Leading Music Education International Conference

Ear Cleaning and Soundscape: Classroom Composition from the Sounds around Us

Doug Friesen — Tue, 31 May 2011 14:30:00 PDT

Through Ear Cleaning (R. Murray Schafer) and soundscape composition, this workshop will look at music as a social interaction between students and their environment. It will focus on the benefits of process as it relates to personal creativity within a group and/or community. Composition borne of various musical traditions is often product driven, asking all students to create similar works as opposed to allowing them to individually decide what sounds good and what might not. Composition that begins with local soundscapes gives students the opportunity to listen creatively and decide what they would like to include, exclude, or change. This workshop explores classroom possibilities of the creative and ethical space between music and noise.

"Musical Life Histories:" A Practical Strategy for Enacting Music Education as a Practice of Social Justice

Lise Vaugeois — Wed, 01 Jun 2011 12:00:00 PDT

How do we introduce important but challenging social issues, such as relations of power and the forms of oppression that affect so many people's lives, in a field which so often defines itself as apolitical and “just about the music?” In a recent publication, I write about the idea of using “musical life histories” to explore social and economic relations as they intersect with the production of different musics. Exploring musical life histories includes asking who is and is not present in different forms of music-making; how different forms of music are represented in various discourses; where race, gender and class reside within musical expressions; what forms of embodied expression are allowable in different musical and social contexts; and how different musics are situated in relation to discourses of respectability, degeneracy, virtuosity and emancipation. What does this kind of engagement look like in practice and how might this change depending on one’s teaching context? For example, would exploring musical life histories look different if one is teaching music at an elite private school, a school in a housing project, an arts magnet school, a middle class school, a school for new immigrants? Do the class expectations of students, parents and administrators influence what topics can be explored (or will be tolerated) in a music classroom? Jean Anyon explored these questions in her paper "Elementary Schooling and Distinctions of Social Class” in 1981 and these questions are still pertinent to our contemporary teaching contexts. Following a brief consideration of the philosophical grounding for my concept of “musical life histories” and issues raised by Anyon, I consider several musical examples drawn from school, concert and film music and work through, together with workshop participants, how these examples might be taken up as as tools for "consciousness raising" in differently situated classrooms. Shifting theory into practice is always an enormous challenge. This workshop provides an opportunity to experiment with different ideas and explore concerns and challenges arising from participants' own teaching experiences.

Lost in Eden: Guided Practice for the Musical Tourist

John Picone — Wed, 01 Jun 2011 11:00:00 PDT

That young musicians know how to practice seems to be a given. The yardstick that measures effective practice is still, by and large, a factor of time: “How long should I practice?” The longer, it seems, the better. Literature examining successful musicians at the professional level indicates that effective, “deliberate” practice involves being able to draw appropriately upon an extensive repertoire of practice strategies. Metacognition is a key factor in this. Such effective practice only seems to emerge and evolve over a period of time, naturally developing with the musician’s maturity. This, of course, is only if the musician “sticks with it.” My experience as a music educator strongly suggests that too many young people are abandoning music education at an early age - after one high school course or a few months of private lessons - simply because “it’s too hard.” Reflection on my own practice suggests that, “Now, go home and practice carefully!” unfairly assumes the young musician knows how. This research asks if guided practice at an early age might, in fact, prove a catalyst in this natural emergence of effective practice, recognizing the fact that developing effective deliberate practice strategies at an early age might have a significant impact on intrinsic motivation that results from greater success in addressing musical challenges. In other words, what happens when, with the guidance of a music educator, musicians practice practicing? This workshop will present findings regarding performance success; overall attitude and motivation are based on interviews with the 20 musicians – ages 8 to 13 – and their parents, as well as on reflective journals kept by the musicians and myself over the course of one academic year. The workshop will also present video recordings of my working with young musicians in guided practice sessions which demonstrate teaching methods that are effective in developing deliberate practice strategies in young musicians. These guided practice sessions are with young pianists as well as young concert band musicians. Importantly, the cognitive development of the young musician engaged in guided practice is a matter of significant person growth in becoming an expert. That is, the child develops not only skills in metacognition, but also in progressive problem solving, two salient characteristics of genuine expertise. Finally, the attitudes and problem solving skills developed through guided music practice not only promote a lifelong pursuit of making music, but also begin to equip the young person for the lifelong learning of anything!

Leading Adult Singers toward a Lifetime of Fulfilling Choral Participation

Victoria Meredith — Tue, 31 May 2011 13:30:00 PDT

As the fastest growing age group in North America has surpassed the 85 and older cohort, it is not surprising that the average adult choir is maturing. Not only is choral singing an aesthetic, artistic expression, it serves as an important social connection for singers. Choristers frequently describe “the choir as family” and that their closest friends are people they first met in a choir. People who sing in choirs generally want to continue their choral involvement for as long as possible. With the advancing age of so many singers, choristers and conductors are presented with new challenges associated with age-related changes that tend to take place in voices and bodies. It is to the advantage of conductors of adult choirs to understand these changes and to have a working knowledge of how to help their choristers sing as well as possible for as long as possible. At the same time that singers are dealing with newly emerging vocal difficulties, frequently leading them to consider discontinuing choral participation altogether because they feel that they no longer sing well enough to contribute meaningfully to the ensemble, the social and aesthetic aspects of choral ensemble membership become increasingly significant. The voice follows the same Principles of Exercise Physiology that dictate the function of the rest of the body. Through an understanding of these principles, coupled with a working knowledge of the types of physical and vocal changes that aging singers tend to experience, leaders of adult choirs can use vocal and rehearsal techniques to delay, minimize, and even reverse the negative aspects of vocal aging. In this way, a knowledgeable choral conductor is in a position to help keep aging adults singing well and at a level that is fulfilling to them as singers while also making a meaningful musical contribution to the ensemble. This workshop session is divided into three parts. Part One establishes a context for adult choral participation as it identifies some of the benefits that individual adult singers report that they gain from their choral involvement. This information has been gathered by survey over a period of five years and is based upon input from approximately eight hundred adult singers, aged 29 to 88, from across Canada and the United States. Research from the medical field that intersects with the study of the aging singing voice is also considered. Part Two identifies types of physical and vocal changes that adult singers tend to experience and relates these to musical considerations such as rehearsal techniques and repertoire characteristics. In Part Three, participants will have the opportunity to experience first-hand vocal conditioning exercises designed not only to help adults deal with vocal changes but to improve vocal ability regardless of age. The specific function of each exercise will be explained as it applies to the aging voice, as participants work through a comprehensive vocal conditioning routine.

Exploring Elements of Identity in Music Education

Bridget Sweet — Tue, 31 May 2011 11:30:00 PDT

Identity is complex and may include influences of race or ethnicity, gender, religion, sexual orientation, socioeconomic status, age, and/or physical or mental ability. In addition, various aspects of personal identity are more prominent and recognized within different music education settings. Yet, as one researcher notes, "currently, schools are being asked to transform themselves into caring communities of learning, and teachers are being invited to assume the role of community builder. Although the idea of creating learning communities carries popular appeal, little attention has been devoted to helping teachers to change their classrooms into personalized, caring learning environments" (Irvine, 2004, p.75). In building personalized, caring music learning environments, music educators must begin to acknowledge the variety of aspects that comprise the identities of their students as well as within themselves. Tatum's (1997) categories of "otherness" (race or ethnicity, gender, religion, sexual orientation, socioeconomic status, age, and/or physical or mental ability) provide music educators a framework on which to build an understanding of identity. Through understandings of “otherness” and acknowledgement of personal beliefs, music educators may develop sensitivity to individuals’ differences, allowing teachers and students to communicate and work more effectively in the music classroom. Ultimately, this may lead to more rewarding music experiences for both teachers and students. The proposed workshop will engage participants in small and large group activities that will probe issues of identity in music education. Through critical questioning, writing, reflection, and synthesis, participants will develop an understanding of personal identity and learn strategies for addressing these issues in the context of their own teaching. Part one of the workshop will establish a context and rationale for the importance of identity and its relationship to music education. Part two will allow participants to explore their own personal identity and beliefs through discussion based on Tatum’s categories of “otherness” as well as case studies dealing with issues of identity and diversity in music settings. The workshop will conclude with a summary of the emergent discussion and provide resources for further examination of identity in music education.

Singing into Your Authentic Self

Kay Kleinerman — Tue, 31 May 2011 10:30:00 PDT

This workshop explores the connection between participation in singing and the development of personal leadership qualities and capabilities. The interactive teaching/learning method of this workshop is based on Transformative Learning. Singing can be a transformative learning process that enables a shift away from limiting perspectives and toward developing personal leadership qualities via experiential learning, learning within relationship, public performance and the inner journey of reflection and subsequent understanding that leads to individuation. As workshop participants start to discover the range, power and expressive capacity of their voices, they will begin to sense their own unique vocal strength and capability. They will learn how participation in singing can foster self-exploration, self-knowledge, and the development of certain qualities, habits of mind and ways of being that enable a personal transformation in service of a greater potential for leadership. They will also experience singing as an holistic endeavor that promotes a sense of well-being and joy. In addition to singing, this rich and engaging process includes breath and body relaxation work, journaling, partner and group discussion. Previous singing experience is not required in order participate in this workshop. Singers and non-singers alike are welcome.

Working with Children in Challenging Circumstances

Phil Mullen — Tue, 31 May 2011 11:30:00 PDT

This interactive workshop will give participants a background to working with children in contexts beyond the mainstream and also give them clear ideas on methodology and repertoire. It will enable them to understand how to build their own repertoire, focussing on simple and flexible template materials. It will also give them pointers in allowing young people creative expression and how to engage demotivated young people. It will underline key issues about leadership in this area emphasising side by side working and the idea of a warm space. The session will begin with a short introduction to the work I have been involved with in England through the Beyond the Mainstream strand of the UK's national singing programme Sing Up. I will then get the group to create an image of a child in challenging circumstances, guided by UK statistics on child poverty, mental health, achievement etc. We will then focus briefly on the research work of Edward Deci and the concept that intrinsic motivation is determined by need for competency, belonging and autonomy. This points the way for designing programmes for vulnerable children that minimise risk and optimise their motivation. Moving on to the music we will run through some vocal warmup work and move into voice percussion with the participants contributing creatively under my guidance. We will sing and improvise with some simple template songs that are suitable for young people with a range of challenges. This will be followed by a series of creative exercises- working from comic and sticker books, using tactile and visual stimuli to generate songs and improv. The last few minutes will be a question and answer and short feedback session.

The Role of Technology in Facilitating the Development of Community Music Ensembles by Colleges and University Faculty

Michael Hopkins — Tue, 31 May 2011 10:30:00 PDT

Music faculty at colleges and universities are in a unique position to help found and develop new community music ensembles. Faculty often have a flexible time schedule, connections with music teachers and community musicians, access to technology, and a combination of administrative and technological skills that facilitate the development of a new ensemble. Technology plays a particularly important role in allowing music and other non-profit arts ensembles to be developed at low cost. In this workshop I will discuss the process of organizing and founding a non-profit music ensemble, and provide an overview of software applications and web-based services that can be used for marketing, accounting, and effective communications. Issues surrounding fundraising, board development, and public relations will be discussed. I will share with the participants my experiences as founding director of the Burlington Chamber Orchestra, and the growth process of starting the ensemble with $2000 of my own personal savings to an annual operating budget of $50,000 in three years. It is my hope that those attending this workshop session will recognize potential opportunities where they live and become inspired to use their skills and background as musical leaders for the development of music ensembles in their own communities.

Injury Prevention Education: How Survivors Can Help the Next Generation of Musicians

Christine Guptill — Sun, 29 May 2011 16:00:00 PDT

This research study used a phenomenological methodology drawing from the work of Heidegger, Gadamer, Merleau-Ponty, and Van Manen. Ten self-identified professional musicians from Ontario who had experienced playing-related injuries were recruited using purposeful, snowball sampling. They participated in two in-depth interviews at a location of their choice, from one to two hours in length. Six participants also attended a focus group session where preliminary findings were shared. Novels, movies, and other artistic representations, and the experiences of the researcher herself, also provided sources from which to draw upon in order to understand the lived-experience of professional musicians with injuries. The researcher also kept a journal, documenting field notes and the evolving understanding of the phenomenon. Interviews and the focus group were transcribed verbatim and identifying information was removed, with pseudonyms used. Analysis included data immersion; the generation of field and narrative texts; data transformation; thematic analysis; and the generation of a thick description of the phenomenon. The hermeneutic circle drove the analysis process, moving from detailed examination of parts of the data to the view of the whole until both could be seen simultaneously. Rigour was applied by opening up the inquiry to examination by an experienced researcher who was part of the researcher’s dissertation committee, and by the focus group. Lengthy quotes provided rich descriptions which allow readers to assess the accuracy with which the phenomenon is described. All ten of the participants recruited were music educators, in settings ranging from private studios, to the public school system, to universities. This study found that the participants experienced an absence of awareness of time and of their bodies when engaged in their occupation. They also experienced, to differing degrees, their instruments as extension of their bodily experience of playing music. Pain and injury changed this experience, with participants describing how time, their bodies, and the distance between their musical intentions and expressions became more apparent. Participants in this study expressed regret that they were not provided with adequate information about the prevalence of playing-related injuries and means of preventing injury as young musicians. They also expressed a desire to change these circumstances for future generations of musicians. For these participants, the experience of being injured changed what and how they teach. They provided a wide range of information and advice, which for some was as simple as checking with students to ensure they were comfortable, or adjusting posture. Others recommended practitioners and exercises, limited extra-curricular playing, and even advised students who experienced injuries not to pursue a performance career. Music teachers can have a strong influence on developing musicians. This study highlights the importance of increased deliberate efforts to provide injury prevention education in music performance curriculum and pedagogy. Such efforts are recommended by, among others, the National Association for Music Education in the US and performing arts medicine associations worldwide. Drawing on the findings from this study and literature from the fields of performing arts health and music education, we can begin to envision models of health promotion in schools of music that can be applied in both the Canadian and international contexts.

Gamelan Workshop

Nur Intan Murtadza — Sun, 29 May 2011 14:30:00 PDT

“It is not a zoo; we live in it too,” admonished Jowi Taylor, a world music programmer at CKLN in Toronto. Once considered ‘exotic’, the gamelan orchestra captivated Europeans at the Paris World’s Fair of 1889. In particular, Debussy’s encounters with the music are well documented. It is speculated that the delicate nuances of Debussy’s piano music are evocative of the soft shimmering sounds of the Javanese percussion. A little over a century later, gamelans are played by fifth and sixth graders in elementary schools in Canada, the United States, Japan, Great Britain and France to name a few. In addition, most universities and colleges in the aforementioned countries have their own gamelan sets. While many sociological and political reasons can be cited to account for the popularity of the gamelan orchestra, of particular interest to music educators, is the learning process. This gamelan workshop will provide a hands-on, embodied session for its participants to explore the learning processes in gamelan music making. It will be a site where participants play at the interface of pedagogies found in community music and university settings. I aspire here to create ‘praxial’ moments reflecting the research done by Lucy Green in her book, Music, Informal Learning and the School: A New Classroom Pedagogy (Green, 2008).

Rhythmic Kinaesthetics

Jeff Stewart — Sun, 29 May 2011 11:30:00 PDT

There's Madness in (Your Notion of) Method: The Popular Misconception of Method and Its Effects on Music Education

Paul Louth — Wed, 01 Jun 2011 12:30:00 PDT

Drawing principally on the work of the philosopher of science Paul Feyerabend, this paper explores the problematic notion of method in music education and argues that popular notions of method have had a deleterious effect on the development of music education by discouraging educators and, by proxy, their students from embracing conflict or pursuing counterinductive ways of thinking about music. Feyerabend argues that in the natural sciences knowledge advances not according to principles traditionally associated with scientific methodology, but rather as a result of contradictions that are recognized between “partly overlapping” theories that are “mutually inconsistent.” Unfortunately, our collective failure to recognize the limitations of method with regard to scientific knowledge has led to the widespread yet mistaken belief that it plays the central role in the development of important theories. Thus, in the debate over whether the “objective” and “methodical” approach to research supposedly pre-eminent in the physical sciences is appropriate for a subject such as music, it generally goes unnoticed that “pure” scientific research is, strictly speaking, neither objective nor necessarily methodical, as Thomas Regelski (1996) has argued with regard to pervasive scientism in music education research. Beyond the realm of music education research, however, the popular yet mistaken idea that method is the key to theory development has arguably contributed to its enshrinement as not simply a useful scaffold for facilitating musical development but, in many cases, the only ostensibly suitable goal of music education. Indeed, the pseudo-religious worship of music education methods can arguably be traced directly to these misconceptions about the role of scientific method in the development of various theories about the world in general, particularly given the need for (scientific?) legitimation faced by so many arts educators. Through an historical examination of various discourses on popular music education methods and the published materials themselves, as well as an examination of the ways in which methods associated with music education theories have been received, this paper posits that a relationship exists between these discourses and the generally accepted belief that method necessarily plays a key role in the discovery of important new knowledge. Special attention is paid to the discourses surrounding two music education methods in particular: the Kodály method and the method associated with Edwin Gordon’s Music Learning Theory. It must be stressed that the focus of this analysis is not the truth content of these methods, but rather the manner in which proponents discuss and propagate them. These examples show that, historically, we have suffered a series of localized and/or consecutive bouts of “totalizing discourse” that have resulted from this unfortunate tendency of associating rigid adherence to method with truth seeking. As an alternative, it is argued that Feyerabend’s notion of a “pluralistic methodology,” which involves the historicization of both theories and the methods they spawn through an awareness of a plurality of conflicting views, is better suited to the needs of music education, and should be embraced if music educators are to be leaders by approaching their profession more critically.

Sing me a Good Math Story: How Elementary School Students Use Song to Communicate Their Math Learning

George Gadanidis — Wed, 01 Jun 2011 11:30:00 PDT

The Fields Institute has generously funded our first set of Joy of X performances for schools. Joy of X is a math & science performance project by George Gadanidis. Our goal is to celebrate mathematical and scientific thinking and help K-8 students, teachers and parents experience math and science as a fully human activity, that can be discussed with family and friends as one would with a favourite book or a good movie.

Conference Program

Don Wright Faculty of Music, The University of Western Ontario — Sun, 29 May 2011 08:00:00 PDT

Creating Arts Curriculum for the 21st Century

John Phillips — Sun, 29 May 2011 10:30:00 PDT

This workshop will position the newly revised Ontario Arts curriculum document alongside contemporary issues and research in music education. The rationale for change, political impact and systematic implementation will underscore the contextual reference to this educational policy document. The session will be of immediate interest to delegates who are teaching within the Ontario context as well as those interested in music curriculum reform.

The Creativity of Politics in Music and the Politics of Music Creativities in Education

Pamela Burnard — Wed, 01 Jun 2011 09:00:00 PDT

Transition Into the Teaching Profession: Induction and Mentoring Issues Surrounding Secondary Music Teachers

Mark Kissel — Wed, 01 Jun 2011 15:30:00 PDT

The purpose of this study was to investigate the issues surrounding the transition into the teaching profession by specifically focusing on teacher induction and mentoring issues while explicitly addressing matters of concern by secondary music teachers in a large suburban school board in southern Ontario. Participants included beginning teachers with fewer than 5 years of teaching, mid career teachers with between 6 and 15 years of instruction, and experienced teachers with more than 16 years of practice. The processes of mentoring and inducting new teachers within the board were examined, along with their relationships between protégés, mentors, and administrators. Further, internal and external programs specifically designed and implemented for newer music teachers were scrutinized and discussed. Data were collected through 16 personal interviews as well as an analysis of key documents and literature on the subject. The findings suggest that although the necessity of mentoring and induction processes has begun to be recognized, there exists a fundamental relationship between mentoring and induction and the affect of the professional attachments to mentoring; the institutional and administrative supports that are enabled; and essential processes and practices between mentors and protégés. Together these three arms combine to support successful induction and mentoring initiatives that will help ease the transition into teaching.

From Freire to Green: Thinking Globally, Acting Locally

Ruth Wright — Wed, 01 Jun 2011 15:30:00 PDT

Drawing on a theoretical background from the sociology of education, this paper considers the work of Bernstein, Bourdieu, Ellul and Freire with respect to issues of social justice in music education. The author proposes that music education holds within its grasp the potential to be a powerful liberatory force. Examining ways forward for music in schools with a goal of social justice, the author examines the possibilities for music educators to 'think globally, act locally' (Ellul, 1964) to redress issues of social and distributive injustice in and through music education. In particular, the potential of informal pedagogy as emancipatory practice will be discussed. The study will present a critical review of literature reflecting upon the application of sociological theory to music education and social justice. Analysis of empirical research (Folkestad, 2006, Green, 2006, Vakeva, 2006, Westerlund 2006, Wright, 2007) into informal learning as pedagogy will be presented with reflection upon the potential of such studies to serve as illustrations of emancipatory practice in music education. Music in schools has long suffered in many western societies from the label of elitism, the study concludes that music has a crucial role to play in liberatory education and that informal pedagogy provides a vehicle for powerful social change in and through music education. It provides teachers and pupils with the means necessary to 'think globally and act locally' to empower teachers and pupils and effect societal change.

Researching Traditional Music Cultures: Youth as Ethnographers

Valerie Peters et al. — Wed, 01 Jun 2011 15:30:00 PDT

It is important to locate multi- and intercultural music education practices in the larger structures of society and within the local culture (Dodd, 2001; Ross, 1994-95). Curricular innovations need to present music as culture, as a form of human activity that requires active doing, a doer, something done, and a context (Elliott, 1989). Therefore, the current study proposes that students examine music cultures as situated, learned and taught, often by culture bearers, within a particular culture, reflecting the essential beliefs and values of that culture (Klinger, 1996). Also, the current study proposes to extend the research on youth identity formation to include the results of students studying the music of their own cultural heritage (Frith, 1987; Tarrant, North, & Hargreaves, 2002). This program of research proposes to investigate students’ understanding of their own musical heritage in the context of the local community surrounding the school and in collaboration with culture bearers (Klinger, 1996). This study offers a unique opportunity to understand how students construct their knowledge about their own music culture. In addition, the pedagogical strategies proposed are unique to music education classrooms. Students will act as researchers, using the tools of inquiry of ethnography (observation and interviews) in order to represent (in writing in a communal database, Knowledge Forum) their understanding of a local music culture by identifying concepts, beliefs and values embedded in cultural practices. The proposed research program will also investigate the link between cultural/ethnic identity and learning about one’s own musical heritage. Few studies have examined adolescents’ processes as they study musical practices embedded in social contexts (Peters, 2007). Purposeful sampling procedures have been used to identify two cases of special interest that have the potential to provide insight into the phenomenon that will be studied and to extend knowledge resulting from my thesis (Peters, 2007) to different geographic areas and different populations (Chisasibi, Cree Nation; Quebec City, French Canadian). Multiple case studies with different populations can provide rich information to inform best practices in multi- and intercultural music education linked to particular cultural contexts. This research paper will present preliminary data from one case study conducted in a secondary school in Quebec City during the 2010-2011 school year. The data will focus on how students construct and represent their understanding of their own music culture. A content analysis of the database entries allows the researcher to collect data on various aspects of the messages encoded in the communication product. Specifically, messages relating to how the students represent their own music culture and the concepts, beliefs and values that they perceive to be embedded in musical/cultural practices. Content analysis results in simple classifications or tabulations of specific information. Therefore, this presentation will focus on music’s role in shaping community and identity in connection with traditional music.

Music in the Belly: Music and Mother-Child Interaction

Kaarina Marjanen — Wed, 01 Jun 2011 15:00:00 PDT

This study explores the possibilities of and reasons for using music education as a support in very early mother-child interaction, throughout musically supporting the attachment.

Dr. Marjanen's PhD dissertation (The Belly-button Chord: Connections of Pre- and Postnatal Music Education with Early Mother-child Interaction) is available online at: http://urn.fi/URN:ISBN:978-951-39-3769-0