The Performance-Pedagogy Paradox in Choral Music Teaching

Freer, Patrick K.

doi:10.2979/philmusieducrevi.19.2.164

Cited by 8 publications

(9 citation statements)

References 19 publications

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“…In addition, results suggested that some music education stakeholders (including students and community members) may view performances as the overall purpose of the music education program and may question the value of the music program if no performances are produced or if the performances that are produced do not meet their expectations. Although many music education scholars have called for a reduced focus on performance in school music programs (Draisey-Collishaw, 2007;Eyerly, 2007;Freer, 2011;Mitchell, 2010;Morrison, 2009;Regelski, 2007Regelski, , 2014Reimer, 2003Reimer, , 2004Swanwick, 1999;Walker, 2005), these changes may be difficult to realize while teachers, students, and community members all have strong motivations to continue the current emphasis on performance.…”

Section: Discussionmentioning

confidence: 99%

“…These performing ensembles remain the most prevalent type of music courses offered in schools, especially at the secondary level (Abril & Gault, 2008;Matthews & Koner, 2017), but their role in school music programs and the role of the performances that they present have become subjects of heated debate among music education philosophers. Whereas some authors have argued for the continuation of the performance-based large-ensemble model (e.g., Jellison, 2004;Miksza, 2013;Trollinger, 2006), there seems to be a growing consensus that the strong focus on performance in many school music programs creates critical barriers to providing a musical education for all children (e.g., Draisey-Collishaw, 2007;Eyerly, 2007;Freer, 2011;Mitchell, 2010;Morrison, 2009;Regelski, 2007Regelski, , 2014Reimer, 2003Reimer, , 2004Swanwick, 1999;Walker, 2005). Despite the large quantity of philosophical writings about the role of performance in music education and the seeming importance of this question to the profession, very little empirical research has been conducted to examine the ways in which performances interact with other elements of the music teaching and learning process.…”

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confidence: 99%

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The Role and Influence of Performance in School Music Programs: A Grounded Theory

Haning

2020

Journal of Research in Music Education

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The purpose of this grounded theory research was to investigate music teachers’ perceptions of the role and influence of performances in K–12 music programs and the processes by which these performances impact music teaching and learning. Three specific research questions informed this study: (1) What role do performances play in school music programs? (2) How are music teachers’ pedagogical decisions informed or influenced by their efforts to mount performances? and (3) What other aspects of the music teaching-learning process are influenced by efforts to mount performances, and what form does this influence take? Five themes emerged to describe the ways in which efforts to prepare and mount performances interact with the music teaching and learning process: community expectations, student motivation, time management, teaching strategies, and teacher views of performance. These themes were used to generate an emergent theory including two interlocking process cycles that illustrate the ways in which performances are situated within school music programs. Implications for the field of music education and for future research are discussed.

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Section: Discussionmentioning

confidence: 99%

mentioning

confidence: 99%

The Role and Influence of Performance in School Music Programs: A Grounded Theory

Haning

2020

Journal of Research in Music Education

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“…Et tredje blikk rettes mot selve dirigentrollen, hvor én tilnaerming er spesifikke aspekter, for eksempel forholdet mellom makt og bemyndigelse (Guise, 2001;Patman, 1987), spenningsforholdet mellom kunstner og pedagog (Freer, 2011) og betydningen av kjønn og rase (Apfelstadt, 2009;Van Weelden & McGee, 2007).…”

Section: Tidligere Forskningunclassified

Korlederens kompetanse, utdanning og praksis – konturene av en meta-teori

Jansson

Balsnes

2020

JASED

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Korsang har en fremtredende posisjon i Skandinavia. Alle de ulike korene som finnes – fra barnekor til seniorkor, fra hygge-kor til profesjonelle kor – trenger korledere. Korlederen må mestre et omfattende kompetansesett i det hun eller han virker som både musiker, leder og pedagog. Forfatterne har de siste årene gjennomført en rekke studier av korlederes utdanning og praksis, som involverer varierte tilnærminger både når det gjelder metoder og materiale. På grunn av begrensningene i det klassiske vitenskapelige artikkelformatet har resultatene fra disse studiene så langt ikke blitt diskutert i sin helhet. I denne artikkelen tar vi et overordnet blikk og utøver en «kvalitativ meta-analyse» av de samlede resultatene. Artikkelen bygger på følgende spørsmål: Hvordan samvirker korlederutdannelse og -praksis i dirigenters kompetanseutvikling og konstituering av dirigentprofesjonen? Resultatene presenteres som en konseptuell modell som kombinerer tre perspektiver – læring i praksisfellesskap, tre stadier i en dirigentpraksis og en tredelt kompetansemodell for korledelse. Modellen blir diskutert i form av fem temaer; mangfoldet i kordirigenters profesjonelle karrierer, selvopplevd kompetanse i praksis, forholdet mellom utdanning og praksis, betydningen av inngangsprofil og rekruttering til korlederyrket. Artikkelen peker på utfordringer i utformingen og implementeringen av korlederlederutdanning.

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“…Diversos estudios revelan que los adolescentes se perciben a sí mismos como cantantes poco habilidosos cuando experimentan una situación socialmente embarazosa mientras están cantando, también que son frecuentemente apartados de la práctica vocal debido a la muda de la voz, ya sea porque se les pide que no canten o porque no se les da la oportunidad de cantar en coro (Freer, 2011(Freer, y 2012. Situaciones de este tipo son precisamente las que más influyen en las futuras decisiones en relación a la participación en futuras actividades musicales (Freer, 2009 c ).…”

Section: Revista Internacional De Educación Musicalunclassified