A Path From Self to Social

2020 ◽  
pp. 81-101
Keyword(s):  
New York ◽  
Music Education ◽  
Teaching Experience ◽  
Music Learning ◽  
Teaching Experiences ◽  
Cultural Contexts ◽  
Learning And Teaching ◽  
Narrative Account ◽  
The U.S ◽  
Critical Perspectives

This chapter presents a narrative account of the author's music learning and teaching experience both in Japan and the U.S. The author reflects upon the processes of developing critical perspectives in musical pedagogy and developing the idea of transforming music education from self to social. The author analyzes how he encountered and learned music, and how those experiences improved and changed his playing with interaction in two different cultural contexts: Japan and the U.S. The author begins with the story of his early musical experiences in Japan. He then goes on to discuss his violin learning experiences at conservatories in Tokyo and New York. The author concludes with his performing and teaching experiences in Miami and New York as a professional violinist.

scholarly journals Culturally responsive and meaningful music education: Multimodality, meaning-making, and communication in diverse learning contexts

2021 ◽  
pp. 1321103X2110093
Author(s):  
Georgina Barton ◽  
Stewart Riddle
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Meaning Making ◽  
Music Learning ◽  
Cultural Contexts ◽  
Learning And Teaching ◽  
Learning Contexts ◽  
Diverse Learning ◽  
Musical Modes ◽  
Online Music

Music is learned and taught in multiple ways dependent on the socio-cultural contexts in which learning occurs. The processes employed by music teachers have been extensively explored by music educators and ethnomusicologists in a range of contexts, although there has been limited research into which modes are most predominantly used in different socio-cultural contexts. Further, it is unknown how students make meaning in these different contexts. This article presents three distinct music learning and teaching contexts—Carnatic music, instrumental music in Australian schools, and online music learning. Using a socio-cultural semiotic tool to identify musical modes, this article examines the ensembles of modes used during music learning events and considers how this knowledge may improve the learning and teaching of music for all students, particularly those whose culture and language differs from the majority of the population. It aims to identify how students make meaning in learning contexts through distinct modes of communication. Findings demonstrated that different “ensembles of modes” were used in diverse learning contexts and that these approaches were influenced by socio-cultural contexts. It is important for teachers to understand that varied combinations of modes of communication are possible because students may find learning more meaningful when related to their own personal frames of reference. Without this knowledge, music learning and teaching practices may continue to privilege some modes over others.

Commentary: Music Learning and Teaching through Technology

2012 ◽  
pp. 428-432 ◽  
Author(s):  
Evangelos Himonides
Keyword(s):  
Music Education ◽  
Music Learning ◽  
Learning And Teaching ◽  
Modus Vivendi

This article presents an overview of Section 5 of the Oxford Handbook of Music Education, Volume 2. The section commences a critical but also constructive discourse about the role of “any” technology within the broader fields of music and education. The contributors have chosen different perspectives and foci in instigating this discourse, all of them diverse but, arguably, all celebrating how essential technology is (or should be) in our music infused modus vivendi.

The Role of “Place” and Context

2017 ◽  
pp. 64-70
Author(s):  
Janice L. Waldron
Keyword(s):  
Music Education ◽  
Technology Use ◽  
Local Context ◽  
Music Learning ◽  
Cultural Assumptions ◽  
Learning And Teaching ◽  
Musical Genre ◽  
Use Of Technology ◽  
Local Contexts

In our eagerness to embrace the virtues of the “new,” we sometimes fail to critically examine the a prioris of the thing we are extolling—which, in the case of this book, is the use of technology in music learning and teaching. Advocates of technology use in the field usually begin by raising relevant issues based on personal but localized narratives. Although this is a good place to start—people rarely argue for change not grounded in their own experiences—building arguments for technology use requires a nuanced interpretation of what technology in music learning and teaching means to and for practitioners and researchers in specific local contexts. How does technology’s evolution from “thing” to “thing and place” change our perceptions of its use(s) in music learning and teaching? How do the roles of local context, cultural assumptions, and musical genre fit into a discussion of what constitutes technology and technology in music education?

YouTube, fanvids, forums, vlogs and blogs: Informal music learning in a convergent on- and offline music community

2012 ◽  
Vol 31 (1) ◽  
pp. 91-105 ◽  
Author(s):  
Janice Waldron
Keyword(s):  
Music Education ◽  
Online Community ◽  
Participant Observation ◽  
Computer Mediated Communication ◽  
Music Learning ◽  
Mediated Communication ◽  
Learning And Teaching ◽  
Informal Music Learning ◽  
Music Community ◽  
Online Music

In this paper I examine the music learning and teaching in the Banjo Hangout online music community ( www.banjohangout.org/ ) using cyber ethnographic methods of interview and participant observation conducted entirely through computer-mediated communication, which includes Skype and written narrative texts – forum posts, email, chat room conversations – along with hyperlinks to YouTube and other Internet music-learning resources. The Hangout is an example of an online community based on the pre-existing offline interests of its founding members and it is thus connected to and overlaps with the offline Old Time and Bluegrass music banjo communities. Although I focus on the Banjo Hangout online community, this study also provides peripheral glimpses – embedded in the participants’ narratives – into the offline Old Time and Bluegrass banjo communities of practice. As a cyber ethnographic field study, this research also highlights the epistemological differences between on- and offline community as reflected in music education online narrative qualitative research and research practice.

Introduction

2020 ◽  
pp. xxvi-17
Author(s):  
Janice L. Waldron ◽  
Stephanie Horsley ◽  
Kari K. Veblen
Keyword(s):  
Social Media ◽  
Music Education ◽  
Rapid Development ◽  
Music Learning ◽  
Practical Applications ◽  
Learning And Teaching ◽  
Theory Research ◽  
Networked Society ◽  
Organizing Principles ◽  
Do So

The rapid development of social media reflects both technologies and a field of scholarship that are constantly in flux. However, as boyd (2014) explains, although “the spaces may change, the organizing principles aren’t different” (p. 4). The chapters in this book explore theory, research, and practice in social media, along with the resulting implications for both how people think about social media and the practical applications for music learning and teaching. This includes informing and lowering boundaries between formal and informal music education practices in a digitally networked society. Social media and social networking in the 21st century have quickly changed the landscape of music learning and will continue to do so.

Social and Informational Affordances of Social Media in Music Learning and Teaching

2020 ◽  
pp. 425-442
Author(s):  
Anabel Quan-Haase
Keyword(s):  
Social Media ◽  
Music Education ◽  
Future Research ◽  
Positive Outcomes ◽  
Music Learning ◽  
Learning And Teaching ◽  
The Social ◽  
21St Century Learners ◽  
The Many

This chapter examines the role of social media in music learning and teaching with the aim of discerning the affordances created by specific features and functions. While much scholarship has outlined the many merits and possibilities of including social media in formal and informal music education, not much is known about what aspects of social media lead to positive outcomes. Music education is defined broadly here and includes both learning about music and learning with the purpose of achieving classroom goals. The majority of research either tends to focus on single platforms or discusses social media more generally. The present chapter starts with a close look at the affordance concept, tracing its historical roots and problematizing its definition. The chapter then discusses how various affordances can contribute to different aspects of music education. Much of the literature on social media has examined the social affordances of social media and neglected to consider the informational affordances. The chapter argues that both social and informational affordances are important in investigations of social media for music education. Finally, conclusions are discussed for 21st-century learners, and the advantages of employing the affordances framework in studies of music education and social media are outlined. Future research based on the affordances framework that could examine what features and functions of social media are beneficial for music learning and teaching are examined, including discussion of a series of constraints placed on learners and teachers by the technology.

The Oxford Handbook of Technology and Music Education

2017 ◽  
Keyword(s):  
Professional Development ◽  
Economic Policy ◽  
Music Education ◽  
Theoretical Perspective ◽  
Digital Technologies ◽  
Musical Experience ◽  
Cultural Issues ◽  
Music Learning ◽  
Learning And Teaching ◽  
Musical Practices

Few aspects of daily existence are untouched by technology. The learning and teaching of music is no exception, and arguably has been impacted as much or more than other areas of life. Digital technologies have come to affect music learning and teaching in profound ways, influencing everything from how we create, listen, share, consume, interact, and conceptualize musical practices and the musical experience. For a discipline as entrenched in tradition as music education, this has brought forth myriad views on what does and should constitute music learning and teaching. In order to tease out and elucidate some of the salient problems, interests, and issues, this volume sought to critically situate technology in relation to music education from a variety of perspectives: historical, philosophical, socio-cultural, pedagogical, musical, economic, policy, and so on, organized around four broad themes: (1) Emergence and Evolution, (2) Locations and Contexts: Social and Cultural Issues, (3) Experiencing, Expressing, Learning and Teaching, and (4) Competence, Credentialing, and Professional Development. The editors solicited essays from 22 “Core Perspective” and 19 “Further Perspective” authors based on their potential to contribute a diversity of perspectives on technology and music education in terms of gender, theoretical perspective, geographical distribution, and relationship to the field. The overall thrust was to provide contrasting perspectives and conversational voices rather than reinforce traditional narratives and prevailing discourses. The website http://ohotame.musedlab.org/ provides opportunities to participate and sustain the dialogue relating to technology and music education.

The Oxford Handbook of Music Education, Volume 1

2012 ◽  
Keyword(s):  
Music Education ◽  
Later Life ◽  
Music Educators ◽  
Shopping Mall ◽  
Music Learning ◽  
Learning And Teaching ◽  
Making Sense ◽  
Key Issues ◽  
The Many ◽  
Do So

Music education takes place in many contexts, both formal and informal. Be it in a school or music studio, while making music with friends or family, or even while travelling in a car, walking through a shopping mall or watching television, our myriad sonic experiences accumulate from the earliest months of life to foster our facility for making sense of the sound worlds in which we live. The Oxford Handbook of Music Education, which comprises of two volumes, offers an overview of the many facets of musical experience, behavior, and development in relation to this diverse variety of contexts. In this first volume, articles discuss a range of key issues and concepts associated with music learning and teaching. The volume then focuses on these processes as they take place during childhood, from infancy through adolescence and primarily in the school-age years. Exploring how children across the globe learn and make music, and the skills and attributes gained when they do so, these articles examine the means through which music educators can best meet young people's musical needs. The second volume of the set brings the exploration beyond the classroom and into later life. Whether they are used individually or in tandem, the two volumes of this text update and redefine the discipline, and show how individuals across the world learn, enjoy, and share the power and uniqueness of music.

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?

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