Music for Everyone to Participate

2020 ◽  
pp. 54-79
Keyword(s):  
Teaching And Learning ◽  
Music Teachers ◽  
Theoretical Framework ◽  
Peer To Peer ◽  
Music Teaching ◽  
World Culture ◽  
Multiple Perspectives ◽  
Art Form ◽  
Entry Points ◽  
Musical Activities

This chapter focuses on multiple perspectives to view children's creativity and to offer a practical guide to implement Gardner's multiple intelligence to music teaching and learning. This chapter offers a theoretical framework for music teachers and learners of music to understand the process of offering musical activities in which everyone may participate. Peer-to-peer learning and sharing musical enjoyment are the heart of music for everyone to participate, to build a musical community. The music itself entails getting along with others and especially dealing with differences. By nature, the music contains the elements of listening to and engaging with different voices, timbre, texture, and world culture. Music invites everyone to participate via various entry points by playing, singing, dancing, and in any other art form. This chapter proposes musical activities and creative ideas that best represent the shared sense of learning from each other and to build a musical community for everyone to participate.

Epilogue

2021 ◽  
pp. 158-162
Keyword(s):  
Teaching And Learning ◽  
Music Teachers ◽  
Emotional Health ◽  
Music Teaching ◽  
Social Emotional ◽  
Music Making ◽  
The Arts ◽  
Global Pandemic ◽  
The One ◽  
Music And The Arts

The epilogue addresses the observations of the editors and authors of this volume regarding their observations of the pedagogical shifts needed to address music teaching and learning during a global pandemic such as the one unleashed by Covid-19. When a great deal of musicking, teaching, and learning needed to happen remotely, having access to technology and understanding how to employ it for supporting creative and collaborative music making and remote instruction was of paramount importance for many music teachers and musicians. Yet for too many students and school districts around the globe, the digital divide heightened the lack of educational equity in countless communities. While many districts merely focused on content delivery though whatever digital or non-digital means were available, the authors noted the crucial role that a focus on social-emotional learning plays in the lives of our students, with a particular emphasis on how music and the arts can support our emotional health and sense of connection.

‘Turn up the volume and listen to my voice’: Students’ perceptions of Music in school

2020 ◽  
pp. 1321103X2092970
Author(s):  
Natassa Economidou Stavrou ◽  
Ioulia Papageorgi
Keyword(s):  
Secondary School ◽  
Secondary Students ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Self Report ◽  
Music Teaching ◽  
School Students ◽  
Negative Attitudes ◽  
Policy Makers ◽  
Voice Students

Music teachers are often faced with students’ negative attitudes towards Music as a school subject, and dilemmas of what would be most important to teach and at the same time interesting, useful and relevant to students. Looking at music teaching and learning through the eyes of students can play a key role in re-shaping the condition of learning and promoting a positive and motivating musical learning environment. The aim of this study was to ‘turn up the volume’ of secondary students’ views of their music lessons in secondary school, including what they value and how they would have liked lessons to be if they had the opportunity to change things. A self-report questionnaire was devised for the purposes of the study and was administered to 749 secondary school students in schools in Cyprus. Our findings reveal that participants enjoyed Μusic, ranking it as their second favourite out of 15 secondary school subjects. However, there was a reported discrepancy between the activities students are engaged with and what they would like to be engaged with. Students called for more focus on singing, to play a greater variety of instruments besides the recorder (i.e., drums, guitar and piano) and to play the music they like. Building on students’ perspectives, recommendations are made for music teachers and policy makers.

Online Collaboration in Supporting Music Teaching and Learning

2020 ◽  
pp. 152-175
Author(s):  
Radio Cremata ◽  
Bryan Powell
Keyword(s):  
Social Networks ◽  
Social Media ◽  
Content Analysis ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Online Collaboration ◽  
Music Teaching ◽  
Music Learning ◽  
Pedagogical Approaches

Drawing from Jordan’s (2008) notion of deterritorialization, this chapter explores ways in which music teachers collaborate and exchange ideas in digitally mediated spaces. One such way is through Facebook. With over 1.1 billion unique monthly visitors, Facebook has changed the spaces for sharing music teachers’ pedagogical approaches and techniques, making it a potentially powerful tool for music teaching and learning. This chapter will examine the use of two private Facebook groups: Music Teachers (32,000+ members) and Little Kids Rock Teachers (1600+ members). Utilizing guidelines of content analysis outlined by Bauer and Moehle (2008), we examined over 800 written posts from these Facebook groups to better understand the ways teachers use Facebook to build community, share resources, and collaborate. We surveyed participants who are the most active posters on these two social media sites to develop an understanding of how these tools function as a vehicle for music teaching and learning. Building off Salavuo’s (2008) notion of social networks as a medium for sharing and providing information for music learning, this chapter examines the content of teachers’ engagement. An examination of emergent themes found in the content of Facebook posts reveals insights into the sorts of collaborations music teachers have in social media.

Towards a synthesis of formal, non-formal and informal pedagogies in popular music learning

2018 ◽  
Vol 42 (1) ◽  
pp. 56-76
Author(s):  
Hoon Hong Ng
Keyword(s):  
Popular Music ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Thinking Skills ◽  
Music Teaching ◽  
Learning Approaches ◽  
Music Learning ◽  
Self Identity ◽  
Holistic Curriculum ◽  
Independent Thinking

Informal pedagogy is closely associated with popular music practices, its methods known to engage students in authentic music learning that develops critical and independent thinking skills, social skills, creativity and self-identity, among others. However, formal and non-formal pedagogies also have relevant roles to play in popular music learning in the classroom, though their roles and interactions with informal pedagogy may require exploration. A recent survey conducted in Singapore schools suggests that a significant number of music teachers have never engaged their students in popular music practices, and they have no confidence in adopting appropriate pedagogies to effectively enable popular music learning. This article seeks to address the issue by reviewing relevant pedagogies and how they are employed in popular music programmes in two Singapore secondary schools. I will first examine the current discussion on formal, non-formal and informal pedagogies and their implications for music teaching and learning. Secondly, I will relate the discussion to two empirical case studies which adopt these learning approaches in popular music classes to examine their applications and how they interact in actual classroom situations. Based on this, I will suggest that a synthesis of these pedagogies in constant, complementary dialogue within and beyond the classroom paves the way towards a complete and holistic curriculum and learner experience.

Country Music Education for Diverse and Inclusive Music Classrooms

2020 ◽  
Vol 107 (2) ◽  
pp. 28-34
Author(s):  
Vincent C. Bates ◽  
Jason B. Gossett ◽  
Travis Stimeling
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Music Teachers ◽  
American Art ◽  
Country Music ◽  
American Music ◽  
General Music ◽  
Art Form ◽  
Musical Practices ◽  
Music Classrooms

Despite its rich heritage and enduring popularity, country music has historically been marginalized in American music education, usually in favor of more “high-brow” musical practices. This article explores potential explanations for this imbalance within the context of a general overview of cultural and social considerations and implications related to this important American art form. Finally, we outline practical steps that music teachers can take toward more inclusive and diverse approaches to music teaching and learning to include country music critically and as appropriate to meet students’ needs and interests. These steps include applications within current approaches to band, orchestra, choir, general music, songwriting, and guitar.

Singing and vocal instruction in primary schools: an analysis from six case studies in Spain

2016 ◽  
Vol 33 (1) ◽  
pp. 101-115 ◽  
Author(s):  
Albina Cuadrado ◽  
Gabriel Rusinek
Keyword(s):  
Case Studies ◽  
Primary Schools ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Theoretical Framework ◽  
Vocal Training ◽  
Vocal Instruction

This is an analysis of how specialist music teachers sing and teach how to sing, based on data collected from six case studies carried out in Spanish primary schools. The study aimed at understanding classroom singing practices, and in particular the provision or absence of vocal instruction in relation with teachers’ singing models. The findings support claims for thorough vocal training in the preparation of music teachers to enable them to face the challenges of the profession. Also suggested is the need to provide them with a coherent theoretical framework about the teaching and learning of singing.

Digital Natives Unplugged: Challenging Assumptions of Preservice Music Educators’ Technological Skills

2020 ◽  
pp. 105708372095146
Author(s):  
Julie K. Bannerman ◽  
Emmett J. O’Leary
Keyword(s):  
Music Education ◽  
Undergraduate Students ◽  
Teaching And Learning ◽  
Online Survey ◽  
Music Teachers ◽  
Daily Basis ◽  
Music Technology ◽  
Net Generation ◽  
Music Teaching ◽  
K 12

Generational labels such as digital native and the “net” generation may obscure the gap that exists between preservice music teachers’ personal uses of technology and how they will use technology professionally. The study’s purpose was to examine preservice music teachers’ personal use of technology, views toward technology in music teaching and learning, and experience with music technology. We distributed an online survey to collegiate members of the National Association for Music Education, with 360 undergraduate students providing responses. Participants reported using technology for a variety of purposes on a daily basis, but mostly in passive ways. Preservice music teachers were most comfortable using music technology common to undergraduate music curricula and less familiar with technology used in K–12 music classrooms. Skilled use of music technology in music teaching and learning situations requires meaningful and intentional facilitation in music teacher education curricula.

The Role and Influence of Performance in School Music Programs: A Grounded Theory

2020 ◽  
pp. 002242942095311
Author(s):  
Marshall Haning
Keyword(s):  
Grounded Theory ◽  
Music Education ◽  
Learning Process ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Music Programs ◽  
Future Research ◽  
Music Teaching ◽  
School Music ◽  
K 12

The purpose of this grounded theory research was to investigate music teachers’ perceptions of the role and influence of performances in K–12 music programs and the processes by which these performances impact music teaching and learning. Three specific research questions informed this study: (1) What role do performances play in school music programs? (2) How are music teachers’ pedagogical decisions informed or influenced by their efforts to mount performances? and (3) What other aspects of the music teaching-learning process are influenced by efforts to mount performances, and what form does this influence take? Five themes emerged to describe the ways in which efforts to prepare and mount performances interact with the music teaching and learning process: community expectations, student motivation, time management, teaching strategies, and teacher views of performance. These themes were used to generate an emergent theory including two interlocking process cycles that illustrate the ways in which performances are situated within school music programs. Implications for the field of music education and for future research are discussed.

Intergenerational music teaching and learning among preservice music teachers and senior adult musicians

2021 ◽  
pp. 1321103X2097754
Author(s):  
Samuel Tsugawa
Keyword(s):  
Teacher Education ◽  
Music Education ◽  
Teaching And Learning ◽  
Music Teachers ◽  
Music Teacher ◽  
Music Teaching ◽  
Music Teacher Education ◽  
New Horizons ◽  
Senior Adult ◽  
Senior Adult Musicians

The purpose of this study was to examine the intergenerational interactions between preservice music teachers and senior adult musicians engaged in music teaching and learning in a New Horizons ensemble within one university’s music teacher preparation program. This intrinsic qualitative case study included written reflections and observational data of 16 current undergraduate music education students and verbatim interview transcripts of 5 current and former students serving as teaching assistants who taught and conducted their university’s New Horizons ensemble. Findings distilled from the data included (a) how younger-aged preservice music teachers responded to generational differences while learning how to interact with senior adult musicians, (b) the pedagogical content knowledge (PCK) learned and developed by participants as a result of teaching in a New Horizons ensemble, and (c) the connections made by participants teaching senior adults to their future careers as professional music educators. Future discussion and directions from this study highlight emerging connections of research between adult and community music settings and music teacher education. Implications include (a) how to create best practices so that the missions and objectives of both music teacher education programs and cooperating community adult ensembles support and enhance each other, (b) fostering outcomes that prepare music education majors for experiences in adult music education, and (c) reimagining New Horizons and music teacher education partnerships that result in more national, racial, cultural, and musical diversity and inclusion.

Sign in / Sign up

Export Citation Format

Share Document