Soundtrapped? Socio-material perspectives on collaborative teaching within the music classroom

Abstract

This article draws on a classroom project to explore the complexities of collaborative teaching within the music classroom, where a professional team collaborated to facilitate digital music-making at a lower secondary school in Norway during a student teacher practicum placement. The collaborative team, including in-service and pre-service teachers, researchers, and a professional musician, facilitated a composing project by means of the digital audio workstation (DAW) Soundtrap. The purpose was to shed light on the complexity and emergence of the collaborative music project; how material, structural, and educational conditions impacted the process; and the pre-service music teachers’ ways of handling a complex situation. The study was theoretically guided by a socio-material perspective, more specifically by complexity theory, and an abductive analysis was performed. In keeping with the nonlinearity and complex causality of socio-materialism and complexity theory, the researchers created three reflexive viewpoints: emergence, enabling constraints, and entanglements. The results show that technological and technical issues permeated the classroom work, making it difficult to separate social and material aspects of the project. Awareness of the entanglement of social, institutional, historical, and material dimensions of education thus can provide a useful framework for emerging music teachers’ professional development. In this way, our findings support the claim that music teacher education should aim at helping pre-service teachers prepare for encounters with complex and versatile educational situations.

An artful encounter with dance – empowering future teachers in cross-sectoral collaborations with the Cultural Schoolbag as an example

“…Huhmarniemi et al, 2021;Lapidaki, 2014) with music education in particular (e.g. Holdhus et al, 2022;Juvonen et al, 2018), and/or visual art education in particular (e.g. Skregelid, 2020).…”

Teaching digital audio skills – status, example scenarios and agenda for embedding the Digital Audio Workstation (DAW) GarageBand in a Digital Humanities teaching-learning scenario

“…In such constructivist settings, teachers take over the motivation for selfdirected learning and the strengthening of the self-image of the learners (e.g., Meyer & Meyer, 2013). The implementation of a DAW in an innovative, pedagogical learning arrangement (such as the flipped classroom concept or project-based learning) also strengthens the cooperation and collaboration of the learners (Holdhus et al, 2022). In education-related competency frameworks (Battelle for Kids, 2019;Ferrari, 2013), these digital, communicative, interactive, and collaborative skills are laid down as essential and necessary characteristics for living, learning, and working in the world of tomorrow.…”

Plataformas digitales de producción musical (DAW): innovación educativa desde la formación docente del profesorado de música

“…Desde este marco metodológico, el presente artículo constata cómo el fácil acceso a las DAW y las enormes posibilidades que ofrecen, su cercanía al paradigma musical del alumnado, así como las ventajas que brindan tanto para el aprendizaje musical como para el fomento de la autonomía y la creatividad, son aspectos que justifican su integración en el aula de música como recurso vertebrador de situaciones de aprendizaje paradigmáticas para abordar una gran parte de los saberes básicos y el desarrollo de competencias específicas en educación musical. Además, la investigación valida su implementación en los programas universitarios de formación docente, poniendo de relieve cómo la reflexión desde la investigación educativa debe situarse en la detección de necesidades pedagógicas emergentes (Holdhus et al, 2022) y en cómo dar una respuesta crítica y adaptada a las nuevas posibilidades tecnológicas, "trascendiendo la mera translación de procesos de enseñanza-aprendizaje que se producían en el mundo analógico al mundo digital" (González y Merchán, 2022, p.3).…”