Music pedagogy

Підготовка компетентного конкурентоспроможного фахівця в галузі загальної музичної освіти, здатного забезпечити навчання, виховання й розвиток школярів засобами музичного мистецтва. Основа навчальної дисципліни — новітні дослідження музичної педагогіки та суміжних наук. Матеріал тісно пов'язаний з іншими спеціальними дисциплінами навчального плану. Положення методики висвітлюється на основі різноманітних програм з музичного виховання для дітей. Теоретичні знання підкріплюються конкретними прикладами з практики ознайомлення студентів з роботою вчителя музичного мистецтва в закладах загальної музичної освіти. При проведенні занять значну увагу привертає огляд спеціальної педагогічної і методичної літератури.Подготовка учителя музыки в соответствии уровней и тенденций развития современной науки, изучение теоретических основ музыкального обучения и воспитаня, осмысление практического опыта,ознакомление с разнообразными формами и методами музыкальной работы с детьми. Основа учебной дисциплины - новейшие достижения музыкальной педагогики и смежных наук. Содержание программы освещается на основе разных методик музыкального воспитания детей. Теоретические знания усиливаются конкретными примерами с практической работы учителя музыки в общеобразовательных школах.Preparation of the teacher of music in appropriate of levels and trends in the development of modern science, the study of the theoretical foundations of musical training and education, understanding of practical experience, acquaintance with a variety of musical forms and methods of work with children. The basis of the discipline is the latest achievement of musical pedagogy and related sciences. The program's content covered on the basis of different methods of musical education of children. Theoretical knowledge is reinforced with concrete examples from the practical work of a music teacher in secondary schools

Critically Assessing Forms of Resistance in Music Education

In their classrooms, music educators draw upon critical pedagogy (as described by Freire, Giroux, and hooks) for the express purpose of cultivating a climate for conscientização. Conscientização, according to Paulo Freire (2006), “refers to learning to perceive social, political, and economic contradictions and to take action against the oppressive elements of reality” (p. 35). This consciousness raising is a journey teachers pursue with students, together interrogating injustices in communities and the world in order to transform the conditions that inform them. Learning to perceive social, political, and economic contradictions often leads to multiple forms of resistance in and out of music classrooms. This chapter explores the following question: What do critical forms of assessment look like in music classrooms that use critical pedagogy and embrace resistance to foster conscientization

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

Critical Pedagogy and Disability: Considerations for Music Education

Developed by Brazilian Paulo Freire to teach economically disadvantaged adults to read, critical peda- gogy has since inspired others to adapt the model to other subject areas. In the area of music education, Frank Abrahams created the Critical Pedagogy for Music Education (CPME) model and has written about the use of CPME in teacher preparation programs. Scholars in disability studies have also been inspired by critical pedagogy, writing about disability pedagogy. Notably, people with disabilities have historically been omitted from models of critical pedagogy. This article discusses the intersections of critical pedagogy, music education, and disability, and makes recommendations to music education scholars on including students with disabilities in future models

Sounding the Sacred Headwaters: Applied Ecomusicology as a Critical Pedagogy of Music

Ecomusicology and the critical pedagogy of music share a common concern for music and environment. Using social systems theory this paper draws out Freire’s pedagogy for critical consciousness—the practice of bringing immanent epistemologies into awareness—and its importance for critical ecological literacy in the new epoch of Anthropocene. This discussion is grounding in an applied ecomusicology project called Sounding the Sacred Headwaters that suggests a central place for Critical Multiliteracies Pedagogy (CMP) in a critical pedagogy of music.

Editorial

An introduction to the journal is presented in which the author discusses several articles including those on today's teaching and learning of language and music, Sylvia Ashton-Warner's contribution to educational theory and classroom pedagogy and curriculum and curriculum change

An Immanent Pedagogy of Music

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 activity of learning “music” in school (materialized in the textbooks of my study) is seen as something external to what music really is. These are textbooks with a fairly great amount of non-western classical music represented, but the teaching design is very much the same as with the western-classical music. This indicates to me that music is seen very much like objective knowledge, to be transferred with a tool (external to music), and this tool is (the Western) pedagogy. There are numerous examples on this in different kinds of books and writings. For example, it is possible to speak rather easily about “music pedagogy and its object” (music), hence separating the learning from the music, and hence defining music in contradiction to Nettl: as something existing autonomously, thinkable without any aspect of teaching and learning. Even if adopting a language of musicing or musicking, most people seem to keep a music-as-object ontology, and seeing musicking as a transitive verb, taking “music” as its object. Secondly, I will focus on (music) pedagogy. Several recent music philosophers and writers have commented on the fallibility of the traditional (Western Classical) pedagogy when it comes to other musics. While Lucy Green focuses on informal music education and have done thoroughly research on the use of informal teaching strategies and concludes that they are of most importance when teaching and learning pop-music, Peter Dunbar-Hall draws on his long time experience performing and teaching Balinese Gamelan-music and suggest the term ethnopedagogics to better reflect that different kinds of music are differently thought and learned. Both two perspectives – and numerous others - although recognising the close relationship between the music and its pedagogy, do (at least analytically) separate the music from its teaching/learning methods. My suggestion is not to make different pedagogies for different musics, but to expand the notion of music to also include the teaching and learning processes, and to focus on where “music” is: In the human beings as human doings

A matter of race and gender: an examination of an undergraduate music program through the lens of feminist pedagogy and black feminist pedagogy

Theoretical perspectives of feminist pedagogy provide an alternative lens to examine the teaching and learning process within music education programs in higher education. Music programs have traditionally emphasized formal constructions and static content, which typically are associated with Western European, patriarchal ideologies. Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. When examining the music education literature, particularly as it relates to diverse groups, a feminist instructional approach addresses the interconnections of race and gender as social and cultural constructions, which are almost absent from higher education research altogether. Using the intrinsic case study model and qualitative data, I examine ways feminist pedagogy and Black feminist pedagogy, are integrated into the undergraduate music program at Spelman College, a historically Black college for women. I also investigate how course curricula are inclusive of both traditional feminist and Black feminist pedagogical principles. I explore how discourses of gender, as well as race, play a role in the pedagogical practices of teachers within a single-sex institution committed to the education and empowerment of women of color. Furthermore, I describe ways in which students are influenced by both traditional feminist and Black feminist pedagogical approaches, and how music educators are fulfilling the need to teach music outside their own experiences, which are in some cases, a Western European patriarchal approach. Using Barbara Coeyman’s (1996) four principles of traditional feminist pedagogy for women’s studies in music and the general music major curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action), as a theoretical framework the following three components were examined in this study: context (structural influences of gender and race), content (curriculum and course design), and pedagogy (classroom instruction and goals). Data was ascertained through triangulated measures of interviews with faculty and students, observations of class time and performances, and document collection of relevant data sources (e.g., course syllabi, music department handbook, and performance programs). I used findings from the research to demonstrate how discourses of gender and race permeate the institutional environment at Spelman College, and have direct links to curricula structure, as well as the institutional mission of the teaching and learning process of its students. I also used findings to further enhance the knowledge base of music education literature and implications for African-American females in higher education. Finally, suggestions were given as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students

Critical Pedagogy as a Pedagogy of “Love”

Thanks in part to the research and scholarship of Frank Abrahams (e.g., 2005, 2006, 2007, 2019), his welcoming of scholars into the field, as well as his dedication to the development and growth of the music education profession, music teaching and learning maintains particular positions connected to critical pedagogy and the work of Paulo Freire. The purpose of this paper is to extend Abrahams’ work by examining critical pedagogy as a pedagogy of “love” (e.g., Darder, 2000, 2011, 2017, hooks, 2004, Martin, 2004). Additionally, this paper examines personal and political natures of critical pedagogy as love for music teaching and learning