Modes of communication during jazz improvisation

This study investigated modes of communication adopted by six student jazz musicians during rehearsal and performance. Six one-hour rehearsal sessions and a performance were observed and videotaped for analysis. Results revealed six modes of communication that formed two main categories, verbal and non-verbal, each containing three distinct modes of communication: instruction, cooperation and collaboration. Non-verbal collaborative mode displayed empathetic attunement, which is a vehicle for empathetic creativity. Empathetic creativity is a theoretical concept proposed by the author based on the concept of empathetic intelligence (Arnold, 2003, 2004). Practical applications of empathetic creativity are discussed with reference to music education, focusing on evaluation of individual contribution to group creative performances

“You Got To Know Us”: A Hopeful Model for Music Education in Urban Schools

Urban schools, and the students and teachers within, are often characterized by a metanarrative of deficit and crisis, causing the complex realities of urban education to remain unclear behind a wall of assumptions and stereotypes. Within music education, urban schools have received limited but increasing attention from researchers. However, voices from practitioners are often missing from this dialogue, and the extant scholarly dialogue has had a very limited effect on music teacher education. In this article, five music educators with a combined thirty years of experience in urban schools examine aspects of their experiences in the light of critical pedagogy in an attempt to disrupt the metanarrative of deficit, crisis, and decline that continues to surround urban music education. By promoting the lived-stories of successful urban music students, teachers, and programs, the authors hope to situate urban music education as a site of renewal, reform, and meaningful learning. This paper emerged from a panel discussion regarding promising practices in secondary general music with urban youth that took place at the New Directions in Music Education conference held at Michigan State University in October of 2011

Emancipating and developing learning activity: Systemic intervention and re-instrumentation in higher education.

The central theme of this thesis is the emancipation and further development of learning activity in higher education in the context of the ongoing digital transformation of our societies. It was developed in response to the highly problematic mainstream approach to digital re-instrumentation of teaching and studying practises in contemporary higher education. The mainstream approach is largely based on centralisation, standardisation, commoditisation, and commercialisation, while re-producing the general patterns of control, responsibility, and dependence that are characteristic for activity systems of schooling. Whereas much of educational research and development focuses on the optimisation and fine-tuning of schooling, the overall inquiry that is underlying this thesis has been carried out from an explicitly critical position and within a framework of action science. It thus conceptualises learning activity in higher education not only as an object of inquiry but also as an object to engage with and to intervene into from a perspective of intentional change. The knowledge-constituting interest of this type of inquiry can be tentatively described as a combination of heuristic-instrumental (guidelines for contextualised action and intervention), practical-phronetic (deliberation of value-rational aspects of means and ends), and developmental-emancipatory (deliberation of issues of power, self-determination, and growth) aspects. Its goal is the production of orientation knowledge for educational practise. The thesis provides an analysis, argumentation, and normative claim on why the development of learning activity should be turned into an object of individual|collective inquiry and intentional change in higher education, and why the current state of affairs in higher education actually impedes such a development. It argues for a decisive shift of attention to the intentional emancipation and further development of learning activity as an important cultural instrument for human (self-)production within the digital transformation. The thesis also attempts an in-depth exploration of what type of methodological rationale can actually be applied to an object of inquiry (developing learning activity) that is at the same time conceptualised as an object of intentional change within the ongoing digital transformation. The result of this retrospective reflection is the formulation of “optimally incomplete” guidelines for educational R&D practise that shares the practicalphronetic (value related) and developmental-emancipatory (power related) orientations that had been driving the overall inquiry. In addition, the thesis formulates the instrumental-heuristic knowledge claim that the conceptual instruments that were adapted and validated in the context of a series of intervention studies provide means to effectively intervene into existing practise in higher education to support the necessary development of (increasingly emancipated) networked learning activity. It suggests that digital networked instruments (tools and services) generally should be considered and treated as transient elements within critical systemic intervention research in higher education. It further argues for the predominant use of loosely-coupled, digital networked instruments that allow for individual|collective ownership, control, (co-)production, and re-use in other contexts and for other purposes. Since the range of digital instrumentation options is continuously expanding and currently shows no signs of an imminent slow-down or consolidation, individual and collective exploration and experimentation of this realm needs to be systematically incorporated into higher education practise.Siirretty Doriast

Preparing School Leaders for a Changing World: Lessons From Exemplary Leadership Development Programs

Presents eight case studies of effective school leadership training programs and provides the key characteristics of high-quality training to help states and districts address long-standing weaknesses in the way principals are prepared for their jobs

Community music: history and current practice, its constructions of ‘community’, digital turns and future soundings

The UK has been a pivotal national player within the development of community music practice. In the UK community music developed broadly from the 1960s and had a significant burgeoning period in the 1980s. Community music nationally and internationally has gone on to build a set of practices, a repertoire, an infrastructure of organisations, qualifications and career paths. There are elements of cultural and debatably pedagogic innovations in community music. These have to date only partly been articulated and historicised within academic research. This document brings together and reviews research under the headings of history and definitions; practice; repertoire; community; pedagogy; digital technology; health and therapy; policy and funding, and impact and evaluation. A 90-entry, 22,000 word annotated bibliography was also produced (McKay and Higham 2011). An informed group of 15 practitioners and academics reviewed the authors’ initial findings at a knowledge exchange colloquium and advised on further investigation. Some of the gaps in research identified are: an authoritative history, an examination of repertoire, the relationship with other music (practice), the freelance practitioner career, evidence of impact and value, the potential for a pedagogy

A Review of the Open Educational Resources (OER) Movement: Achievements, Challenges, and New Opportunities

Examines the state of the foundation's efforts to improve educational opportunities worldwide through universal access to and use of high-quality academic content

Strategic Directions for Gettysburg College, June 2007

Gettysburg is a college deeply rooted in the American experience. It was born of democratic values, strong optimism, and the firm conviction that only a liberal arts education fully awakens and prepares people to live purposeful lives as citizen leaders. Our founders were champions of freedom and liberty, progressive thinkers, and staunch believers in the power of the liberal arts to prepare leaders to meet the challenges of our young nation. Those beliefs were tested on the fields that surround our campus where a century and a half ago men gave their lives in a battle that defined our nation’s future and left an indelible imprint on its collective memory. We are but a short walk from where President Abraham Lincoln delivered his Gettysburg Address, the most eloquent expression of freedom and liberty ever spoken. The fields of Gettysburg also served as the training ground for a young West Point cadet who walked the battlefield and studied the tactical maneuvers of the generals of the Union and Confederate forces. Dwight D. Eisenhower would emerge as the general many claim most responsible for the victory of the Allied Forces in Europe in World War II in a campaign that would triumph over new threats to liberty and freedom—not just for our nation—but for the world. His vision went beyond national service to embrace a broader definition of engagement in public life. We celebrate that vision in our Eisenhower Institute housed in an elegant pillared building that served as home to Captain Eisenhower and his young family when he returned to Gettysburg in 1918 to command Camp Colt. [excerpt

Investigation 7. Instrumental genesis in technology mediated learning : From double stimulation to expansive knowledge practices

The purpose of the present paper is to examine the sociocultural foundations of technology-mediated collaborative learning. Toward that end, we discuss the role of artifacts in knowledge-creating inquiry, relying on the theoretical ideas of Carl Bereiter, Merlin Donald, Pierre Rabardel, Keith Sawyer, and L. S. Vygotsky. We argue that epistemic mediation triggers expanded inquiry and plays a crucial role in knowledge creation; such mediation involves using CSCL technologies to create epistemic artifacts for crystallizing cognitive processes, remediating subsequent activity, and building an evolving body of knowledge. Productive integration of CSCL technologies as instruments of learning and instruction is a developmental process: it requires iterative efforts across extended periods of time. Going through such a process of instrumental genesis requires transforming a cognitive-cultural operating system of activity, thus “reformatting” the brain and the mind. Because of the required profound personal and social transformations, one sees that innovative knowledge-building practices emerge, socially, through extended expansive learning cycles.Peer reviewe

Conformity, deformity and reformity

In any given field of artistic practice, practitioners position themselves—or find themselves positioned—according to interests and allegiances with specific movements, genres, and traditions. Selecting particular frameworks through which to approach the development of new ideas, patterns and expressions, balance is invariably maintained between the desire to contribute towards and connect with a particular set of domain conventions, whilst at the same time developing distinction and recognition as a creative individual. Creativity through the constraints of artistic domain, discipline and style provides a basis for consideration of notions of originality in the context of activity primarily associated with reconfiguration, manipulation and reorganisation of existing elements and ideas. Drawing from postmodern and post-structuralist perspectives in the analysis of modern hybrid art forms and the emergence of virtual creative environments, the transition from traditional artistic practice and notions of craft and creation, to creative spaces in which elements are manipulated, mutated, combined and distorted with often frivolous or subversive intent are considered. This paper presents an educational and musically focused perspective of the relationship between the individual and domain-based creative practice. Drawing primarily from musical and audio-visual examples with particular interest in creative disruption of pre-existing elements, creative strategies of appropriation and recycling are explored in the context of music composition and production. Conclusions focus on the interpretation of creativity as essentially a process of recombination and manipulation and highlight how the relationship between artist and field of practice creates unique creative spaces through which new ideas emerge