s, the games aimed only at entertainment, nowadays teaching and learning combine with entertainment and become the main goals to be achieved through the SG. A strong example of SG application is for motivation and help in the formal or special teaching-learning process acting as a pedagogical tool. In this sense, the following question arises: What are the characteristics and interface resources considered adequate to compose the interface of a serious game that have educational objectives directed to people with Williams-Beuren Syndrome? Here's the motivation guide for this article. OBJECTIVE Elementary mathematics education for people with Williams Syndrome METHODS An exploratory and descriptive study,using qualitative and quantitative approaches. RESULTS The results portfolio obtained from the WBS user experience assessment presents the confidence rectangle within the "desirable" quadrant. This is what a project program is, since scientifically this is one of the biggest difficulties reported by unlock authors, it is not possible to teach content and maintain playfulness. CONCLUSIONS The prototype of the game here called SoundMath, was intended to meet a demand for learning elementary arithmetic for people with WBS, from a playful and immersive process. Through the results of the evaluations carried out, this work provides relevant information that can encourage the development of this game, as well as help companies in the educational segment, and contribute to the improvement of the quality of the applications targeted to this type of public. Other important point to be highlighted from this work is with regard to the social aspect that this work encompasses, because it is the development of a solution applied to a daily problem of this public. But we did not just develop; we decided to go beyond and document the entire process of engineering and gamification, based on data obtained throughout this study of design and design of a serious educational game prototype that contained in its layout the ideal characteristics to mediate a teaching-learning process from its use, as well as document and outline a methodological process that may serve as the basis for further studies. Thus, we believe that the results and reflections raised from this study may, in the future, broaden the knowledge about the design of serious games for people with cognitive disabilities. The prototype of the game here called SoundMath, was intended to meet a demand for learning elementary arithmetic for people with WBS, from a playful and immersive process. Through the results of the evaluations carried out, this work provides relevant information that can encourage the development of this game, as well as help companies in the educational segment, and contribute to the improvement of the quality of the applications targeted to this type of public. Other important point to be highlighted from this work is with regard to the social aspect that this work encompasses, because it is the development of a solution applied to a daily problem of this public.

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