Collaborative Learning in Higher Music Education

Abstract

Contents: Prelude: the case for collaborative learning in higher music education, Helena Gaunt and Heidi Westerlund Part I Theoretical Perspectives and Research Studies: Mapping the research ground: expertise, collective creativity and shared knowledge practices, Kai Hakkarainen Learning from artistic and pedagogical differences between musicians' and actors' traditions through collaborative processes, Biranda Ford and John Sloboda The art of stepping outside comfort zones: intercultural collaborative learning in the international GLOMUS camp, Eva SA|ther Promoting professional and paradigm reflection amongst conservatoire teachers in an international community, Helena Gaunt Exploring dialogues in online collaborative contexts with music teachers and pre-service students in Australia, Julie Ballantyne and Tammie Olm-Madden Perspectives on the dynamics of power within collaborative learning in higher music education, Catharina Christophersen Designing the rhythm for academic community life: learning partnerships and collaboration in music education doctoral studies, Heidi Westerlund and Sidsel Karlsen Expanding the master-apprentice model: tool for orchestrating collaboration as a path to self-directed learning for singing students, Lotte Latukefu and IrinaVerenikina Using formal self- and peer-assessment as a proactive tool in building a collaborative learning environment: theory into practice in a popular music programme, Don Lebler Learning from one another's musicianship: exploring the potential for collaborative development of aural skills with pianists, Lotta IlomAki Exploring cognitive strategies and collaboration in master class settings, Marion Long Intersubjectivity in collaborative learning in one-to-one contexts, Paula Collens and Andrea Creech. Part II Practitioners' Reports and Narratives: 'I listen, I hear, I understand': students' collaborative research for criteria to empower constructive feedback in classical piano perform