Learners’ Identity Through Soundscape Composition: Extending the Pedagogies of Loris Malaguzzi With Music Pedagogy

Abstract

It is astonishing to observe, listen, and co-learn with children as they engage with music to expand beyond the possible with their meaning-making abilities—immersing themselves in a hundred languages of music inspired by Loris Malaguzzi. In the current study, I examine how children in a split Grade 1/2 class explore and represent the sounds associated with city landmarks through soundscape composition. In particular, I focus on how students partake in the negation of identity. As a result of that, I have come to discover that by listening to children’s soundscapes we may be able to feel something new about particular landmarks, contemplate its value to citizens, and learn more about the meaning making of children.

Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models

“…In this way, by effectively combining robotics and artificial intelligence composition, new methods and ideas of active service mode and emotional computing can be injected into the human interaction system, which can promote the development of music robots in the direction of emotionality and intelligence. This will enable them to recognize and perceive musical emotions while taking the initiative to perform collaboratively or compose intelligently 3 Wireless Communications and Mobile Computing [26]. In this way, the interaction barriers between robots and humans can be further eliminated, thus promoting the development of artificial intelligence composition to a whole new level.…”

Using iMovie for Soundscape Composition in General Music

“…Thus, as Yanko (2019) observed, a soundscape composition will contain "recognizable environmental sounds that invoke listeners' associations, memories, and imaginations related to the soundscape" (p. 274). However, "music created through soundscape composition cannot be organised with much similarity to instrumental music; in fact, a broader definition of music such as 'organised sound' must be invoked if soundscape composition is to be included" (Truax, 2008, p. 105).…”

“…Schafer (1969) noted that “we are all in the world symphony” (p. 62) and that the term, “soundscape” can be “use[d] to describe the acoustic environment” that we find ourselves in at any given moment (Schafer, 1976, p. 5). Thus, as Yanko (2019) observed, a soundscape composition will contain “recognizable environmental sounds that invoke listeners’ associations, memories, and imaginations related to the soundscape” (p. 274). However, “music created through soundscape composition cannot be organised with much similarity to instrumental music; in fact, a broader definition of music such as ‘organised sound’ must be invoked if soundscape composition is to be included” (Truax, 2008, p. 105).…”

Experimenting With Music: Soundscape Composition in the International Baccalaureate Diploma Programme

“…First, however, it is important to establish what is meant by the term, “soundscape composition.” As I discuss in a previous column (i.e., Norman, 2022), a soundscape composition should contain “recognizable environmental sounds that invoke listeners’ associations, memories, and imaginations related to the soundscape” (Yanko, 2019, p. 274). However, as Truax (2008) observed, “music created through soundscape composition cannot be organised with much similarity to instrumental music; in fact, a broader definition of music such as ‘organised sound’ must be invoked” (p. 105).…”