Expanding the Space for Improvisation Pedagogy in Music is a critical, research-based anthology exploring improvisation in music pedagogy. The book broadens the understanding of the potentials and possibilities for improvisation in a variety of music education contexts and stimulates the development of knowledge and reflection on improvisation. The book critically examines the challenges, cultural values, aims and methods involved in improvisation pedagogy. Written by international contributors representing a variety of musical genres and research methodologies, it takes a transdisciplinary approach and outlines a way ahead for improvisation pedagogy and research, by providing a space for the exchange of knowledge and critique. This book will be of great interest to scholars, researchers, and postgraduate students in the fields of arts education, music education, improvisation, music psychology, musicology, ethnomusicology, artistic research and community music. It will also appeal to music educators on all levels in the field of music education and music psychology.
Improbasen is a Norwegian private learning centre that offers beginner's instrumental tuition within jazz improvisation for children between the ages of 7 and 15. This book springs out of a two-year ethnographic study of the teaching and learning activity at Improbasen, highlighting features from the micro-interactions within the lessons, the organisation of Improbasen, and its international activity. Music teachers, students, and scholars within music education as well as jazz research will benefit from the perspectives presented in the book, which shows how children systematically acquire tools for improvisation and shared codes for interplay. Through a process of guided participation in jazz culture, even very young children are empowered to take part in a global, creative musical practice with improvisation as an educational core. This book critically engages in current discussions about jazz pedagogy, inclusion and gender equity, beginning instrumental tuition, creativity, and authenticity in childhood.
"Volume 2 of the Oxford Handbook of Music Performance is designed around four distinct sections: Enhancements, Health and Wellbeing, Science, and Innovations. Chapters on the popular Feldenkrais method and Alexander technique open the volume, and these lead to chapters on peak performance and mindfulness, stage behavior, impression management and charisma, enhancing music performance appraisal, and how to build a career and the skills and competencies needed to be successful. The section dealing with health and wellbeing surveys the brain mechanisms involved in music learning and performing and musical activities in people with disabilities, performance anxiety, diseases and health risks in instrumentalists, hearing and voice, and finally, a discussion of how to promote a healthy related lifestyle. The first six chapters of the Science section cover the basic science underlying the operation of wind, brass, string instruments, and the piano, and two chapters covering the solo voice and vocal ensembles. The final two chapters explain digital musical instruments and the practical issues that researchers and performers face when using motion capture technology to study movement during musical performances. The four chapters of the Innovations section address the types of technological and social and wellbeing innovations that are reshaping how musicians conceive their performances in the twenty-first century"--
This book is a collection of leading international authors in the field of music education taking the concept of 'craft' as a starting point to deconstruct and reconstruct their understanding of the practices and theories of music education. Their insights draw from deep wells of resources located in historical, philosophical, epistemological, musicological and educational traditions that lead to rich and complex insights on the evolving field of music education. In so doing, they generate a constellation of new understandings and illustrations of what crafts can mean in this field. Historically, the idea of craft was typically associated with a skill or experience in knowing how to do or make something, or an activity of some kind that requires specific professional skills. In Old Norse, the concept for craft was kraptr, meaning strength and virtue, while Old English and continental use was associated with power and physical strength, as well as skill. When these definitions of ‘crafts’ are infused into contemporary understandings of the field of music education as a professional field, a whole new set of possible interpretations are unearthed. Such insights are not exhaustive, but rather, point the way in which this professional, diverse, inclusive and ambiguous field might continue to evolve in the 21st century.
Arts-Based Methods in Education Around the World aims to investigate arts-based encounters in educational settings in response to a global need for studies that connect the cultural, inter-cultural, cross-cultural, and global elements of arts-based methods in education. In this extraordinary collection, contributions are collected from experts all over the world and involve a multiplicity of arts genres and traditions. These contributions bring together diverse cultural and educational perspectives and include a large variety of artistic genres and research methodologies. The topics covered in the book range from policies to pedagogies, from social impact to philosophical conceptualisations. They are informative on specific topics, but also offer a clear monitoring of the ways in which the general attention to the arts in education evolves through time.
This book sets out a contemporary perspective on music education, highlighting complex intersections between informal, non-formal and formal practices and contexts. At a time when the boundaries between music learning and participation are increasingly blurred, this volume is distinctive in challenging a ‘siloed’ approach to understanding the diverse international music education landscape. Instead, the book proposes a multi-layered continuum of practices that can be applied across a range of formal, informal or non-formal concepts to support the development of musical possible selves. It challenges existing conceptions of learning in music education in part by drawing on research in adult learning, but also by considering the contexts in which learning takes place, and the extent to which this learning can be classified as formal, informal or non-formal.
This book offers compelling new perspectives on the revolutionary potential of improvisation pedagogy. Bringing together contributions from leading musicians, scholars, and teachers from around the world, the volume articulates how improvisation can breathe new life into old curricula; how it can help teachers and students to communicate more effectively; how it can break down damaging ideological boundaries between classrooms and communities; and how it can help students become more thoughtful, engaged, and activist global citizens. In the last two decades, a growing number of music educators, music education researchers, musicologists, cultural theorists, creative practitioners, and ethnomusicologists have suggested that a greater emphasis on improvisation in music performance, history, and theory classes offers enormous potential for pedagogical enrichment. This book will help educators realize that potential by exploring improvisation along a variety of trajectories. Essays offer readers both theoretical explorations of improvisation and music education from a wide array of vantage points, and practical explanations of how the theory can be implemented in real situations in communities and classrooms. It will therefore be of interest to teachers and students in numerous modes of pedagogy and fields of study, as well as students and faculty in the academic fields of music education, jazz studies, ethnomusicology, musicology, cultural studies, and popular culture studies.
World Music Pedagogy, Volume IV: Instrumental Music Education provides the perspectives and resources to help music educators craft world-inclusive instrumental music programs in their teaching practices. Given that school instrumental music programs—concert bands, symphony orchestras, and related ensembles—have borne musical traditions that broadly reflect Western art music and military bands, instructors are often educated within the European conservatory framework. Yet a culturally diverse and inclusive music pedagogy can enrich, expand, and transform these instrumental music programs to great effect. Drawing from years of experience as practicing music educators and band and orchestra leaders, the authors present a vision characterized by both real-world applicability and a great depth of perspective. Lesson plans, rehearsal strategies, and vignettes from practicing teachers constitute valuable resources. With carefully tuned ears to intellectual currents throughout the broader music education community, World Music Pedagogy, Volume IV provides readers with practical approaches and strategies for creating world-inclusive instrumental music programs.
Redefining Music Studies in an Age of Change: Creativity, Diversity, Integration takes prevailing discourse about change in music studies to new vistas, as higher education institutions are at a critical moment of determining just what professional musicians and teachers need to survive and thrive in public life. The authors examine how music studies might be redefined through the lenses of creativity, diversity, and integration. which are the three pillars of the recent report of The College Music Society taskforce calling for reform. Focus is on new conceptions for existent areas—such as studio lessons and ensembles, academic history and theory, theory and culture courses, and music education coursework—but also on an exploration of music and human learning, and an understanding of how organizational change happens. Examination of progressive programs will celebrate strides in the direction of the task force vision, as well as extend a critical eye distinguishing between premature proclamations of “mission accomplished” and genuine transformation. The overarching theme is that a foundational, systemic overhaul has the capacity to entirely revitalize the European classical tradition. Practical steps applicable to wide-ranging institutions are considered—from small liberal arts colleges, to conservatory programs, large research universities, and regional state universities.
Black Music Matters: Jazz and the Transformation of Music Studies is among the first books to examine music studies reform through the lens of African American music, as well as the emergent field of consciousness studies. It is inspired by conversations on race and a rich body of literature on the place of black music in American culture.