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With the shift towards online education, teaching and learning music has evolved to incorporate online environments. However, many music instructors, faculty, and institutions are being challenged on how to evolve their curriculum to meet these demands and successfully foster students. Pedagogy Development for Teaching Online Music is a critical scholarly resource that examines the nature of teaching and learning music in the online environment at the post-secondary level. Featuring a broad range of topics such as online and face-to-face instruction, instructional design, and learning management system, this book is geared towards educators, professionals, school administrators, academicians, researchers, and students seeking current research on designing online music courses using a social constructivist framework.
"This book shows best practices and challenges in music education and considers how music has evolved throughout the years as society increasingly turns its attention to online learning and covers a range of topics such as music integration, personalized education, music teacher training, and music composition"--
Music Learning Today: Digital Pedagogy for Creating, Performing, and Responding to Music presents an approach to conceptualizing and utilizing technology as a tool for music learning. Designed for use by pre- and in-service music teachers, it provides the essential understandings required to become an adaptive expert with music technology, creating and implementing lessons, units, and curriculum that take advantage of technological affordances to assist students in developing their musicianship. Author William I. Bauer makes connections among music knowledge and skill outcomes, the research on human cognition and music learning, best practices in music pedagogy, and technology. His essential premise is that music educators and students benefit through use of technology as a tool to support learning in the three musical processes - creating, performing, and responding to music. The philosophical and theoretical rationales, along with the practical information discussed in the book, are applicable to all experience levels. However, the technological applications described are focused at a beginning to intermediate level, relevant to both pre-service and in-service music educators and their students. This expanded second edition features an all-new student-friendly design and updated discussions of recent technological developments with applications for music teaching and learning. The revamped companion website also offers a new teacher's guide, with sample syllabi and lessons for each chapter.
Teaching Music Differently explores what music teachers do and why. It offers insightful analysis of eight in-depth studies of teachers in a range of settings – the early years, a special school, primary and secondary schools, a college, a prison, a conservatoire and a community choir – and demonstrates that pedagogy is not simply the delivery of a curriculum or an enactment of a teaching plan. Rather, a teacher’s pedagogy is complex, nuanced and influenced by a multitude of factors. Exploring the theories teachers hold about their own teaching, it reveals that, even when teachers are engaged with the same subject, their teaching varies substantially. It analyses the differences in terms of agency – the knowledge and skills that teachers bring to teaching, their expectations shaped by their life histories, the ways in which they relate to their students and the subject and their ideas about the content they teach – what is important, what is interesting, what is difficult for students to grasp. It also explores the constraints that are imposed upon the teachers – by curriculum, policy, institutions, society and the students themselves. Together with discussion of key ideas for understanding the case studies, historical influences on music pedagogy and the main discourses around music teaching, Teaching Music Differently invites all music education professionals to consider their own responses to pedagogical discourses and to use these discourses to further the development of the profession as a whole.
"'The Routledge World Music Pedagogy Series' encompasses principal cross-disciplinary issues in music, education, and culture in six volumes, detailing theoretical and practical aspects of World Music Pedagogy in ways that contribute to the diversification of repertoire and instructional approaches. With the growth of cultural diversity in schools and communities and the rise of an enveloping global network, there is both confusion and a clamoring by teachers for music that speaks to the multiple heritages of their students, as well as to the spectrum of expressive practices in the world that constitute the human need to sing, play, dance, and engage in the rhythms and inflections of poetry, drama, and ritual."--
A practical book that provides a window into online music instruction in higher education.
Leadership of Pedagogy and Curriculum in Higher Music Education is the second of a two-volume anthology dedicated to leadership and leadership development in higher music education. Fifteen authors write from multiple countries and contexts, exploring pedagogical and curricular leadership challenges and successes from around the globe. They draw attention to the dynamics of pedagogical approaches which encourage learners’ deep and agentic engagement, considering the sustainability and scope of such interventions while highlighting positive frameworks and approaches. As with its companion volume, Leadership of Pedagogy and Curriculum in Higher Music Education includes student commentary in which student contributors give concrete ideas and recommendations for facilitating and strengthening leadership development through practical and equitable strategies with students, communities and colleagues. The outcome is a collection of essays designed to offer student musicians, higher education teachers and institutional leaders theoretically informed and practical insights into the development and practice of leadership.
The work of teachers is not just to teach. We are also responsible for the basic needs of students. Helping students eat and live, and also helping them find the tools they need to reflect on the present moment. This is exactly in keeping with Paulo Freire's insistence that critical pedagogy be focused on helping students read their world; but more and more, we must together reckon with that world. Teaching must be an act of imagination, hope, and possibility. Education must be a practice done with hearts as much as heads, with hands as much as books. Care has to be at the center of this work.For the past ten years, Hybrid Pedagogy has worked to help craft a theory of teaching and learning in and around digital spaces, not by imagining what that work might look like, but by doing, asking after, changing, and doing again. Since 2011, Hybrid Pedagogy has published over 400 articles from more than 200 authors focused in and around the emerging field of critical digital pedagogy. A selection of those articles are gathered here. This is the first peer-reviewed publication centered on the theory and practice of critical digital pedagogy. The collection represents a wide cross-section of both academic and non-academic culture and features articles by women, Black people, indigenous people, Chicanx and Latinx writers, disabled people, queer people, and other underrepresented populations. The goal is to provide evidence for the extraordinary work being done by teachers, librarians, instructional designers, graduate students, technologists, and more - work which advances the study and the praxis of critical digital pedagogy.
A Framework for Teaching Music Online defines the current online learning landscape of music in higher education and then presents a cyclical teaching framework that describes how to practically develop an online music course. Each part of the framework takes the reader through the three main components of developing an online music course: communication, design, and assessment. Research-informed and practical, ideas and tools for faculty and students to implement into their current or future online teaching practice are explored. Johnson also considers future innovations, exploring knowledge sharing and professional learning networks.
Culturally Responsive Teaching in Music Education presents teaching methods that are responsive to how different culturally specific knowledge bases impact learning. It is a pedagogy that recognizes the importance of including students’ cultural references in all aspects of learning. Designed to be a supplementary resource for teachers of undergraduate and graduate music education courses, the book provides examples in the context of music education, with theories presented in Section I and a review of teaching applications in Section II. Culturally Responsive Teaching in Music Education is an effort to answer the question: How can I teach music to my students in a way that is culturally responsive? This book serves several purposes, by: • Offering theoretical/philosophical frameworks of social justice • Providing practical examples of transferring theory into practice in music education • Illustrating culturally responsive pedagogy within the classroom • Demonstrating the connection of culturally responsive teaching to the school and larger community