The Place of Music in 21st Century Education lectures: Introduction to Northern Beaches Christian School (original) (raw)
Related papers
The Place of Music in 21st Century Education lectures: Music Class at NBCS; New & Old
Observations and transcripts of interviews in the music classroom at Northern Beaches Christian School, Sydney Australia, where all classes are taught through blended learning. This paper is an enhanced transcription of two lectures given as part of the University of Sydney Massively Open Online Course (MOOC), The Place of Music in 21st Century Education, published on Coursera (Humberstone, 2016) that has been edited in order to provide the clearest possible communication to the course participants. 1 Additional context from the original scripts that was omitted from the video and/or occasional clarifying screenshots may have been added for greater understanding. Each of the 36 short content lectures in this series either presents the author’s synthesis of the literature on a particular topic with his own research and practice; or is an observation or interview to further explore the topic beyond the confines of published literature. In most cases the intention is not to present new data (although many of the interviews published in this series become, in their own right, primary source material) or findings, nor to publish a “position” on a particular topic, but to illustrate that taking a position is incredibly difficult when the literature is in a state of contradiction and flux; the intention, instead, is to provoke critical thinking in the course participant. The lectures are best understood in their original format: video.
The Place of Music in 21st Century Music Education lectures: Provocation
A summary of the learning in the prior talks, a synthesis of the literature, and a provocation to write. This paper is an enhanced transcription of two lectures given as part of the University of Sydney Massively Open Online Course (MOOC), The Place of Music in 21st Century Education, published on Coursera (Humberstone, 2016) that has been edited in order to provide the clearest possible communication to the course participants. Additional context from the original scripts that was omitted from the video and/or occasional clarifying screenshots may have been added for greater understanding. Each of the 36 short content lectures in this series either presents the author’s synthesis of the literature on a particular topic with his own research and practice; or is an observation or interview to further explore the topic beyond the confines of published literature. In most cases the intention is not to present new data (although many of the interviews published in this series become, in their own right, primary source material) or findings, nor to publish a “position” on a particular topic, but to illustrate that taking a position is incredibly difficult when the literature is in a state of contradiction and flux; the intention, instead, is to provoke critical thinking in the course participant. The lectures are best understood in their original format: video.
The Place of Music in 21st Century Education lectures: Introduction to Module 2
Introduces the Western Art Music - Educator cultural cycle, ideas of Informal Learning that may help break this cycle, and transcripts of interviews with Sydney Conservatorium students on the establishment of their musical identity. This paper is an enhanced transcription of two lectures given as part of the University of Sydney Massively Open Online Course (MOOC), The Place of Music in 21st Century Education, published on Coursera (Humberstone, 2016) that has been edited in order to provide the clearest possible communication to the course participants. Additional context from the original scripts that was omitted from the video and/or occasional clarifying screenshots may have been added for greater understanding. Each of the 36 short content lectures in this series either presents the author’s synthesis of the literature on a particular topic with his own research and practice; or is an observation or interview to further explore the topic beyond the confines of published literature. In most cases the intention is not to present new data (although many of the interviews published in this series become, in their own right, primary source material) or findings, nor to publish a “position” on a particular topic, but to illustrate that taking a position is incredibly difficult when the literature is in a state of contradiction and flux; the intention, instead, is to provoke critical thinking in the course participant. The lectures are best understood in their original format: video.
The Place of Music in 21st Century Education lectures: Music Class at Kamaroi
Observation of an Orff pedagogy approach used in a music class at Kamaroi Rudolf Steiner School in Sydney, Australia. This paper is an enhanced transcription of two lectures given as part of the University of Sydney Massively Open Online Course (MOOC), The Place of Music in 21st Century Education, published on Coursera (Humberstone, 2016) that has been edited in order to provide the clearest possible communication to the course participants. Additional context from the original scripts that was omitted from the video and/or occasional clarifying screenshots may have been added for greater understanding. Each of the 36 short content lectures in this series either presents the author’s synthesis of the literature on a particular topic with his own research and practice; or is an observation or interview to further explore the topic beyond the confines of published literature. In most cases the intention is not to present new data (although many of the interviews published in this series become, in their own right, primary source material) or findings, nor to publish a “position” on a particular topic, but to illustrate that taking a position is incredibly difficult when the literature is in a state of contradiction and flux; the intention, instead, is to provoke critical thinking in the course participant. The lectures are best understood in their original format: video.
The transcript of an interview with Natalie See, the principal of Hilltop Road Public School, Sydney Australia. See has transformed the school by adopting Sugata Mitra's SOLE approach, integrating technology, and insisting on an entirely project-based curriculum. This paper is an enhanced transcription of two lectures given as part of the University of Sydney Massively Open Online Course (MOOC), The Place of Music in 21st Century Education, published on Coursera (Humberstone, 2016) that has been edited in order to provide the clearest possible communication to the course participants. Additional context from the original scripts that was omitted from the video and/or occasional clarifying screenshots may have been added for greater understanding. Each of the 36 short content lectures in this series either presents the author’s synthesis of the literature on a particular topic with his own research and practice; or is an observation or interview to further explore the topic beyond the confines of published literature. In most cases the intention is not to present new data (although many of the interviews published in this series become, in their own right, primary source material) or findings, nor to publish a “position” on a particular topic, but to illustrate that taking a position is incredibly difficult when the literature is in a state of contradiction and flux; the intention, instead, is to provoke critical thinking in the course participant. The lectures are best understood in their original format: video.
The Place of Music in 21st Century Education lectures: Introduction to Kamaroi; Screen-Free Children
Observations and interview transcript from Kamaroi Rudolph Steiner School in Sydney, Australia, focusing on how the arts are integrated into all learning in the curriculum, as well as how the school as avoided the use of technology. This paper is an enhanced transcription of two lectures given as part of the University of Sydney Massively Open Online Course (MOOC), The Place of Music in 21st Century Education, published on Coursera (Humberstone, 2016) that has been edited in order to provide the clearest possible communication to the course participants. Additional context from the original scripts that was omitted from the video and/or occasional clarifying screenshots may have been added for greater understanding. Each of the 36 short content lectures in this series either presents the author’s synthesis of the literature on a particular topic with his own research and practice; or is an observation or interview to further explore the topic beyond the confines of published literature. In most cases the intention is not to present new data (although many of the interviews published in this series become, in their own right, primary source material) or findings, nor to publish a “position” on a particular topic, but to illustrate that taking a position is incredibly difficult when the literature is in a state of contradiction and flux; the intention, instead, is to provoke critical thinking in the course participant. The lectures are best understood in their original format: video.
This thesis explores and analyses the discipline of music education by situating it within a transdisciplinary contextual framework. Its aim is to develop a simple, practical model to help teachers, particularly generalist classroom teachers, reflect on their own musicianship and that of their students and the community, as a means of increasing engagement in music both in school and beyond. It emerges from, and builds upon, the work of the Music Engagement Program at the Australian National University, where music is conceptualised in such a way as to increase the confidence and abilities of all teachers to offer music making opportunities to their students. Despite evidence to suggest that music making is a universal human trait, studies indicate a decline in active music making, particularly in countries such as Australia with ‘Western’ style school systems. There is evidence to suggest that aspects of music education may be contributing to this decline. The adults teaching music can be affected by negative feelings about their own musical capacities, perpetuating this lack of confidence in the next generation. Solutions to date have not produced reforms that successfully overcome these systemic problems on a large scale. This study develops through a set of nine ‘iterations’, each exploring a different realm of knowledge, some not commonly applied to the field of music education. Each iteration acts as a disciplinary ‘lens’ through which new data and perspectives are explored and considered, including: 1) language and etymology; 2) the conceptualisation of problems in current music education; 3) the origins of music; 4) thought and practice in ancient Greece and Rome; 5) the development of ancient performance spaces; 6) the influences of the early Christian church; 7) 20th century educational reformers; 8) the practice of the Music Engagement Program; and 9) the development of a framework in consultation with teachers. The framework that emerges through the iterative research process is refined through consultation with practising teachers in Iteration 9. The practical framework is designed to spark a process of reflection and debate amongst educators, articulating the different outcomes that stem from underlying educational beliefs at opposite ends of the spectrum. At one end of the spectrum is the belief that music is a specialised talent that requires specialist instruction. The outcome of this belief is that the bulk of the population disengages from, or lacks confidence in, their music making capacities. At the other end of the spectrum is the belief that music is a universal human impulse, which can be released and encouraged through education, but which is not reliant on specialised instruction. The outcome of this belief is that multiple pathways may be developed for and by each individual. The original contribution of this study is the provision of a historical and cultural framework of a scope that captures the extent of the influences converging on educators today, for use as a dialectical tool for debate, reflection and reform. The thesis concludes with a discussion of the ramifications of the framework for practice, research and policy.
Christianity and Arts: Integration of Faith and Learning Music in the Contemporary Society
2017
DOI: 10.21276/sjahss.2017.5.9.6 Abstract: The paper explores the possibility of integrating faith and the learning of music against the background of opposing worldviews in the contemporary society. This paper will concentrate on the Christian faith whose basis is the bible. The bible is believed to be the word of God that defines a Christian’s lifestyle in all his/her operations in spheres of life. From the time of great philosophers like Socrates to the current time of postmodernism, knowledge and truth has kept on evolving as each new movement challenges the other. But the word of God still stands as the truth as it comes to pass in due course. In Mt. 5:18, Jesus says, “For truly, I say to you, till heaven and earth pass away, not an iota, not a dot, will pass from the law until all is accomplished.” This makes the word of God credible and reliable in informing a Christian’s life and influencing the learning of music. Music is one of the forms of art designed by God for His glori...
An ethos of music education in the 21st century: A (im) possibility?
"My inquiry will focus on an attempt to locate an ethos of music education. Because I acknowledge that the ethos of a society must logically precede a study of ethics (Ryan, 1972, p. 291, Miller, 1974, p. 309), and given the dramatic changes over the past 30 years in the ways that we create, record, store, access, and perform music, much of my exploration will be positioned in an examination of music and new digital media in the 21st century and how it is used by countless adolescents. Thus, in the development of my line of rhetoric I will (1) begin with basic Aristotelian (1984, 1999) notions of art making, artistic activity, and ethos, (2) discuss the relationship between téchne and technology, and (3) téchne and logo, (4) briefly describe the phenomenon of music making in the digitally enriched 21st century, (5) attempt to discover an ethos of music and music education in the 21st century, and (6) based on the possible discovery of an ethos, determine the ethical outcomes regarding curriculum and pedagogy in music education. I argue that that the profession has not been responsible in the ways that we have constructed an ethos—any notion of ethos—over the past 80 years, in music education textbooks, music curricula, research, and position documents, and in the ways that we (re)present reasons for why music belongs in the schools. Our profession seems to be grasping at straws in our advocacy for ‘justification’ and ‘academic positioning,’ while we may merely need to identify the individuals and communities of people whose lives have been changed by their experiences with music and enlist them to help us (re)define and refine our role not only in education but in society. At best, we may have an ethos that is antiquated and not related to 21st century youth, and most catastrophically, no sensibility regarding the music identity of the majority of youth in digitally enabled nations. It seems that we possess no center, no unified voice, no sense of music of the 21st century, and no sense of “knowing our market” (see Rideout et al, 2010). We need to (re)elaborate what is perceived as ‘music activity,’ in and out of schools and in structured and unstructured learning situations (Gouzouasis & Bakan, 2011). Moreover, we are not speaking to the very people who can understand the need for music education in the schools—the youth of today, who will become the creators and consumers of music and policy makers of tomorrow. Thus, this paper questions how we can create an ethos of music education for our profession without including the individuals who are being ‘educated’ by our notions of music education—our youth themselves. "