scholarly journals Music education and social development

2019 ◽  
Vol 8 (2) ◽  
pp. 124-127
Author(s):  
Oswaldo Rodríguez

Art education practices could strategically target those political, social and cultural disparities that negatively affects children and youth. Targeted practices are becoming more concurrent, and such is the case with music education. Historically, music education has directed its efforts mainly to the development of the so-called vocation or talent to play an instrument or to sing. It has been mostly focused to disciplinary training. Consequently, institutionality has governed the music teaching-learning processes since medieval times, prolonging the classical idea of trívium (grammar, dialect, rhetoric) and quadrivium (arithmetic, geometry, astronomy, music) with political mediation of the so-called conservatories or music schools.

Author(s):  
Chris Philpott ◽  
Ruth Wright

This article, which addresses the interfaces between learning, teaching, and curriculum in classroom music teaching, presents a theoretical framework drawn from the work of the British sociologist Basil Bernstein that allows for the analysis of different curriculum and pedagogic models in music education. To elaborate on this, a number of different curriculum models are presented and analyzed. Finally, the article shares some thoughts concerning future music curricula, based on Bernstein's principles of democratic rights in education, which focus on the possibility of promoting social justice in the music classroom.


Author(s):  
Cristina-Mioara IOAN

The artistic phenomenon of fanfare music for ensembles made up of children and youth has seen a large development in the NV region of the country in recent years, through the enthusiasm of some musicians, teachers or conductors, but also through the openness to culture of some local communities. The assimilation of musical and instrumental notions was done through individual study coordinated by teachers or conductors, and the musical product was assembled in the band, to be presented in concerts and parades. The teaching methods used in the training of these instrumentalists are the methods used in vocational art education, although they studied the instrument as amateurs. The artistic results made the individual products (instrumentalists) become a nursery for music faculties and academies in Transylvania.


Author(s):  
Radio Cremata

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.


Author(s):  
Radio Cremata

This chapter proposes a sustainable model for online music education in post-secondary contexts. This model is framed around the intersections and along the continua of formal and informal music teaching/learning, conscious and unconscious knowing/telling, synchronous and asynchronous musical e-spaces/places, currencies, and e-collaboration. The model maintains deterritorialization (i.e., an e-space or e-place without boundary) as a foundational underpinning. The purpose of this chapter is to interrogate notions of online music learning, challenge preconceptions, and leverage innovation and technological advancement to redefine and re-understand how music can be taught and learned in e-spaces and e-places. The chapter can serve to disrupt traditional conceptions of musical teaching/learning. By disrupting the cycle that perpetuates music education at the post-secondary level, this chapter seeks to leverage online innovation, draw out technological inevitabilities, and push the music education profession forward towards new frontiers.


Author(s):  
Dario DeCicco

The topic of assessment in the Italian educational system has gained a more and more central role in the national scientific and institutional debate. The recent reforms of the Italian school system have focused on the integration of the assessment procedures within the European framework and the changes to the Italian school system. The chapter focus is on the analysis of the assessment of music learning in several kinds of schools with music teaching, both as general music education and as the training in the performance of a musical instrument. It will offer a comparison between the normative prescriptions and the evolution of the pedagogical, psychological, and didactical approaches in the different aspects of music teaching/learning. Attention is also given to assessment in high artistic and musical education (conservatories) and universities, where the need of a “professionalizing” curriculum perfectly combines with the principles of specialized teachings.


2017 ◽  
Vol 14 (4) ◽  
pp. 4701 ◽  
Author(s):  
Buse Ustaoğlu ◽  
Dolunay Akgül Barış

Today, the place and value of art education as well as scientific, cultural and social lessons within the contemporary education system gain importance every passing day. Music lessons are an important part of art education.In addition to scientific and cultural education for students, private education institutions that offer different opportunities and options on behalf of art education open their doors by providing scholarships to successful students as well as to students with good financial means. Almost everywhere now has a strong place in the education system with increasing numbers of private schools, student residences, teaching qualities and activities. Therefore, the perspectives of students, administrators and teachers about music and music education in these schools are important for our country’s art education.In this study, it was aimed to examine the views and expectations of students, teachers and administrators in music schools in private schools, in the context of Bolu Bilim College. The study group consists of 17 students who are studying at Bolu Private Science College secondary school, 6 class teachers who work in this institution, 2 music teachers and 8 teachers and 4 administrators. The study was a qualitative study and the interview technique was used for the collection of data. The obtained data were analyzed by analyzing the content.As a result of the research, it has been found that teachers and managers are aware of the importance of music and music lessons, that students are well versed in music lessons but they are less interested as the age grows, and that their children are interested in learning to play instruments, but less interested in music lessons.Extended English abstract is in the end of Full Text PDF (TURKISH) file.ÖzetÇağdaş eğitim sistemi içerisinde bilimsel, kültürel ve sosyal derslerin yanı sıra sanat eğitiminin de günümüzde yeri ve değeri her geçen gün önem kazanmaktadır. Sanat eğitiminin önemli bir halkasını da müzik dersleri oluşturmaktadır.Öğrencilere bilimsel ve kültürel eğitimin yanı sıra, sanat eğitimi adına da farklı imkanlar ve seçenekler sunabilen özel okullar, maddi imkanları iyi olan öğrencilerin yanı sıra başarılı öğrencilere de verdikleri burslar sayesinde kapılarını açmaktadırlar. Artık hemen hemen her ilde sayıları gittikçe artan özel okullar, öğrenci mevcutları, öğretim kaliteleri ve etkinlikleri ile eğitim sistemi içerisinde güçlü bir yer almaktadırlar. Dolayısıyla bu okullarda öğrenim gören öğrencilerin, yöneticilerin ve öğretmenlerinde müzik ve müzik eğitimine bakış açıları, bu dersten beklentileri ülkemiz sanat eğitimi açısından önem taşımaktadır.Bu çalışmada özel okullarda ki  öğrencilerin, öğretmen ve yöneticilerin müzik dersine olan bakış açılarını ve beklentilerini Bolu Bilim Koleji örneğinde incelemek amaçlanmıştır. Araştırmanın çalışma grubunu, Bolu Özel Bilim Koleji ortaokulunda öğrenim gören 17 öğrenci, bu kurumda görev yapmakta olan 6 sınıf öğretmeni, 2 müzik öğretmeni olmak üzere toplam 8 öğretmen ve 4 yönetici oluşturmaktadır. Çalışma nitel bir çalışma olup verilerin toplanmasında görüşme tekniği kullanılmıştır. Elde edilen veriler içerik analizi yapılarak   çözümlenmiştir.Araştırmanın sonucunda, öğretmenlerin ve yöneticilerin müziğin ve müzik dersinin öneminin farkında oldukları, öğrencilerin müzik dersine karşı ilgilerinin iyi olduğu fakat yaş ilerledikçe ilginin düştüğü,  ailelerinin ise çocuklarının çalgı öğrenmesi konusunda istekli oldukları, ancak yaş ve sınıf ilerledikçe farklı kaygılarla müzik dersine olan ilginin azaldığı bulgularına ulaşılmıştır.


2021 ◽  
Vol 3 (1) ◽  
pp. 60-66
Author(s):  
Ewa Parkita

The purpose of this article is to present various solutions concerning music education aided by computer technologies. The article applies public music education. The author attempts to provide an answer to questions concerning the role of music teachers working with new media , which requires them to constantly improve and expand their skills. How are they able to utilise new technological achievements while at the same time blending them with well-proven, traditional methods of music teaching/learning, without falling prey to the dangers of modern media ? Any attempts at using innovative solutions are bound to cause numerous challenges for students, teachers, and the entire education system. However, the effects of such actions could contribute to the improvement of the quality of music education in society, which justifies the efforts. The intention of the author is attempt to look into the future on the basis of the existing data sources, analyses and global pedagogical trends and to search for theoretical and practical solutions, which may influence the formulation of the paradigms in modern music teaching.


2021 ◽  
Vol 15 (58) ◽  
pp. 190-205
Author(s):  
Iuri Ozires Sobreira de Oliveira ◽  
João Carlos Sedraz Silva ◽  
Gibran Medeiros Chaves de Vasconcelos

Resumo: A busca por formas de ensino aprendizagem em música, apontam a cada dia para modelos distantes do modelo conservatorial (PENNA; SOBREIRA,2020). Dentre as novas abordagens propostas, destaca-se o autogerenciamento cognitivo, atitude relacionadas a autorregulação da aprendizagem. Esta revisão de literatura, realizada no período de julho de 2018 a julho de 2019, teve como objetivo buscar na literatura disponível, pesquisas que identificam comportamentos de Autorregulação da Aprendizagem em alunos de música no Ensino Básico e Superior. Foram analisados trabalhos nos últimos 10 anos voltados para o ensino da música e estratégias de autorregulação da aprendizagem. Os resultados encontrados apontam os comportamentos autorregulados dos alunos e demonstram que aprendizes autorregulados tendem a desenvolver melhor suas atividades de aquisição do conhecimento e aqueles que não tem esse perfil, podem desenvolvê-lo a partir da adoção de práticas de ensino propostas pelo professor que estimulem atitudes e estratégias autorregulatórias.Palavras-chave: Autorregulação; ensino; aprendizagem; Educação musical.Abstract: The search for ways of teaching and learning in music point each day to models that are far from the conservative model (PENNA; SOBREIRA, 2020). Among the new approaches proposed, cognitive self-management stands out, an attitude related to self-regulation of learning. This literature review, carried out from July 2018 to July 2019, aimed to search the available literature for research that identify Self-Regulation Learning behaviors in music students in Basic and Higher Education. Works in the last 10 years focused on music teaching and self-regulation learning strategies were analyzed. The results found indicate the self-regulated behaviors of students and demonstrate that self-regulated learners tend to better develop their knowledge acquisition activities and those who do not have this profile can develop it based on the adoption of teaching practices proposed by the teacher that encourage attitudes and self-regulatory strategies.Keywords: Self-regulation; teaching; learning; musical education. 


Author(s):  
Marissa Silverman

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.


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