Jumping through \u27loops\u27: A reflective study on preparing generalist pre-service teachers to teach music

Generalist classroom teachers are being given more responsibility for music education in their schools. How confident and competent are they to do this? I find myself in a position where I am expected to train pre-service generalist teachers to be able to facilitate music in their future classrooms within one unit of music study over a four year general bachelor of education course. This paper is a self study on how I reflect on and describe the methods and the tools that I have used to try to both encourage and empower pre-service teachers to facilitate musical activities in their classrooms. I have structured this study in way that I hope to be engaging, informative and accessible to the general educator as well as to the specialist (Sword, 2009). I begin with my planning and delivery of content and follow with an example of tutorial presentations. Here I explain how the pedagogical content moves from acoustic to digital music using the concept of loops (repeated passages of sounds) as scaffolding for musical participation and expression. Finally, I conclude with future directions for my journey in the role of music education in generalist pre-service teaching

Hex Player—a virtual musical controller

In this paper, we describe a playable musical interface for tablets and multi-touch tables. The interface is a generalized keyboard, inspired by the Thummer, and consists of an array of virtual buttons. On a generalized keyboard, any given interval always has the same shape (and therefore fingering); furthermore, the fingering is consistent over a broad range of tunings. Compared to a physical generalized keyboard, a virtual version has some advantages—notably, that the spatial location of the buttons can be transformed by shears and rotations, and their colouring can be changed to reflect their musical function in different scales. We exploit these flexibilities to facilitate the playing not just of conventional Western scales but also a wide variety of microtonal generalized diatonic scales known as moment of symmetry, or well-formed, scales. A user can choose such a scale, and the buttons are automatically arranged so their spatial height corresponds to their pitch, and buttons an octave apart are always vertically above each other. Furthermore, the most numerous scale steps run along rows, while buttons within the scale are light-coloured, and those outside are dark or removed. These features can aid beginners; for example, the chosen scale might be the diatonic, in which case the piano’s familiar white and black colouring of the seven diatonic and five chromatic notes is used, but only one scale fingering need ever be learned (unlike a piano where every key needs a different fingering). Alternatively, it can assist advanced composers and musicians seeking to explore the universe of unfamiliar microtonal scales

El profeso de musica como gestor cultural (The concept of a music teacher as a cultural manager)

The concept of teacher as cultural manager examines two teachers working in a difficult school context and compares their characteristics and behaviour in this context to theory derived from a larger ongoing study. The paper outlines a preliminary study that has been created to identify a framework of research strategies that are able to capture the characteristics of good practice in music teaching that promotes social inclusion. The study is philosophically founded upon Buber’s notion of inclusive relationships and explores a description of the characteristics of the teacher and community derived from a doctoral study into the meaning of music to children and the ways in which teachers give access to meaningful music making. The findings suggest that the teacher performs multiple roles to facilitate access to meaningful music experience through their relationship with community and the students. The role of teacher as builder of context and as a manager of the cultural life of students emerges as an important concept that requires further study in a larger investigation

From music student to professional: the process of transition

This article addresses the question of whether higher education music courses adequately prepare young musicians for the critical transition from music undergraduate to professional. Thematic analyses of interviews with 27 undergraduate and portfolio career musicians representing four musical genres were compared. The evidence suggests that the process of transition into professional life for musicians across the four focus genres may be facilitated when higher education experiences include mentoring that continues after graduation, the development of strong multi-genre peer networks, the provision of many and varied performance opportunities and support for developing self-discipline and autonomy in relation to the acquisition of musical expertise. Implications for higher education curricula are discussed. © 2008 Cambridge University Press

A Phenomenology of the Practice of Music Therapy with Children

Music therapy has been demonstrated as an effective mode of therapeutic intervention for children in recent literature. There is extensive research suggesting benefits for various populations of children, namely: children in the neonatal intensive care unit (NICU), children who have experienced trauma, and children with disabilities. The current study served to address gaps found in the literature by conducting a phenomenology of professionally trained music therapists. Four board certified music therapists near major cities on the east coast were interviewed to comment on how they understand music therapy, and how they live out those understandings in their practice. It was found that music therapy is professional counseling, music therapy is goal based and individualized, and music therapy is often misunderstood in the general public. A comparison of these findings with results from previous studies was addressed. Limitations and suggestions for further study within the realm of utilizing music as a therapeutic tool were discussed

No-one is Unmusical:Elizabeth, Everyday Cheermongery, and Active Musical Citizenship

Everyday cheermongers spread positive emotion through social contagion. This capability is illustrated here through a portrait of Elizabeth, a ‘Suzuki method’ violin teacher in Edinburgh. Through this example, we can learn about the important ways in which children and parents alike rely on skilled and dedicated felicitators to help them through the difficult balance between enjoyable and sociable music-making on the one hand, and the pursuit of musical excellence on the other. After presenting the philosophical and practical aspects of Shinichi Suzuki's ‘everyone-is-talented’ approach to instrumental music instruction, this paper argues for recognition of the key roles of music in facilitating happiness, and explores cultural variety in the promotion of musicality. While also recognizing that music education needs a democratic ‘no child left behind’ approach, the argument is that the full benefits of music are better realised through active musical engagement and social music-making. When not treated simply as an optional leisure activity or as a means to other ends, music can be a pathway to self-transcendent ‘peak experiences’ that can be achieved not only via the extraordinary performances of elite musicians, but also by savouring the very imperfect musical sounds produced by children

Collaborative music interaction on tabletops: an HCI approach

With the advent of tabletop interaction, collaborative activities are better supported than they are on single-user PCs because there exists a physical shareable space, and interaction with digital data is more embodied and social. In sound and music computing, collaborative music making has traditionally been done using interconnected networks, but using separated computers. Musical tabletops introduce opportunities of playing in collaboration through sharing physically the same musical interface. However, few tabletop musical interfaces exploit this collaborative potential (e.g. the Reactable). We are interested in looking into how collaboration can be fully supported by means of musical tabletops for music performance in contrast with more traditional settings. We are also looking at whether collective musical engagement can be enhanced by providing more suitable interfaces to collaboration. In HCI and software development, we find an iterative process approach of design and evaluation—where evaluation allows us to identify key issues that can be addressed in the next design iteration of the system. Using a similar iterative approach, we plan to design and evaluate some tabletop musical interfaces. The aim is to understand what design choices can enhance and enrich collaboration and collective musical engagement on these systems. In this paper, we explain the evaluation methodologies we have undertaken in three preliminary pilot studies, and the lessons we have learned. Initial findings indicate that evaluating tabletop musical interfaces is a complex endeavour which requires an approach as close as possible to a real context, with an interdisciplinary approach provided by interaction analysis techniques

Multiple Media Interfaces for Music Therapy

This article describes interfaces (and the supporting technological infrastructure) to create audiovisual instruments for use in music therapy. In considering how the multidimensional nature of sound requires multidimensional input control, we propose a model to help designers manage the complex mapping between input devices and multiple media software. We also itemize a research agenda

Musemo: Express Musical Emotion Based on Neural Network

Department of Urban and Environmental Engineering (Convergence of Science and Arts)Music elicits emotional responses, which enable people to empathize with the emotional states induced by music, experience changes in their current feelings, receive comfort, and relieve stress (Juslin & Laukka, 2004). Music emotion recognition (MER) is a field of research that extracts emotions from music through various systems and methods. Interest in this field is increasing as researchers try to use it for psychiatric purposes. In order to extract emotions from music, MER requires music and emotion labels for each music. Many MER studies use emotion labels created by non-music-specific psychologists such as Russell???s circumplex model of affects (Russell, 1980) and Ekman???s six basic emotions (Ekman, 1999). However, Zentner, Grandjean, and Scherer suggest that emotions commonly used in music are subdivided into specific areas, rather than spread across the entire spectrum of emotions (Zentner, Grandjean, & Scherer, 2008). Thus, existing MER studies have difficulties with the emotion labels that are not widely agreed through musicians and listeners. This study proposes a musical emotion recognition model ???Musemo??? that follows the Geneva emotion music scale proposed by music psychologists based on a convolution neural network. We evaluate the accuracy of the model by varying the length of music samples used as input of Musemo and achieved RMSE (root mean squared error) performance of up to 14.91%. Also, we examine the correlation among emotion labels by reducing the Musemo???s emotion output vector to two dimensions through principal component analysis. Consequently, we can get results that are similar to the study that Vuoskoski and Eerola analyzed for the Geneva emotion music scale (Vuoskoski & Eerola, 2011). We hope that this study could be expanded to inform treatments to comfort those in need of psychological empathy in modern society.clos