Co-creation in music and music education

2020 ◽  
Author(s):  
Elena Kuprina
Keyword(s):  
Music Education ◽  
Sensory System ◽  
Interdisciplinary Approach ◽  
Music Pedagogy ◽  
Music Schools ◽  
Creative Processes ◽  
Music Psychology ◽  
Wide Circle ◽  
History Of

The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.

scholarly journals SEMPRE Autumn 2020 Conference: The Role of Music Psychology Research in a Complex World

2020 ◽  
Vol 3 ◽  
pp. 205920432097712
Author(s):  
Melissa L. Kirby
Keyword(s):  
Music Education ◽  
Complex World ◽  
Psychology Research ◽  
Music Psychology ◽  
The University

Each year, the Society for Education, Music and Psychology Research (SEMPRE) hosts two conferences, covering a range of themes within music education and psychology research. The Autumn 2020 conference took place on September 9–11. The theme of the conference was ‘The role of music psychology research in a complex world: Implications, applications, and debates’; a particularly appropriate theme given the complex and challenging nature of 2020. Owing to the COVID-19 pandemic, this conference was hosted virtually by the University of Leeds. This report provides an overview of the conference, reflects on its key themes, and discusses the opportunities and challenges of online conferencing.

MUSIC LISTENING IN INTERDISCIPLINARY VIEW

2019 ◽  
Vol 4 ◽  
pp. 528
Author(s):  
Mirdza Paipare
Keyword(s):  
Music Therapy ◽  
Music Perception ◽  
Music Listening ◽  
Music Pedagogy ◽  
Music Therapist ◽  
Music Psychology ◽  
Communication Development ◽  
Everyday Lives

Very few researches focus on music as an activity and most often it is linked to music perception, therefore – music psychology. Similarly the theories on this question are developed. Interrelations between music therapy and music psychology, as well as the role of listening and music listening in music pedagogy, psychology and music therapy are little researched. The goal of this article is to intentionally draw attention to the significance of this very common thing in our everyday lives – listening – in communication, development of cognitive and phenomenological skills and abilities (perception, recognition, describing, explaining). These skills and abilities are necessary in the work of pedagogue and psychologist, and especially music therapist.  

scholarly journals Music education – a personal matter? Examining the current discourses of music education in Sweden

2010 ◽  
Vol 27 (1) ◽  
pp. 21-33 ◽  
Author(s):  
Eva Georgii-Hemming ◽  
Maria Westvall
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Personal Development ◽  
International Perspective ◽  
Music Pedagogy ◽  
Upper Secondary ◽  
School Music ◽  
Pedagogical Research ◽  
Musical Interests

The embedding of informal practices in music education in school relates to significant issues concerning students' engagement, participation, inclusion and the role of the teacher. This article addresses these issues by presenting and discussing current music education in compulsory comprehensive schooling in Sweden. It does so by drawing upon music pedagogical research, music education studies conducted during the last 10 years and national evaluations. Examples of practice from upper secondary schools are also used to clarify and illustrate the issues under consideration. It has been said that Swedish music education has gone from ‘School Music’ to ‘Music in School’. This development has been characterised by greater influence of students on curriculum content resulting in increased use of popular music, and, consequently, teaching strategies acquired from informal music playing contexts. The curriculum states that the core of the subject is practical music playing, through which personal development can occur – both musically and socially. Music education in several other countries is developing a more practical approach, and the role of popular music in schools, and what is sometimes called informal learning, is featured in international music pedagogy debates. This article considers the musical, pedagogical and democratic consequences of this pedagogy from a Swedish perspective. As a result of a sharp focus on personal social development and individual students' musical interests, music education in Sweden has become relatively limited in terms of repertoire, content and teaching methods. Recent evaluations and studies also demonstrate that music education lacks direction, and is short of creative engagement with music. The role of the teacher is unclear and sometimes lacks validity in a practical music education situation. Viewed from an international perspective, the kind of music education that has developed in Sweden is unique. Thus, when the possibilities and limitations of music education in Sweden are discussed, it has the potential to be of interest to international music education research.

scholarly journals The Free Improvisation Game: Performing John Zorn’s Cobra

2013 ◽  
Author(s):  
Dylan Van der Schyff
Keyword(s):  
Music Education ◽  
Wide Spread ◽  
Relevant Research ◽  
Music Psychology ◽  
Free Improvisation ◽  
Person Perspective ◽  
The World ◽  
And Performance ◽  
Musical Communication

The use of improvisation is wide spread in musical practice around the world. Nevertheless, Western academic circles tend to ignore this ubiquitous activity and have maintained a focus on composition and interpretation. This is beginning to change, however, and the role of improvisation in performance and music education is receiving an increasing amount of attention. This paper contributes to this project by examining the practice of ‘free improvisation’ in a large ensemble context. A rehearsal and performance of John Zorn’s Cobra––a ‘game’ piece for improvisers––is analyzed from a first-person perspective; relevant research in music psychology is considered; and suggestions are made with regard to how we may better understand the nature of musical communication in improvised contexts. Pedagogical applications are also considered.

Celts, Romans, Britons

2020 ◽  
Keyword(s):  
National Identity ◽  
Identity Formation ◽  
Late Antiquity ◽  
Interdisciplinary Approach ◽  
British Identity ◽  
Classical Reception ◽  
History Of ◽  
A Site ◽  
Classical Cross

This interdisciplinary volume of essays examines the real and imagined role of Classical and Celtic influence in the history of British identity formation, from late antiquity to the present day. In so doing, it makes the case for increased collaboration between the fields of Classical reception and Celtic studies, and opens up new avenues of investigation into the categories “Celtic” and “Classical”, which are presented as fundamentally interlinked and frequently interdependent. In a series of chronologically arranged chapters, beginning with the post-Roman Britons and ending with the 2016 Brexit referendum, it draws attention to the constructed and historically contingent nature of the Classical and the Celtic, and explores how notions related to both categories have been continuously combined and contrasted with one another in relation to British identities. Britishness is revealed as a site of significant Celtic-Classical cross-pollination, and a context in which received ideas about Celts, Romans, and Britons can be fruitfully reconsidered, subverted, and reformulated. Responding to important scholarly questions that are best addressed by this interdisciplinary approach, and extending the existing literature on Classical reception and national identity by treating the Celtic as an equally relevant tradition, the volume creates a new and exciting dialogue between subjects that all too often are treated in isolation, and sets the foundations for future cross-disciplinary conversations.

scholarly journals From the history of music education in Uzbekistan

2019 ◽  
Vol 2 (4) ◽  
pp. 32-38
Author(s):  
S. B. Мurtozova
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Educational Institutions ◽  
Soviet Power ◽  
Music Schools ◽  
Large Cities ◽  
Communist Ideology ◽  
Children's Songs ◽  
History Of ◽  
Teaching Music

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music. Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education. Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century. The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources. At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions. The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.

scholarly journals Perspektiver fra forskningen på det musikkpedagogiske konseptet Jedem Kind ein Instrument [Et instrument til hvert barn] i Tyskland1

2021 ◽  
pp. 257-282
Author(s):  
Ulrike Kranefeld
Keyword(s):  
Music Education ◽  
School Children ◽  
Interdisciplinary Research ◽  
Primary Schools ◽  
Opportunity To Learn ◽  
Primary School Children ◽  
Music Schools ◽  
Music Psychology ◽  
Research Questions ◽  
Educational Sciences

The German JeKi programme (An instrument for every child) aims at offering primary school children the opportunity to learn an instrument in school. For this, primary schools cooperate with music schools. In order to scientifically evaluate processes and effects of this programme, the German Federal Ministry for Education and Research (BMBF) has funded JeKi research for a total of seven years. This article outlines interdisciplinary research questions und key results of studies ranging from music education, music psychology, neurosciences to educational sciences. Central points of interest are aspects of effects, cooperation, quality and participation.

scholarly journals THE ROLE OF COMMUNICATION AND COLLABORATION INFLUENCING TEACHERS’ PROFESSIONAL MOTIVATION

2020 ◽  
Vol 2 (9) ◽  
Author(s):  
Giedrė Gabnytė ◽  
Diana Strakšienė
Keyword(s):  
Music Education ◽  
Empirical Research ◽  
Main Idea ◽  
School Principal ◽  
Music Schools ◽  
Positive Attitudes ◽  
The Relationship ◽  
Education Process

<p>The article addresses one of the most important factors of teachers’ professional motivation, communication and collaboration, in the context of the education process understood as a system of interaction of all members of the education process. The main idea of the empirical research introduced in this article is to reveal and generalise aspects of communication and collaboration in Lithuanian non-formal music education (in music schools), while thoroughly analysing the aspect of relationships between an educator and students, an educator and parents, an educator and an educator, an educator and a school principal. The research shows that the relation between teacher and student in the process of music education is clearly characteristic of manifestations of authoritarianism in education. When evaluating manifestation of the relationship between a teacher and parents, a teachers’ positive attitudes towards mutual collaboration have been found out; nevertheless, interrelations among teachers in school are based on competitiveness. The relationship between a school principal and teachers is ambiguously evaluated by teachers themselves: in some cases, it is characterised as positive, whereas in other cases it is perceived as negative; nevertheless, in all cases it is considered as making an impact on the entire education process.  </p>

scholarly journals Liminal Fiction: An Interdisciplinary Approach to Researching, Writing and Disseminating an Archival Novel about the Violent Past

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Penny Claire Simpson
Keyword(s):  
Transitional Justice ◽  
Interdisciplinary Research ◽  
Visual Imagery ◽  
Interdisciplinary Approach ◽  
Alternative Methods ◽  
Literary Genre ◽  
Visual Artists ◽  
Mass Graves ◽  
History Of

This article explores the concept of liminal fiction, a new literary genre that takes on the challenge of narrating human rights in the sphere of transitional justice. Liminal fiction makes porous the boundaries between literature, law, history, art, and the archive. Using the work of contemporary visual artists who explore the art of forensics, and ground-breaking research methodologies adopted by social and forensic anthropologists, this article analyses the idea of researching and fictionalising a new memory paradigm, one rooted in the visual imagery of disinterred remains. It suggests that establishing a creative synthesis between interdisciplinary research and writing a work of fiction is a means to open up new avenues for narrating the history of the missing. This is partly achieved through a re-configuration of the role of writer and reader as co-curators, charged with the task of shifting through a multi-layered narrative that links the exhumation of mass graves in Spain in the 2000s with experiences in the country's postwar diaspora and the 'Indignados' demonstrations and occupations of 2011. Further, it becomes possible to consider alternative methods of 'publication' and dissemination of a work of liminal fiction — part-archive, part-book, part-installation — in creative collaborations with 'new musuems of space and emotion.'**This refers to a term used by economist and campaigner Susie Symes to evoke the significance of memory sites such as 19 Princelet Street, London, where she is Chair of Trustees. 

The Role of Orff Approach to Music Education

2020 ◽  
Author(s):  
Tamás Szalai
Keyword(s):  
Music Education ◽  
Education System ◽  
Music Pedagogy ◽  
Music Educator ◽  
Orff Schulwerk ◽  
Alternative Music ◽  
Concise Review ◽  
Carl Orff ◽  
Methodological Aspects

The German-born music educator and composer, Carl Orff began to develop his own music education system in the 1920s and 1930s. This paper gives a concise review of the Orff concept from historical, educational theoretical, and methodological aspects based on available literature. Topics include the Orff instrumentation as the defining methodological element of the Orff concept, the internationalization of the Orff concept in America, as well as the training of current Orff educators. Keywords: Orff Schulwerk, music education, alternative music pedagogy

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