Zur Konstruktion von Leistungsdifferenz im instrumentalen Gruppenunterricht. Theoretische Perspektiven und forschungspraktische Überlegungen

Die aktuelle bildungspolitische Diskussion um Chancengleichheit und Bildungsgerechtigkeit ist eng verknüpft mit einem insbesondere erziehungswissenschaftlichen Diskurs um einen angemessenen Umgang mit den unterschiedlichen Lernvoraussetzungen von Schülerinnen und Schülern. Dabei steht die Forderung nach einer "[s]ozialen Anerkennung" im Zentrum, die sich nicht nur auf die Gleichheit von Schülerinnen und Schüler bezieht, sondern auch die "Anerkennung der Differenz" umfasst. Dies stellt Lehrende vor die Herausforderung einer binnendifferenzierten Unterrichtsplanung und -gestaltung, die sich an den individuellen Bedürfnissen, Fähigkeiten und Interessen der Schülerinnen und Schüler orientiert. Gleichzeitig bergen die einer solchen Unterrichtsgestaltung zugrunde liegenden diagnostischen Prozesse jedoch die Gefahr einer Etikettierung und Kategorisierung der Schülerinnen und Schüler. Diese können zu Hierarchisierungen und sogar Diskriminierungen führen und sich auch in den Leistungsbeurteilungen der Lehrenden niederschlagen. Der "pädagogische Anspruch, Gemeinsamkeit und Vielfalt auf Basis von Gleichwertigkeit zu denken", kann somit erst mit der "Überwindung hierarchischen Denkens in Differenzierungsmustern [...] in eine für didaktisches Handeln handhabbare Form überführt werden". (DIPF/Orig.)

Entwicklung eines empirisch überprüfbaren Modells musikpraktischer Kompetenz (KOPRA-M)

Nachdem für das Schulfach Musik mit dem Kompetenzmodell „Musik wahrnehmen und kontextualisieren" ein erstes empirisch validiertes Kompetenzmodell vorliegt (Jordan et al., 2012), soll mit dieser Studie in Form eines theoriebasierten Modells musikpraktischer Kompetenz der erste Schritt zur empirischen Modellierung eines weiteren Bereichs, nämlich des musikpraktischen, vorgenommen werden. (DIPF/Orig.)

Geschichten erzählen als Methode im Musikunterricht. Ergebnisse und Forschungsmethoden einer historischen Studie

Storytelling as a teaching method in the music classroom can no longer be found in repertoires of music teaching methods, even though stories are still being told in music lessons nowadays and storytelling has a long teaching tradition. Numerous sources of the late 18th century and beyond account for different kinds of storytelling in the German music classroom. They have systematically been analysed with regard to certain aspects and teaching patterns. In this way the present study takes account of a decades- old demand within the discipline of historical music pedagogical research, which has postulated a structural historiography. Starting with a reflection of the historiographical research method the author finally illustrates the benefits of combining historical classroom research and the research of current teaching practices. (DIPF/Orig.)

Wie denken Lehrer*innen über (das Unterrichten von) Musiktheorie?

Teaching music theory is an essential, yet a barely researched part of music education in secondary schools. This paper examines the expert knowledge of Bavarian teachers regarding this subject After discussing the background and the methodology of this study the differences among the music teachers' understanding of "music theory" are illustrated with three examples: While all three interviewees agree that music theory is a set of specific knowledge, they differ by a) locating it in the non-practical, b) connecting it with practical applications or c) isolating it as knowledge, that, at first, has to be learned in isolation. These conceptions of music theory can be understood as intrinsically connected with didactic assumptions and are founded in the teachers' biographies. (DIPF/Orig.)

‚Verständige Musikpraxis’ als Gegenstand von Musikunterricht zwischen Leiblichkeit und diskursivem Lernen

This article deals with a pedagogical concept called "Verständige Musikpraxis". It wants to elicit whether and if how its effects might be empirically relevant. Starting point is an analysis of a suite of 4 videotaped music lessons with an emphasis on singing in the classroom in primary schools. The taped lessons show a similarity in structure: a phase of practising is mostly followed by a phase of practical learning and reflection, which in turn is interrupting the process. In the phenomenological theory of learning this moment of irritation is a hallmark of the learning process per se. (DIPF/Orig.)

„Am Liebsten wollte ich nur noch zuhören, das konnte ich nicht, weil: ich musste singen.“ Eine Untersuchung zum Erleben von Kindern bei ihrer Teilnahme an einem Chorkonzert

How do children experience participating in a choral performance? What matters most to them? How do they remember and talk about the event? The interview-based study demonstrates that children retain complex memories of such an event and can report on the experience in a differentiated manner, including their self-perception while singing, their social experience, and the various emotions associated with it. They evaluate the songs that were sung, and imbue the venue with meaning. Active participation in a choral performance enables children to share and reflect on music, providing them with a lasting, positively connoted memory of a musical experience. (DIPF/Orig.)

A importância do estudo aprofundado da melodia na improvisação

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música

Theoretische Rahmung und Theoriebildung in der musikpädagogischen Forschung

Die Reflexion über Theorien und theoretische Rahmungen betrifft die Grundannahmen, die Methodologien und die Ergebnisse von Wissenschaft. Diese Art der Selbstvergewisserung unterstützt die Professionalisierung einer wissenschaftlichen Disziplin und ermöglicht gleichzeitig die Einschätzung der Reichweite und Bedeutung von Forschungsergebnissen. Auf der Jahrestagung 2014 des Arbeitskreises Musikpädagogische Forschung nahmen zahlreiche Vortragende die Tagungsthematik zum Anlass, ihre eigene Forschung, aber auch musikpädagogisches Nachdenken insgesamt im Hinblick auf den jeweiligen theoretischen Gehalt zu reflektieren; in den Fokus rückten dabei u.a. Aspekte von Wissenschafts-, Raum- und Systemtheorie. In der Zusammenschau der im vorliegenden Band dokumentierten Beiträge wird das Potential einer solch theoriegeleiteten Reflexion deutlich wie auch die Notwendigkeit, diese Arbeit in der Musikpädagogik auch in Zukunft fortzuführen. (DIPF/Verlag)

O enquadramento da disciplina de Canto no Ensino Artístico Especializado em Portugal desde o século XVIII até à atualidade

Este trabalho tem como principal objetivo a investigação e reflexão do ensino da música, designadamente do ensino de Canto, analisando não apenas a prática vocal, mas primordialmente a experiência pedagógica praticada ao longo dos últimos anos. Num primeiro momento, é apresentada uma contextualização histórica do ensino da música em Portugal, em meados do século XVIII. Este percurso pretende ainda expor a evolução do ensino musical desde a criação do primeiro Conservatório de Música de Lisboa em 1835 até à atualidade, identificando as especificidades pedagógicas mais recentes no que respeita à disciplina de Canto. Em segundo lugar, são identificados os aspetos progressivos e regressivos do ensino de Canto, através da análise de todos os diplomas legais aplicáveis. Relativamente à apreciação evolutiva desta disciplina, o presente estudo centra-se na Escola Artística do Conservatório de Música de Coimbra (EACMC) e nos seus 30 anos de existência. Neste sentido, são mencionadas as principais causas de sucesso e/ou insucesso da referida disciplina, apresentando algumas soluções para os problemas identificados.

TEACHING AMERICAN CIVIL WAR MUSIC IDSTORY WITH MODERN EDITIONS OF PERIOD MUSIC FOR FULL CONCERT BAND

This dissertation explores a method of teaching the history of Civil War music and musicians through modern full-band editions of original brass band music. In the study of music history the period of the Civil War is rarely discussed, or at best, mentioned only if a student takes a specific course on the history of bands and happens to look deeply into the background of some of the early band pioneers such as Patrick Gilmore, who served in the Union Army as a bandmaster. The history of the musicians, bands, and music performed during the Civil War deserves study to provide a way for students and audiences to learn this history. This project includes lesson plans that can be used with the arrangements of the period music as well as select published music that is also representative of the period. Included with the historical information are four arrangements of original brass band music now scored for full concert band. Each arrangement includes a section scored for brass only with optional brass band parts. Historical information is provided on the Civil War period bands and how each side used them, on the composers of the music, and also on the individual compositions. The historical information can be used to supplement the lesson plans to teach the history, as well as for program notes for audiences. The research involved locating information on both Union and Confederate bands available in books, other dissertations, articles, and interviews with Civil War music historians. The original brass band music is scored for full band. This method will allow teachers and conductors to highlight this period of wind band history and to share it with both students and audiences. Included with this project are photos and video footage taken during a visit with the 1st Brigade Band of Watertown, Wisconsin, an historical organization dedicated to recreating the music and performances of an actual Civil War era band.

Teaching Australian cello music to Intermediate students: An exploratory study of motivation through repertoire

This paper explores the motivational aspects of repertoire for intermediate student cellists. Research into interest and intrinsic motivation related to the learning of instrumental music has been limited to date. As a cello teacher interested in including contemporary and Australian music in my students' studies I started to research availability of Australian repertoire for intermediate cellists and found that there was limited accessibility to such pedagogical material at this level. This study emerged as a way of providing useful information to composers. It investigates intrinsic motivation by questioning students and their teachers about which aspects of music repertoire are most likely to inspire students to practice more and strive for excellence. This paper presents the findings of the purpose-designed questionnaire distributed to cello teachers in Queensland. A similar set of questions has been prepared for student cellists and information gathering from students is still underway. Musical aspects investigated include technique and its development, style, harmony, tempo (speed), and rhythm. The questionnaire gathered information on the most frequently used teaching repertoire and teachers' experiences in teaching contemporary and Australian repertoire. This information was balanced with questions regarding the technical developmental requirements perceived necessary for intermediate students as well as other motivational aspects. It is hoped that information collated from this research will be of benefit in the selection of motivational repertoire for intermediate student cellists and especially in promoting the composition of Australian pieces for intermediate cellists.

Craft, process and art : teaching and learning music composition in higher education

This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.

BitBox!: A case study interface for teaching real-time adaptive music composition for video games

Real-time adaptive music is now well-established as a popular medium, largely through its use in video game soundtracks. Commercial packages, such as fmod, make freely available the underlying technical methods for use in educational contexts, making adaptive music technologies accessible to students. Writing adaptive music, however, presents a significant learning challenge, not least because it requires a different mode of thought, and tutor and learner may have few mutual points of connection in discovering and understanding the musical drivers, relationships and structures in these works. This article discusses the creation of ‘BitBox!’, a gestural music interface designed to deconstruct and explain the component elements of adaptive composition through interactive play. The interface was displayed at the Dare Protoplay games exposition in Dundee in August 2014. The initial proof-of- concept study proved successful, suggesting possible refinements in design and a broader range of applications.