Peter Dunbar-Hall
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.003.0002
- Subject:
- Psychology, Social Psychology, Music Psychology
This chapter employs a cultural psychology lens to explore the ways in which Balinese children's learning of traditional music and dance is shaped by their culture's uses and valuing of music, and ...
More
This chapter employs a cultural psychology lens to explore the ways in which Balinese children's learning of traditional music and dance is shaped by their culture's uses and valuing of music, and beliefs and practices concerning teaching and learning. The discussion begins by emphasizing reasons for children's learning of music and the methods through which children acquire music with reference to literature on Bali that, since the 1930s, has tangentially alluded to children as learners and performers. It then interprets aspects of Balinese culture and society as sites of music learning and teaching that are culturally specific. This demonstrates how children's music activities are important contributions to the life of Balinese communities and how community expectations mandate teaching strategies and learning styles. Much of the discussion is based on fieldwork in Bali conducted between 1999 and 2007.Less
This chapter employs a cultural psychology lens to explore the ways in which Balinese children's learning of traditional music and dance is shaped by their culture's uses and valuing of music, and beliefs and practices concerning teaching and learning. The discussion begins by emphasizing reasons for children's learning of music and the methods through which children acquire music with reference to literature on Bali that, since the 1930s, has tangentially alluded to children as learners and performers. It then interprets aspects of Balinese culture and society as sites of music learning and teaching that are culturally specific. This demonstrates how children's music activities are important contributions to the life of Balinese communities and how community expectations mandate teaching strategies and learning styles. Much of the discussion is based on fieldwork in Bali conducted between 1999 and 2007.
Susan Hallam
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.003.0009
- Subject:
- Psychology, Social Psychology, Music Psychology
This chapter focuses on the processes concerned with learning and the development of musical expertise which are common to all human beings but which develop differentially depending on the ...
More
This chapter focuses on the processes concerned with learning and the development of musical expertise which are common to all human beings but which develop differentially depending on the environment (cultural and ecological) within which individuals are located. It considers what we know about human learning, the way that the brain develops in response to the particular musical environments to which the individual is exposed, and how these changes are expressed as musical expertise develops. The evidence regarding the importance of long-term engagement with music for expertise to develop is considered and how beliefs about personal efficacy can influence commitment to active music-making. The chapter concludes with a consideration of the different cultural perceptions of ‘musicality’ and changing perceptions of it in Western culture.Less
This chapter focuses on the processes concerned with learning and the development of musical expertise which are common to all human beings but which develop differentially depending on the environment (cultural and ecological) within which individuals are located. It considers what we know about human learning, the way that the brain develops in response to the particular musical environments to which the individual is exposed, and how these changes are expressed as musical expertise develops. The evidence regarding the importance of long-term engagement with music for expertise to develop is considered and how beliefs about personal efficacy can influence commitment to active music-making. The chapter concludes with a consideration of the different cultural perceptions of ‘musicality’ and changing perceptions of it in Western culture.
David J. Elliott
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780195385076
- eISBN:
- 9780199865512
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195385076.003.13
- Subject:
- Music, Psychology of Music
Musicality is an inherited biological predisposition that is unique to the human species. This chapter argues that music learning (whether structured or informal) happens very early, and long before ...
More
Musicality is an inherited biological predisposition that is unique to the human species. This chapter argues that music learning (whether structured or informal) happens very early, and long before we used to believe, and that it takes place as a result of children's innate propensity for learning. Indeed, children's spontaneous music making, from the first mother-infant musical interactions to playground rhymes and jeers, is the springboard of music learning. However, the contexts in which early musical experiences occur are critical, and adult interventions require balancing challenge and skill to achieve musical focus and self-growth in young children, as David Elliott suggests teachers should do at all ages. This chapter examines children's musical understanding, memory, and spontaneity, early childhood music education and its relation to Elliott's praxial philosophy, musical experiences based on context, “flow” in early childhood music experiences, multiculturalism in early childhood music education, music making and music listening in early childhood, and musical creativity in children.Less
Musicality is an inherited biological predisposition that is unique to the human species. This chapter argues that music learning (whether structured or informal) happens very early, and long before we used to believe, and that it takes place as a result of children's innate propensity for learning. Indeed, children's spontaneous music making, from the first mother-infant musical interactions to playground rhymes and jeers, is the springboard of music learning. However, the contexts in which early musical experiences occur are critical, and adult interventions require balancing challenge and skill to achieve musical focus and self-growth in young children, as David Elliott suggests teachers should do at all ages. This chapter examines children's musical understanding, memory, and spontaneity, early childhood music education and its relation to Elliott's praxial philosophy, musical experiences based on context, “flow” in early childhood music experiences, multiculturalism in early childhood music education, music making and music listening in early childhood, and musical creativity in children.
Margaret S. Barrett (ed.)
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.001.0001
- Subject:
- Psychology, Social Psychology, Music Psychology
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book ...
More
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music learning and development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice of music education. The book opens with an overview of the theoretical underpinnings of a cultural psychology of music education. Ten music education scholars and researchers provide chapters that illustrate the application of this approach to key issues in music education; its theory and practice. These chapters provide opportunities to look more deeply into the practices of music education in order to understand the role culture plays in shaping children's musical learning and thinking, the learning and teaching of music teachers, the formal and informal institutions and structures within and through which learning and teaching occur, and, the intersection of these processes and structures in the development of musical thought and practice.Less
Recent studies in music education have investigated the ways in which different groups construe music and music education, and the ways in which these constructions are culturally bound. This book explores the ways in which the discipline of cultural psychology can contribute to our understanding of how music learning and development occurs in a range of cultural settings, and the subsequent implications of such understanding for the theory and practice of music education. The book opens with an overview of the theoretical underpinnings of a cultural psychology of music education. Ten music education scholars and researchers provide chapters that illustrate the application of this approach to key issues in music education; its theory and practice. These chapters provide opportunities to look more deeply into the practices of music education in order to understand the role culture plays in shaping children's musical learning and thinking, the learning and teaching of music teachers, the formal and informal institutions and structures within and through which learning and teaching occur, and, the intersection of these processes and structures in the development of musical thought and practice.
Gary E. McPherson, Jane W. Davidson, and Robert Faulkner
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199579297
- eISBN:
- 9780191738463
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579297.001.0001
- Subject:
- Psychology, Music Psychology, Social Psychology
Why do some children take up music, while others don't? Why do some excel, whilst others give up? Why do some children favour classical music, whilst others prefer rock? These are questions that have ...
More
Why do some children take up music, while others don't? Why do some excel, whilst others give up? Why do some children favour classical music, whilst others prefer rock? These are questions that have puzzled music educators, psychologists, and musicologists for many years. Yet, they are incredibly difficult and complex questions to answer. This book takes an innovative approach to trying to answer these questions. It is drawn from a research project that spanned fourteen years, and closely followed the lives of over 150 children learning music — from their seventh to their twenty second birthdays. This longitudinal approach allows for the probing of a number of important issues. For example, how do you define musical skill and ability? Is it true, as many assume, that continuous engagement in performance is the sole way in which those skills can be developed? What are the consequences of trends and behaviours observed amongst the general public, and their listening consumption? After presenting an overview and detailed case study explorations of musical lives, the book provides frameworks and theory for further investigation and discussion. It tries to present a holistic interpretation of these studies, and looks at their implications for musical development and education.Less
Why do some children take up music, while others don't? Why do some excel, whilst others give up? Why do some children favour classical music, whilst others prefer rock? These are questions that have puzzled music educators, psychologists, and musicologists for many years. Yet, they are incredibly difficult and complex questions to answer. This book takes an innovative approach to trying to answer these questions. It is drawn from a research project that spanned fourteen years, and closely followed the lives of over 150 children learning music — from their seventh to their twenty second birthdays. This longitudinal approach allows for the probing of a number of important issues. For example, how do you define musical skill and ability? Is it true, as many assume, that continuous engagement in performance is the sole way in which those skills can be developed? What are the consequences of trends and behaviours observed amongst the general public, and their listening consumption? After presenting an overview and detailed case study explorations of musical lives, the book provides frameworks and theory for further investigation and discussion. It tries to present a holistic interpretation of these studies, and looks at their implications for musical development and education.
Margaret S. Barrett
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.003.0001
- Subject:
- Psychology, Social Psychology, Music Psychology
This chapter provides a brief overview of the ways in which cultural psychology has re-emerged recently, and been taken up in the study of human thought and activity. It surveys the application of ...
More
This chapter provides a brief overview of the ways in which cultural psychology has re-emerged recently, and been taken up in the study of human thought and activity. It surveys the application of the theory and practice of cultural psychology to music education. An overview of the subsequent chapters is presented.Less
This chapter provides a brief overview of the ways in which cultural psychology has re-emerged recently, and been taken up in the study of human thought and activity. It surveys the application of the theory and practice of cultural psychology to music education. An overview of the subsequent chapters is presented.
Jackie Wiggins
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199214389
- eISBN:
- 9780191594779
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214389.003.0005
- Subject:
- Psychology, Social Psychology, Music Psychology
This chapter presents a study of teacher-supported collaborative songwriting events which provides a context for the investigation of learner agency and teacher scaffolding in children's musical ...
More
This chapter presents a study of teacher-supported collaborative songwriting events which provides a context for the investigation of learner agency and teacher scaffolding in children's musical learning. The study is based on the premise that learning is an interactive social process that is characterized by negotiation and mutuality, undertaken in a community of practice, and located in physical settings (often classrooms) that in turn shape the nature, intent, and purposes of interaction. Through a careful analysis of the actions of teachers scaffolding children's musical learning, the chapter explores the ways in which teacher actions may enable and/or constrain student learning and sense of agency in the music-making process, and the ways in which learners draw on the cultural signs and tools at their disposal to make meaning from these experiences. The presentation of scaffolding as a teaching strategy acknowledges contrasting views of the pedagogical intentions and learning outcomes of scaffolding.Less
This chapter presents a study of teacher-supported collaborative songwriting events which provides a context for the investigation of learner agency and teacher scaffolding in children's musical learning. The study is based on the premise that learning is an interactive social process that is characterized by negotiation and mutuality, undertaken in a community of practice, and located in physical settings (often classrooms) that in turn shape the nature, intent, and purposes of interaction. Through a careful analysis of the actions of teachers scaffolding children's musical learning, the chapter explores the ways in which teacher actions may enable and/or constrain student learning and sense of agency in the music-making process, and the ways in which learners draw on the cultural signs and tools at their disposal to make meaning from these experiences. The presentation of scaffolding as a teaching strategy acknowledges contrasting views of the pedagogical intentions and learning outcomes of scaffolding.
Wilfried Gruhn and Frances Rauscher
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195304565
- eISBN:
- 9780199850723
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195304565.003.0003
- Subject:
- Music, Psychology of Music
This chapter introduces neuropsychological and neurophysiological research as it relates to learning. It also introduces some learning theories that essentially can be viewed as theories of ...
More
This chapter introduces neuropsychological and neurophysiological research as it relates to learning. It also introduces some learning theories that essentially can be viewed as theories of cognition, and clarifies the question of transfer of learning, which sometimes serves as a justification for music education in schools. This chapter reviews four different approaches to investigating learning: behaviorism, constructivism, sociohistorical theory, and connectionism. Learning is the process by which one develops and incrementally differentiates mental representations. Therefore, music learning focuses on the development of genuine musical representations that are characterized by different forms of encoding. Research on individuals with mental disorders has clearly demonstrated that musical abilities develop independently of other domains of cognition.Less
This chapter introduces neuropsychological and neurophysiological research as it relates to learning. It also introduces some learning theories that essentially can be viewed as theories of cognition, and clarifies the question of transfer of learning, which sometimes serves as a justification for music education in schools. This chapter reviews four different approaches to investigating learning: behaviorism, constructivism, sociohistorical theory, and connectionism. Learning is the process by which one develops and incrementally differentiates mental representations. Therefore, music learning focuses on the development of genuine musical representations that are characterized by different forms of encoding. Research on individuals with mental disorders has clearly demonstrated that musical abilities develop independently of other domains of cognition.
Aaron Berkowitz
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199590957
- eISBN:
- 9780191594595
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199590957.001.0001
- Subject:
- Psychology, Cognitive Psychology, Music Psychology
The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able spontaneously to invent stylistically ...
More
The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able spontaneously to invent stylistically idiomatic compositions in the moment. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? This book explores these questions through an interdisciplinary approach that draws on the study of pedagogical treatises on improvisation, interviews with improvisers, musical analysis of improvised performances, and cognitive neuroscience. Findings from the treatises, interviews, and analyses are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise, as well as data from functional brain imaging studies of improvisation. Pedagogy, learning, and performance in improvisation are explored in a cross-cultural context, demonstrating universal features across a wide variety of musical traditions. Though disparate, these sources provide a convergent picture of the improvising mind, suggesting that musical improvisation draws on some of the very same cognitive processes and neural resources as the more mundane but equally infinitely creative faculties of language and movement. Improvisation therefore provides a new focus for comparisons of music and language cognition: while past research comparing music and language cognition has focused almost exclusively on perception of the two sound systems, the cognitive processes underlying the acquisition and production of music and language have not been systematically explored. Here, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives.Less
The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able spontaneously to invent stylistically idiomatic compositions in the moment. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? This book explores these questions through an interdisciplinary approach that draws on the study of pedagogical treatises on improvisation, interviews with improvisers, musical analysis of improvised performances, and cognitive neuroscience. Findings from the treatises, interviews, and analyses are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise, as well as data from functional brain imaging studies of improvisation. Pedagogy, learning, and performance in improvisation are explored in a cross-cultural context, demonstrating universal features across a wide variety of musical traditions. Though disparate, these sources provide a convergent picture of the improvising mind, suggesting that musical improvisation draws on some of the very same cognitive processes and neural resources as the more mundane but equally infinitely creative faculties of language and movement. Improvisation therefore provides a new focus for comparisons of music and language cognition: while past research comparing music and language cognition has focused almost exclusively on perception of the two sound systems, the cognitive processes underlying the acquisition and production of music and language have not been systematically explored. Here, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives.
Patricia Shehan Campbell
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780198530329
- eISBN:
- 9780191689765
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198530329.003.0021
- Subject:
- Psychology, Music Psychology
This chapter examines the acquisition by children of musical knowledge in selected environments, with attention to the role of music within their ...
More
This chapter examines the acquisition by children of musical knowledge in selected environments, with attention to the role of music within their society, and the means of transmission that are traditionally practised by adults in the process of passing on musical repertoire and techniques, behaviours, and values. In exploring global practices of children's learning of music, and through music their learning of social mores, reference are made to the cultural underpinnings of children's own playful repertoire, as well as to their musical heritage of adult-influenced culture in which they are schooled. The discussion draws attention to cases of music learning engagements among children and youth in Ireland, Japan, the Philippines, Thailand, within North American First Nations circumstances, and in a selection of societies spread across eastern and western Africa.Less
This chapter examines the acquisition by children of musical knowledge in selected environments, with attention to the role of music within their society, and the means of transmission that are traditionally practised by adults in the process of passing on musical repertoire and techniques, behaviours, and values. In exploring global practices of children's learning of music, and through music their learning of social mores, reference are made to the cultural underpinnings of children's own playful repertoire, as well as to their musical heritage of adult-influenced culture in which they are schooled. The discussion draws attention to cases of music learning engagements among children and youth in Ireland, Japan, the Philippines, Thailand, within North American First Nations circumstances, and in a selection of societies spread across eastern and western Africa.
Peter R. Webster and Maud Hickey
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780198530329
- eISBN:
- 9780191689765
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198530329.003.0019
- Subject:
- Psychology, Music Psychology
What has rarely been considered is how advances in music technology might help to support practically the actual developmental understanding of ...
More
What has rarely been considered is how advances in music technology might help to support practically the actual developmental understanding of music in children. This chapter reviews important aspects of musical development in terms of music perception, performance, preference, and creation, and links these to music technology. After a summary of music technology history in the last thirty years, it draws connections between the literature on musical development and music technology — particularly music software. It also offers a brief review of studies that have used technology to understand more clearly aspects of music learning. It concludes with thoughts about future directions in considering music technology and the understanding of musical development.Less
What has rarely been considered is how advances in music technology might help to support practically the actual developmental understanding of music in children. This chapter reviews important aspects of musical development in terms of music perception, performance, preference, and creation, and links these to music technology. After a summary of music technology history in the last thirty years, it draws connections between the literature on musical development and music technology — particularly music software. It also offers a brief review of studies that have used technology to understand more clearly aspects of music learning. It concludes with thoughts about future directions in considering music technology and the understanding of musical development.
Gary E. McPherson, Jane W. Davidson, and Robert Faulkner
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199579297
- eISBN:
- 9780191738463
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579297.003.0031
- Subject:
- Psychology, Music Psychology, Social Psychology
Chapter 2 and 3 raised doubts about how long the majority of young students could be expected to commit to ongoing instrumental learning in the face of a range of demotive factors: serious ...
More
Chapter 2 and 3 raised doubts about how long the majority of young students could be expected to commit to ongoing instrumental learning in the face of a range of demotive factors: serious shortcomings about the quality of practice sessions, lack of parental support and even significant antagonism around practice sites, boredom, an absence of personal musical engagement, limited learner autonomy over nearly all areas of learning, restrictive forms of music making and learning (i.e., the dominance of performance from notation and absence of other forms of performance like playing by ear and improvising), and, for many, very limited progress in terms of musical skill development in both instrumental/technical and notational/literacy areas. If there is one concept that might encapsulate the key deficit that was created by these shortcomings it might be meaningful musical fluency. In its repeated absence, many students' initial triggered situational motivation turned to frustration because experiences were not matching expectations for musical outcomes. This chapter examines the fall-out from the programmes and learners' disengagement with formal instrumental music learning, which in some cases began at the end of the very first term of the programme. The chapter provides a sense of the scale and range of disillusionment, frustration, and disengagement, and attempts to understand in more detail some of the factors that contributed to decisions to give up.Less
Chapter 2 and 3 raised doubts about how long the majority of young students could be expected to commit to ongoing instrumental learning in the face of a range of demotive factors: serious shortcomings about the quality of practice sessions, lack of parental support and even significant antagonism around practice sites, boredom, an absence of personal musical engagement, limited learner autonomy over nearly all areas of learning, restrictive forms of music making and learning (i.e., the dominance of performance from notation and absence of other forms of performance like playing by ear and improvising), and, for many, very limited progress in terms of musical skill development in both instrumental/technical and notational/literacy areas. If there is one concept that might encapsulate the key deficit that was created by these shortcomings it might be meaningful musical fluency. In its repeated absence, many students' initial triggered situational motivation turned to frustration because experiences were not matching expectations for musical outcomes. This chapter examines the fall-out from the programmes and learners' disengagement with formal instrumental music learning, which in some cases began at the end of the very first term of the programme. The chapter provides a sense of the scale and range of disillusionment, frustration, and disengagement, and attempts to understand in more detail some of the factors that contributed to decisions to give up.
Gary E. McPherson, Jane W. Davidson, and Robert Faulkner
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199579297
- eISBN:
- 9780191738463
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199579297.003.0016
- Subject:
- Psychology, Music Psychology, Social Psychology
This chapter describes an initial pilot study aimed at assessing what the students were thinking while engaged in each of the five ways of performing music: performing rehearsed music, sight-reading, ...
More
This chapter describes an initial pilot study aimed at assessing what the students were thinking while engaged in each of the five ways of performing music: performing rehearsed music, sight-reading, playing by ear, playing by memory, and improvising. Students' performances on each of the five measures were analysed in ways that ensured that the same performance standards in years 1, 2, and 3 were allocated identical scores. Taken as a whole, this early research into students' initial performance progress shows that progression was in many ways smooth, with most learners improving, however gradually, across the initial years of their learning.Less
This chapter describes an initial pilot study aimed at assessing what the students were thinking while engaged in each of the five ways of performing music: performing rehearsed music, sight-reading, playing by ear, playing by memory, and improvising. Students' performances on each of the five measures were analysed in ways that ensured that the same performance standards in years 1, 2, and 3 were allocated identical scores. Taken as a whole, this early research into students' initial performance progress shows that progression was in many ways smooth, with most learners improving, however gradually, across the initial years of their learning.
Lee Higgins
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199777839
- eISBN:
- 9780199950218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199777839.003.0001
- Subject:
- Music, Ethnomusicology, World Music, Psychology of Music
This chapter suggests three broad perspectives of community music: community music as the “music of a community,” community music as “communal music making,” and community music as an active ...
More
This chapter suggests three broad perspectives of community music: community music as the “music of a community,” community music as “communal music making,” and community music as an active intervention between a music leader or leaders and participants. This book covers the third definition. The chapter outlines four questions: What is community music? What are the histories of community music and what can we learn from them? Where are the illustrations of practice? and Can a theoretical framework be developed that would help describe and understand community music practices? The book is divided into two sections. Firstly, “Inheritances and Pathways” presents three main themes: a historic perspective through which to understand the emergence of an international field; a consideration of what makes community music a distinctive enterprise; and illustrations of practice from across the world. Secondly, “Interventions and Counterpaths” utilizes the practice of community music to reveal philosophical strategies that enables an approach to analysis, discussion and understanding. Finally, Chapter 12, “Another Opening” explores future implications and directions for community music teaching and learning, employment, and practice.Less
This chapter suggests three broad perspectives of community music: community music as the “music of a community,” community music as “communal music making,” and community music as an active intervention between a music leader or leaders and participants. This book covers the third definition. The chapter outlines four questions: What is community music? What are the histories of community music and what can we learn from them? Where are the illustrations of practice? and Can a theoretical framework be developed that would help describe and understand community music practices? The book is divided into two sections. Firstly, “Inheritances and Pathways” presents three main themes: a historic perspective through which to understand the emergence of an international field; a consideration of what makes community music a distinctive enterprise; and illustrations of practice from across the world. Secondly, “Interventions and Counterpaths” utilizes the practice of community music to reveal philosophical strategies that enables an approach to analysis, discussion and understanding. Finally, Chapter 12, “Another Opening” explores future implications and directions for community music teaching and learning, employment, and practice.
Margaret S. Barrett
- Published in print:
- 2011
- Published Online:
- May 2012
- ISBN:
- 9780199568086
- eISBN:
- 9780191731044
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199568086.003.0013
- Subject:
- Psychology, Music Psychology, Social Psychology
The concept of creative ecologies has been taken up variously including as a phenomenon linked to commercial interests and the emerging creative economy and, as a socially just and sustainable ...
More
The concept of creative ecologies has been taken up variously including as a phenomenon linked to commercial interests and the emerging creative economy and, as a socially just and sustainable phenomenon that provides opportunity for the participation of all in creative work. This chapter explores contemporary understandings and applications of ecological thinking in order to interrogate current conceptions of creativity, and considers the implications for music and music learning.Less
The concept of creative ecologies has been taken up variously including as a phenomenon linked to commercial interests and the emerging creative economy and, as a socially just and sustainable phenomenon that provides opportunity for the participation of all in creative work. This chapter explores contemporary understandings and applications of ecological thinking in order to interrogate current conceptions of creativity, and considers the implications for music and music learning.
Reinhard Kopiez
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195304565
- eISBN:
- 9780199850723
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195304565.003.0008
- Subject:
- Music, Psychology of Music
This chapter sums up some of the research in skill acquisition, which stresses the environmental aspects of music learning, especially in learning to play an instrument. Research in the acquisition ...
More
This chapter sums up some of the research in skill acquisition, which stresses the environmental aspects of music learning, especially in learning to play an instrument. Research in the acquisition of complex everyday skills has favored expert performance as an object of study. The focus on extremely gifted children and musical prodigies is less interesting to educators, who are not commonly confronted with these rare children. Other educationally important aspects of skill acquisition and display that await further investigation are musical creativity and performance. The most important characteristic of research in skill acquisition and human performance is that this research opens up an optimistic view for educators because it does not focus on innate abilities.Less
This chapter sums up some of the research in skill acquisition, which stresses the environmental aspects of music learning, especially in learning to play an instrument. Research in the acquisition of complex everyday skills has favored expert performance as an object of study. The focus on extremely gifted children and musical prodigies is less interesting to educators, who are not commonly confronted with these rare children. Other educationally important aspects of skill acquisition and display that await further investigation are musical creativity and performance. The most important characteristic of research in skill acquisition and human performance is that this research opens up an optimistic view for educators because it does not focus on innate abilities.
Cynthia Crump Taggart
- Published in print:
- 2016
- Published Online:
- March 2016
- ISBN:
- 9780199328093
- eISBN:
- 9780190464417
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199328093.003.0010
- Subject:
- Music, Psychology of Music
Music learning theory (MLT), which was developed by Edwin Gordon, provides a theoretical framework for teaching music. At its core is the goal of developing audiation skills so that students can ...
More
Music learning theory (MLT), which was developed by Edwin Gordon, provides a theoretical framework for teaching music. At its core is the goal of developing audiation skills so that students can become musically independent. MLT is built upon research focusing on the similarities between the music and language learning processes; acquiring a sense of syntactical structure is central to both. This focus on syntax differentiates MLT from most other music learning approaches. The two primary components of MLT instruction are learning sequence activities (i.e., tonal and rhythm pattern instruction) and classroom activities. These combine to form a whole-part-whole approach to teaching music, with classroom activities serving as the wholes, and pattern instruction serving as the part. Individualizing instruction to meet the musical needs of each child is fundamental to MLT. This chapter explores the theoretical underpinnings of MLT, how it unfolds in practice, and its strengths and weaknesses.Less
Music learning theory (MLT), which was developed by Edwin Gordon, provides a theoretical framework for teaching music. At its core is the goal of developing audiation skills so that students can become musically independent. MLT is built upon research focusing on the similarities between the music and language learning processes; acquiring a sense of syntactical structure is central to both. This focus on syntax differentiates MLT from most other music learning approaches. The two primary components of MLT instruction are learning sequence activities (i.e., tonal and rhythm pattern instruction) and classroom activities. These combine to form a whole-part-whole approach to teaching music, with classroom activities serving as the wholes, and pattern instruction serving as the part. Individualizing instruction to meet the musical needs of each child is fundamental to MLT. This chapter explores the theoretical underpinnings of MLT, how it unfolds in practice, and its strengths and weaknesses.
Eckart Altenmüller and Wilfried Gruhn
- Published in print:
- 2002
- Published Online:
- October 2011
- ISBN:
- 9780195138108
- eISBN:
- 9780199849291
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195138108.003.0005
- Subject:
- Music, Psychology of Music
This chapter reviews current knowledge about the brain mechanisms involved in music perception, music production, and music learning. It argues that a basic understanding of the enormously complex ...
More
This chapter reviews current knowledge about the brain mechanisms involved in music perception, music production, and music learning. It argues that a basic understanding of the enormously complex neurobiological processes that underlie the musician's training and performance will eventually stimulate new insights into the practice and theory of music education. So far, the results of laboratory experiments have been, by necessity, restricted to very limited aspects of music making. Consequently, the brain mechanisms that underlie the rich universe of accomplished musicianship are mostly still inaccessible to brain research. To understand neural substrates of music performance it is first necessary to understand some basic neuroanatomy and neurophysiology. The chapter introduces essential general information for musical readers.Less
This chapter reviews current knowledge about the brain mechanisms involved in music perception, music production, and music learning. It argues that a basic understanding of the enormously complex neurobiological processes that underlie the musician's training and performance will eventually stimulate new insights into the practice and theory of music education. So far, the results of laboratory experiments have been, by necessity, restricted to very limited aspects of music making. Consequently, the brain mechanisms that underlie the rich universe of accomplished musicianship are mostly still inaccessible to brain research. To understand neural substrates of music performance it is first necessary to understand some basic neuroanatomy and neurophysiology. The chapter introduces essential general information for musical readers.
Susan A. O'Neill and Yaroslav Senyshyn
- Published in print:
- 2011
- Published Online:
- May 2015
- ISBN:
- 9780195386677
- eISBN:
- 9780190268039
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195386677.003.0001
- Subject:
- Music, Psychology of Music
This chapter specifies how theoretical conceptualizations of learning have become integrated into a student's thinking and representation. It provides a review of ideas and concepts associated with ...
More
This chapter specifies how theoretical conceptualizations of learning have become integrated into a student's thinking and representation. It provides a review of ideas and concepts associated with influential music learning theories. It analyzes four influential perspectives of learning, and considers how the learner is shaped by them: (1) the music learner as a skilled performer, (2) the music learner as a collaborator, (3) the music learner as an explorer, and (4) the music learner as an authentic musical being. It also explores Pierre Bourdieu's theory of the field of cultural production in his The Field of Cultural Production: Essays on Art and Literature, and looks into the view that the music learner is a part of an intricate sociocultural web involving particular structures and practices that empower some and prevent others from taking a deliberate role in the field of cultural production that constitutes music.Less
This chapter specifies how theoretical conceptualizations of learning have become integrated into a student's thinking and representation. It provides a review of ideas and concepts associated with influential music learning theories. It analyzes four influential perspectives of learning, and considers how the learner is shaped by them: (1) the music learner as a skilled performer, (2) the music learner as a collaborator, (3) the music learner as an explorer, and (4) the music learner as an authentic musical being. It also explores Pierre Bourdieu's theory of the field of cultural production in his The Field of Cultural Production: Essays on Art and Literature, and looks into the view that the music learner is a part of an intricate sociocultural web involving particular structures and practices that empower some and prevent others from taking a deliberate role in the field of cultural production that constitutes music.
Peter R. Webster
- Published in print:
- 2011
- Published Online:
- May 2015
- ISBN:
- 9780195386677
- eISBN:
- 9780190268039
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195386677.003.0002
- Subject:
- Music, Psychology of Music
This chapter summarizes writings in music education that are inspired by a complicated set of interconnected beliefs about learning, and are often labeled as constructivist or constructionist. It ...
More
This chapter summarizes writings in music education that are inspired by a complicated set of interconnected beliefs about learning, and are often labeled as constructivist or constructionist. It outlines some major elements from philosophy and social science that form the background of constructivist perspectives, and emphasizes the importance of social constructivism in education. It reviews the role of conceptual writing in music education about constructivist thinking and its role in music teaching and learning. It highlights an analysis of the many writings that privilege constructivist views as a force in how music teachers are prepared. It also enumerates themes that seem to emerge from empirical evidence about the application and effectiveness of the constructivist view in music teaching and learning.Less
This chapter summarizes writings in music education that are inspired by a complicated set of interconnected beliefs about learning, and are often labeled as constructivist or constructionist. It outlines some major elements from philosophy and social science that form the background of constructivist perspectives, and emphasizes the importance of social constructivism in education. It reviews the role of conceptual writing in music education about constructivist thinking and its role in music teaching and learning. It highlights an analysis of the many writings that privilege constructivist views as a force in how music teachers are prepared. It also enumerates themes that seem to emerge from empirical evidence about the application and effectiveness of the constructivist view in music teaching and learning.
