Guía metodológica para el aprendizaje del trombon de varas dirigida al sistema integrado filarmónico infanto juvenil SINFIN de la UTPL. Primer año, nivel inicial

El trabajo sobre la Guía metodológica para el aprendizaje del trombon de varas dirigida al sistema integrado filarmónico infanto juvenil SINFIN de la UTPL. Primer año, nivel inicial, tiene como finalidad abordar desde una perspectiva metodológica la enseñanza del trombón de varas en el SINFÍN de la UTPL. Proponiendo para ello una visión renovada del aprendizaje del trombón en este nivel, dando así cumplimiento a los objetivos trazados en la investigación. El trabajo se realizó en la provincia del Loja, cantón de Loja, parroquia San Sebastián como parte del Programa de Maestría en Pedagogía e Investigación Musical que ofertó la Universidad de Cuenca. El trabajo investigativo está estructurado de la siguiente manera: Capítulo I: Metodología, donde se aborda el enfoque metodológico de Edgar Willems, su fundamentación pedagógica, desarrollo auditivo, el ritmo y la métrica; y, lectura y escritura. Capítulo II: Aprendizaje, aquí se hace referencia al principio del proceso de aprendizaje de la educación musical; y, a lo que es el SINFÍN de la UTPL. Capítulo III: Guía Metodológica para el aprendizaje del trombón de varas, primer año, nivel inicial del SINFÍN de la UTPL. Finalmente se plantean las conclusiones a las que se arribó y las respectivas recomendaciones para propender a un trabajo metodológico sustentado en los principios de los métodos de las diferentes escuelas y experiencia propia del investigador.

Sociology and Music Education. 'Sociología y Educación Musical'.

La comunidad académica y profesional de la educación musical analiza los problemas a los que se enfrentan en la educación desde un punto de vista sociológico. En primer lugar, se introduce al concepto de sociología y educación musical. Seguidamente, se exponen teorías con ejemplos prácticos de innovaciones pedagógicas aplicadas a la sociología en el marco de la educación musical en Europa y especialmente en Reino Unido.

Musical arts education in Africa : differentiation, integration and disassociation

By discussing the future challenges to musical arts education in Africa in which local cultural practices are valued, the differences of those historically marginalised by virtue of gender, race, ethnicity, and class, are celebrated. In Africa, musical arts education and culture are regarded as an integral part of our life, which not only embraces the spiritual, material and intellectual aspects of our society, but also contributes greatly toward our emotional development. This affirms the integrity and importance of various forms of 'Art' including literature, technology, design, dance, drama, music, visual art, media and communication.

This paper will discuss the future of African musical arts education programmes through the dynamic cycle of differentiation, integration and disassociation. The authors will consider the concept of ‘differentiation’, ‘integration’ and ‘disassociation’ within musical arts practice. An analysis of selected international arts education programmes provides a globally differentiated perspective through a discipline-based approach. In the African context, arts education programmes are located within an integrated approach. The structure of a Music Action Research Team (MAT cell) in Southern African Developing Community (SADC) countries will be highlighted as a means to address disassociation through the active engagement of professional development programmes offered by the Centre for Indigenous African Instrumental Music and Dance (CIIMDA).

Music education and minority groups cultural and musical identities in the 'newer' South Africa : white Afrikaners and Indians

Music Education, as well as cultural and musical identities are all being renegotiated, post-Apartheid, within the so-called 'newer' rather than the commonly known 'new' South Africa. The developing situation with certain minority groups is particularly interesting. Education in general has undergone much change since the first democratic elections in 1994: music education specifically has been affected by such change in terms of content, delivery and assessment. Within the South African context, cultural and musical identities are often intertwined with language, racial and even tribal identities, and discussing one implies the others. We are particularly interested here in the role of formal Music Education in relation to white Afrikaners and Indians as they renegotiate their cultural development, including musical aspects

iMusic Education: um estudo bibliográfico sobre a interação entre jovens, novas tecnologias e educação musical

Este trabalho é de natureza qualitativa e consiste em um estudo bibliográfico referente à interação entre jovens, educação musical e novas tecnologias. A partir da análise dos textos levantados, procura-se compreender como educadores musicais posicionam-se frente às tecnologias em suas aulas; e o quão significativas elas podem ser quando utilizadas. Inicialmente, o procedimento metodológico se deu através da definição de TICs e de uma contextualização sobre a presença das tecnologias na escuta, na educação e nas práticas musicais. Em seguida, utilizou-se quatro artigos publicados na Associação Brasileira de Educação Musical (ABEM), os quais foram analisados e discutidos de acordo com o pensamento vigente na bibliografia estudada, procurando verificar o estado da produção e aplicação de conhecimentos sobre o tema nesta área. Por fim, constata-se que a presença das tecnologias no ensino musical implica em mudanças no papel do professor e na matriz curricular dos cursos de Licenciatura em Música.

The educational affordances of generative media in arts education

Network Jamming systems provide real-time collaborative media performance experiences for novice or inexperienced users. In this paper we will outline the theoretical and developmental drivers for our Network Jamming software, called jam2jam. jam2jam employs generative algorithmic techniques with particular implications for accessibility and learning. We will describe how theories of engagement have directed the design and development of jam2jam and show how iterative testing cycles in numerous international sites have informed the evolution of the system and its educational potential. Generative media systems present an opportunity for users to leverage computational systems to make sense of complex media forms through interactive and collaborative experiences. Generative music and art are a relatively new phenomenon that use procedural invention as a creative technique to produce music and visual media. These kinds of systems present a range of affordances that can facilitate new kinds of relationships with music and media performance and production. Early systems have demonstrated the potential to provide access to collaborative ensemble experiences to users with little formal musical or artistic expertise.This presentation examines the educational affordances of these systems evidenced by field data drawn from the Network Jamming Project. These generative performance systems enable access to a unique kind of music/media’ ensemble performance with very little musical/ media knowledge or skill and they further offer the possibility of unique interactive relationships with artists and creative knowledge through collaborative performance. Through the process of observing, documenting and analysing young people interacting with the generative media software jam2jam a theory of meaningful engagement has emerged from the need to describe and codify how users experience creative engagement with music/media performance and the locations of meaning. In this research we observed that the musical metaphors and practices of ‘ensemble’ or collaborative performance and improvisation as a creative process for experienced musicians can be made available to novice users. The relational meanings of these musical practices afford access to high level personal, social and cultural experiences. Within the creative process of collaborative improvisation lie a series of modes of creative engagement that move from appreciation through exploration, selection, direction toward embodiment. The expressive sounds and visions made in real-time by improvisers collaborating are immediate and compelling. Generative media systems let novices access these experiences with simple interfaces that allow them to make highly professional and expressive sonic and visual content simply by using gestures and being attentive and perceptive to their collaborators. These kinds of experiences present the potential for highly complex expressive interactions with sound and media as a performance. Evidence that has emerged from this research suggest that collaborative performance with generative media is transformative and meaningful. In this presentation we draw out these ideas around an emerging theory of meaningful engagement that has evolved from the development of network jamming software. Primarily we focus on demonstrating how these experiences might lead to understandings that may be of educational and social benefit.

Navigating technological contexts and experience design in music education

For some time we have jokingly referred to our network jamming research with jam2jam as ‘Switched on Orff’ (Brown, Sorensen and Dillon 2002; Dillon 2003; Dillon 2006; Dillon 2006; Brown and Dillon 2007). The connection with electronic music and Wendy Carlos’ classic work ‘Switched on Bach’ was obvious; we were using electronic music in schools and with children. The deeper connection with Orff however was about recognising that electronic music and instruments could have cultural values and knowledge embedded in their design and practice in same way as what has come to be known as the Orff method (Orff and Keetman 1958-66). However whilst the Orff method focuses upon Western art music perceptual framework electronic instruments have the potential to have more fluid musical environments and even to move to interdisciplinary study by including visual media. Whilst the Orff method focused on making sense of Western art music through experience electronic environments potentially can make sense of the world of multi media that pervades our lives.

Experience design and interactive software in music education research

This paper examines the integration of computing technologies into music education research in a way informed by constructivism. In particular, this paper focuses on an approach established by Jeanne Bamberger, which the author also employs, that integrates software design, pedagogical exploration, and the building of music education theory. In this tradition, researchers design software and associated activities to facilitate the interactive manipulation of musical structures and ideas. In short, this approach focuses on designing experiences and tools that support musical thinking and doing. In comparing the work of Jean Bamberger with that of the author, this paper highlights and discusses issues of significance and identifies lessons for future research.

Meaningful musical engagement : the potential impact of generative music systems on learning experiences

In order to create music, the student must establish a relationship with the musical materials. In this thesis, I examine the capacity of a generative music system called jam2jam to offer individuals a virtual musical play-space to explore. I outline the development of an iteration of software development named jam2jam blue and the evolution of a games-like user interface in the research design that jointly revealed the nature of this musical exploration. The findings suggest that the jam2jam blue interface provided an expressive gestural instrument to jam and experience musicmaking. By using the computer as an instrument, participants in this study were given access to meaningful musical experiences in both solo and ensemble situations and the researcher is allowed a view of their development of a relationship with the musical materials from the perspective of the individual participants. Through an iterative software development methodology, pedagogy and experience design were created simultaneously. The research reveals the potential for the jam2jam software to be used as a reflective tool for feedback and assessment purposes. The power of access to ensemble music making is realised though the participants’ virtual experiences which are brought into their physical space by sharing their experience with others. It is suggested that this interaction creates an environment conducive to self-initiated learning in which music is the language of interaction. The research concludes that the development of a relationship between the explorer and the musical materials is subject to the collaborative nature of the interaction through which the music is experienced.

Live from the Sydney Opera House: Remote musical interactions for teacher professional development

A significant challenge for the implementation of the Australian Curriculum: The Arts is the professional development of primary school teachers in all parts of the country. During 2012, the Sydney Symphony Orchestra (SSO) conducted a remote music professional development workshop as part of the Sydney Opera House’s Digital Education Program for teachers in New South Wales using the Department of Education’s Connected Classroom system which allows live synchronous interaction between facilitators and participants in multiple sites. In this article, we analyse observational and videotape data collected during this live professional development event to consider the opportunities and challenges presented by this type of professional learning experience in the arts. In particular, consideration is given to the impact of a remote musical interaction on embodied learning and aesthetic experience. We draw on actor-network theory to consider the ways in which a remote professional development experience differs to one in which all participants are present in the same space. Finally, we conclude that although there are significant differences in the type of learning that occurs in a remote music interaction, the online space provides a legitimate and potentially transforming experience for primary school teachers.

The Development of the Concept of Music Education in Estonian Kindergartens, 1905-2008 : a Historical–Critical Overview

The dissertation focuses on the development of music education in Estonian kindergartens and the factors influencing it, analysed in the historical perspective relying on post-positivist paradigm. The study is based on the factors and subjects’ views on kindergarten music education from 1905 to 2008, recorded in written sources or ascertained by means of questionnaire and interview. The dissertation deals with music’s functions, music education in retrospective, factors influencing child’s musical aptitude and development and teacher’s role in it through the prism of history. The formation of Estonian kindergarten music education and the phenomenon of its development have been researched by stages: the first manifestations of music in kindergarten in 1905 - 1940; the formation of the concept of music education in 1941 - 1967 and the application of a unified system in 1968 - 1990. The work also outlines innovative trends in music education at the end of the last millennium and the beginning of this century, in 1991 - 2008. The study relies on a combined design and an analysis of historical archival material and empirical data. The empirical part of the study is based on the questionnaire (n=183) and interviews (n=18) carried out with kindergarten music teachers. The data has been analysed using both qualitative and quantitative methods. The subject of the research is the content and activity types of kindergarten music education and the role of music teacher in their implementation. The study confirmed that fundamental changes took place in Estonian kindergarten music education due to the change in political power in the 1940s. Following the example of the Soviet system of education, music in kindergarten became an independent music educational orientation and the position of a professionally trained music teacher was established (1947). It was also confirmed that in the newly independent Estonian Republic under the influence of innovative trends a new paradigm of music education arose from the traditional singing-centred education towards the more balanced use of music activity types (attaching importance to the child-centred approach, an increase in the number and variety of activity types). The most important conclusions made in the dissertation are that there has been improvement and development deriving from contemporary trends in the clear concept that has evolved in Estonian kindergarten music education over a century; professionally trained music teachers have had a crucial role in shaping it; and kindergarten music education is firmly positioned as a part of preschool education in Estonian system of education. Key words: early childhood music education, history of music education, kindergarten music education, early childhood music teachers

Diseño e implementación de un taller de teatro musical en Educación Primaria

[SPA] Las disciplinas artísticas siempre han sido un campo tan beneficioso como poco utilizado en educación. En esta propuesta de taller de teatro musical en educación primaria se ha indagado en el mundo de la pedagogía teatral y su relación con la música y el juego como técnicas de transmisión de valores y desarrollo de aprendizajes. La puesta en práctica mediante el diseño e implementación de un taller por parte del mediador ha logrado que los alumnos muestren avances significativos en diversos campos como el autoconocimiento corporal o el descubrimiento de nuevos géneros musicales, además de favorecer a la dinámica grupal dentro y fuera del taller. De cara al futuro, este proceso ha abierto las puertas a nuevas propuestas en el ámbito de la dramatización infantil así como al interés formativo del propio educador.