Cosmopolitan musicianship under construction: Digital musicians illuminating emerging values in music education

Partti, Heidi

doi:10.1177/0255761411433727

Cited by 36 publications

(30 citation statements)

References 24 publications

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“…While Weber writes about musicians in the 200 years prior, up to and including 1914, scholars recognising the entrepreneurial nature of contemporary musicians' working lives include Bennett (2008, 2013); Gaunt and Papageorgi (2010); Hallam and Gaunt (2012); and Partti (2012). Bennett (2008, p. 8) also uses the term ‘protean careers’, which are ‘defined as careers in which multiple roles are undertaken .…”

Section: Portfolio Careersmentioning

confidence: 99%

Portfolio careers and work-life balance among musicians: An initial study into implications for higher music education

Teague

Smith

2015

Brit. J. Music. Ed.

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Musicians are acknowledged to lead complex working lives, often characterised as portfolio careers. The higher music education research literature has tended to focus on preparing students for rich working lives and multiple identity realisations across potential roles. Extant literature does not address the area of work-life balance, which this paper begins to explore, as the authors seek to better understand potential challenges around combining music graduates' multivariate ambitions, commitments and identities as musicians in the world. Rich data are presented, following interviews with professional musicians in London, UK, discussing health, portfolio careers and family. The authors conclude that more research is required to gain a deeper understanding of work-life balance for musicians, and that pedagogical approaches in higher music education could more effectively help students to prepare for their futures in a more holistic way.

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Section: Portfolio Careersmentioning

confidence: 99%

Portfolio careers and work-life balance among musicians: An initial study into implications for higher music education

Teague

Smith

2015

Brit. J. Music. Ed.

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“…At the study site, the one-to-one model for western art music practice was replaced with a collaborative, small group model for first year popular music practice. This change was a response to a complex set of factors including the regional location of the institution, student presage, the need to cater to multidisciplinary pathways within the degree program (Forbes, 2016b) and a distinct shift within the student population towards a more participatory culture (see Westerlund & Partti, 2012;Partti, 2014).…”

Section: Introductionmentioning

confidence: 99%

The value of collaborative learning for music practice in higher education

Forbes

2020

Brit. J. Music. Ed.

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This article presents evidence of the value of collaborative learning for students working in small heterogeneous groups within first year music practice courses in an Australian university popular music program. Wenger, Trayner, and de Laat’s framework for promoting and assessing value creation in communities and networks was used to gather and analyse data from students throughout one academic year. Collaborative learning created value for students through peer-to-peer learning which cultivated new skills and improved performance, causing students to reframe their criteria for musical and personal success. The value of collaborative learning promotes its use both within and beyond popular music degree programs.

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“…Digital applications for music education are growing at an astounding rate and are changing the ways people teach, learn, and make music (Beckstead, 2001;Burnard, 2007;Partti, 2012;Rainie & Wellman, 2012;Waldron, 2013;Wise, Greenwood, & Davis, 2011). Accessing reliable information about these new tools is important for music teachers so that they can assess the appropriateness of such tools for their students' needs.…”

Section: Introductionmentioning

confidence: 99%

Digital Resource Exchange About Music (DREAM): Usability Testing Results

Upitis¹,

Abrami²,

Brook³

et al. 2015

EJSBS

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The purpose of the study was to determine how music teachers respond to DREAM, a virtual space for exchanging information about digital learning tools. The research determined how teachers experienced DREAM during beta testing in terms of (a) navigation, (b) search and browse functions, and (c) quality of resources. Data were collected from over 80 music teachers using focus groups, questionnaires, log sheets, and site analytics to determine if the tool met their teaching needs. Participants in the final phase of testing completed a questionnaire about professional context and skill level using computers and mobile devices and also filled out log sheets at the end of each of four testing sessions. User experiences were analyzed in terms of usefulness, efficiency, and satisfaction. With each new phase of beta testing, navigation and search mechanisms were improved and more resources were added by the participants. By the end of the study, DREAM provided a intuitive and efficient tool for a range of music teaching needs. The results of the usability study give strong support for the importance of beta testing, which ultimately led to the creation of an effective and attractive tool for studio music teachers to keep abreast about digital technologies. In a profession where many teachers experience isolation, DREAM has the potential to serve as a vital site to enable teachers to find rich digital resources to enhance their music teaching practices.

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Cosmopolitan musicianship under construction: Digital musicians illuminating emerging values in music education

Cited by 36 publications

References 24 publications

Portfolio careers and work-life balance among musicians: An initial study into implications for higher music education

Portfolio careers and work-life balance among musicians: An initial study into implications for higher music education

The value of collaborative learning for music practice in higher education

Digital Resource Exchange About Music (DREAM): Usability Testing Results

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