Music Workshops Research Articles

Voice of Ireland? Children and music within asylum seeker accommodation

This article examines the musical lives of children of asylum seekers living under direct provision in Ireland. Direct Provision is a controversial state system of communal housing for asylum seekers while they wait for their refugee applications to be processed. One third of all asylum seekers living under Direct Provision in Ireland are children. A knowledge gap exists on the cultural rights and needs of these marginalised children. Through participatory methods, the research presented examines the role of music for these children within one of the direct provision settings as well as their musical values, identities, and types of musical participation engaged in. Data was collected through six participatory music workshops, video observations, a researcher reflective log and focus group interviews. There were 11 children involved aged between 7–12 years, representing six nationalities and both genders. Findings reveal the importance and relevance of the contexts of music-making within temporary accommodation settings as well as the broader national and international contexts of children living within asylum seeking systems.

Music and refugees’ wellbeing in contexts of protracted displacement

Objectives: The aim of this study was to improve understanding of the relationship between music practice and the wellbeing of young refugees, by examining the perspectives of Yazidi music participants aged 11–18. Design: Focused exploratory case study design, informed by the Ottawa Charter for Health Promotion which provided the conceptual framework for the research. Setting: A camp in northern Greece, where people from Iraq and Syria had been living for up to a year. Method: Data were collected over a 5-week period through participant observation of individual music lessons and group music workshops involving between 3–12 participants. In addition, semi-structured interviews were conducted with a sub-sample of six participants (three boys and three girls) aged 11–18. Results: Findings indicate that activities involving music practice can impact positively on young people’s wellbeing, enabling the development of emotional expression, improved social relations, self-knowledge and positive self-identification, and a sense of agency. Conclusion: The positive impacts of music practice noted here suggest it has the potential to be a promising health promotion approach for young refugees, by helping to develop supportive environments, through which community action can be strengthened and personal skills developed.

“Lord, Let Me Be an Instrument”: The Artistry and Cultural Politics of Reverend James Cleveland and the Gospel Music Workshop of America, 1963–1991

Abstract This article examines the artistic legacy of Reverend James Cleveland, an internationally renowned musician whose sonic innovations and institution-building efforts played a critical role in gospel music's rise as a global cultural phenomenon. In addition to examining how Cleveland's music provided a sonic blueprint for multiple generations of gospel artists in the United States and the larger African diaspora, this article also explores his involvement in the Gospel Music Workshop of America. Created in 1968, the GMWA offered an institutional space in which Black religious artists could hone their craft and exercise greater control over their art. By exploring Cleveland's multivalent roles as an artist and international promoter of gospel music, this article underscores how Black Christians' struggle for self-determination extended into the world of gospel music. It also argues for Cleveland's historical importance as a contributor to and benefactor of the cultural politics of the Black Power movement.

‘Programmes of Real Cultural Significance’: BBC2, the Sciences and the Arts in the Mid-1960s

The advent of BBC2 provides an ideal focus for the study of the place of science in culture. Existing historical work on the televisual representation of science and technology looks only at science programming. This article proposes that such an approach misses what the medium supplies to the account of its subject. As a corrective, this article compares the treatment of science with that of other intellectual and cultural subjects, taking the case of the four monthly programmes that occupied the channel's initial Saturday evening 8.45–9.30 slot, treating: science (Horizon), social science (The Human Side), literature (Writers' World) and music (Workshop). Considering questions of televisual technique and grammar, it uncovers a common genealogy for all but the social science programme in the style and conventions of the arts magazine, Monitor. This suggests that the comparative study of television programmes can help the historian address the difficult terrain of ‘high’ culture as it was negotiated in the fluid circumstances of the 1960s.

Programa de atenção a alunos precoces com comportamento de superdotação: identificação e proposta de enriquecimento musical

O presente artigo tem por objetivo apresentar o processo de identificação musical e a proposta de enriquecimento musical que orientaram os trabalhos desenvolvidos pela oficina de música do Programa d Atenção a alunos Precoces com Comportamento de Superdotação da Faculdade de Filosofia e Ciências da Universidade Estadual Paulista - UNESP campus de Marília/SP, que acontece uma ves por semana matutino e vespertino. Por meio de testes psicométricos Primary Measures of music Audition (PMMA) (GORDON, 1986a), Intermediate Measures of Music Audition (IMMA) (GORDON, 1986b) e da analíse estatistica (Wilcoxon) pretende-se apresentar o processo de identificação musical que revelará os estudantes do PAPCS que apresentam precocidade e comportamento de superdotação musical e, a partir do modelo de enriquecimento, segundo Renzulli (2004), atrelado as metodologias da área da Educação Musical, pretende-se apresentar a proposta de enriquecimento musical que embasou os trabalhos da oficina de música entre 2014 e 2015 no PAPCS, com o objetivo de atender todas as crianças identificadas. Ressalta-se que este trabalho é parte de uma pesquisa maior.

EL SONIDO DE LA INTELIGENCIA

Abstract.THE SOUND OF INTELLIGENCEThe QvO’s music workshop makes sense from the perspective of multiple and dynamic intelligence, defended by the Gardner’s theory of multiple intelligences, in which is proposed a new style of education that seeks to experience new sensations that aims to provide students the opportunity to discover their potential in relation to some of the intelligences defined by Gardner. The music workshop aims to offer a response to the necesity of training multiple sociemocionals and cognitive capabilities through a different, flexible and creative mean like music. Our project provides data favorable to the idea that intelligence can be trained through a new, open and creative methodology, which can respond to the needs and characteristics presented by the students of high capacity.Key words: Enrichment, hight capacity, musical education, musical intelligence.Resumen.El taller de música del proyecto QvO tiene sentido desde la óptica de la inteligencia múltiple y dinámica, defendida entre otras por la teoría de las inteligencias múltiples de Gardner, en la que se propone un nuevo estilo de educación que busca experimentar nuevas sensaciones que brinden al alumnado la oportunidad de descubrir su potencial en relación a algunas de las inteligencias definidas por Gardner. El taller de música pretende dar salida a la necesidad de entrenamiento de múltiples capacidades cognitivas y sociemocionales a través de un medio diferente, flexible y creativo como es la música. Nuestro proyecto aporta datos favorables a la idea de que la inteligencia puede entrenarse a través de una metodología novedosa, abierta y creativa, que permita responder a las necesidades y características que presenta el alumnado de alta capacidad.Palabras claves: Enriquecimiento, alta capacidad, educación musical, inteligencia musical.

ORIGIN OF THE PUPPET-SHOW OF THE NATIVITY: URBAN CONCEPT

The author substantiates the concept of the urban origin of the Ukrainian puppet theatre. Special attention is paid to the role of urban music workshops and fraternities as social institutions, within which a national format of the well-known Christmas drama - the Ukrainian puppet-show of the Nativity could develop.

Teaching Children With Disabilities

The purpose of this study was to determine the types and frequency of music and special education workshops held at state music educators association (MEA) conferences. Specifically, the researchers sought to determine the following within the past 10 years: (a) states that offered music and special education workshops at their MEA conferences, (b) frequency of music and special education workshops at each MEA conference, (c) frequency of music and special education workshops by music classroom type or IDEA disability category, and (d) significant differences in frequency of music and special education workshops between state MEAs with and state MEAs without a Special Learners Chair. There were 226 conference programs obtained from 2004 to 2013, of which 33 states (73%) provided at least one conference program and 12 states (27%) provided all programs. Within the provided conference programs, there were 300 music and special education sessions listed. Furthermore, most sessions were those that gave special education information without being specific to an individual music area or disability ( n = 149 or 50%). When the data were analyzed by music area or individual disability category, sessions pertaining to general music ( n = 43.5 or 14.5%) or autism ( n = 36.5 or 12%) were most frequent. Furthermore, results are discussed within the article.

Biography, identity, improvisation, sound: Intersections of personal and social identity through improvisation

This essay addresses the relationship of improvisation and identity. Biographical research that was conducted by the author into professional musicians’ lifelong learning showed the huge importance of improvisation for personal expression. Musically, the concept of sound appeared to serve as a strong metaphor for identity. In addition, ethnographic research conducted as part of the project Music for Life in London, and published by Smilde, Page and Alheit in 2014, where musicians work in creative music workshops with people with dementia and their caregivers, shed light on the use of improvisation as an expression of the identity of ‘the other’ (i.e. the person with dementia). Sound again appeared to serve as a metaphor for identity. The essay draws on the work of George Herbert Mead on identity, which distinguishes between the personal ‘I’ and the social ‘Me’, and points out that both aspects are essential for the self. In this sense, improvisation can be conceived as a means of communication that connects the personal with the social. Furthermore, drawing on Paul Ricoeur’s Oneself as Another (1992), it is shown that this concept of improvisation in relation to personal and social identity may be transferred to forms of community engagement through music. However, despite its huge importance, improvisation is still often marginalised in specialist higher music education, particularly in conservatoires, and the essay finishes with a strong plea for conservatoires to take up their role in the midst of society and embed improvisation in the core of the curriculum.

Innovative Learning in Arts Education and Community-Based Arts through Life Science

This paper aims to demonstrate how life science can be used as a form of educational tool in enhancing innovative learning in arts education and in community-based learning. This paper also explores how trans-disciplinary knowledge can be applied in the artistic learning process through scientific thinking methodologies. This paper is illustrated in four sections. Section one describes the key attributes that contributed to the creation of Infinite Saree- Infinite Saree Project, Dna Saree, Dna Carnatic, Therukoothu, Movement Workshop, Music Workshop and Bio- Arts Workshop. Section two introduces the DNA model, which can be applied in the art teaching process through scientific thinking within the teaching principles of: Imaginative Thinking, Self-Directive Teaching, Materiality Thinking, Critical Thinking, Mapping of the Language, Heuristic Judgment, Skill-based Knowledge and Knowledge of Continuity. Section three examines how community-based learning can be applied (practiced?) through research principles such as Collective Thinking, Shared Knowledge and Ownership. Section four explores how three various disciplines – Life Sciences, Theatre and Visual Arts can be interpreted through trans-disciplinary knowledge within the following research principles: - Systematic Enquiry, Scientific Perspective and Symbolic Representations. Keywords: Life Sciences, trans-disciplinary studies, Community based learning and DNA teaching principles

Promoting African Music and Enhancing Intercultural Understanding in Teacher Education.

Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.

Developing A Musical Workshop with Young Inmates at Rehabilitation and Reintegration Centers

Based on the importance of education as an essential tool for the rehabilitation and social reintegration of inmates and the use of music as a means to discovering new forms of interaction, this paper stems from a previous research aimed to enhance the identity and self-esteem of 27 young offender men. A total of 40 sessions of a Flamenco box-drum workshop were carried out and the participants completed an adaptation of the Aspects of Identity Questionnaire (AIQ-IV) and the Rosenberg scale before and after the workshop. Results indicated a significant difference (p < .00) between pretest and posttest measurements of identity. Self-esteem, however, showed no statistically significant changes. This paper presentsthe development of a musical workshop with young inmates concluding about the importance of music education as a tool to promotea positive interaction for personal growth.

Everybody is a musician, everybody is an orchestra: Musical and bodily dialogues with physically disabled children in Turkey

Abstract This study documents a reflective journey of a series of music workshops initiated by a university Performing Arts faculty member in Istanbul, Turkey. The purpose of this narrative enquiry is to explore and examine the musical and bodily dialogues, engagements and critical thoughts between a music educator and children with developmental disabilities. Focusing particularly on the theories and practices of community music, this study illustrates the vision of community music, which says that everybody deserves the chance to interact musically through their body and psyche and to play alongside others in a community with the help of a facilitator.

Promoting African Music and enhancing intercultural understanding in Teacher Education

Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.

A One-Day Training Workshop has the Ability to Motivate Teachers and Bring about Real Change in Teaching Practice: A Case Study

In this article the researcher sought to find out if a single, short continuing professional development music workshop could cause any change in the classroom and what effect it would have on the professional and personal development of the attendees. The article focused on a case study that described the emotional, social, intellectual and spiritual impact that a training workshop for black musically untrained pre-school teachers had on a pre-school teacher from an Informal Settlement in Germiston, East Rand of Johannesburg. Observation at her pre-school site and an in-depth interview revealed the meaning, importance and function the music training had for her. The findings showed that the music training provided this teacher with ways of understanding, developed her music skills and developed her self-esteem. The study highlights how the methodology that was used to expose a pre-school teacher who have never been exposed to Western classical music before changed her attitude towards this specific music style, developed her creativity and motivated her to such an extent that she felt competent and confident to teach Western classical music. The results of the evaluation suggest that a short-duration, well- structured music education workshop based on practical and interactive teaching ideas, presented to teachers with no previous experience of Western classical music can impact their learning positively in the long run. The research found that short induction sessions by experienced presenters, can change teachers’ attitudes towards Western classical music and motivate them in a positive way and also uplift their personal development in the process.

Social reintegration and education through music workshop in CAPS school

Social reintegration and education through music workshop in CAPS school

Community music-making in regional Australia: Creating, improvising and performing at a festival

Abstract Community arts in Australia, as in many other countries, continue to permeate society, illuminating the past and shaping the future. This article situates itself as an aspect of community music through creative music-making within a larger research project that started at Deakin University (DU) (Melbourne, Australia) in 2011 called ‘Flows and Catchments’. Through the lens of creative arts and music-making, I argue that community partnerships between local communities and tertiary institutions are a fertile ground to celebrate arts practice where the cultural and artistic life of the community is promoted, fostering respect and understanding between indigenous and non-indigenous peoples. In 2012, I presented a music workshop at the 8th Annual Lake Bolac Eel Festival (LBEF) in Western Victoria. Using the African term Masakhane, which means ‘let us build together’, I provide a snapshot of my experience through journaling and anecdotal feedback as I reflect in and on the teaching and learning episode of the volcanic composition. The community partnership between DU (academics in an urban space) and the LBEF (local community in a regional place) provided an opportunity for people of all ages to engage, explore and experience music-making collectively in a social context. As a tertiary music educator, I propose more pathways being established with regional communities in order to deepen the knowledge and understanding of them; schools, communities, artists, academics and tertiary students can form cultural synergies in place-based settings like those of festivals.

Illegitimate: When Moderate Muslims Speak Out

Illegitimate: When Moderate Muslims Speak Out

Correction sequences and semiotic resources in ensemble music workshops: the case of Conduction®

The paper examines the phenomenon of correction of musical action by analysing ensemble music workshops devoted to Conduction®, a way of making music together on the basis of a codified gestural lexicon addressed by a conductor to instrumentalists. In particular, it focuses on correction sequences initiated by the conductor and related to the musical material to be played and discusses the techniques used by the conductor to construct and sequentially organize correction, showing how these are accomplished through the interplay and mutual contextualization of talk and further audible and visible semiotic resources. Based on the fine-grained analysis of two correction sequences, the study stresses the role of multimodality for investigating music and pedagogy from an interactional perspective, while highlighting the peculiarities of Conduction as performative and educational practice.

Música e Juventude no Programa Escola Aberta: quais músicas? Qual pedagogia?

Music has been taken as an important tool in public education policies to help tackle social problems involving young people considered socially vulnerable. The present study examined the meanings of music pedagogy in music workshops at the Open School Chapeu do Sol, Porto Alegre, RS. The results revealed pedagogical concepts and musical content way arising from a model of musical education which disregards the musical knowledge and social contexts of young people.