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Artistic experimentation in music : an anthology
This book is the first anthology of writings about the emerging subject of artistic experimentation in music. This subject, as part of the cross-disciplinary field of artistic research, cuts across boundaries of the conventional categories of performance practice, music analysis, aesthetics, and music pedagogy. The texts, most of them specially written for this volume, have a common genesis in the explorations of the Orpheus Research Centre in Music (ORCiM) in Ghent, Belgium. The book critically examines experimentation in music of different historical eras. It is essential reading for performers, composers, teachers, and others wanting to inform themselves of the issues and the current debates in the new field of artistic research as applied to music. The publication is accompanied by a CD of music discussed in the text, and by an online resource of video illustrations of specific issues.
Book
The illiterate listener
Since infancy we humans have had a high perceptual sensitivity to both the melodic, rhythmic and dynamic aspects of speech and music. It is, as far as we know, a uniquely human talent for perceiving, interpreting and appreciating music, dating as far back before words were spoken, or even invented. Music has an intriguing way with our hearing, our memory, our emotions and our expectations. As a listener we are often unaware of the active role we play when determining what music is exciting, comforting or exciting. Consequently, listening is not happening in the outside world of sounding music, but in the silent inner world of our head and mind.
eBook
Strengthening early childhood teacher education towards a play-based pedagogical approach through a music intervention programme
Background: Music as one of the creative arts offers an ideal vehicle to implement alternative teaching and learning strategies, including the implementation of purposeful but playful pedagogies that are increasingly being acknowledged as the most appropriate way of teaching young children. However, within higher educational institutions, it is becoming more difficult to develop sufficient content knowledge and confidence in student teachers to teach playfully through music. Students being unaware of playful music strategies favour ‘desk bound’ methodologies. Aim: This article explores a music intervention aimed to deepen students’ understanding of and ability to teach playfully through music and reflects on a shift in students’ understandings and perceptions in response to the intervention. Setting: This article reports on the first 2 years of a music intervention programme which was offered to second-year early childhood education students studying for their BEd degree. Methods: The research design is both qualitative and quantitative in nature. It explores how students experience challenges with music education and to explain the nature of these challenges. We outline a music intervention programme designed to deepen student teachers’ understanding, ability and confidence to teach playfully through music. We made use of questionnaires, interviews and observations to explore the success of this intervention programme. Results: These showed that students’ were positive, showing that students deepened their insights and increased their confidence to teach playfully through music. Conclusion: In conclusion, the authors show that well-considered music education offers a viable way to enhance a playful approach to teaching and learning in the early years.
Journal Article
Music Therapy Research
A greatly expanded, updated, and detailed description of objectivist and interpretivist research in music therapy, guided by the recommendations of a diverse group of experienced music therapists. The book begins with an introduction to the nature of music therapy research and its relation to theory and practice. Steps in doing research are then detailed, and the foundations and principles of objectivist and interpretivist paradigms are outlined. After methodological issues inherent in each paradigm are examined, individual chapters are provided for every type, method, and design of research that has been used in music therapy, all using the same outline. Finally, guidelines are given for reading, writing, and evaluating research.
eBook
Just Ask Me
The purpose of this study was to determine the convergent validity of self-reported and objective measures of school music ensemble participation. Self-reported survey responses to a question about high school music ensemble participation and administrative data in the form of high school transcript-indicated ensemble enrollments were compared across N = 62,110 observations. Cohen’s kappa (κ) showed substantial agreement between self-reports and the administrative data. Evidence from the study suggests that self-reports are a valid measure of music ensemble participation, suitable for use in social scientific music education research.
Journal Article
DE LA MUSIQUE EN POLITIQUE : L’IMPERATIF DE L’INTERDISCIPLINARITE AU SECOURS D’UN OBJET DELAISSE
The introduction of marketing in political party strategies has considerably altered the uses and place of music in the way election campaigns are designed and conducted. This publication attempts to revisit the epistemological and methodological issues of political marketing raised by the use and role of music. Why is the interdisciplinary approach to music a relevant tool to revisit the analysis of political marketing by political science?
Journal Article
Music-centered music therapy
An ambitious and long-awaited text that sets out the basic practices and principles of approaches to music therapy that place music and musical experience in a central role. The text provides a philosophical and practical rationale for musical experience as a legitimate goal of clinical music therapy. An historical account is given of music-centered thinking in music therapy and the manifestation of this way of thinking in various contemporary music therapy models. The latter part of the book develops the specifics of aparticular music-centered theory that is meant to be applicable across different domains of treatment. This book is essential for readers interested in the development of theory in music therapy, for music-centered practitioners who have been searching for a vocabulary and conceptual framework in which to articulate their clinical approach, and for anyone interested in the intrinsic value of musical experience for human development.
eBook
Learning to Teach Music: A Collaborative Ethnography
This paper is an exploration of the use of collaborative ethnography as a qualitative approach to research in music teacher education. A case study of a research project designed to explore the process of how novice teachers learn to teach elementary general music is used to discuss the interaction of theory and practice. Participants included 43 music education students concurrently enrolled in a teachingpracticum, curriculum analysis class, and reflective teaching seminar. Emphasis is given to describing and representing the students' experiences through a const rue tivist framework; both study design, methods of data collecting and analysis are detailed through this framework. An emergent set of assertions is presented to illustrate students' initial images and beliefs of teaching. A profile of one student is presented to illustrate through interpretation, incidence, transformation, and metaphor a particular process of learning to teach music.
Journal Article
Defining \Good\ Music Teaching: Four Student Teachers' Beliefs and Practices
In this study, I used qualitative data, gathered primarily through participant-observation and interviews, to explore the definitions of \"good\" teaching held by four student teachers in instrumental music. Their understandings appeared to be constructed individually from a variety of experiences with their parents, peers, teachers, cooperating teachers, and students—experiences that they explicitly and tacitly transformed into principles of \"good\" teaching. Each student teacher engaged in ongoing refinement of a personal definition of \"good\" music teaching, consistently filtering potential elements of that model through an interpretive lens—the desire, as the student teachers said, to \"be themselves \"in the classroom. Observation of their instructional practices revealed that their definitions of \"good\" teaching were influenced by the university music education courses but that, because of the strength of prior beliefs, each one learned a different version of what was taught. The study's findings raise further questions about defining effective music teaching and suggest the usefulness of qualitative methods for illuminating both the issues involved and the processes by which individual music teachers develop their own \"good\" teaching practices.
Journal Article