Collaborative Learning in Higher Music Education

Gaunt, Helena; Westerlund, Heidi

doi:10.4324/9781315572642

Cited by 38 publications

(39 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The starting point of this study is the conception that the development of musicianship in popular and jazz music will require a wider pedagogical perspective than is currently the norm (Boud et al, 1999;Ake, 2002;Boud & Middleton, 2003;Sadler, 2005;Folkestad, 2006;Gaunt & Westerlund, 2013). Mere teacher-centred 'forwarding' of musical knowledge may lead to the development of external stereotypes in the student, which is not the best possible result concerning knowledge (Leppänen et al, 2013).…”

mentioning

confidence: 99%

Communities of practice in the conservatory: learning with a professional musician

Virkkula¹

2015

Brit. J. Music. Ed.

View full text Add to dashboard Cite

This article examines the sociocultural learning of popular and jazz music in communities of practice as part of secondary vocational music education in a Finnish conservatory. The research is based on performance workshops which were implemented as a joint effort between professional musicians and music students. These workshops are suggested as a method of utilising communities of practice. Research outcomes show that the workshops include opportunities for learning and developing musicianship on many levels. The potential of sociocultural learning should be recognised in music schools and teachers should develop learning environments which utilise it. Learning from playing experiences and from the evaluation of learning outcomes are largely the students' responsibility who require autonomy, initiative, the ability to solve problems and collaborate, and a readiness to reflect on experiences.

show abstract

“…While there are exceptions to this typical scenario, such as in the wind training system in the United States, which is often focussed on group learning issues (as evidenced in the creation of publications such as "The Instrumentalist", "The Journal of Band Research", and "Dialogue in Instrumental Music Education"), the studio lesson continues to feature prominently in higher music education Don, Garvey, & Sadeghpour, 2009;Gaunt, 2011;Lebler, 2003Lebler, , 2005Lennon & Reed, 2012;Long, Creech, Gaunt, Hallam, & Robertson, 2012;Parkes & Wexler, 2012;Serra-Dawa, 2010;Slawsky, 2011;Zhukov, 2012). Also referred to as the one-to-one, private lesson or the applied studio, a core feature of the studio lesson is the relationship between teacher and student, often referred to as the master-apprentice tradition (Gaunt & Westerlund, 2013;Hallam, 1998;Hanken, 2008;Johansson, 2013;Jørgensen, 2000;Monkhouse, 2010;Presland, 2005). This relationship came to prominence in music in the nineteenth century in particular, where the virtuoso musician (e.g.…”

Section: Introduction: the Studio Lesson In Higher Educationmentioning

confidence: 99%

Assessment in Music Education: from Policy to Practice

Lebler¹,

Carey²,

Harrison³

2015

Landscapes: The Arts, Aesthetics, and Education

View full text Add to dashboard Cite

SCOPEThis series aims to provide conceptual and empirical research in arts education, (including music, visual arts, drama, dance, media, and poetry), in a variety of areas related to the post-modern paradigm shift. The changing cultural, historical, and political contexts of arts education are recognized to be central to learning, experience, and knowledge. The books in this series present theories and methodological approaches used in arts education research as well as related disciplinesincluding philosophy, sociology, anthropology and psychology of arts education.More information about this series at

show abstract

“…The more students are aware of how they fit into the world around them, the more likely they are to get involved and pursue opportunities. This awareness of an active collaborative practice (as at the heart of the recent work of Gaunt and Westerlund (2016)) gives students a sense of belonging and ownership over their own learning.…”

Section: The Potential Of An Integrated Student Experiencementioning

confidence: 99%

“…Critical artistry ensures new challenges and new contexts are embraced in study, through collaborative working and network development -key skills necessary to a creative practice (Gaunt and Westerlund, 2016).…”

Section: Critical Artistrymentioning

confidence: 99%

“…Tackling inclusion in the curriculum, and seeking to enhance the student experience by integrating opportunities for wider networking challenges within and beyond the classroom, and the inclusion of social and digital media (as outlined as essential to creative music learning by Gaunt and Westerlund, 2016), the project 'Taking Race Live' (TRL) was launched. Established in 2014, working across sociology (2014 and ongoing, established by Sonya Sharma, with Sylvia Collins-Mayo, and joined by Heidi Seetzen in 2016), drama (2014-15, with Jackie Smart), music (from 2015 and ongoing, with Helen Julia Minors), television and dance (2016-17, with Colette Balmain and Elena Catalano), the project has sought to work with student partners (SP) to enhance the curriculum by utilizing students' voices in planning activities, events and external trips.…”

Section: Inclusive Curriculum and Changing Disciplinary Boundariesmentioning

confidence: 99%

See 1 more Smart Citation

Mapping trends and framing issues in higher music education: Changing minds/changing practices

Minors¹,

Burnard²,

Wiffen³

et al. 2017

London Review of Education

View full text Add to dashboard Cite

This article presents five case studies from within music in higher education programmes that collectively explore key questions concerning how we look at the challenges and trends, and the need for change to react to the recent higher education (HE) climate, through reference to teaching musicians the skills, knowledge and diverse career creativities that are valued in preparing musicians to enter sustained careers. In this article, the National Association for Music in Higher Education (NAMHE) elected committee members explore the emerging issues and agendas within the context of higher education, and the national and international policy shifts that are occurring. The case studies explore: (1) an inclusive curriculum and undergraduate student partner project; (2) employability skills and postgraduate courses; (3) digital creativities; (4) music career creativities and gender; and (5) an integrated student experience.

show abstract

Collaborative Learning in Higher Music Education

Cited by 38 publications

References 0 publications

Communities of practice in the conservatory: learning with a professional musician

Assessment in Music Education: from Policy to Practice

Mapping trends and framing issues in higher music education: Changing minds/changing practices

Contact Info

Product

Resources

About