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Mercier, Michelle De Shon. ""Music is Waiting For You:" The Lived Experience of Children's Musical Identity." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/msit_diss/100.
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ABSTRACT
“MUSIC IS WAITING FOR YOU:” THE LIVED EXPERIENCE
OF CHILDREN’S MUSICAL IDENTITY
by
L. Michelle Mercier-De Shon
This phenomenological study of lived experience (Van Manen, 1990) explored the perspectives of four 4th grade children as they live in and live through music to formulate their musical identities. Framed within perspectives of symbolic interaction theory (Blumer, 1969), communities of practice (Wenger, 1998), and figured worlds (Holland, et al., 1998), data were collected using methods consistent with qualitative inquiry. These included: observations of quasi-formal music learning settings, in musical playgroups and during professional musicians’ presentations; close observations of children’s daily school lives; and planned discussion group interviews (O’Reilly, 2005). Findings emerged from the data via a bricolage of existentialist (Morrisette, 1999; Holyroyd, 2001) and interpretative phenomenological analyses (Smith, 2003).
Children in my study explored and expressed their musical identities through self-directed engagement across multiple modalities of singing, listening, performing on instruments, and creating music. They engaged with these modalities in individualized and shared ways. Singing was situated, by context and in concert with social and gender comparisons. Listening, performing, and creating encompassed a trajectory from experimentation to intentionality, with continually embedded exploration and musical play.
Findings indicated that children in middle childhood may actively shape their musical identities within a dynamic nexus of individualized and social continuums of music experience and learning. These continuums may be understood along three dimensions: development; components, i.e., music participation and learning; and processes. The developmental spectrum of children in middle childhood provides a fluid context for understanding musical identity, revealed not as a fixed entity, but through interweaving elements of their past, present, and future musical lives. Self-directed music participation and learning may shape musical identity and provide a context for its expression through both musical and social roles, as children enact musical behaviors through social interaction. Finally, children’s musical identity may be understood as a process, in which personal dialogue meets external discourses, as children continuously negotiate self-conceptions of musicality within and among their musical worlds. Findings indicate that music teachers may offer opportunities for exploration and musical play as a basis for concurrently nurturing the development of musical identities and fostering musical understanding.
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Snead, Todd Edwin. "Dichotomous Musical Worlds: Interactions between the Musical Lives of Adolescents and School Music-Learning Culture." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/msit_diss/53.
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This ethnographic study investigated the interactions between the musical lives of adolescents and school music-learning culture in a suburban high school. Participants included two music teachers and seven adolescents. Framed within a symbolic interactionist perspective (Blumer, 1969), data were collected via methods consistent with qualitative inquiry, including an innovative data collection technique utilizing music elicitation interviews with adolescents. Findings emerged from the data via thematic analysis (Grbich, 2007). Findings indicate limited interactions between the musical lives of adolescents and school music-learning culture because participants portrayed and experienced a dichotomy between the musical assumptions and practices inside and outside of school. Interactions occurred when participants engaged in sharing musical capital that overcame segmentation among music learning, out-of-school experience, and elective participation in secondary school music programs. Supporting findings indicate that the school music-learning culture derived from teachers' negotiating between two major influences: 1) their own musical values, which were based on their musical backgrounds and the long-established professional tradition of formal performance emphases in school music programs; and 2) the musical values of their students. Adolescents self-defined their musical lives as largely informal musical activities commonly experienced outside of school. They expressed a wealth of personal musical knowledge and described their affinity for music across four dimensions: 1) expression and feeling, 2) relevance, 3) quality in artistry and craftsmanship, and 4) diversity. Three themes describe how adolescents’ personal relationships with music influenced their beliefs and choices regarding music participation and learning: 1) musical roots: nurturing personal and social connections with music, 2) motivated learning: seeking relevance and challenge, and 3) finding a voice: striving toward musical independence. Findings indicate that music teachers may enhance interactions between adolescents’ musical lives and school music-learning culture by acknowledging students’ musical engagement outside of school, honoring their personal musical knowledge and interests, and making them collaborators in developing music-learning models rooted in their affinity for, and personal relationships with, music.
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Marcelino, André Felipe. "Grupo de maracatu Arrasta Ilha : dinâmica de aprendizagem musical em uma comunidade de prática." Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/1545.
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The purpose of this study is to investigate the dynamics of musical learning established in the maracatu group Arrasta Ilha, from Florinópolis, Brazil. The theoretical foundation for the study combines Etienne Wenger‟s concept of community of practice and practices of informal musical learning presented by Lucy Green. These references were selected because they allow analyzing and understanding dynamics of musical learning in a community of musical practice. By examining attitudes and values of the practices of informal musical learning of popular music, Lucy Green explores the possibilities that these practices can offer to formal musical education, providing references for discussing learning processes that occur among peers through observation and imitation, in both casual meetings and organized sessions. A case study was conducted with a qualitative approach, including participant observation of weekly rehearsals, presentations and workshops promoted by Arrasta Ilha, which were recorded in audio and video. The research results point to five dynamics of musical learning in the group Arrasta Ilha. They are: listening and playing by ear, casual and organized meetings, observation and imitation, solfeje onomatopeais and learning by osmosis. These dynamics are mutually related among the musical activities conducted by the participants. They are given potential within a significant learning environment that is configured as a community of practice, where the participants share a common passion: interest for the musical practice of maracatu, which instigates and gives potential to the musical learnings in this context.
Este trabalho teve como objetivo investigar as dinâmicas de aprendizagem musical que se estabelecem no grupo de maracatu Arrasta Ilha, de Florianópolis-SC, Brasil. A fundamentação teórica da pesquisa combina o conceito de comunidade de prática de Etienne Wenger (2008) e de práticas de aprendizagem musical informal apresentadas por Lucy Green (2002). Tal referencial foi selecionado porque permite analisar e compreender dinâmicas de aprendizagem musical em uma comunidade de prática musical. Ao examinar atitudes e valores das práticas de aprendizagem musical informal de músicos populares, Lucy Green (2002) explora as possibilidades que essas práticas podem oferecer à educação musical formal, trazendo referências para discutir processos de aprendizagem que ocorrem entre pares, através de observação e imitação, tanto em encontros casuais como em sessões organizadas. Foi realizado um estudo de caso de abordagem qualitativa, incluindo observação participante que contemplou ensaios semanais, apresentações e oficinas promovidas pelo Arrasta Ilha grupo focal, registros em áudio e vídeo. Os resultados da pesquisa apontam para cinco dinâmicas de aprendizagem musical no grupo Arrasta Ilha. São elas: escuta e tirar de ouvido , encontros casuais e organizados, observação e imitação, onomatopeias solfejadas e aprender osmoticamente . Essas dinâmicas categorizadas se relacionam mutuamente entre as atividades musicais realizadas pelos participantes. E são potencializadas dentro de um ambiente de aprendizagens significativas que se configura como uma comunidade de prática, onde os participantes compartilham uma paixão em comum: o interesse pela prática musical do maracatu, que instiga e potencializa as aprendizagens musicais nesse contexto.
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Hankins, Elizabeth Aylmer. "An Exploration of Musical Habits of Alumni from “The Lakewood Project” and How They Musick After High School." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1492171182633657.
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Verdelho, Ricardo. "Interpretação e gravação musical em estúdio: aprendizagens e perceções em crianças do 1º ciclo." Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2014. http://hdl.handle.net/10400.26/6490.
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Mestrado em Ensino de Educação Musical no Ensino BásicoEste projeto centra-se na interpretação vocal e instrumental em estúdio e na gravação de um CD áudio e de um videoclipe, com o objetivo de potenciar a motivação e as aprendizagens musicais dos alunos, em contexto profissional. Esta ideia enquadra-se nas perspetivas de criação de contextos diferenciados de aprendizagem e de parcerias com músicos profissionais do meio (e.g. Adams, 2001), que apontam para elevados níveis de motivação e envolvimento dos alunos. A imersão no contexto profissional da música é ainda cruzada com perspetivas de Green (2002) e Swanwick (1979), que referem o potencial educativo do equilíbrio entre processos de aprendizagem formal e informal e entre as atividades musicais de criação, audição e performance. O Projeto Educativo desenvolveu-se na EB1/JI Quinta dos Franceses, Seixal, e envolveu uma turma de 4.º ano do 1º Ciclo do Ensino Básico, onde foi possível desenvolver, ao longo de 9 semanas, um conjunto de aprendizagens e interações ligadas ao espaço estúdio, que culminou com a gravação e realização do CD e do videoclipe. Paralelamente, foi conduzido um estudo qualitativo que pretendeu investigar sobre as aprendizagens e perceções desenvolvidas pelos alunos. Os resultados permitem confirmar que a imersão neste contexto profissional da música contribui significativamente para fortes níveis de motivação que potenciam o desenvolvimento de competências nas áreas da formação pessoal, musical e social. Os resultados aclarados apontam ainda para a validação do duplo papel do professor/músico profissional, que adota uma postura multifacetada nos diversos domínios e que atualiza e revê as suas práticas, permitindo uma ponte entre o contexto escolar e o mundo profissional da música, criando, assim, condições para que as aprendizagens se desenvolvam em ambientes pedagógicos e de rigor profissional.
This project focuses on vocal and instrumental performance in a studio and the recording of an audio CD and a music video in order of enhancing the motivation and musical student learning in a professional context. This idea fits the prospects of creating different learning contexts and partnerships with professional musicians (e.g. Adams, 2001), pointing to high levels of motivation and involvement of students. The immersion in the professional context of music is also crossed with outlooks of Green (2002) and Swanwick (1979), referring to the educational potential of the equilibrium between formal and informal processes of learning and musical activities between the creation, audition and performance. The Education Project was developed in EB1/JI, Seixal, and involved a class of 4th grade of the 1st cycle of Basic Education, where it was possible to develop, over 9 weeks, a set of learnings and interactions associated to studio, which culminated with the recording and performing CD and video music. In addition, a qualitative study aimed to an investigating of learnings and perceptions developed by students. The results confirm that the immersion in this professional context of music contributes significantly to a strong levels of motivation that boost the development skills in the areas of personal, social and musical formation. The results still point to validate the dual role of teacher/professional musician, which adopts a multi-faceted approach in many areas and that updates and revises its practices, allowing a bridge between the school context and the professional world of music, creating conditions for apprenticeships to be developed in learning environments and professional stringency.
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Leme, Luis Santiago Malaga. "Práticas informais no ensino coletivo de sopros: um experimento no Guri." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-093552/.
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Este trabalho apresenta algumas contribuições para uma atualização metodológica e pedagógica do ensino de instrumentos de sopro em aulas coletivas inspirado pelas práticas informais de aprendizagem identificadas por Green (2008), Braga (2005) e Priest (1989) entre outros. As práticas informais são um conjunto de atividades identificadas pela literatura como típicas da música popular ou tradicional que possuem interesse para a educação musical formal. Suas características principais podem ser resumidas como: concessão de espaço e tempo para os alunos improvisarem e experimentarem; livre escolha do repertório e; maior uso de modelos visuais e sonoros dados pelo professor e por gravações trazidas à sala de aula. As práticas informais estão de acordo com a pedagogia de Paulo Freire na medida em que colocam a autonomia como meio de aprendizagem e não apenas como finalidade. A formalização das práticas musicais na direção da escrita e leitura de partituras é um processo antigo correlacionado ao desenvolvimento do racionalismo na história do pensamento ocidental em sua busca pela precisão, segundo Koellreutter (Brito, 2007). O caminho que as práticas musicais tomaram teve seu ápice no século XIX, sendo que o sistema de ensino dos conservatórios constituído nesta época perdura até os dias de hoje na educação musical, em especial no ensino formal e tradicional. É só a partir da segunda metade do século XX que os trabalhos de educação musical procuraram reequilibrar o processo de transmissão da música em busca da oralidade e da subjetividade que quase se perdeu. Este trabalho procura ser mais uma contribuição nesta direção. A pesquisa procurou implementar as práticas informais seguindo em linhas gerais o modelo sugerido por Green (2008) mas também incorporando as contribuições de outros autores como Braga (2005) e Priest (1989) no curso de iniciação aos instrumentos de sopro do Guri. O foco principal foi a análise do comportamento dos alunos perante as atividades, geralmente pouco estruturadas, bem como de seu desenvolvimento musical ao longo das aulas, utilizando o método de pesquisa baseado no estudo de caso instrumental. Apesar de vários percalços ao longo do trabalho, os resultados obtidos foram bastante favoráveis a adoção destas práticas e corroboram com as ideias de Green (2008). Tanto no que diz respeito a tocar a melodia escolhida pelos próprios alunos, como nas improvisações, vários deles demonstraram bastante desembaraço e independência. Também se observou que, por serem uma forma mais direta e musical de se aprender, as práticas informais permitiram aos alunos lidar com materiais musicais muito mais ricos e complexos do que em um curso tradicional. Por outro lado estas práticas pareceram mais adequadas para os alunos mais velhos, uma vez que estes tendem naturalmente a ter mais voz no grupo e a exercer mais plenamente a sua autonomia, inibindo os mais jovens que talvez tivessem sido beneficiados por mais apoio docente.This work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.
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Furiani, Dominic Michael. "Informal Teaching and Learning Practices in a Traditional Jazz Ensemble| A Case Study." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978203.
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Non-traditional music ensembles have emerged in public school classrooms as part of a larger effort to facilitate informal learning in school music. In this multi-instrumental case study, twenty-two member jazz ensemble composed of 10-12th grade students embarked on an aural learning activity. In this study, I examine the teaching and learning styles that emerged from the participants to gain a better understanding of informal learning practices and how they manifest in a formal learning environment. Data collection included twenty-two student surveys and one semi-structured interview of the participating teacher. In addition, video recordings of instruction, field notes, and in class memos were composed while observing the teacher and students. All data were coded using open and axial processes. The data are divided into two sections—the teacher’s experience which highlights teaching strategies and implementation procedures and the students’ experiences which focused on affective perception, the learning process, social/communal responses, and achievement. Findings indicate that a teacher who is implementing an aural learning activity into a large ensemble setting may adopt a different teaching style in order to create an authentic informal learning experience for the students. When authentically placing informal methods into a formal learning environment, students rely more on self- and peer-teaching, which led to heightened social and communal responses. These findings are linked to this specific aural learning activity, and future research in other settings with different activities may yield alternative results. Additional research which may include sharing of new activities, experiences and teaching strategies may benefit all teachers in blending informal and formal learning practices.
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Lai, Yang. "Learning Copyright in Chinese Fandom: A Study of Informal Learning in Cyberspace." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1605279450637024.
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Flory, Wilson Reese. "From the nightlife to the school day: a survey of informal music learning experiences and perspectives among music educators." Kansas State University, 2014. http://hdl.handle.net/2097/18345.
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Master of MusicDepartment of Music
Phillip D. Payne
The purpose of this study was to determine if music educators who have had experiences with informal music are more likely to employ informal learning within their classroom. Secondary research objectives included a comparison of survey results against specific demographics of the survey participants, an examination of the types of informal learning that the participants experienced and facilitated, and a look at the perceived barriers and benefits of informal music learning from the viewpoints of the participants. Participants (N=25) were practicing music educators pursuing graduate music studies. The participants were enrolled in a summer Master of Music program at a university in the Midwest. Data was collected by employing a pen and paper survey that provided a demographic description and informal music learning questionnaire. The participants were asked to indicate the frequency of participation in informal music activities prior to becoming a music educator. They further reported what informal music learning activities they facilitate within their school music curriculum. Finally, the participants responded to two short answer questions where they identified barriers and benefits they perceive with the implementation of informal music practices within their music programs. Results from a Pearson correlation showed a moderately strong relationship (p = 0.43) between participants who had informal music experiences (E) and who employed informal music learning within their music curriculum (C). There were no significant differences observed in the results between participants of different gender or school division. Of the short answer responses cataloged, participants cited a lack of experience with informal music and difficulty of connecting informal music learning to the formal music curriculum as the barriers to employing informal music learning in the classroom. The participants discussed the increase in student motivation, expanding musicality, and real-world relevance as the benefits of informal music learning. Knowledge gained from this study may be useful to individuals facilitating informal music learning within music education programs at the primary, secondary, or collegiate levels.
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Galleron, Philippe. "Développement d’une communauté de pratique de la composition musicale assistée par ordinateur en milieu scolaire : conception, parcours et modélisation." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080035.
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Cette thèse est l’étude d’une expérience en situation de composition électroacoustique collective sous l’angle du développement d’une communauté de pratique. Elle a été réalisée en France, sur l’année scolaire 2013/2014, dans deux classes de l’école élémentaire publique Pasquier de la ville d’Antony située en région parisienne. Nous parlons donc d’un enseignement collectif de la musique à de jeunes enfants sur le temps scolaire réalisé dans un co-enseignement professeur des écoles et professeur de musique. La « théorie des communautés de pratique » d’Étienne Wenger sera utilisée comme une grille de lecture et un prisme à travers lesquels nous analyserons les interactions des participants au sein d’une expérience de pédagogie musicale de groupe menée en milieu scolaire. Nous étudierons les situations d’apprentissage via les interactions inter et intra-communautaires qui sont pour partie médiatisées par des artefacts informatiques (fichiers audio des pièces musicales, photographies numériques, publications et mises à disposition sur internet, communication par mails, etc.). À ce titre, nous nous sommes intéressés à l’usage et au rôle joué par les technologies de l’informatique et de la communication (TIC) dans les échanges de la communauté ainsi qu’aux théories relatives aux sciences documentaires.Enfin, dans la troisième partie de ce mémoire nous proposons la construction d’un modèle d’action pédagogique privilégiant les interactions que nous considérons comme transposables à l’enseignement universitaire de la composition musicale en environnement Max et Pure Data au département Musique de l’Université Paris 8This dissertation is the study of an experiment in a situation of collective electroacoustic composition from the point of view of the development of a community of practice. It was carried out in France, during the school year 2013/2014, in two classes of public elementary school Pasquier of the city of Antony located in Paris suburbs. We are therefore talking about a collective teaching of music to young children on school time realized in a co-teaching school between a teacher and a music teacher.Étienne Wenger's "theory of community of practice" will be used as a grid of reading and a prism through which we analyze the interactions of participants in an experiment of group music pedagogy conducted in school. We will study learning situations in this situation via inter-community and intra-community interactions, which are partly mediated by computer artifacts (audio files of musical selections, digital photos, publications and Internet availability, e-mail communication, etc.). As such, we have been interested in the use and the role played by information and communication technologies (ICT) in the exchanges of the community and in the theories of documentary sciences.Finally, we propose the construction of a pedagogical action model focusing on the interactions that we consider to be transposable to the university teaching of music composition in the Max and Pure Data environment in the Music Department of Paris 8 University
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Owens, John Thomas. "POWER CHORDS, BLAST BEATS, AND ACCORDIONS: UNDERSTANDING INFORMAL MUSIC LEARNING IN THE LIVES OF COMMUNITY COLLEGE MUSICIANS." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1490284957758873.
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Meredith, Tamara. "Extending the Apprenticeship through Informal Learning on Facebook: An Interpretative Phenomenological Analysis of the Lived Experiences of Music Faculty." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984183/.
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Facebook studio groups/pages are commonly used by applied music faculty to communicate with current students, recruit new students, share students' activities, and promote faculty members' professional performances and academic endeavors. However, the blurred lines between academic, professional performance, and social activities in the field have led to a wide variety of approaches to Facebook use by music faculty. This dissertation documents the first generation of music faculty social media users and investigates the beliefs, intent, and lived experiences of music faculty who use Facebook studio groups/pages to communicate with their students. Four music faculty were interviewed and a semester's Facebook studio group/page data collected for each faculty member. Interviews and Facebook data were analyzed using Interpretative phenomenological analysis (IPA) to identify emergent, and ultimately super-ordinate, themes from the data. The three super-ordinate themes that emerged were: Impact of Social Media on Studio Teaching and Learning, Learning through Enculturation, and Faculty Lived Experiences with Facebook Studio Groups/Pages.
Findings of the study included: faculty concerns about personal and professional risk; the observation that teaching and learning are occurring through these Facebook studio groups/pages by way of the process of enculturation, but without evidence of a Virtual Community of Practice; and, a multitude of group/page management practices developed in isolation that suggest a need for discussion/debate and training in the field to determine best practices for using Facebook studio groups/pages as an extension of the physical studio. Recommendations include training for music faculty that situates Facebook studio groups/pages within the enculturation process of students pursuing careers in music, music department development of guidelines for Facebook group/page creation and management based upon their institutions' rules and oversight procedures, and the sharing of exemplar Facebook studio groups/pages by professional music education organizations to encourage discussion of best practices for teaching and learning in informal environments.
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Markarian, Dania. "Hiphop : Kunskap, språkutveckling och ett lustfyllt lärande." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18382.
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The purpose of this study is to investigate the educational opportunities that exist within hip hop music, i.e. to highlight the possible strengths and opportunities in informal learning. The aim was to answer the following questions: In what way do young people acquire knowledge through music? How can hip hop music affect language learning / vocabulary? How can hip hop motivate and support young people in school? The study was based on qualitative semi-structured interviews with six youths, three hip hop directors and a well-known researcher who has investigated that Hip Hop pedagogy. The results show that there are many benefits of learning that takes place in the context of hip hop music; from my informants’ statements one can accordingly see the role of hip hop music plays in the absorption of knowledge. The conclusion is that hip hop music can lead to alternative learning about politics and society, as the music often deals with various social conditions and policy issues. This I have been able to deduce from my informants' statements where they through hip hop creation gain knowledge, partly by listening to hip hop music and partly by writing hip hop lyrics which in its turn developed their political thinking. I have also come to the conclusion that young people through hip hop creation expand their vocabulary, developing their ability to express themselves in different ways during the composition of hip hop lyrics. It also shows that young people become motivated for school work. This is because hip hop stimulate young people in becoming more interested in the Swedish language, given that many write their hip hop lyrics in Swedish.
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Perkins, Rosie Louise. "The construction of 'learning cultures' : an ethnographically-informed case study of a UK conservatoire." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/265535.
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This study investigates the 'learning cultures' of a UK conservatoire of music. As educational institutions; conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, existing research has paid little attention to indepth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. To address this gap, the study adopts the conceptual lens of 'learning cultures'. Acknowledging recent research in further education, 'learning cultures' are conceptualised not as the contexts in which people learn, but as the practices through which people learn. As such, the study aims to understand the characteristic practices of the conservatoire and its members, the ways that learners participate in, construct and learn from such practices and, thus, the constructed nature of the conservatoire's learning cultures. Methodologically, the study is grounded in constructionism and draws on the thinking of Pierre Bourdieu. In particular, Bourdieu's notions of habitus, capital and field are used as 'thinking tools' through which to access and understand 'learning cultures'. The research comprised an ethnographically-informed qualitative case study of one UK conservatoire. In the quest for in-depth understandings, a family of four methods was employed: semistructured interviews, participant observation, document analysis and participant selfdocumentation. Data were analysed using a framework that moved between inductive data-driven thematic analysis and Bourdieu-informed interpretation, with emphasis given to the socially constructed nature of 'learning cultures'. The key findings of the study are divided into three interrelated parts: the organisational, curricula and spatial practices of the conservatoire, the practices of the conservatoire's students, teachers and staff and the ways in which different learners participate in, construct and learn from these practices. Drawing these parts together, the study concludes that (1) the nature of the conservatoire's learning cultures is manifested across four intertwined features: cultures privileging the development of specialised performers, cultures of social networking, cultures of musical hierarchies and cultures of vocational position taking and (2) the conservatoire's learning cultures are constructed in different ways for differently positioned learners, appearing to privilege those 'superstar' students who visibly demonstrate high levels of symbolic cultural and social capital. In a climate where the call to 'change the cultures' of conservatoires is oft heard, the learning cultures of this particular conservatoire reveal practices that do not always appear to reflect a rapidly changing musical field. Implications of the study are discussed, and recommendations made for the introduction of creative, reflective and leadership spaces for learning in the conservatoires of the future.
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Poor, Ian Hunter. "Improving Online Music Communities of Practice Through the Mashup of Web 2.0 Technologies." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1303237379.
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Murray, Eric A. "Tradition and Innovation in the Pedagogy of Brazilian Instrumental Choro." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1365782281.
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Jank, Werner. "Lernende: Objekte des Lehrens? Subjekte ihres Lernens?" Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-87562.
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Ausgangspunkt sind Video-Aufzeichnungen von drei Unterrichtsstunden im Fach Musik. Sie werden zunächst in einen musikdidaktischen Rahmen eingeordnet, der es erlaubt, eine Stunde primär der „Handlungsorientierung“ im Sinn der 1980er Jahre zuzuordnen, die zweite Stunde primär dem musikdidaktischen Modell eines „Aufbauenden Musikunterrichts“ und die dritte Stunde „offenen“ Unterrichtskonzeptionen. Der zweite Abschnitt fragt nach dem Verhältnis von Lernen und Lehren und mündet in die These, dass „natürliches“, informelles Lernen und das Lernen in der Institution Schule in einem unauflösbaren Spannungsverhältnis zueinander stehen. Diese These wird dann an einigen Teilaspekten der aufgezeichneten Schulstunden konkretisiert. Im abschließenden Abschnitt wird die These auf das Spannungsverhältnis zwischen den schulischen Leistungserwartungen und der individuellen Leistungsbereitschaft der Schüler bezogen. Der Beitrag mündet in einem Plädoyer für die Anerkennung und Förderung der grundlegenden Leistungsbereitschaft der Schüler sowie der Selbstwahrnehmung ihrer individuellen Leistungen und ihres individuellen Erfolgs im Sinn einer zunehmenden LeistungsbewusstheitThe point of departure consists of video recordings of three music lessons. These are first of all localised within a music-didactic framework, allowing one lesson to be classified primarily along the lines of “action-oriented” processes in the 1980s sense of the term, the second to be classed primarily with the music-didactic model of “progressive music learning” and the third lesson with “open” teaching concepts. The second section is an enquiry into the relationship between teaching and learning, resulting in the thesis that there is an irresolvable tension between “natural” informal learning and learning within the school institution. In the following section this thesis is concretised along various partial aspects of the recorded lessons. The thesis is then applied in the final section to the tension between the school’s performance expectations and the pupils’ individual willingness to perform. The piece ends by arguing for the recognition and promotion of the pupils’ fundamental willingness to perform as well as of their self-awareness of their individual performance and individual success in the sense of an increasing awareness of performance
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Jank, Werner. "Lernende: Objekte des Lehrens? Subjekte ihres Lernens?" Georg Olms Verlag, 2010. https://slub.qucosa.de/id/qucosa%3A2146.
Full textAbstract:
Ausgangspunkt sind Video-Aufzeichnungen von drei Unterrichtsstunden im Fach Musik. Sie werden zunächst in einen musikdidaktischen Rahmen eingeordnet, der es erlaubt, eine Stunde primär der „Handlungsorientierung“ im Sinn der 1980er Jahre zuzuordnen, die zweite Stunde primär dem musikdidaktischen Modell eines „Aufbauenden Musikunterrichts“ und die dritte Stunde „offenen“ Unterrichtskonzeptionen. Der zweite Abschnitt fragt nach dem Verhältnis von Lernen und Lehren und mündet in die These, dass „natürliches“, informelles Lernen und das Lernen in der Institution Schule in einem unauflösbaren Spannungsverhältnis zueinander stehen. Diese These wird dann an einigen Teilaspekten der aufgezeichneten Schulstunden konkretisiert. Im abschließenden Abschnitt wird die These auf das Spannungsverhältnis zwischen den schulischen Leistungserwartungen und der individuellen Leistungsbereitschaft der Schüler bezogen. Der Beitrag mündet in einem Plädoyer für die Anerkennung und Förderung der grundlegenden Leistungsbereitschaft der Schüler sowie der Selbstwahrnehmung ihrer individuellen Leistungen und ihres individuellen Erfolgs im Sinn einer zunehmenden Leistungsbewusstheit.The point of departure consists of video recordings of three music lessons. These are first of all localised within a music-didactic framework, allowing one lesson to be classified primarily along the lines of “action-oriented” processes in the 1980s sense of the term, the second to be classed primarily with the music-didactic model of “progressive music learning” and the third lesson with “open” teaching concepts. The second section is an enquiry into the relationship between teaching and learning, resulting in the thesis that there is an irresolvable tension between “natural” informal learning and learning within the school institution. In the following section this thesis is concretised along various partial aspects of the recorded lessons. The thesis is then applied in the final section to the tension between the school’s performance expectations and the pupils’ individual willingness to perform. The piece ends by arguing for the recognition and promotion of the pupils’ fundamental willingness to perform as well as of their self-awareness of their individual performance and individual success in the sense of an increasing awareness of performance.
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Klčo, Michal. "Electric Guitar to MIDI Conversion." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2018. http://www.nusl.cz/ntk/nusl-385891.
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Automatický přepis hudby a odhad vícero znějících tónu jsou stále výzvou v oblasti dolování informací z hudby. Moderní systémy jsou založeny na různých technikách strojového učení pro dosažení co nejpřesnějšího přepisu hudby. Některé z nich jsou také omezeny na konkrétní hudební nástroj nebo hudební žánr, aby se snížila rozmanitost analyzovaného zvuku. V této práci je navrženo, vyhodnoceno a porovnáváno několik systémů pro konverzi nahrávek elektrické kytary do MIDI souború, založených na různých technikách strojového učení a technikách spektrální analýzy.
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Semela, René. "Automatické tagování hudebních děl pomocí metod strojového učení." Master's thesis, Vysoké učení technické v Brně. Fakulta elektrotechniky a komunikačních technologií, 2020. http://www.nusl.cz/ntk/nusl-413253.
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One of the many challenges of machine learning are systems for automatic tagging of music, the complexity of this issue in particular. These systems can be practically used in the content analysis of music or the sorting of music libraries. This thesis deals with the design, training, testing, and evaluation of artificial neural network architectures for automatic tagging of music. In the beginning, attention is paid to the setting of the theoretical foundation of this field. In the practical part of this thesis, 8 architectures of neural networks are designed (4 fully convolutional and 4 convolutional recurrent). These architectures are then trained using the MagnaTagATune Dataset and mel spectrogram. After training, these architectures are tested and evaluated. The best results are achieved by the four-layer convolutional recurrent neural network (CRNN4) with the ROC-AUC = 0.9046 ± 0.0016. As the next step of the practical part of this thesis, a completely new Last.fm Dataset 2020 is created. This dataset uses Last.fm and Spotify API for data acquisition and contains 100 tags and 122877 tracks. The most successful architectures are then trained, tested, and evaluated on this new dataset. The best results on this dataset are achieved by the six-layer fully convolutional neural network (FCNN6) with the ROC-AUC = 0.8590 ± 0.0011. Finally, a simple application is introduced as a concluding point of this thesis. This application is designed for testing individual neural network architectures on a user-inserted audio file. Overall results of this thesis are similar to other papers on the same topic, but this thesis brings several new findings and innovations. In terms of innovations, a significant reduction in the complexity of individual neural network architectures is achieved while maintaining similar results.
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Muriithi, Paul Mutuanyingi. "A case for memory enhancement : ethical, social, legal, and policy implications for enhancing the memory." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/a-case-for-memory-enhancement-ethical-social-legal-and-policy-implications-for-enhancing-the-memory(bf11d09d-6326-49d2-8ef3-a40340471acf).html.
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The desire to enhance and make ourselves better is not a new one and it has continued to intrigue throughout the ages. Individuals have continued to seek ways to improve and enhance their well-being for example through nutrition, physical exercise, education and so on. Crucial to this improvement of their well-being is improving their ability to remember. Hence, people interested in improving their well-being, are often interested in memory as well. The rationale being that memory is crucial to our well-being. The desire to improve one’s memory then is almost certainly as old as the desire to improve one’s well-being. Traditionally, people have used different means in an attempt to enhance their memories: for example in learning through storytelling, studying, and apprenticeship. In remembering through practices like mnemonics, repetition, singing, and drumming. In retaining, storing and consolidating memories through nutrition and stimulants like coffee to help keep awake; and by external aids like notepads and computers. In forgetting through rituals and rites. Recent scientific advances in biotechnology, nanotechnology, molecular biology, neuroscience, and information technologies, present a wide variety of technologies to enhance many different aspects of human functioning. Thus, some commentators have identified human enhancement as central and one of the most fascinating subject in bioethics in the last two decades. Within, this period, most of the commentators have addressed the Ethical, Social, Legal and Policy (ESLP) issues in human enhancements as a whole as opposed to specific enhancements. However, this is problematic and recently various commentators have found this to be deficient and called for a contextualized case-by-case analysis to human enhancements for example genetic enhancement, moral enhancement, and in my case memory enhancement (ME). The rationale being that the reasons for accepting/rejecting a particular enhancement vary depending on the enhancement itself. Given this enormous variation, moral and legal generalizations about all enhancement processes and technologies are unwise and they should instead be evaluated individually. Taking this as a point of departure, this research will focus specifically on making a case for ME and in doing so assessing the ESLP implications arising from ME. My analysis will draw on the already existing literature for and against enhancement, especially in part two of this thesis; but it will be novel in providing a much more in-depth analysis of ME. From this perspective, I will contribute to the ME debate through two reviews that address the question how we enhance the memory, and through four original papers discussed in part three of this thesis, where I examine and evaluate critically specific ESLP issues that arise with the use of ME. In the conclusion, I will amalgamate all my contribution to the ME debate and suggest the future direction for the ME debate.
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Pires, Maria de Fátima Oliveira. "Educação musical no 2º ciclo: uma semente para a vida." Master's thesis, 2017. http://hdl.handle.net/10362/35456.
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Mateus, Ana Teresa da Silva. "Ensino informal da música: a voz cantada como um recurso no desempenho intrumental." Master's thesis, 2014. http://hdl.handle.net/10362/14359.
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Câmara, Simão Gabriel Rodrigues. "Cordofones tradicionais madeirenses em música pop." Master's thesis, 2015. http://hdl.handle.net/10400.26/8623.
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Este projeto teve como principal intuito proporcionar aos jovens a execução de cordofones tradicionais madeirenses (braguinha, rajão e viola de arame) com recurso ao repertório pop como elemento motivador, rentabilizando-se o grau de aceitação deste tipo de música junto dos alunos.
O trabalho desenvolvido assenta na exploração das potencialidades da fusão musical (Moniz, 2011), bem como na valorização do recurso às aprendizagens de caráter informal (Green, 2000; 2002; 2006; 2008), explorando-se igualmente o conceito de professor-músico e o seu papel enquanto modelo (Swanwick, 2003) e enquanto agente motivador e promotor da conjugação da vertente pedagógica, didática e relacional (Adams, 2001).
Em paralelo com a execução deste projeto educativo, implementado numa turma de 8.º Ano da Escola Dr. Ângelo Augusto da Silva, foi desenvolvido um trabalho de investigação de caráter qualitativo, visando verificar as aprendizagens musicais e sociais desenvolvidas pelos jovens, bem como as suas perceções sobre os cordofones tradicionais.
Os resultados decorrentes da investigação levada a cabo revelaram a aquisição de aprendizagens musicais significativas por parte dos jovens, em contexto de música de conjunto, com recurso à simbiose entre cordofones tradicionais e repertório pop. É de realçar igualmente, no âmbito das aprendizagens sociais, a valorização da colaboração/entreajuda como forma de consecução de objetivos coletivos e da importância da dupla função professor/músico profissional para o sucesso do processo ensino/aprendizagem, com benefícios não só de âmbito didático e pedagógico, mas também no que se refere às relações interpessoais. No âmbito das perceções, verifica-se que a fusão musical se assume como uma forma de melhorar a imagem dos cordofones tradicionais madeirenses junto dos jovens.The aim of this project was to allow young people to play traditional chordophones from Madeira Island (“braguinha”, “rajão” and wire guitar), using the pop register as motivation, which allowed the acceptation of this kind of music by students. The developed work was based on exploiting the potential of musical fusion (Moniz; 2011), as well as in valuing the use of informal learning (Green, 2002; 2006; 2008), also exploring the concept of teacher-musician and its role as a model (Swanwick, 2003) and as a motivator and promoter of pedagogical, didactic and relational combination (Adams, 2001). In parallel with the execution of this educational project, implemented in an 8th grade class from Dr. Ângelo Augusto da Silva School, a qualitative research work was developed, in order to verify the musical and social learning in young people, as well as their perceptions about the traditional chordophones. Research outcomes reveal the acquisition of significant musical learning for young people in group, using the symbiosis of traditional chordophones and pop repertoire. It should also be noted, the enhancement of cooperation/mutual help, in social learning, as a mean of achieving collective goals and the importance of the teacher/professional musician dual function for the teaching/learning process success, with benefits, not only of didactic and pedagogical framework, but also with regard to interpersonal relationships. In perceptions context, it was concluded that the musical fusion is assumed as a way of improving young people image of Madeiran traditional chordophones.
Escola Superior de Educação, Instituto Politécnico de Setúbal
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Silva, Ana Sofia Santos. "(Des)construindo percursos : estudo de metodologias alternativas no ensino da guitarra." Master's thesis, 2013. http://hdl.handle.net/10400.14/13865.
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Este trabalho de investigação caracterizado por uma abordagem qualitativa
tem como objetivo perceber, através da técnica da entrevista e da
observação direta, de que forma o percurso de um professor se reflete na sua
prática pedagógica. Procuramos incidir a nossa investigação apenas em
professores que apresentassem um percurso formal e informal. Foram
entrevistados quatro professores de guitarra que lecionam, no ano letivo
2012/ 2013, em Portugal, dois deles num contexto de ensino superior e os
restantes em escolas de ensino especializado da música. Os resultados
obtidos demonstram como se processa a aprendizagem em contextos
escolares e extraescolares, revelando uma breve caracterização destes dois
contextos. Os professores participantes demonstram a importância da
mediação entre aquilo que são as expectativas do aluno relativamente à
aprendizagem de um instrumento e os programas das disciplinas, procurando
manter o aluno motivado. Demonstram também algumas estratégias e
filosofias que os professores transportam de um contexto para o outro,
expressando o pensamento de que as aprendizagens fora da escola devem
ser consideradas, em conjunto com as que acontecem dentro dela, como um
fenómeno global da aprendizagem e não como aspetos distintos e que não
se cruzam.This investigation paper characterized by a qualitative approach seeks, through the interview and direct observation technics, to understand in what way the teacher’s pathways reflects on his pedagogic practice. We aim to focus our investigation only on teachers who present both a formal and informal academic career. Four guitar teachers were interviewed who worked in the school year 2012/2013 in Portugal, two of them in the context of higher education and the remaining in schools specialized in music education. The results show how the learning process works both in the school and nonschool contexts, revealing a brief characterization of these two. Participating teachers demonstrate the importance of mediation between what are the expectations of the student in relation to learning an instrument and the discipline’s programs, trying to keep the student motivated. They also demonstrate some strategies and philosophies that teachers carry from one context to another, expressing the thought that the learning made out of the school context should be considered, together with that happen within it, as a global phenomenon and not as separate learning aspects that don’t intersect.
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Beaumont, Walter Lance. "Bringing it all together: formal and informal learning in a university guitar class." Thesis, 2015. https://hdl.handle.net/2144/16230.
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This study seeks to integrate informal and formal music learning in a university guitar class with a secondary focus on evaluating the effectiveness of this approach in meeting student's stated goals for learning the guitar. Salient features in formal music learning were discovered from an examination of guitar method books. Informal features were examined from a reading of extant research on popular music pedagogy and expounded upon through research devoted to specific areas of informal music learning and popular music pedagogy. These features were used in the creation of a guitar curriculum to aid in the integration of both formal and informal music learning in a university guitar class. Data were gathered through pre- and post-study questionnaires, interviews, and video analysis.
Analysis of data shows that integrating formal and informal music learning in a beginner's guitar class is effective in meeting student stated goals for the course. Note reading was an area that was not effective in meeting student goals for the course. Data revealed that note reading should be taught slowly, in key based relationships and with fewer notes taught over the 16 week course. Integrating informal music learning procedures in a formal environment proved to be challenging for the students. A difficulty existed in the student's ability to task switch between formal and informal learning in the University setting. Implications from the study are listening should be considered a primary means for learning music and haphazard learning is beneficial, though difficult to include in a systematized curriculum.
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Boyce, Derek S. "Voices of steel: a case study of a Pennsylvania high school steel band." Thesis, 2015. https://hdl.handle.net/2144/15202.
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Steel bands have become more prevalent in U.S. schools since the early 1980's.
Through discussions with several of the leading steelpan builders in the United States, it
is now estimated that there are over 600 steel bands in U.S. schools and universities. An
appealing aspect of these ensembles is that they attract a wide range of students, from
accomplished instrumentalists to students with no musical background. Due to their
uniqueness in school music programs, steel bands are often extra-curricular activities but
are often highly sought after for performances.
This case study examines students' motivations to play in steel band (nontraditional
music ensembles) including informal music education and learning, pedagogy,
curriculum, and repertoire. It was found that students are attracted to the ensemble due to
the uniqueness of the instruments, the repertoire, and for the opportunity to be part of a
close community. Students value the opportunity for learning music in an informal
manner where they are able to have input on the instructional process and what material
is performed.
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Odegard, Harold. "Dialectic dialogues: a discourse analysis of everyday talk between adolescent guitarists learning music with a peer outside school." Thesis, 2019. https://hdl.handle.net/2144/35741.
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For many teenagers, learning to play guitar might only involve themselves and one or more of their peers interacting outside school. Music education research, however, does not reveal the spectrum of ways in which adolescent musicians interact to learn peer-to-peer. The purpose of this study was to examine this process: how adolescents verbally and nonverbally communicated to learn music together and without adult teachers.
Two research questions in this study addressed how systems of meanings emerged in adolescent musicians’ processes of talk. The first was: How do participants learning jointly and independently communicate with a peer outside school? The second question was: How do participants assess independent learning along with their peer and joint learning outside school?
The participants were six adolescent guitarists from El Paso, Texas. The final candidates included five males with Hispanic backgrounds and one Mexican-American adolescent male. Data were collected in three observations of the guitarists learning in pairs. Data were also collected in interviews, artifacts, and field notes. Discourse analysis involved review of recorded observations, field notes, and transcripts. Data were coded and parsed into categories. Multiple systems of meanings emerged in themes. Quoted material helped to explain the discourse themes. Three sets of findings included main dialectic discourse themes: together–individual, unreserved–reserved, and established–undetermined. Four identity discourses—self-learner, coach, musical artist, and friend—emerged from participants’ dialogues. Three themes indicated how participants individually assessed learning, and two themes showed how joint evaluations emerged peer-to-peer.
This study and its results highlight a spectrum of ways adolescent musicians use everyday talk to learn music outside school. Findings in this study might empower music teachers to facilitate their students’ own peer dialogues. Future research can build on the foundation of findings here, which raise questions for exploring how communication outside school might compare with communication in school, how peer-to-peer music learning might be facilitated, as well as implications about why certain types of communication influence music learning.
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"Constructivism in the Band Room: Facilitating High School Band Students' Playing by Ear through Informal, Student-led Practices." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25896.
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abstract: This study investigated high school band students' processes of learning as well as their responses and reactions to student-led aural-based learning projects. Previous research has focused on various aspects of informal learning and student-centered learning--the frameworks upon which this study is based--but none have focused on inclusion of informal learning methods into a secondary large ensemble classroom setting with an emphasis on playing by ear.
Participants in this study were 20 students divided into four small groups in a 45-member high school band. The study took place during the regularly scheduled band class during one full class period for eight weeks, culminating in small group performances. Data were collected throughout the study via observation and audio- or video-recording of weekly group rehearsal, participant interviews, teacher interviews, and collection of student artifacts. Data were analyzed by creating a case study of each of the four groups to determine their working processes.
Cross-case analysis revealed themes common to the participant groups in these categories: navigation of the learning process, playing by ear, and student attitudes and perceptions of benefits and drawbacks of the project. Discussion of navigation of the learning process includes group members' methods of problem solving within a constructivist classroom environment. These methods included problem finding, strategizing, and responding, peer assessment and feedback, and teacher scaffolding; I also discuss how group dynamics played a major role in student's learning processes. While learning to play by ear, musical elements students addressed included pitch, division of parts, form, key and modality, intonation, instrumentation, dynamics, tempo, rhythm, improvisation, and range. Students' attitudes included enjoyment of most aspects of the project, and dislike or frustration with a few aspects. Benefits students perceived from participation in the project included increased ability to play by ear and increased confidence. Recommendations for music teachers and music teacher educators as well as suggestions for future research are provided.Dissertation/Thesis
Doctoral Dissertation Music Education 2014