Compartive and International Topics in Music Education

2020 ◽  
pp. 126-153
Keyword(s):  
Music Education ◽  
Teaching And Learning ◽  
Experienced Teachers ◽  
Professional Musicians ◽  
Video Clips ◽  
Creative Learning ◽  
The U.S

This chapter continues with the interviews from Chapter 5 with more focus on the realm of creativity and comparative and international topics in the teaching and learning of music. In this chapter, the author focuses on the Japanese and American voices from experienced teachers, researchers, professional musicians, and eminent artists. In this chapter, the author focuses specifically on the creative learning of children's violin learning in Japan. The author shared the video clips with violin teachers, private instrumental teachers, as well as music education specialists in Japan. Finally, the author showed the videos to music education professors and professional string players in the U.S. Most of the interviews were conducted by visiting their homes, offices, and schools. For overseas participants, the YouTube link of the videos was sent via email, and the interviews were conducted via Skype.

Transforming Music Teaching and Learning

2020 ◽  
pp. 102-125
Keyword(s):  
New York ◽  
Music Education ◽  
Teaching And Learning ◽  
Teaching Practice ◽  
Music Teaching ◽  
Pedagogical Practice ◽  
The Past ◽  
Creative Learning ◽  
Teacher Researcher ◽  
Teaching Cases

This chapter aims to explore how the author transformed his approach to music teaching based on his pedagogical practice. As a Japanese violinist who performed, researched, and taught children for the past 10 years in New York, New Jersey, and Florida, the author gradually changed his approach to music teaching and learning. By juxtaposing his voice as a violinist, teacher, researcher, the author provides teaching cases representing a transformation of music teaching and learning. The author also uses the voices of parents, other teachers, and music education specialists from Japan and other countries in describing diverse views on teaching and learning by sharing videos of the author's teaching practice and how Japanese caregivers perceive a progressive approach of teaching and children's creative learning that differs from conventional violin methods pervasive in Japan.

Descriptive Research Design

2018 ◽  
Author(s):  
Peter Miksza ◽  
Kenneth Elpus
Keyword(s):  
Music Education ◽  
Research Design ◽  
Teaching And Learning ◽  
Observational Research ◽  
Descriptive Research ◽  
Entry Points ◽  
The Status ◽  
Scientific Endeavor ◽  
Design Options ◽  
Survey Designs

This chapter presents two of the most prominent approaches to the design of descriptive research in music education. Simply creating depictions of music teaching and learning experiences that are organized and illustrative of the variation that can exist in any given setting is a worthwhile scientific endeavor in and of itself. Descriptive research is most typically an exploration of what is, what exists, and/or the status of any given topic of interest. The first section deals with basic steps in observational research designs, and the second section outlines critical features of survey designs. These fundamental research design options are excellent entry points for emerging scholars and when employed imaginatively can yield many benefits for the profession.

Assessing Music in Early Childhood

2019 ◽  
pp. 444-476
Author(s):  
Maria Runfola
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Teaching And Learning ◽  
Student Assessment ◽  
Deep Understanding ◽  
Children's Music ◽  
National Network ◽  
Music Assessment ◽  
Early Childhood Music ◽  
Utilitarian Value

In this chapter, pros and cons of assessing young children’s music skills and content knowledge are explored. An integrative literature review is included as well as a thematic review lending support to core themes. Several reasons were identified as to the importance of promoting student assessment as children participate in early childhood music. Use of music assessments in the classroom and for research should consider practices consistent with musical age as well as chronological age. Increased recognition of the importance of music in total development of the child supports need for effective early childhood assessment systems especially by the music education research community as they continue to gather evidence regarding the utilitarian value of music in early childhood. Researchers need to be aware of environmental factors that may impact early music learning and cognizant of current best practices in music education for early childhood. Researcher-developed criterion measures often are not investigated for quality characteristics, and thus rigorous guidelines for such criterion measures are needed. It appears there are no definitive policy or ethics statements regarding early childhood music assessment but both should be considered vital priorities for the profession. Most likely only those scholars with profound interest in assessment and teachers with deep understanding of the role of assessment in teaching and learning will volunteer to respond. Everything developed in such a national network will be useful, providing we start with clearly defined, intended outcomes and then develop assessments to document student attainment of those musical outcomes.

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.

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.

scholarly journals Perception and learning of relative pitch by musicians using the vibrotactile mode

2021 ◽  
pp. 102986492110152
Author(s):  
Carl Hopkins ◽  
Saúl Maté-Cid ◽  
Robert Fulford ◽  
Gary Seiffert ◽  
Jane Ginsborg
Keyword(s):  
Hearing Loss ◽  
Music Education ◽  
Success Rate ◽  
Normal Hearing ◽  
Pitch Discrimination ◽  
Professional Musicians ◽  
Profound Hearing Loss ◽  
Relative Pitch ◽  
Significant Difference ◽  
Schools For The Deaf

This study investigated the perception and learning of relative pitch using vibrotactile stimuli by musicians with and without a hearing impairment. Notes from C3 to B4 were presented to the fingertip and forefoot. Pre- and post-training tests in which 420 pairs of notes were presented randomly were carried out without any feedback to participants. After the pre-training test, 16 short training sessions were carried out over six weeks with 72 pairs of notes per session and participants told whether their answers were correct. For amateur and professional musicians with normal hearing and professional musicians with a severe or profound hearing loss, larger pitch intervals were easier to identify correctly than smaller intervals. Musicians with normal hearing had a high success rate for relative pitch discrimination as shown by pre- and post-training tests, and when using the fingertips, there was no significant difference between amateur and professional musicians. After training, median scores on the tests in which stimuli were presented to the fingertip and forefoot were >70% for intervals of 3–12 semitones. Training sessions reduced the variability in the responses of amateur and professional musicians with normal hearing and improved their overall ability. There was no significant difference between the relative pitch discrimination abilities between one and 11 semitones, as shown by the pre-training test, of professional musicians with and without a severe/profound hearing loss. These findings indicate that there is potential for vibration to be used to facilitate group musical performance and music education in schools for the deaf.

Analysis of gender, age and disability representation in music education textbooks: A research update

2018 ◽  
Vol 36 (4) ◽  
pp. 494-508 ◽  
Author(s):  
Mª del Mar Bernabé-Villodre ◽  
Vladimir E. Martínez-Bello
Keyword(s):  
Music Education ◽  
Research Team ◽  
European Law ◽  
Female Characters ◽  
Professional Musicians ◽  
Virtual Absence ◽  
Coding Scheme ◽  
Women And Girls ◽  
Time Periods ◽  
Curricular Materials

According to International and European Law, teachers are encouraged to analyse, challenge and to help to eliminate sexist stereotypes and distortions in curricular materials. We aimed to characterize and compare the efficacy of implementation of the gender equality-based approach in the Spanish educational system, through a content analysis of the illustrations in music education (ME) textbooks following a coding scheme constructed by the research team according to guidelines from previous studies about the depiction of women and girls in ME textbooks during two periods of Spanish democracy: before (1992–2005); and after (2006–2015). Our major findings were: (a) female characters were under-represented in both time periods studied; (b); the stereotype of women as amateur but not professional musicians is not perpetuated in the current primary ME textbooks; (c) both children and adults independently of gender were portrayed interacting with others; (d) despite the fact that women teachers are actively participating in schools, ME textbooks do not faithfully reflect that reality; and (e) the virtual absence of females and males with disabilities suggests that this aspect of inclusion is still pending. Notwithstanding, ME textbooks printed after 2006 tended to challenge some traditional stereotypes pertaining to how females and males think, play and act within the musical world.

Improving music teaching and learning through online service: A case study of a synchronous online teaching internship

2016 ◽  
Vol 35 (1) ◽  
pp. 107-117 ◽  
Author(s):  
Pamela D. Pike
Keyword(s):  
Service Learning ◽  
Music Education ◽  
Online Teaching ◽  
Teaching And Learning ◽  
Underserved Populations ◽  
Distance Teaching ◽  
Service Learning Projects ◽  
Musical Understanding ◽  
Synchronous Online

This case study explored the potential for using a synchronous online piano teaching internship as a service-learning project for graduate pedagogy interns. In partnership with the university, a local music retailer, and a local middle school, three pedagogy interns taught beginning piano to underprivileged teenaged students for 8 weeks. All instruction took place in the synchronous online environment using acoustic Disklavier pianos, Internet MIDI, Facetime, and traditional method books. As a result of the experience, the students demonstrated musical understanding and the pedagogy interns developed teaching techniques, displayed improved comprehension of course content, learned about current distance teaching technology, and considered the role of music education in society. Based on these results, it might be feasible to provide piano lessons to underserved populations in remote locations while offering meaningful internship experiences to pedagogy students through distance service-learning projects.

scholarly journals Development of teaching materials based on learning video using movavi education set at Yayasan Perguruan Tunas Karya Batang Kuis

2021 ◽  
Vol 6 (1) ◽  
pp. 16-21
Author(s):  
Ivan Jaya ◽  
Mahyuddin K. M. Nasution
Keyword(s):  
Online Learning ◽  
Learning Process ◽  
Teaching And Learning ◽  
Education Sector ◽  
Learning System ◽  
Learning Material ◽  
Teaching Materials ◽  
Face To Face ◽  
Creative Learning ◽  
E Mail

The COVID-19 pandemic that has recently hit various countries including Indonesia has resulted in major changes in various fields, including in the development of the education sector. The teaching and learning process has turned from face-to-face into an online method. However, there are several obstacles experienced by schools that implement an online learning system, one of them was the ability of teachers who do not understand various learning application platforms. In addition, the material provided by the teacher is not maximally acceptable to students because most teachers provide learning material from the pages of textbooks or teacher writings (scans, photos, or presentation files). For this reason, it is necessary to have variations in the provision of teaching materials to students by making interesting and creative learning videos using the Movavi Education Set. With learning videos, students can do lessons at home, repeat it, and can ask the teacher some points from it if they don't understand. By using Movavi Education Set, teachers are also free to be creative in making learning videos that can be shared through commonly used communication applications such as e-mail, WhatsApp, line, google classroom and other applications.

scholarly journals Conceptual Model of Technology-Enabled Creative Learning Community

Techno Com ◽  
2017 ◽  
Vol 16 (2) ◽  
pp. 164-181
Author(s):  
Dawam Dwi Jatmiko Suwawi
Keyword(s):  
Learning Community ◽  
Conceptual Model ◽  
Graduate School ◽  
Creative Thinking ◽  
Teaching And Learning ◽  
Design Science ◽  
Science Research ◽  
Creative Learning ◽  
Need To Evaluate ◽  
Definition Of

This paper proposes a definition of Creative Learning Community (CLC) that is enabled with technology and its conceptual model in Graduate School of Telkom University. As rooted to learning community term, CLC is defined as a teaching and learning approach within a learning community that consists of a group of students and faculty member that uses creative learning concept. This study adapts the Design Science Research Framework in Information System by Hevner et al to build the conceptual model. First, the study synthesizes existing literature on learning community and creative learning community to define CLC term. Second, based on a review of previous studies and books on learning community, creative thinking, group creativity, engaged learning, student learning outcomes and technology supporting creative learning community, the author analyzes construct candidates of the model. Third, after selecting constructs from the candidates, the study continues by designing the conceptual model of technology-enabled creative learning community. The model was tested the implementations of learning community in Graduate School of Telkom University. The findings provide several conceptual and managerial insights into the role of technology in supporting creative learning community. Future work will need to evaluate the model in the context of other engineering.

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