Arts and Humanities Commons^™

Music In The Belly: Music And Mother-Child Interaction, Kaarina Marjanen

Leading Music Education International Conference

This study explores the possibilities of and reasons for using music education as a support in very early mother-child interaction, throughout musically supporting the attachment.

Dr. Marjanen's PhD dissertation (The Belly-button Chord: Connections of Pre- and Postnatal Music Education with Early Mother-child Interaction) is available online at: http://urn.fi/URN:ISBN:978-951-39-3769-0

Closing A Private Music Studio: An Experiential Study, Sharon Lierse

Leading Music Education International Conference

The private music studio plays a crucial role in the education of the musician. One-to-one music tuition is one of the most effective means of learning a musical instrument and students can learn throughout the life-span. The student teacher relationship is vital in not only the technical and musical development of the student, but also in shaping the student’s identity and personal growth. This relationship can be described a personal, professional and positive.

In 2010, the author was running a private music studio full-time in Melbourne, Australia. The students ranged from four years old to retirement age and for many …

The Musical Personhood Of Three Canadian Turntablists: Implications For Transformative Collaborative Practice, Karen Snell

Leading Music Education International Conference

Over the past several years in particular, scholars in music education have been calling for better connections between community and school music making (e.g., Jones, 2005; Veblen, 2005). It seems that in many cases, teachers may be continuing the tradition of large ensemble band, orchestral, or choral programs because this is the way they were taught themselves and they are comfortable with the status quo, rather than because this is a meaningful way for their students to engage with music (Snell 2009; Woodford 2005). As a result, many youth in contemporary Western society have two musical worlds: one at school …

Adult Music Engagement: Perspectives From Three Musically Engaged Cases, Darrin Thornton

Leading Music Education International Conference

The purpose of this study was to explore the phenomenon of adult music engagement from the perspectives of musically engaged adults not currently participating in activities that are direct extensions of the typical K-12 music curriculum. Three participants were purposefully chosen and include an avid listener, a church praise team member, and a bluegrass rhythm guitarist/lead singer.

The following questions framed the investigation within an interpretative phenomenological approach to first construct the perspective of each case and second, to identify ways learning has occurred through music engagement over their lifespan:

1. What are the musical life histories of these adults?
2. How …

Musical Identity And Culture: Exploring The Korean Diaspora Through The Lens Of Piano Pedagogy, Elisha Jo, Leslie Linton

Leading Music Education International Conference

This presentation explores the nature of identity and pedagogy through the study of Western classical piano training. Two groups of university students – one of Korean Canadians and the other of Koreans in Korea – describe their training, their aspirations and their expectations. How do these students come to study piano? Who are they and how does their musical education form their sense of self? We started a comparative study of Korean and Canadian methodologies in Southwestern Ontario (London, Ontario) and Cheonan, Korea, an hour outside of the capital Seoul. Populations of these two cities are comparable although there are …

Community Music And The Culture Of Trans-Border Peace In West Africa: The Case Of The Assiko In Gorée (Sénégal), Henri-Pierre Koubaka

Leading Music Education International Conference

Close in rhythm to Caribbean the ASSIKO from Gorée in Sénégal has entertained generations of Africans even across the Atlantic ocean just by the mere fact that by nature it is a mixture of various African rhythms. Through its songs and dance steps African ethnic groups and communities of African descent have lived in peace thus discovering the beauty of their own culture and that of their neighbors’ as these were embedded in ASSIKO: singing together a song from another ethnic group, dancing together steps that are invented and made up based on somebody else’s dance has proved to be …

Expressing The Self: Critical Reflections On Choral Singing And Human Rights In Prison, Mary Cohen, Stuart Paul Duncan

Leading Music Education International Conference

Given our experiences assisting, directing, researching prison choirs and developing educational programs in prisons, we continue to examine the complex aspects of purposefully facilitated group-singing in prisons. Reflection upon the relationships among basic human rights, imprisonment and the penal system, prisoners’ needs and rehabilitation, and the effects of choral-singing affect our understanding of these multiple discourses. Our aim is to shed light on the similarities and differences among a complexity of such relationships through these research questions: (a) Among these ideas, what are the relationships and how do they inform our understanding of choral singing in prison contexts and basic …

Playful Spaces For Musical Expression And Creativity: An Ethnodrama, Tawnya D. Smith, Karin Hendricks

Leading Music Education International Conference

Presented in the form of an ethnodrama, this paper features data from three studies to illustrate how current attitudes and practices in music education both foster and inhibit musical expressiveness and personal well-being. Stories of public school students, adult learners, and music teachers as performing musicians bring to light contemporary issues including (a) the influence of competition upon expressive performance; (b) isolation versus community music-making; (c) the impact of fear-based "motivation" systems; and (d) accessibility of free and creative music-making opportunities to a larger population of musicians. Experiences of high school students in an honor orchestra festival illustrate how externally-imposed …

Politics, Ethics, Leadership, And Professionalism. Or: Why Should The Leadership Of Music Teacher Education Pay Attention To The Global Crises Of Economy And Climate?, Geir Johansen

Leading Music Education International Conference

This paper takes the relationship between the macro, meso and micro levels of society as its point of departure, with music teacher education as its case. The attention is directed towards how musical leadership, in this case the leadership of music teacher education faces dilemmas of an ethical, political and professional character and discusses if and how such dilemmas can possibly be dealt with. Based on a theoretical ground that affords the present social-cultural condition of our western societies to be described as one of modernity in its extremes (Giddens) we can see how the self driven dynamics of social …

Musical Integrity And The Practice Of Human Becoming, Mark Whale

Leading Music Education International Conference

It strikes me that there are just two categories of “music” and “music learning.” In the first category, each “sells out,” as it were – one may also say reduces itself or is reduced – to a particular ideology, a trend in the market, a convention, a social theory, an educational idea, an apparent reality, a research result and so on. In the second category, music and music learning, in every moment of their practice and engagement – while, on the surface, they might appear to be following a particular convention or trend – in actuality have a self-critical sense …

Music Education As Dialogue Between The Outer And The Inner, Elin Angelo

Leading Music Education International Conference

This paper is based on a study of a Norwegian jazz educators’ philosophy of work. This jazz educator is nationally and internationally recognized as a performer and educator, and is honoured for his work of bringing jazz education into the system for higher music education in Norway. The study is based on video observations, field notes, one interview and a questionnaire. Analysis of this material denotes three bipolar pivot points, which indicate a practice embodied as a constant dialogue between inner and outer aspects of music and human beings. These identified pivot points are named; ‘tradition/person’, ‘music as heard/ music …

An Immanent Pedagogy Of Music, Anders Ronningen

Leading Music Education International Conference

In this paper I will introduce a concept of pedagogy of music that I will call Immanent. I will approach it philosophically from two directions: Firstly, I will focus on the notion of Music, (or the ontology of music), and claim that within this notion there is always already a pedagogy enclosed, not to say immanent. I do for example – with Nettl - believe that the way in which a society teaches its music is a matter of enormous importance for understanding that music. Nevertheless, and quite contrary to that, in my ongoing PhD project I find that the …

High Quality Performances From “Community” Musical Groups: The Sometimes Conflicting Personal And Musical Requirements For A High Level Of Performance Combined With Sustainable Personal Satisfaction In A Long Surviving Musical Group. The Case Of The London Jazz Orchestra, Bill Skidmore

Leading Music Education International Conference

Sociological functionalist theory provides a suggestive array of ideas with which to conceptualize any social structure. Starting with the idea that a structure must perform certain functions in order to survive and fulfill its task, this sociological model sets the subject social structure in its "environment" of other social structures to which it relates, regarding the whole as a "social system." In the language of one prominent theorist of functionalism, survival of any structure in a social system requires the abstract functions of "adaptation," "goal attainment," "integration," and "pattern maintenance" all to be performed successfully. These structural level requirements provide …

“Changing The World One Song At A Time”: Interrogating Constructions Of Community In Common Thread Community Chorus Of Toronto, Deanna Yerichuk

Leading Music Education International Conference

Community choirs enact notions of community often based on the assumption that community singing bridges and celebrates cultural diversity through shared musical experiences. What makes Common Thread Community Chorus of Toronto unique among community choirs in Toronto is an explicitly political focus to its musical community-building efforts. This paper explores how the construction of community within Common Thread is predicated on the notion of cultural inclusion through musical, social, and political dimensions. Drawing from research conducted with the choir in 2010 that explored the social and musical experiences of choir members, I argue that the relationships between choral members’ socio-musical …

Maxwell's Music House And Wilfrid Laurier University's Faculty Of Music: A Study In Contrasting Commonality, Lee Willingham

Leading Music Education International Conference

Paul Maxwell is very careful to praise his formal music education in classical theory, piano, and musicology. As a business major, he minored in music at Wilfrid Laurier University and studied music all through his elementary and secondary school years. His dream for a community music centre that featured live performances and instruction was forged in his fourth year of undergraduate study. At the age of 26, Paul Maxwell is into his third year of operation. This paper explores the relationship that is being forged between a community music-for-profit enterprise and a very traditional university faculty of music. At first, …

So You Think You Can Glee? Implementation Of Popular Styles In The Secondary School Arts Programs, Jennifer Hutchison

Leading Music Education International Conference

This paper addresses the issues of popular culture, media- in particular television programmes such as Glee and So You Think You Can Dance Canada- and the effects on music and dance programs in the secondary school system. A comparison of the two performing art forms demonstrates many similarities and some significant differences in their current position within an educational context and the challenges that potentially face the two streams. A small-scale qualitative study was conducted using interview methodology seeking data from a dance teacher (secondary school and private studio) investigating this teacher’s opinions on the issues identified above and the …

"Rhythmic Music" In Danish Music Education, Peder Kaj Pedersen

Leading Music Education International Conference

In Danish state schools from elementary to upper secondary school music is part of curricula at all levels. It is widely accepted that both individuals and culture benefit from art subjects, creative activities etc. This type of motivation was sufficient support for maintaining music as a subject at all levels of the educational system from around 1960 to around 2000. This tradition dates back to the 1920s, when the first Social Democratic government in Danish history (1924-26), with Nina Bang as minister of education (probably the first female minister worldwide), in the field of music made an alliance with innovative …

The Implications Of South African Children’S Multimodal Musical Games For Music Education, Susan Harrop-Allin

Leading Music Education International Conference

My paper is based on ethnographic research into South African urban township children’s musical games. Young learners’ unsupervised, self-choreographed and designed musical games are rich music-dance practices which, I suggest, constitute important kinds of local musical knowledge. As such, I propose that these games are potential resources for music teaching and learning that may be ‘recruited’ in different ways. I am interested both in how these musical games are hybrid, mixed multimodal forms specifically located in South African township culture, and their implications for pedagogy. In this paper, I present some of the games that are particularly interesting in their …

Music For Life: Promoting Social Engagement And Well-Being In Older People Through Community Supported Participation In Musical Activities, Andrea Creech

Leading Music Education International Conference

Within our current social context where extraordinary demographic transitions are underway, where the numbers of old people suffering from depression is increasing and where there is an accepted need for initiatives that support older people’s well-being and productivity (Age concern, 2008) little attention has been paid to the potential for music-making to effect a significant contribution to the quality of life of older people. This research explored the role of music in older people’s lives and how active participation in making music, particularly in community settings can enhance their social, emotional and cognitive well-being. The specific aims were to investigate …

In Harmony (England), Richard Hallam

Leading Music Education International Conference

This short presentation will briefly cover 4 areas:

• The context
• The programme
• The evaluation
• The future

Creating Arts Curriculum For The 21st Century, John Phillips

Leading Music Education International Conference

This workshop will position the newly revised Ontario Arts curriculum document alongside contemporary issues and research in music education. The rationale for change, political impact and systematic implementation will underscore the contextual reference to this educational policy document. The session will be of immediate interest to delegates who are teaching within the Ontario context as well as those interested in music curriculum reform.

Teachers’ Perceptions Of Elementary Music Education In Ontario, Elizabeth Anderson

Leading Music Education International Conference

It could be argued that one of the most significant constraints within which music leaders in school work is that of curriculum. In the past 18 years, the Ontario Ministry of Education has released three Arts curricula for the elementary grades. In 1995, the New Democrat Party under the leadership of Bob Rae produced The Common Curriculum: Policies and Outcomes, Grades 1-9, followed closely by a new document in 1998 under the Harris “Common Sense Revolution” government. The expectations for music in this curriculum were considered by music education advocacy groups in Ontario to be too difficult to be taught …

Music Lessons As A Source For Well-Being And Lifelong Involvement With Music, Marit Mõistlik, Eha Rüütel

Leading Music Education International Conference

This paper presentation is based on outcomes of two studies which were carried out in 2008 and 2010. The objectives of the first study were to analyse the experiences and memories gained in general music lessons at school in relation to the current musical activity of the person and his or her attitude towards music; how music lessons have influenced the musical behaviour of a person after graduating from general school and what is the role of the music teacher in that process. I would like to present some results from that study where the following themes were discussed ((1) …

Music Education And Reading Education: How To Connect Them?, Andrée Lessard, Jonathan Bolduc

Leading Music Education International Conference

While many students have difficulty to read at the onset of the elementary level, music seems to be an effective way to improve their reading abilities. In fact, numerous approaches have been implemented to facilitate the development of reading abilities. Despite their pertinence and validity, complementary approaches have been put forward to limit the recurring difficulties students encounter at the beginning of the elementary level. Among these, several authors place a particular emphasis on the musical world. This could be explained by the growing number of studies discovering the numerous links between musical learning and others non-musical learning domains. Among …

Conference Program, Don Wright Faculty Of Music, The University Of Western Ontario

Leading Music Education International Conference

No abstract provided.